PANCHA A
T A L E
O F
S O L A P U R ' S
H A N D L O O M
T O W E L S
NATIONAL INSTITUTE OF FASHION TECHNOLOGY This is to certify that below mentioned students of Semester V, Textile Design of National Institute of Fashion Technology, Mumbai have successfully documented the craft of Solapur Handloom Towels, as a part of the Craft Research Documentation. Under the project, a document has been been prepared.
The study has been conducted under the guidance of Niteen Rangdal.
Ankita Buragohain Hari Kishan Kumar Pankti Patel Ritika Mandal Sanjana Verma Surbhi Saloni
Submitted to:
Niteen Rangdal
Dr.Reena AggrawalÂ
(Faculty Member)
(Course Coordinator-Textile Design)
ACKNOWLEDGEMENT
We would like to express our deepest gratitude to the National Institute of Fashion Technology for having given us
this
opportunity
to
learn
and
work
with
an
indegenious craft of India.
We
are
thankful
for
the
mentorship
and
guidance
provided by Mr. Niteen Rangdal throughout the course of this project without which it’s successful completeion would not have been possible.
We would also like to thank the Textile Design faculty for their
assistance
having
arranged
and
encouragement.
guest
seminars
As
that
well
as
for
benefited
us
greatly in our research work.
Last but not the least, this document is dedicated to all the weavers, workers employed in Solapur’s handloom industry,
who
work
tirelessly,
relentlessly
weaving together a tale over 130 years old.
to
continue
CRAFT CLUSTER
NIFT with the active support from the Ministry of Textiles, has developed and implemented a new Craft Cluster Initiative Program which aims to provide the students with
continuous
handicraft
exposure
clusters,
thus
to
the
providing
handloom
an
and
opportunity
for
creative innovation and experimentation. The objective of
the
initiative
is
to
sensitize
NIFT
students
to
the
realities of the craft sector and give insight into regional sensibilities and diversities, resources and environment. Through
this
creating
a
initiative,
widespread
NIFT
has
been
awareness
and
successful
in
sensitivity
in
assimilating crafts into fashion and vice-versa.
Solapur may seem like just another quaint town located along the Maharashtra- Karnataka border at first glance. But as one delves into this town, the cacophony of shuttles whizzing past, treadles clanking on the floor, punch cards jerking up and
PREFACE
down, will only grow louder. Known for its textile, as well as beedi industry, the mills here have attracted workers from rural areas
of
Maharashtra
as
well
as
Andhra
pradesh
and
Karnataka. The towel industry of Solapur, in particular, has seen quite a few choppy waves during its existence. With powerlooms
on
the
rise,
the
traditional
handloom
towel,
Pancha, is now seen less frequently in the markets. In order to explore this decline further and in an attempt to understand the
workings
of
the
handloom
industry,
our
group
of
six
students travelled to Solapur for a week long craft research excursion.
Garnering
data
from
the
weavers,
sellers
and
businessmen, we’ve tried to compile it all in the form of a document.
This
document
is
a
humble
attempt
at
acknowledging the efforts and hard work that the weavers pour into this craft and using our knowledge of their art to give them the exposure and identity they deserve.
1
TABLE OF CONTENT 01
PRIME PURPOSE
02
METHODOLOGY
04
THE CITY OF SOLAPUR
05
SOLAPUR'S ECONOMIC HISTORY
06
SOLAPUR'S TEXTILE HISTORY
07
SOLAPUR'S ROLE IN INDIA'S INDEPENDENCE
08
DEMOGRAPHICS
10
SOLAPUR'S INDUSTRIES
17
SOLAPUR TOWELS
20
RAW MATERIALS
21
PROCESS
24
COLOURS AND DESIGN
25
THEÂ MARKET
26
CLUSTERS
36
PEST ANALYSIS
42
SWOT ANALYSIS
48
REVIVAL
50
OUR EXPERIENCE
52
CONCLUSION
53
QUESTIONNAIRE
57
BIBLIOGRAPHY
58
BANK DETAILS OF ARTISANS
PRIME PURPOSE Through this document, out primary aim is: To understand the functioning of the textile industry as a whole, while concentrating on Solapur
To gain a comprehensive understanding of the various processes underlying the craft of towel making
To familiarise ourselves with the lives of its workers and their grievances thus enabling us to empathise with them
To understand the role that the government plays in providing official parameters to to ensure prosperity of the industry
To comprehend how the processes and the handling of the material has an impact on our ecology and try to fathom the sustainability of it
1
METHDOLOGY
In order to carry out this diagnostic study of Solapur and its handloom textiles the following research methods were used:
.
1. Questionnaires:
Questionnaires
were
prepared
prior
to
leaving for the field studies. The questions covered a wide range
of
topics
from
financial
situations
to
social
backgrounds. 2. Personal Interviews: Apart from asking the set questions from the aforementioned questionnaires we also had oneon-one interviews where we had conversations with the 'karigars'
abased
on
our
general
observations
about
Solapur 3. Group discussions: Post field work, members of our group would sit together and compare notes thus filling us up on any data missed out by one us 4. Photography and videography: We shot multiple videos and clicked several photos in order to retain the information about the working mechanism of the handlooms and towel making process better 5. Research Papers, Published Works, Reference Books and Websites: Several literature pieces were used to refer to in order
to
gain
a
better
understanding
of
Solapur
and
handlooms as well 2
3
SOLAPUR
THE CITY OF
Aadilpur, Ahmedpur, Chapaldev, Fatehpur, Jamdarwadi, Kalajapur, Khadarpur, Khandervkiwadi, Muhammadpur, Ranapur, Sandalpur, Shaikpur, Solapur, Sonalagi, Sonapur, Vaidakwadi. These sixteen villages, unite to makeup The Land of Sixteen Villages, better known as the city of Solapur.
Located in South Maharashtra, Solapur is a diverse city where Maharashtrian, Kannadiga, and Telugu cultures amalgamate seamlessly. It is also one of the most important districts in the state of Maharashtra owing to its industries, namely handloom, powerloom and ‘bidi’ making. Tourism is also an important industry in Solapur owing to the temples located in the city, the most famous of them being Siddheshwar Temple.
The city is located on the major road and rail routes between Mumbai and Hyderabad, with a branch line to Bijapur and Gadag in Karnataka. It is 456 km away from Mumbai and 264 km away from Pune by rail.
4
SOLAPUR'S ECONOMIC HISTORY The history of Solapur before the 10th century, has been shrouded in darkness. However, since then, Solapur has been ruled by various dynasties. The Hindu Chalukyas, the Devagiri Yadavas, the Andhrabhratyas, the Rashtrkutas, and the Bahamanis. After the Bahamani rule, the Bijapur kings went on to reign in Solapur. It was passed on by them to the Marathas. When the Peshwa rule began to collapse in 1818, the British Government took over. Since then, Solapur’s importance gradually grew. Its location right on the highway between Poona and Hyderabad increased the importance of the town, even more so after the opening of the South East branch of the peninsula railway in 1859. Solapur became the center for the collection and distribution of goods over a large extent in its part of the country. On account of the immunity from the risk of robbery resulting from the order established by the British government, Solapur became a resort of traders. Salt, seeds, grains, oil, sugar and other goods from Humnabad and Gulbarga came to the market of Solapur causing Solapur to became an important centre of exchange for other commercial centers like Gulbarga, Bijapur, Bagalkot and Latur. Raw cotton began to come to Solapur market in 1840 and it eventually became the main trade of the town.
5
SOLAPUR'S TEXTILE HISTORY It
was
during
Deccan 1772
that
A.D.)
the
Maratha
rule
the
cotton textile mills at Solapur. The year
(1761-
1860 marked the laying of a railway line
of
Peshwa
Madhavrao-I
invited
hereditary
weaver
which
facilitated
the
establishment
of
communities of Koshtis, Salis and Sangars
cotton textile mill at Solapur. While the
to
new
settle
in
Solapur,
on
the
promises
railway
line
provided
a
convenient
ofland-grants and State patronage. Soon
means oftrack port, the Ekruk Lake made
their
available
products
waistcloths, enjoying
like
robes
sheets,
and
immense
quilts,
turbans
began
popularity
in
the
sufficient
water
supply
to
cotton crop. It resulted in an increase in the
area
under
cotton
cultivation.The
Deccan States and the Nizam country. The
first organized industry to be started in
year 1860 marked the laying of a railway
the district was the cotton textile mill,
line which facilitated the establishment of
which Moraiji
was
established
Gokuldas.
in
The
1877.by
existence
Seth of
a
Thus, the powerloom textile industry was bom in Solapur. Later on, the competition
number of mills led to the development
increased
of
also;
Solapur
Between
into
a
very
big
1960-1980,
yam
market.
Solapur
city’s
industrialization
picked
momentum.In
meantime,
the
up
a
due
to
family
within
hence,
in
the
Chaddar
1964-65,
diversified
into
one the
segment
Kshirsagar production
new
ofterry towels on their four powerlooms.
the
Today, Solapur city is equally reputed for
lack of modernization, the pioneer Mill of
its terry towels.
Seth Gokuldas closed down in 1964.
6
SOLAPUR'S ROLE IN INDIA'S INDEPENDENCE In 1930, following Mahatma Gandhi’s arrest, large scale protests and rallies took place all over
India,
including
the
city
of
Solapur.
The
police,
under
the
British
government’s
command, opened fire at these proceedings. This made the irate mob attack the police stations
around
the
city.
Frightened,
all
police
fled
the
city.
During
this
period
the
responsibility of law, order, and security of citizens were on the shoulders of Congress party leaders. the citizens of Solapur thus got a taste of freedom during these three days from 9th to 11th May 1930 before India’s official independence in 1947.
Earlier in 1947, the Solapur Municipal Council became the first Municipal Council of India to host the National Flag on its Municipal Council building. This was the first of many such subsequent incidents that took place in the country. Enraged by this act, the British declared martial law in the city and arrested several leaders and innocent citizens on false charges. Freedom fighters Shri. Mallappa Dhanshetti, Shri. Kurban Hussain, Shri. Jagannath Shinde and Shri. Kisan Sarda were hanged to death as a punishment on January 12th, 1931. As a mark of respect statues of these freedom fighters have been installed in the heart of the city and the location has been named as Hutatma Chowk.
rupalos kwohc amtatuh
DEMOGRAPHICS
8
9
DEMOGRAPHICS
INDUSTRIES
SOLAPUR'S solapur railway station
10
BIDI ROLLING
bidi making
Although
most
of
the
male
population
in
solapur
chase
employment in the textile manufacturing units, most women in solapur roll bidis for various factories for a living. Bidi factories were started in India around the 19th century and have had their presence in Solapur for the past 150 years.
Women in Solapur have been rolling bidis for over a century. Most of them work from home and deliver the bidis to their respective
factories
at
the
end
of
the
day.
A
high
level
of
dexterity is required to roll bidis and the only tools that these women use are their hands. They flatten out the dried up ‘tendu’ or ‘kendo’ leaves, fill them with tobacco, roll them up gently, without tearing the leaf and tie the end up tightly with a string.
11
TOURISM
Solapur is a city that is replete with Hindu temples, and thus religious tourism is an important constituent of their revenue sources. Some of the
oldest
temples
include
Revansidheshwara,
Markandeya,
Sidheshwar and Malklikarjuna. Perhaps the most iconic of all these is the Siddheshwara temple, that sits along the banks of a lake. The temple is highly revered by the devotees as it is said that this was the place where Shri Siddheshwar, who is considered to be an incarnation of Lord Shiva and Lord Vishnu, attained Samadhi. Besides the temples, there are several Mathas such as the Gavi Matha, Kisti Matha, Nandi Matha and Mhubharaya Swami Matha. Solapur is also home to Hazrat Shah Zahur’s Dargah. Hazrat Shah was an Islamic saint who is said to have had miraculous healing powers.
12
CHADDAR
solapuri chaddar
Solapur’s most reputed textile product is its chaddar. In fact, Solapuri chadars were the first product in Maharashtra to obtain Geographical Indication (GI) status. Woven on Jacquard Looms, these
cotton
chaddars
are
often
referred
to
as
Jacquard
Chaddars. They are known not only for their durability but also for their design - either floral or geometric.Â
In
2006,
James
Ferreira,
a
Mumbai
based
fashion
designer
featured a fashion range based entirely on Solapur chaddars at Lakme Fashion Week.
13
SOLAPURI SAREE
solapuri saree
Solapur sarees are another one of Solapur’s popular handloom textiles. Narayanpeth sarees, Paithani and Ilkal sarees are made quite intensively in Solapur and are traditionally, nine yards long with motifs on the border. These sarees are woven using either cotton or silk threads with the most popular colours being red, pink, blue and green. Since the nature of weaving these sarees is intensive, the entire family involves itself in the process.
14
WALL HANGING
wall hanging in the making
Created using an exquisite technique of weaving, Solapur is also well known for its wall hangings. Lord Ganesha is commonly found in these wall hangings along with still life and portraits. The tapestry technique used to weave these pieces adds a layer of beauty and realism to the wall hangings. However, there are very few artisans left to continue to practice this craft. Jindam Textiles, located in Solapur, is one of the few companies that is known for its wall hangings even today.
15
DHURRIE solapuri dhurries
A
traditional
hand-woven
textile,
Solapur
Dhurries
are
flat,
woven pileless rugs that have a variety of designs and colors. Essentially thick cotton fabric, dhurries are not only used as a floor
covering
lightweight
but
and
also
foldable
as
bedding
makes
and
them
for
easily
packing.
Being
portable.
These
dhurries, often referred to as Satrangi, are classified as weft faced tabby weave and are woven on frame looms in several districts of Maharashtra with Solapur being a popular one.
16
17
TOWELS
SOLAPUR
TERRY TOWELS
solapuri terry towel
The
Solapuri
Terry
Towel
is
well
known
for
its
unique
colour
combinations and patterns. They are produced on a jacquard power loom using cotton yarns that are blended with a small amount of synthetic fibres. These towels have a dense looped surface, are soft to the touch and have good water absorbency.
Solapuri terry towels are sold in the market for an average of Rs 150 per towel.
The terry towel work has been protected under the Geographical indication (GI) of the Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPS) agreement. It is listed at item 9 as "Solapur Terry Towel" of the GI Act 1999 of the Government of India with registration confirmed by the Controller General of Patents Designs and Trademarks.
18
HANDLOOM TOWELS
solapuri pancha
Manually
woven
using
100%
pure
cotton,
Solapuri
handloom
towels are very thin, light weight, water absorbent and easy to dry. Most Solapuri handloom towels are plain in terms of pattern with occassional checks or stripes. They feature pastel colours and a rare appearance of a brighter colour. Solapuri handloom towels are sold at an average price of Rs. 60 a towel. 19
punchcards, yarn cones and a shuttle
RAW MATERIALS Considering that towels are woven goods, the main raw material used for production is yarn. Production units of both handloom and terry towels source their yarns from dealers in Tamil Nadu.
While 100% cotton 2 ply yarn is used to weave handloom towels, Terry towels use blended yarns that constitute of cotton and polyester. Some power loom units purchase the primary raw
material,
cotton,
in
bales
and
spin
them
with
synthetics
themselves,
while
others
purchase the yarn directly from a supplier.
The average cost of yarn for handloom towels is Rs 120 per kilogram leading to a monthly expenditure of Rs 10,000 to Rs 30,000.
Another important tool required in the production of terry towels are punchcards. Since Jacquard looms are used to create complex patterns in terry towels, punchcards are vital. The number of punch cards required to make a towel depends on the design and size of the towel.
20
handloom towel in the making
PROCESS Solapuri Towels are woven on handlooms and are made of cotton. A ‘handloom’ is a loom that is used to weave cloth without the use of any electricity. Hand weaving is done on pit looms or frame looms generally located in weavers’ homes or a workspace consisting of 6-8 handlooms where weavers work. Weaving is primarily the interlacing of two sets of yarn – the warp (length) and the weft (width).
21
pirn within a shuttle
1. SPINNING: -Hand Spinning: Fibers are drawn out and twisted to form yarn in hand spinning process. This is done by hand and is mostly done by the women of the households. Since this is a time taking process, this process is practised by very few and weavers are rapidly shifting towards mill spun yarns. Mill spun yarns are basically machine spun yarns.
-Mechanized Spinning: Yarn spun on machines is called mill spun yarn and fabric woven on the hand loom with mill spun yarn is referred to as “handloom fabric”. Today, most of the weavers are weaving handloom products with mill spun yarn. They prefer mill spun yarns as it saves time and reduces labour cost as well.
2. HANK YARN: Yarn, in the hank form, is used in handlooms.
A “hank” is
a specific length of yarn that is in a coiled form. A hank of cotton yarn is 840 yards long.
3. YARN DYEING: For handloom production, yarn is colored / dyed in the hank form. This process of dyeing is done by hand, in small lots. VAT dyes are used for the dyeing of the yarns for Solapuri Towels. Vat dyes are water insoluble and need a special process to fix colour on the fibre. These dyes can be used effectively on natural plant material. Brilliant colours which are light and colour fast can be obtained in vat dyes.
4. BOBBIN WINDING: Yarn in the hank form is wound on to bobbins in this process. This is the first step in transforming the yarn from the hank form to a linear form. Dyed hank yarn is wound on to bobbins with the help of charkhas. This process enables the laying out of yarn lengths for weaving. Bobbin winding is done by women in the weaver households.
22
5.
WARPING:
The
warp
is
a
set
of
threads
attached
to
the
loom
lengthwise before weaving begins. Warping is the process of creating the base yarn that runs along the length of fabric through which the “weft” yarns are filled in to make the fabric.
6. STREET SIZING: The warps are stretched out onto two beams and natural adhesives are applied to add strength to the yarn and lubricate it to withstand the rigors of weaving. Sizing is carried out by weavers in the village. Since this activity is done on the street, it is called “street sizing”.
7. Attaching the warp on the loom: Individual warp threads are drawn through heddles taken through a set of reeds and tied onto beams located on both ends of the loom. The heddles separate the warp into two sections which allows the weft threads to pass between them easily. Checks and stripes are created by segmenting the warp and weft yarn.
(Heddles are made out of rods or cords, each with an eye through which the warp thread is drawn. Reed is a comb like frame that pushes the weft yarn firmly against the finished cloth after each insertion.)
8. WEFT WINDING: Hank yarn for weft is wound onto a pirn. The weft yarn is then inserted into a shuttle. Weft preparation is done on the charka, using
the
finger
tips
to
give
the
correct
tension
to
the
yarn.
This
operation is normally done by women. Pirn is a small bobbin. Shuttle is a device used in weaving to carry the weft thread back and forth between the warp threads.
9. WEAVING: The process of weaving is the interlacing of two sets of yarn – the warp and the weft. towels per day.
hank yarns
A weaver roughly weaves around 10-12
COLOURS AND DESIGN
solapuri pancha
In terms of it's colour palette, Solapuri Pancha has always used soft pastel shades. They've always been very minimalistic in terms of their look. Only two types of patterns can be seen in these towels; checks and stripes. They also lengthwise colourful striped borders. and their ends have hand knotted tassels.
As for the terry towels, they come in a very wide variety of colours and designs. Floral and decorative motifs are the most common ones. 24
MARKET
solapuri pancha
The peak demand for these towels is during the summer season with comparatively lower demand during the monsoon. These towels are brought in great quantity during the wedding season as well.
The handloom towels are sold to several local retail stores and showrooms around the city. It's also exported to several other cities in Maharashtra. Telangana also has a great market for the Pancha
Although the handloom towel is mostly found in and around the state of Maharashtra, the terry towels are exported all over the country. 25
CLUSTERS closeup of a handloom unit
26
Mr Samraj S. Manthen,
CLUSTER 1 Located
in
Madhavnagar,
a
locality
in
Solapur
that
is
home
to
many
craftsmen, is a cluster that produces handloom towels. Currently owned by Samraj S. Manthen, the handlooms were passed on to him along with the family business.Â
Mr. Manthen’s family belongs to the Padmashali caste which is closely linked to weaving and practices related to textiles. He considers himself to have been working in the handloom sector since the age of 12 - when he started to help his father run the business. Mr. Manthen’s family has been working in the handloom sector for over fifty years. However, it seems that none of his family
members
are
interested
in
taking
it
forward.
His
son
works
as
an
accountant and his grandson is studying to become a chartered accountant.
27
When
the
family
workshop
business
produced
began,
sarees.
the
Mr. Manthen’s workshop is located right
However,
opposite his house. He pays a rent of Rs.
with time, the demand for towels grew in
5000/-
the market and the production cost for
handlooms, all of which are over 50 years
the same was less than that of a saree.
old
Hence, 5 years ago, in 2014, a shift was
workers
made
none
now
that
lead
producing
main
reason
Manthen
to
family
handloom
for
tells
the
the
in
mint
them
it
and
condition.
employed
of
for
under
are
He
houses
has
him,
8
eight
however,
permanently
hired.
towels.
The
Since the handloom industry is seasonal
though,
Mr.
and
shift
low
from
March
until
June,
this period. At all other times, when work
And as Mr. Manthen aged and became
is in full force, their work begins at 8 am
more occupied in his work, it got harder
and goes on till 6 pm every day of the
for him to commute to cities every month
week except on Wednesdays which is a
to sell sarees.
holiday.
As
for
the
sourced Tamil
by
longer
raw Mr.
Nadu.
work
in
materials,
Manthan’s
The
his
a
Solapur.
no
that
at
weavers often look for other jobs during
to
was
but
month
dealer
decided
us,
business
per
they
dealer
sourced
are from
yarns
are
Mr.
Manthen
related contacts
to of
does
not
sourcing multiple
face
since
any
he
dealers.
issues
has
the
However,
already dyed and ready to be used for
the implementation of GST has made raw
weaving.
about
materials expensive to purchase. Earlier,
Manthen’s
a kilogram of yarn was bought for Rs. 100
Rs.120
These
per
are
bought
kilogram.
expenditure
on
raw
for
Mr.
materials
ranges
but with the incoming of GST, they now
from Rs. 10,000 to Rs. 30,000 per month,
buy
depending on the orders he receives.
can
the
same
further
quantity
change
for
Rs.
120.
depending
on
This the
type of yarn being purchased. When
it
variation color. towels
comes in
Mr. of
these
to
towels
Manthen’s 8
design,
different
is
in
the
only
terms
of
cluster
produces
colors;
of
which
beige is the most popular in the market. 28
Mr. Devidas Vidap
CLUSTER 2 Sabita Industries, located adjacent to Mr. Manthen’s handloom cluster, is owned by Mr. Devidas Vidap and has been running for over fifty years now. Mr. Devidas took over the business from his father thirty years ago and continues to run it even
today.
Mr.
Devidas
Vidap
was
inspired
by
his
father
and
learned
everything from him when it came to running the business.Â
For 25 years after being founded, Sabita Industries produced handloom sarees and then made a switch to powerloom chaddars. However, 5 years ago they made yet another shift and began to produce terry towels. The reason for this shift
was
the
depletion
of
the
Solapuri
chaddar
market
and
the
growing
demand for terry towels. In fact, Sabita was only one of the many workshops that made this switch.
29
Mr.
Vidap
under
has
him
who
ten
employers
start
work
at
working 8am
and
When
it
comes
works
with
to
local
design
and
paid a monthly wage of Rs. 8000/- per
colours
month.
Solapur,
and golden. Once the design is finalised,
Sabita
punch cards are made for the jacquard
Wednesdays
are
all
a
of
holiday
at
Industries too.
Sabita
Industries’
sourced
from
seem
looms. cards raw
Tamil
materials
Nadu
via
a
are
demand. to
Often come
be
times, from
on
to
break in the afternoon. The workers are
market
based
Vidap
towels
with
are
designers
Mr.
continue to work till 6pm, with a 2 hours
As
that
design,
The red,
most
trends
popular
yellow,
these
the
local
green
designs
companies
and that
place orders.
dealer
based in Solapur. The sourced yarns are cotton with 20% polyester and are predyed.
Priced
at
Rs.
130
per
kg,
Sabita
Industries spends at least Rs. 4 lakh per month on raw materials. a powerloom unit at Vidap textiles
Sabita Industry houses 8 powerlooms, all
The production rate of these machines is
of which were bought from Ahmedabad
15kgs
for
monthly
Rs.
1
consumes
lakh one
Industries’
each.
Each
horsepower
electricity
bill
powerloom
(1HP). totals
basis,
goes
government
and
Vidap’s
cities the
of
each
to
and
on
3000kg.
Solapur
state
of
month,
and
they
a
Mr.
over 3000 terry towels. Their market lies the
that
up
day
up
to
says
per
Vidap
in
Mr.
machine
Sabita
around Rs. 4000 per month. However, the provides
per
sell
Hyderabad
Telangana.
As
workshop with a 10% concession on the
mentioned by other clusters as well, peak
bill along with 24x7 electricity.
demand for towels is during the summer season with a low during the monsoons.
30
Mr. Srinivas Goli
CLUSTER 3 Amol Textiles, started 4 years ago by Srinivas Goli, is involved in Solapur’s handloom as well as power loom industry as a dealer. It looks over several handloom and power loom towel manufacturers in Solapur and unlike other dealers, deals with only the finished products.
Srinivas Goli acts as a middleman between the manufacturer and the seller of
Solapuri
product.
He
towels. does
As
not
mentioned
source
and
earlier, deal
raw
he
only
deals
materials
for
with
the
weavers
final
and/or
companies. Amol Textiles’ trading is done within the domestic market only and
is
currently
working
with
10
towel
manufacturers;
of
which
most
are
power loom.
31
As for the working hours at Amol Textiles,
Amol
work starts at 8 am and goes on till 5 in
manufacturers
the
Handloom towels are bought for Rs. 200
evening.
Like
with
every
business
in
Textiles
purchases at
a
per
towels
from
kilogram
rate.
Solapur, Wednesdays are a holiday.
per kg and Terry towels for Rs. 230 to Rs.
Amol Textiles does not have any female
400
employees.
‘quality’
per
kg,
depending
depends
material
on
(cotton,
on
two
quality.
factors-
polyester)
and
This yarn yarn
Unlike the other clusters we visited, Amol
count.Â
Textiles is quite familiar with technology.
These towels are then sold to sellers with
Srinivas
and
a
manage
all
another
the
employer
online
work
of
his
themselves.
markup
with
the
Amol Textiles also works with designers.
market
In
and
fact,
Srinivas
has
a
few
textile
of
5%.
Srinivas
mentions
implementation
has
become
therefore,
his
of
more
dealings,
that
GST,
the
transparent easier.
His
designers working under him who design
average profit is around Rs. 50,000 per
towels
month,
according
to
current
trends
and
and
he
business
be
and
are
these profits are seasonal. The demand
well.
for towels decreases during the monsoon
brought
back
into
old
the
designs
market
as
However, colors often remain the same.
season
and
so,
profitable.
to
very
needed,
and
his
demands. Designs do change constantly when
lucrative
finds
most
profits
However,
are
made
during the summer.
a powerloom unit at Amol textiles
32
a karigar at work
CLUSTER 4 The
fourth
and
last
cluster
we
visited
also
went
by
the
name
Vidap
Industries. Run by Venkatesh Jayram Vidap, Vidap Industries was started by his grandfather in 1950 as a family business. Having also acquired the skill of wearing
handloom
towels
from
his
grandfather,
Mr.
Vidap
has
been
practicing the craft for 50 years. Vidap Industries is involved in the making of Solapuri handloom towels and chaddars.
Their
workshop
comprises
of
multiple
power
looms
and
5
handlooms which are over 50 years old. Workers have no specific time for work and can come in at any time. Their salaries are decided on the basis of how many towels they produce in a day with an ongoing rate of Rs. 14 per towel.
33
The towels produced by Vidap Industries
in pattern which prices ranging from Rs
are
50 to Rs 60 for handloom towels and Rs.
sold
directly
through
a
Venkatesh towels
to
selling Vidap’s
are
dealers
being
unit home. directly
as
well
as
located When
in
110 to Rs 150 for terry towels.
these
Vidap Industries sources it’s raw material
to
from
sold
a
Ichalkaranji,
a
town
Maharashtra’s
towel
with
invest around Rs. 15 lakhs for the same.
are
Mr. Vidap also mentioned that one point
the
decided
demands
of
in the
accordance market
or
time,
proposed by the dealer. However, when
in
the towels are being produced to be sold
and
by Vidap Industries, they are usually plain
happened for 20 years now.
raw
he
received
district.
in
dealer, colours, patterns and style of the are
Kolhapur
located
materials.
subsidies
However,
They
on
this
yarn
hasn’t
a handloom towel in the making
According to Mr. Vidap, the major problem he is facing in the industry is the increase in prices of not only finished products but of raw materials as well. In the last 5 years, the price of yarn has increase from Rs. 85 per kg to Rs 147 per kg. The prices of towels has gone up in the market too but Vidap Industries continues to sell at the same prices it had 4 years ago. Despite this, it’s annual turnover is of approximately Rs.30 lakh.
34
dyed yarns drying outÂ
35
PEST ANALYSIS a handloom towel unit
36
POLITICAL
a powerloom towel unit
The Central Gov. has organised the first Vibrant Terry Towel Expo
to
be
held
in
September
2019.
This
expo
will
bring
together manufacturers, traders, exporters and importers both domestic
and
international
and
consumers
to
an
unique
platform to harness export opportunities for their foray into national and international markets.
The
State
Textile
department
headed
by
the
Secretary
(Textiles) is in charge for the development of the Handloom sectors and assists in achieving targets through the Director of Handlooms, Powerlooms and Textiles. They have a regional office located in Solapur.
However, since weaving in Solapur is a decentralised industry, efforts have been made to assemble artisans under a cooperative fold so that they can avail the various schemes of the Central and State Government.
37
ECONOMIC
a woman working on the winding process
Today, the powerloom industry is playing a very crucial role in the socio-economic development of Solapur in Maharashtra. Most
of
the
powerlooms
have
been
concentrated
only
in
Solapur City. No powerlooms were constituted at the village level.
The
total
investment
in
the
powerloom
industry
in
Solapur near about Rs. 1000 crores. There is huge potential in this industry to manufacture Terry towels and chaddars. These Terry
Towels
and
chaddars
are
being
exported
to
several
countries around the globe like the UK, USA, Canada and several European countries,UAE and Saudi Arabia. Till 1989, the Chaddars and towels exported were worth a total of Rs. 93.30 million. This increased to Rs. 1092.96 million by 1997.
38
SOCIAL
the quintessential padmashali rangoli
An important fact to note about Solapur’s handloom industry is
that
most
weavers
belong
to
the
Padmashali
caste.
Members of the caste maintain that they came to Solapur at the
invitation
of
the
Peshwas
in
the
1800s,
when
the
development of handloom weaving commenced.
The settlement of Madhavrao Peth (current day Mangalwar Peth) in Solapur proved to be an attraction to many trading and
artisan
families
from
the
Nizam’s
territory
in
Andhra
Pradesh. The main factors that affected this migration were not only famines in the area, but also difficulty in finding adequate
means
of
livelihood
in
one’s
homeland.
The
Razakars were also known to be torturous and harassing in their means of governance.
The Padmashalis were followed by other weaver castes as well.
By
1940,
the
weaver
castes
engaged
in
Solapur’s
handloom industry were, namely, Padmashalis, Togata, Momin and
Jyandra
to
name
a
few.
Most
weavers
are
from
the
Telangana region.
39
a woman working on the winding process
ROLE OF WOMEN The towel industry of Solapur has a workforce that comprises primarily of men who are at the helms of both, the handloom and the powerlooms. However, that doesn’t mean that the women are nowhere to be found in the towel-making business of this town. One may not see the women operating the looms but they can be found in the workshops involved in other processes. Tasks that take place prior to the weaving such as warping, preparation of cones, etc are carried out by them. It’s interesting to note that though women are not found in great numbers in Solapur’s weaving industry, Solapur’s other big industry, viz, the beedi making industry, has a woman-dominated labour force.
40
TECHNOLOGICAL
closeup of a handloom unit
The
extension
of
the
railway
line
upto
Solapur
in
1860,
accelerated the expansion of the handloom industry. By 1903, the number of looms in Solapur rose to about 7850. Similarly, employment
kept
increasing
upto
1971.
But
the
eventual
progress of the powerloom industry, ultimately caused a set back to the handloom industry. The number of handlooms had increased in 1971; but the industry started to decline steadily and from 98,000 in 1987, the number of workers fell to 15,000 by 1999.
Quite a few factors were responsible for the setback of the handloom industry. 1. Origin of powerloom industry. 2. Increasing prices of the raw materials and yarn. 3. Lack of market for handloom. 4. Increasing cost of the product. 6. Adverse Impact of Industrialisation on Handloom
Late Kisan Master Kshirsagar, Late Vyankatesh Guntala and Late Ramehandra Marda are the pioneers of the powerloom industry in Solapur. Mr. Kisan Kshirsagar was a mill worker who started producing Jacquard Chaddars in Solapur in the year 1954 using powerlooms. In the year 1961-62 there were 200 powerloans in Solapur. The powerlooms rapidly increased in the year 1963, the number of powerlooms stood at 2000. The period of 1956 to 1962 were referred as golden period for the powerloom industry.The manufacturers reaped a lot of profit during
this
period.
powerlooms
continued
approximately Nearly
60%
In
more of
manufacturing
the to
than
towels
1980-81
increase.
30,000
Solapur’s
terry
year
Today
powerlooms
powerlooms and
the
the
are
number there in
are
Solapur.
engaged
remaining
of
40%,
in in
manufacturing chaddars.
41
SWOT ANALYSIS a handloom unit
42
STRENGTHS
warp beam of a powerloom
It is a sustainable industry, as natural material like cotton is used
mostly
and
no
chemical
is
produced
during
production.
Since they have been granted GI, it has increased
the
value of the craft.
Low labour cost.
Good connection within their domestic markets.
Raw material is reasonable in terms of cost.
In handloom, minimal amount of electricity is used.
Less capital intensive.
It is a natural productive asset and tradition at cottagelevel, which has sustained and grown by transfer of skills from one generation to another
The towels are reasonably priced.
Preservation of tradition.
43
WEAKNESSES
closeup of a powerloom unit
No upgradradation of machines, they are using very old handloom. Outdated production methods.
They don't have huge network all around the world. They are mostly limited to the domestic market.
In handlooms, the production rate is slow.
Labour intensive work in handlooms.
New generation have no interest in this business, as old people are doing this business especially in the handloom sector very old artisans are working.
Lack of export.
Lack of training.
Lack of proper knowledge in terms of latest trends and designs.
Lack of market linkages, only limited to local markets.
Neglected by central government.
Unorganised production.
45
OPPORTUNITIES
yarn
Increased demand of towels in the market is increasing the numbers of workers required to promote industrial growth providing jobs to the unemployed sector.
The
contemporisation
of
towels,
in
relation
to
design,
motifs, patterns, feel and texture has increased its demand in the global market supply.
Terry
towel
industry
is
not
just
limited
to
bathroom
products, but is also spreading its reach to wide range of household and apparel products.
Huge
investment
scheme
for
is
being
integrated
made
textile
by
government
parks(SITP)
to
under
encourage
more private equity and to train workforce.
Free trade with ASEAN countries and proposed agreement with European Union will boost exports
46
THREATS
It's a dying craft as the craft is in the hands of the older generation. The upcoming generation has no interest in taking up this craft.
Competition with the Powerloom Industry is a major threat to handloom sector. Such as duplication of products by Powerlooms.
Lack of increased and better technological support and facilities to the handloom sector.
Competition with companies producing cheaper version of their products in the market.
Non-Availability of Weavers
Lacks necessary financial and infrastructure support.
47
REVIVAL
closeup of a dyeing unit
Setting
up
exhibitions
and
workshops
to
make
people
aware about the handloom industry.
To create platforms and marketing opportunities so that weavers/craftsmen can showcase their skills and design. And exhibit their craftsmanship to a wider consumer base.
To help weavers setting up their online platforms so that they can widen their consumer base. Also digital media is the fastest way of marketing and spreading awareness amongst consumers.Â
Introduce weavers to organizations and NGOs which are committed
towards
textiles
empowering
by
the
revival rural
of
traditional
artisans
and
craft
&
encouraging
younger people to take interest in these textiles. Happy Hands Foundation is one such organization.
48
REVIVAL
closeup of a dyeing unit
Introduction another
of
branding
important
of
measure
the
handloom
that
would
product
increase
is the
marketability of their products.
A change has to be brought about in the weaver's outlook. They
must
be
oriented
extension/exposure
through
programme
some
grass
towards
root
level
betterment
of
their skills, knowledge and technology in order to ensure quality of product, improved efficiencies and enhanced productivity levels
The
weaving
orientation.
industry It
must
should
develop
respond
to
collective the
market
changing
requirements of the market and provide required linkage support to the individual weavers societies, as it is not possible for the ordinary weaver to study the market trend and adopt it in his production unit.Â
49
"My
experience
in
Solapur
has
been
quite
inspiring
and
memorable. Often times we visit new places for sight-seeing, cuisine, etc. Instead in Solapur, we got to visit the homes and
OUR EXPERIENCE
workplace of the weavers and interact with them. They were warm, friendly and trusted us with their problems and took out time from their busy schedule to explain the nitty-gritty of the handloom towels. They answered all our questions with utmost patience. And it was very inspiring to see these skilled weavers being so passionate about their work. A city is often defined by its people and Solapur has truly proved it in every essence." -Sanjana Verma
"My experience was great and we got to opportunity to learn about the very beautiful craft of Solapur. First time I saw the artisans who have spent their entire lives working in weaving . All of them worked hard to make beautiful pieces of handloom towels .The first thing that caught my attention the moment I saw him working was his physical form which was involved in the rigorous
back
breaking
work.
Never
had
I
seen
a
weavers
handloom which was hand process and never had I witnessed a 75 years old man seating in loom continuously and also one of the artisans , was greatly hopeless about the market for towels products
his
opinion
about
the
people
who
intended
to
intervene in this work was negative due to his part experiences .He felt that people come and go but never come back . He demanded long term development and was unhappy with short term
earnings.
I
think
we
should
respect
their
skills
and
encourage them . And promote this tradition of solapuri towels." -Hari Kishan
"Overall, the experience was nice. We got to know about the artisans lifestyle and their labour towards the craft. We saw how yarns change into a beautiful product or piece and how much labour is needed to produce that beautiful piece. The sound in the lanes of solapur was mesmerising which comes from the loom, handloom and powerloom both have different kind of sound." -Surbhi Saloni
50
Solapur's rich culture and diversity is incredible and awesome .It was a privilege to see the Craftsmen's tender hands making an entire craft turn into a beautiful masterpiece. Solapur, is a city
OUR EXPERIENCE
of heritage, aesthetic beauty and skill, which has inspired me to promote the skilled weavers with an aim to provide them a better lifestyle by creating awareness so that their voices are heard and considered in the future. Solapur, would not just be a part
of
my
memory
but,
rather
,as
a
great
experience
and
learning which, I am going to cherish for my entire lifetime!! - Ankita Buragohain
Visiting
the
handloom
clusters
in
Solapur
has
been
a
very
enriching experience for me not just as a textile design student but also as a human. The wide variety of textile products being made in Solapur
was a sight to behold. The speed at which
power looms produce highly intricate decorative towels that too in the form of piled weaves or the amount of skill that a weaver puts into creating still life and portraits onto tapestries not only left me in awe but inspired me too. And lastly, spending time with the Karigars who put their heart and soul into this craft was a beautiful experience. They’re content with their life and are not greedy for more luxury. They do have a fair share of their problems but they manage to get by without lusting for more. This is something of a life lesson that I’ll always remember. Skill will take you far but you have to be humble and benevolent in order to be truly successful and happy in life. -Ritika Mandal
Visiting Solapur was an interesting experience to say the least. In spite of the sweltering weather, we managed to go out and learn not only about the craft we were meant to study but more about
the
city,
the
people
who
reside
in
it
and
its
culture.
Having visited handloom clusters through a formal setting also allowed me to look at things through a different lens - one filled with empathy and respect for the artisans. -Pankti Patel
51
CONCLUSION
Spending ten days in this bustling textile production centre taught us a lot. Not only did we make an attempt to learn how one
makes
a
perspective
handloom
into
the
towel
but
conditions
we
and
also
gained
treatment
of
some
workers
employed in this sector but also the the ecological impact caused
by
Solapur’s cotton
the
material
towels
with
composition
and
their
not
the
way
peppy
only
they
pastel
create
are
shade
bath
processed. and
linen
pure
that
is
comfortable to use and looks good but it’s making also has quite
a
low
designers,
adverse
this
insight
effect can
on
help
our us
ecology.
create
As
future
products
and
garments of a more environment-friendly material and in a more sustainable fashion which can ensure minimum wastage at the same time retaining the quality and durability of the produce
like
today.
The
coming
days
would
also
see
the
government being actively involved in the upliftment of this industry as well as the others in this region via their policies and schemes. Together these factors will fortify this industry and lead it to flourish in the coming decades.
52
QUESTIONNAIRE closeup of a handloom towel in the making
53
EVOLUTION OF CRAFT CRAFTSMEN 1. For how long have you been practising this craft? 2. How old is the craft that you’ve been practicing 3. Who taught you the skills required for this particular craft? 4. What is unique about Solapur’s terry towels? 5. Traditional method vs Current Method. If any.
EMPLOYERS 1. How did you end up in this business? 2. Is this your family business? 3. How sustainable do you think this business is? 4. There are so many workshops here , so do you face any competitions?
STRUCTURE OF CLUSTER GEOGRAPHICAL SPREAD 1. What is unique about Solapur’s terry towels? 2. Is this the sole branch of your production centre? 3. What is the distance between your home and workshop?
CLUSTER ACTORS 1.How many people are a part of one unit? 2. What roles do women play in the production of these towels? 3. What is the average strength of workers in a day? 4. What’s your customer range like? 5. Who manages the exports? 6. What is the system of hierarchy in the production process?
ARTISANS 1. How did you get into practicing this particular handloom? Is this a family business? 2. If not, how are the craftsmen recruited for your workshop? 3. Do the craftsmen get any holidays? 4. Are they paid at an hourly rate? If so, what is that rate? If not, what is the system? 5. Average living costs? 6. Is it enough for sustaining their family? 7. How long did it take to learn the craft? 8. Do you face any problems at your workplace? 9. Are you suffering with any kind of health issues because of you are working here 10.Does your employer provide you any facilities?
54
RAW MATERIALS, PRODUCTION PROCESS, PRODUCT RANGE 1. What are your raw materials? 2. Where is the raw material sourced from? 3. How much does it cost? 4. Are the materials you use environment-friendly? 5. Is material always available when you need it ? 6. If there has been any shift to cheaper raw materials to lower down the cost? If yes, what were the traditional raw materials that they used? 7. Could you tell us about the production process? 8. How long does it take to produce one unit of said product? 9. How many towels do you produce in a day? 10. What is the approx. production cost of one towel? 11. Since terry towel refers to the texture of the cloth, what are the different products you produce? (bath towels, napkins, hand towels etc) 12. If all your costs had to be split up, where do you spend most? (how much percentage goes in raw materials? In transport? In manufacturing? ) 13. What are the general problems you face in sourcing, transportation, and workspace?
MACHINERY AND TOOLS 1. What are the machinery and tools involved in the process of towel making? 2. How much mechanisation has taken place in the industry since its inception? 3. Are you comfortable with the mechanisation in the industry? 4. Do you think this industry can/ will be completely mechanised? 5. Are there any specific tools in short supply?
MARKET 1. How do you market your product? 2. Who are the market/ audience for your products? 3. Who are some of your customers? 4. Apart from Maharashtra what other states do you export your towels to? 5. Do you export internationally? 6. When is the highest demand or peak period for this craft? 7. How do you transport your goods? 8. Are they facing any competition in the market? What is their biggest hurdle as of now? 9. How has implementation of GST affected the market and your income?
CURRENT INSTITUTION LINKAGES 1. Do you work independently or in association with another organisation? 2. Is there a co-operative of towel makers in Solapur? 3. If so, are you a part of it? 4. If not, why not? 5. If there are no organised groups, how come? 6. What kind of aid do you want from the government? 55
CREDIT SITUATION 1. What is your credit situation? (loans) 2. Are there any organisations or institutions that fund or support you? 3. What is your annual turnover like? 4. Any government support and aid? 5. What is your profit/loss percentage like?
DESIGN TRENDS 1. What are the predominant colours? 2. Who is the designer of these towels? 3. Do you produce customised designs or do you stick to your own preset design? 4. Are you aware of design trends that decide what is to be produced? 5. How do you add value to your product? (how do you make it different? Are there any extra processes that you do to add certain qualities?) 6. Have you collaborated with any brand or designer? 7. Any changes in terms of designs & techniques that they have started working with?
56
BIBLIOGRAPHY
Chitte, G. N. (n.d.). A socio economic study of the textile workers in decentralised sector in Solapur district. Retrieved from https://shodhganga.inflibnet.ac.in/handle/10603/142471
(n.d.). Craft Cluster Initiative. Retrieved from https://nift.ac.in/cluster-projects
Daruwale, A. H. M. H. (2003). Role of handloom co_operative societies in the economic development of Solapur District . Retrieved from http://shodhganga.inflibnet.ac.in:8080/jspui/handle/10603/14 7095
Dash, S. N. (1995). Handloom industry in India. New Delhi, India: Mittal Publications.
(n.d.). GROWTH AND DEVELOPMENT OF THE TEXTILE INDUSTRY IN SOLAPURCITy. Retrieved from http://www.solapurtexmarket.in/downloads/14_chapter_5.pdf
57
OF MENTIONED CLUSTERS
BANK DETAILS
Name: Samraj S. Manthen Address: 18/31 Madhav Nagar, MIDC Road, Solapur Contact No: 820885168 Email Id: sanjeevmanthen92@gmail.com Bank Details: Canara Bank Account no. 5033101000563 IFSC Code: CNRB0005033
Name: Devidas Vidap Address: Sabita Industries, 18/29, Madhav Nagar, Solapur Contact No: 9420492206 Email Id: devidasvidap.tex@gmail.com Bank Details: Canara Bank Account no. 5033261000060 IFSC Code: CNRB0005033
Name: Shriniwas Goli Address: Amol Textiles, C/A/1, MIDC Road, Solapur Contact No: 9422644415 Email Id: amoltex@yahoo.com Bank Details: Canara Bank Account no. 5033201000286 IFSC Code: CNRB0005033
Name: Venktesh Jayram Vidap Address: 26A Adarsh Nagar, Solapur Contact No: 9422460378 Bank Details: Bank of India Account no. 070920110000406 IFSC Code: BKID0000706
58