How Karnataka’s artisans strive to stay afloat sans a middleman

The recent years have seen a surge in the demand for traditionally handcrafted home decor. Brassware, wooden idols, handmade lamps, rugs and more are being marketed as ‘minimalist aesthetic’ on various social media platforms and weekend pop-ups.

Minimalism, referring to a lifestyle of intentionally living with only essentials rather than focusing on appearances, has led to a boom in the Aesthetic Economy. The gleaming finish of various handicrafts in Karnataka’s newly constructed urban houses raises the question of who really benefits from it.

At a hushed weaving unit in Bengaluru, Nanditha Sulur’s team consists of 15 weavers who make rugs, pure silk and cotton silk sarees using traditional pit looms. “As home decor becomes more popular, people tend to focus on the price and beauty of the product without taking into consideration the creator or the time it took to make it,” says Nanditha, owner of Indu Silks and Sarees in Bengaluru.

By removing intermediaries, Nanditha ensures her customers pay fairly, instead of exorbitant prices. When determining prices, the cost of raw materials and complexity of designs are factored in, as well as daily wages for workers. “I’ve seen my saris being sold at much higher prices in other outlets, which is why I made sure to eliminate the middlemen,” she says.

“People want a handmade finish at mass-produced rates,” says Jeenal Desai, founder of Clayodyssey in Bengaluru, commenting on the home decor trend. She explains, “I have tried to sell my pottery through middlemen twice but since they add a 30% charge, it becomes more expensive.”

Heritage and handiwork

Artisanal hubs such as Channapatna and Bidar, which once reflected Karnataka’s cultural heritage and craftsmanship, are struggling to remain relevant due to new marketing techniques.

“The National Institute of Design and National Institute of Fashion Technology have helped artisans reinvent their products, enabling them to reach a broader global market. Dolls that were traditionally made have now become educational tools, pen holders, and showpieces,” says HR Rajappa, Managing Director (MD), Karnataka State Handicrafts Development Corporation (KSHDC).

“Channapatna toys have become much more than just toys. From napkin rings to chandeliers, Channapatna artisans are developing designs using innovative colours and shapes,” says Karthik, founder of Varnam Craft Collective. 

Varnam, which has been collaborating with Channapatna artisans for over a decade, observes that the demand from city buyers and foreign customers for customised products is time-consuming and results in a lower yield return for the artisans. Middlemen continue to wield power in numerous craft ecosystems by setting up units and gaining more profit. 

Though traditional handicrafts have begun to decorate Indian homes, many consumers remain unaware of their origin. “Artisans using banana fibre and sandalwood are slowly being replaced by the Western or Korean products in marketplaces and metro station stalls,” adds M Mandal, Manager Development, KSHDC.

A fine balance

While keeping up with the times is important, one should not stray far off the mark where culture is concerned. Commenting on this ironic loss of tradition, Shejal Tewari, chief aide for an independent documentary on Karnataka’s handlooms that is currently in production, says, “A line should be drawn if artisans are being forced to commit to a trend which may fade away eventually.”

She mentions the ‘two-minute sari’ with readymade pleats. “It is functional, but a sari is not just a garment. The whole experience of learning how to drape it from your mothers and sisters is taken away. Such trends cannot carry the value of stories and memories forward.”

“The term ‘sustainability’ is often used as a marketing gimmick without taking into account the production process of each handicraft,” says Karthik. “Even though the forests are regulated, the use of wood is still necessary for handicrafts such as Channapatna toys, which means they cannot be termed sustainable.”

“Culture and tradition seem to exist within spaces that are not doing well financially, and while they have a few patrons, the ones actually using their hands and sitting at the loom, are from villages and financially backward areas. No funds are provided taking that into consideration,” says Shejal.

She adds how knowledge handed down over generations, is being eradicated as artisans do not want their children to take up the family craft. “They’d rather see their sons as street vendors than learn the craft. It is not about money anymore, it is a social concern.”

Baby steps

“The KSHDC works towards preserving and protecting Karnataka’s rich tradition of craftsmanship,” says Rajappa, adding, “Each piece has a set price that is not arbitrary. The price is calculated by a committee comprising officers and master artisans, who take into consideration the skill, material value, and workmanship it entailed.”

He goes on to explain how accommodationshave been built in Kalanagar a at Channapatna to support artisans. These homes are provided with subsidies and are rented for ₹155 per month through 25-year EMIs.

Similarly, Bidriware artisans working with blackened zinc and inlaid silver, have adapted to crafting corporate gifts and home decor. Through Cauvery Handicrafts and its e-commerce portal, the government provides support to artisans and minimises the involvement of middlemen.

Even as the KSHDC’s influence stretches across Karnataka, craftsmen in smaller towns still struggle without funds and support. A few such as Prakash Cannappa Ganiger, an artisan at Krishikala Handicrafts based in Mysore, have taken matters into their own hands. “We train local women in Yarebudihal at grassroot level, thereby forming a self-help group or a sangha.”

Though sales happen through melas, exhibitions and social media plans help widen their reach. “Despite the challenges faced by rural artisans due to financial disparity, there is hope as now consumers increasingly favour products created using ecological and sustainable practices,” says Prakash.

Boon and bane

Mahalasa Prashant, who runs Adhya creations in Bengaluru, says online platforms such as Dhruti Mahila Marukatte and Facebook provide opportunities for women entrepreneurs to promote and sell their crafts. She emphasised the need for a tight-knit social circle among independent artisans, especially when dealing with common issues they face, including haggling and plagiarism.

Mahalasa says, “Once, I found a screenshot of a custom nameplate I had made, posted on another account for sale. On confronting them, they denied the allegation and deleted the post. In this sea of social media you can never keep track of such accounts.” 

The fickleness of trends is as significant as their far-reaching impact. The subtle loss of heritage, tradition and identity loom large as artisans and their consumers subconsciously call for makeovers.