Connecting the threads of tradition

Kotpad Handloom
 acknowledgement

Credits for completing this documentation doesn’t go to a single person but the entire
team. Through this documentation we take this opportunity to express our sincere grat-
itude and thankfulness to the almighty and each and everyone who helped us in mak-
ing one experience in Kotpad successful.

First of all, we would like to thank the academic system of our college , National Insti-
tute of Fashion Technology for incorporating such a study in our curriculum that helps
the student to know about the crafts in various regions and understand it.

We are also thankful to our course coordinator Mrs. Shobharani Lakra and subject
mentor Ms. Zia Gulafshan for their continuous and deliberate discussion on how to
understand the craft better and compile a sensible document on the same.

Special thanks and gratitude to the workers whom we met in the entire journey inter-
viewed and through whom we got to know all the existing details about the weaving of
Kotpad all of which made this document compilation successful.
 Preface

Here in the document we are studying about the weaving cluster of Kotpad who
is successfully able to continue its old tradition and is even able to bring new im-
proved changes to older motifs and art form. They are also one of the last remain-
ing textiles who still use natural dyes and the whole weaving process is sustaiable.

We the students of NIFT, Bhubaneswar have undertaken an exhausted study of

weaving tradition of Kotpad. Our team of five students of Fashion design depart-
ment accompanied by two faculties, spent one week for thorough understanding of
the handloom.

It takes an overview not only to the positive points of the area but also highlights
its flaws and suggests the measures and possibilities to make the process better and
profitable.
Flowers kept in earthen pot (also known as kalash) as an offering to deities.
 Contents
PAGES
GEOGRAPHICAL LOCATION 1,2, 3 & 4
DEMOGRAPHICS 5&6
KOTPAD TEXTILE 7&8
TRIBES & TRADITION 9 & 10
RAW MATERIALS 11 & 12
TOOLS 12, 13, 14 & 15
DYEING 16, 17, 18 & 19
WEAVING 20 & 21
MOTIFS AND COLOURS 22, 23, 24 & 25
MARKETING & CHANGES OVER THE YEARS 26 & 27
PRODUCT GALARY 28 & 29
PESTEL ANALYSIS 30 & 31
SWOT ANALYSIS 32 & 33
THE INTERVIEWS 34 & 35
TALES OF CLUSTER 36 & 37
CONCLUSION 39
THE TEAM 41
Geographical location

Kotpad is a small town in Koraput district in southern Odisha.

Koraput district is located between 18° 13’ and 19° 10’ North
Latitudes and 82° 5’ and 83° 23’ East Longitudes. It is along the
Eastern Ghats with discontinuous range of mountains. Most
part of the Koraput district is undulated land. The district is
warm and humid with average annual rainfall of 1567 mm.
Maximum temperature during is around 35 C and minimum
temperature during winter is around 10 C. The region lies at a
height ranging from 76m to 1672 m from the sea level.

Kotpad town is in the north-western part of the Koraput Dist-

ict, near Chhattisharh. The land is undulated like most part
of Koraput. The busy town with its small bussiness and shops
is surrounded by villages of weavers separated by rice farms.
Some important villages are Bansuli, Botasona, Masigaon,
Dongriguda and Songrakud.

Distance from the major cities

• From Jeypore- 44 km
KOTPAD
• From Bhubaneswar- 170 km
• From Vizag- 300 km
• From Koraput- 79.3 km

Koraput district of Odisha, India

 JHARKHAND WEST
BENGAL

TRAVELLING TO KOTPAD
Journey from Bhubneshwar to Kotapar
Road station which the nearest railway CHHATTISGARH
station to Kotpad takes 18 hours with 38
stops tavelling 753 kms.
ODISHA Bhubaneswar
Two major stations that the train passes
through are Vizianagram Junction (in
Andhra Pradesh) and Koraput Train
Station. Distance from Koraput station to
Kotapar Road station is 74 kms. Kotapar Road

Kotpad Road station is a part of East

Coast railway. It is 10 to 13 kms far from
the Kotpad town by Road. As Kotpad is a
small town, it doesn’t have a hotel to stay. TELANGANA
But the nearest city to kotpad, Jeypore Train route from Bhubaneswar to Kotapar Road
has many hotels.

E SH
AD
A PR
D HR
AN
Mountains, river and greenery are seen almost in every other part of Koraput.
Roads between rice farms to be seen in most areas of kortpad and villages.
 Demographics
The population of Kotpad distict is around 121,000 as per the Census
2011. Out of which 49.3% are males while 50.7% are females. The popu-
lation of Children (Age 0-6 years) is about 16% of the total population.
Total number of families residing there are 29,816.

13.5% people lives in Urban areas while 86.5% lives in the Rural areas.

Literacy rate
Average literacy rate is 49.88% in which, male (60.7%) and female
Rice farming is done in most parts of the (39.4%). The average literacy rate in urban areas is 76.2% while that in the
villages. rural areas is 45.6%.
Religion and caste
Schedule Caste (SC) constitutes 14.1% while Schedule Tribe (ST) were 57%
in the Kotpad region. Hindu population is in majority (91.7%) followed by
Christain (7%) and Muslim (1.1%).

Religion-wise Population

Working Population
52% of the population in Kotpad are employed. 47% of employed
population are in “Main Work” means they are employmented or they are
earning more than 6 months while 53% are involved in marginal activity
which provides them livelihood for less than 6 months in a year.
Workers engaged in Main Work, 18.8% are cultivators while 12.5% are
agricultural labourer.
Out of non working population, 42.1% population are male and 57.9% are Tribal woman selling spices for earning a little
female. more for livelihood.
 kotpad textile

India has a very long history of handloom and it is comprises the largest
cottage industry of the country. Indian handlooms have their own unique
identity and a story. There are millions of craftsman across the country
practicing their craft and preserving their tradition in the form of hand-
loom, embroidery and many other things.

Odisha has a richest traditions of handloom and handicrafts. Kotpad in

southern part of the State is know for it’s “off white-maroon” tribal textile
woven cotton, silk and other natural fibers. The tradition of handloom
was started by local tribe. The tribes used to weave their own clothes. It
was widespread but now people are shifting to other occupations.

It is traditionally woven in heavy cotton ranging from counts 10s to 20s

and natural dye extracted from the roots of the Indian Madder tree (Aal)
is used to achieve maroon colour. Weavers weave traditional motifs like
temples, axe, pot, animals and birds on the fabric in simplified form The
most of weaver uses pit loom. Three or four shuttle interlock patterning
and extra weft technique is used to make border and motifs. The tradi-
tionally woven fabrics were narrower and heavier and yarns were not
bleached.

Kotpad fabric.
Kotpad handloom was the first product from
Odisha to get GI tag (geographical indica-
tion) in 2005.

A English documentary film by Biswanath

Rath was made on the handloom, “The Story
of a Race Against Time” which was telecast-
ed by Doordarshan National on 24 March
2018.

Gobardhan Panika, one of the master weav-

ers, was honored by the Government of
India with the fourth highest civilian honor
of the Padma Shri in 2018.

The handloom is famous for it’s sustainable

and eco-friendly production process. Not
only natural dyes is used but they source
most of their ingredient like from local forest
and tools are made in villages.

Kotpad handloom chunni

 Tribes & Tradition
Some tribes are Gonda, Dongaria khand, Bhumia and Tanti. Some of
them still weave while other earn their livlihood by other occupations and
practising crafts like terracotta, tribal jewelry, etc.

Three generations prior, the saris were specially made for the brides of the
Adivasi communities or for any pious occasion. They also cover the body
of a dead person with a plain off-white weaved cloth in order to respect
the person.

The traditional fabrics they make for their personal occasions are:
- Mundey Bandha for Nuakhai
- Taraf Pata for Wedding
- Sas Pata for Wedding
- Mai Luga for Wedding
- Lal Dari Pata for Nuakhai
- Mani Dhoti for Death Ceremony

Mirigan Street in Koraput is named after the weavers, (called bunker in

local language) and the organic dyer community, known as mirigan. They
were the pioneer community to start with the kotpad handloom. This
community is Hindu and is a follower of Santh Kabir. The mirigan com-
munity has surnames such as Samratha, Panika, Mohanto, Sira, Devang,
Pegal, Bhandari, Kamali and Nike.

Villages, who are engaged with the kotpad handloom:

• Dongriguda
• Bofasona
• Songrakud
• Bhansuli
An old lady in Dongriguda village. • Masigaon
The gonda tribe of Koraput.

Tribal ornaments made of brass.

 Raw materials
Soota (Yarn)

Availablity : Previously in
Kotpad, people spun natural
fibers into yarn by hand. But
now-a-days, they source it
from Bargarh.

Use : To make the fabric.

Aal chali (Roots of Morinda

Citrifolia / Indian Madder
tree)

Availablity : locally

Use : To extract the authentic

maroon colour depending
how light or deep it

Joda (Castor seed)

Availability : locally

Use : The use of castor oil

softens the fabric and makes
the color lustrous and fast.

Coarsed Yarn
Harida/Hirda (A type of Hira Kasi (A kind of
fruit called Myrobalan) stone)

Availability : locally Availability : imported

from Gujrat
Use : Use of Hirda helps
to fix the dye. Use : To dye the yarns
more darker.

Haldi (Turmeric) Kumbhara pathara / loha pathara ( Iron dust / Iron sulphate )

Availability : locally Availability : locally from any blacksmith

Use : To extract colour. Use : Used to dye the yarn in shades of brown.

Katha pausha ( Wood ash )

Availability : locally

Khasi gobara (Fresh cow- Use : It is also used to maintain the thickness of the colour solution
dung) and keep the fabric lustrous If a thread breaks out wood ash also
helps to join the threads back.
Availability : Locally

Use : The application of Cotton is mosty used but ghicha and tussar silk are also used in
cowdung helps the yarns handlooms. Yarns are mostly hand-spun but machine yarns are also
to absorb the dyes and brought. Yarns are sourced from Jagdalpur.
removes the starch. It acts
as a fixer.
 Tools

Handi : An earthen pot used Bharni : The bharni is a wooden

while dying the yarns. frame which helps to separate strands
of yarns from each other .

Pawn / Wraping board : This is a Bobbin : To warp yarns

wooden frame used to separate (Weft yarns are wrapped on small-
cotton yarn and prepare it to be er bobbin and then sets into the
fitted in the warp. shuttle.)

Dongy
Dongy (shuttle) : Dongy is the Mahadav khuta : It is a pole from Kangi (comb) : It’s a comb Spinnig wheel
local name of shuttle which is where the warp yarn is tied by a through which the warp passes
a boat shaped tool designed to rope to a balance the tension of away.
store a holder that carries the warp yarn while weaving.
thread of weft yarn. A shuttle is
thrown or passed through the
threads by usings hands.

Haatha : It is made of wooden and Heddles : It is a wooden frame to Tossar : It is a long wooden Nathi (spindle) : It is a con-
holds the reed. It also helps to warp hold the heald wires through which stick with a round circular ical wooden frame which is
the weft interaction on the fabric. a warp yarn is threaded. Heddles head on top. The yarn from motioned in circle to wrap
are attached to pullies for up and the Bharni is wrapped on the the separated thread of yarn.
down movement. Tossar so that it can be put in
the shuttel.
 Heddle

A big loom under Tanta Bahya Sahajoga Samiti in Bhansuli village.

It was provided by government to the village to weave 500-600 me-
ters of fabric but it is not maintained or used.

Bobbin Holder
 Pit Loom in Kotpad Town Hand-loom in Bhansuli Village
Isme upto 500-600 mts ka fabric ek saath ban Sakta h Isme upto 500-600 mts ka fabric ek saath ban Sakta h
 DYEING
Kotpad is one of the last remaining textile traditions of India which still
uses only natural dyes. The colors are prepared out of natural resources
which are non-toxic and hence non-harmful to the skin. Although this
handloom is produced in a very limited color range, it is eco-friendly, sus-
tainable and the shades obtained are very pleasant.

The process of dyeing is very tedious. It is done mostly in winter or sum-

mer. The most suitable time is from November to May. The important
requirements for dyeing is sunlight, without which the process can’t be
completed. All the dyeing process is usually done by the women.

The coarse yarn is treated with dung, wood ash and castor oil in a convo-
luted and laborious process which takes up to a month. Due to the use of
castor oil the cloth becomes soft and the colors are lustrous and fast.

Castor oil is applied to the washed yarn. A solution of 5 liters of castor oil
and 5-6 liters of water is made then the yarn is either dipped in the solution
or the solution is applied by hand to the yarn.

PRE-DYEING PROCESS
Aal roots are first dried and preserved and then powdered just before dye-
ing.

The yarns are oiled using castor oil and ganji , the rice starch solution.Then
it is treated in the solution of fresh cow dung and ganji and is dried in sun.
When the yarn dries, it is sprinkled with kharpani, an ash solution pre-
pared using wood ash or residue of some of the local crops. The yarns are
Dyed yarn. kneaded using either hand or feet.
The process is continued for three to four times each day for about 15 entire solution dries up. The powerful and vibrant colors ranging
days.Then they are washed in river and dried. from deep maroon to dark brown depends on the age of the roots
bark and the portion of dye used.
The yarn is then bleached and is ready for further dyeing process.
BROWN
To dye the yarn in shades of brown “Kumbhar” pathar is used. The
COLOUR MAKING PROCESS stone is crushed and a powder is made out of it which is further
mixed with jaggery and water and then put aside for 5-6 days. After
The yarns are dyed with the reddish tinge of the roots obtained from
this solution turns black it is mixed with castor oil and water and
Aal tree also known as Indian madder or Morinda Citrifolia. The
Aal bark powder for the desired color. After dyeing the yarns in this
color palette ranges from deep maroon to dark brown which is ob-
solution, it is dried in the sunlight.
tained depending upon the dyeing of the Aal and the way in which it
is processed (under the sun , in clay pots, etc.) The colors depend on
the age of the root bark and the proportion of the dyes used and also
on the addition of Hirakasi or Sulphate of iron.

RED COLOR
The bleached yarn is soaked in the solution made using powdered Aal
dye and water. It is then kept overnight in the dye vessel and boiled
with the dye itself at least for one hour.The dyed yarn is treated with
Kharpani and dried again. This process is repeated thrice , which
deepens the red color accordingly.

MAROON COLOR
Red dyed yarn is beaten and wetted using kharpani. Aal powder is Coarse yarn treated in cow dung before dyeing.
sprinkled on it, on fera, the wooden plank. Then it is kneaded with
legs and re-dyed by boiling the yarns in aal dye solution in the same
manner as earlier. This second time of dyeing dyes yarn in maroon
color.
For dyeing the yarn to a deep maroon color, a solution is prepared
with approximately 100gms of castor oil, ½ kg powder of Aal bark
and 5 liters of Luke warm water. The yarn is immersed in this solution
for a day. The next day, the yarns along with the solution is put to boil.
This is stirred continuously with a wooden stick and boiled till the
 Dyed Yarns in Maroon

Bleached Yarns (Off-White)

Dyed Yarns in Dark Brown

 Basic measurement units in kotpad region
1 strand is called Keli
7 Keli is called 1Kandi
10 Kandi is called 1 Mutha
2 mutha is called 1 Sara/ lachi

Cost of each bundle varies according to the dyed

color
1 bundle (white, undyed and unbleached yarns) = Rs. 100/-
1 bundle (red color dyed yarns) = Rs. 600/-
1 bundle (brown color dyed yarns) = Rs. 800/-
1 bundle (black color dyed yarns) = Rs. 100/-
 WEAVING
In the region of Kotpad, most of the weavers work with the pit loom (tradi-
tional loom), and the rest with the handloom. In working, the only difference
between the pit loom and the handloom is its size and height. It is called
pit loom because, it has a pit below the loom, where peddles are located, in
contrast to the handloom, where the complete loom stands above the ground
with the support of pillars/Khuta.

PREPROCESS
It takes upto 40 days to set-up the loom before weaving.

Preprocess for weft yarns (Tana Dhaga)

The bundle of yarn is fitted into a frame called Bharni and then single
threads are rolled on the Tossar, which is a long wooden stick with a circular
head. This process helps the individual strands of the yarns to separate from
each other. After which the strands are put into the shuttle/ Dangei (boat-
shaped device containing a supply of weft thread on a spool/prin).

Preprocess for warp yarns (Bana Dhaga)

The bundle of yarn is fitted into the Bharni and then single thread is passed
through purni (hollow cylindrical pipe made out of bamboo), which is used
to arrange the yarns on the paon (wooden frame used to separate and mea-
sure cotton yarn and prepare it to be fitted on the warp beam) for warping.
Then the yarns are arranged vertically and parallel to each other after which
they are rolled onto the warp beam called, warping. To not let the yarns tan-
gle, a flat wooden stick called Chipana is used.
After which each thread from the warp beam is drawn through the heddle’s
eye/ bhoy called drawing-in and then through dent of the reed/ Pania called
denting. This process is carried out as required by the reed plan because it
A kotpad weaver. determines more accurately the width of the fabric.
WEAVING PROCESS
Primary motion of a loom Supplementary weft technique is used to develop motifs by extra set
Primarily, two harnesses (shaft with heddle/ rectangular frame, to weft threads over the ground weave. Three or Four shuttle interlock-
which a series of wires called, heddles are attached) are used by the ing method is used to develop a solid border on the fabric.
weavers in Kotpad. The harnesses are attached with Nathi/ spindle
which are a conical wooden frame. It is motioned in circles to wrap the
separated threads of the yarn attached to the harness. (The number of
harness used determines the complexity of the weave, but as in Kot-
pad two set of harnesses are used, it generates plain weave.)The even
set of yarns pass through one of the harness and the odd set of yarns
pass through the other. Each harness is connected to one of the pedal.
While an artisan pushes a pedal, one of the harnesses lifts upward with
the set of yarns attached to it, and leaving the remaining set of yarns
static. This operation is called Shedding where sufficient gap is created
between the two sets of yarns for the uninterrupted passage of the weft
from one side of the loom to the other.

Picking is passing of the weft yarn from left to the right through the
shedded ward. This process is achieved with the help of the shuttle and
is done manually.

Beat up is a mechanism to tighten the fabric after each picking. This

process is carried out by haatha (made up of wood and holds the reed.

Secondary motion of a loom

Warp yarns are maintained in tension between two beams, one of
which is operated to let off (warp yarns are set free for getting woven) Weaver using extra weft technique to make motifs during weaving.
and the other is for take up (after the fabric is made its is rolled onto a
beam).
Being one of the traditional looms, pit loom is still considered to be
better in weaving as the fabric woven retains the character of the yarn,
due to the proximity to the ground.
 MOTIFS AND Colours

MOTIF
Every craft has a story behind it and motifs narrates that story in the form
of shapes and imagery. The motifs that get engraved in kotpad textiles are
made taking inspiration from nature, people and daily life images. The use of
different motifs and designs have been passed down for generations. These
motifs are developed by using extra weft technique.Solid bold pata border is
known as “Ganga jamuna”.

The tradional motifs are still used. The commonly used motifs are:

- Human Figures (Image 1,2 & 3)

- Umbrella (Image 4)
- Leaf/ Pataka (Image 5, 6 & 7)
- Cat’s paw (Image 9 & 10)
- Temple (Image 11)
- Fish/ Mina (Image 13,14 & 15)
- Axe (Image 16)
- Crab/ Kankada (Image 18)
- Peacock/ Mayura (Image 19)
- Hut (Image 20)
- Handi/ Earthen Pot (Image 23 & 25) Diamond Motif
- Birds (Image 24 & 26)
- Diamond

A shawl being woven with different motifs in

every 10 inches gap.
Colour
Traditionaly the motifs were made in different colour ranges of maroon and dark brown with off-white base but now many different colours are
used like blue (indigo), yellow, orange, red, green and black.

Kotpad handloom products.

 12

8
4

5
9

6
10

Image 12 : Kotpad Shwal with

7 11 different motifs
 21
13
17
22

18
14

25

23

19

15

24 26

Image 22 : Two peacocks with “phool, cheeta,

16 20 chauk” motif which translates as ’flower, leopard, seat’.
 marketing & Changes over
the years
Faltual, a tribal dress with motifs and short length traditional saress were
only made earlier but the increase in demand (both national and interation-
al) in market, new products are made like sarees with new motifs and de-
signs, duppatts and dress materials. Some known clients who buys the Kotpad
handlooms are Boyanika, Utkalika and other local shops. Weavers also partici-
pate in the domestic and international trade events to exhibit their and sell
their products.

Weavers still weave traditional motifs but new motifs like handpump, um-
berella, aeroplane and many more are made.

Traditionally only shades of maroon and drak brown colours were used but
now dyers are experimenting with indigo , turmeric and other natural in-
gredients to achieve new colours. Now synthetic dye is also used as they are
cheap and easy to use.

PRODUCT RANGE - 700 INR -20000 INR

COUSTOMISED RANGE - UPTO 3 LAKHS
YARD BASED PRICE - 200 INR-500 INR
COTTON SAREES - 3000 INR-15000 INR
SILK SAREES - 5000 INR-20000 INR
STOLES, DHOTIS AND DUPATTAS - 600 INR- 1600 INR
Dress materials (thaan) available in meters in an
artisan’s house.
Unlike before, the brides now can give the design of the motifs
they want to have in the saree that they are going to wear on
their wedding day.

The younger generation is much more interested in learn-

ing and earning their livelihood and want stable jobs. Many
of them still show huge interest in learning the craft and the
weavers also wants to pass on this tradition to their children.
Apart from weaving, many weavers are also earning from
farming, small bussiness.

Weavers are still using pit loom. There is no advancement in tech-

nology.
Rug being made from old saree in Bhansuli Village.
The weavers are now making fabric with much finer counts to suit
the urban markets.

Lipsa Hembram, founder of Galang Gabaan creates

clothing for women made with handloom fabrics from
Kotpad.

A limited edition of Kotpad weave collection has been

launched this year on Handloom Day that was on 7th
of August by Purvi Doshi

Other household fabrics are also made in Bhansuli Village.

Product Galary
 PESTEL analysis
POLITICAL
Government of India has taken various policy initiatives for handloom weav-
ers like cluster approach, promotion in marketing, technological up-grada-
tion, cooperative societies and more. Government is also providing loan and
recapitalization assistance, raw materials, health and life insurance to the
people involved in handloom.

Handloom Weavers Comprehensive Welfare Scheme: This comprises of

two separate schemes viz. the National Health Insurance Scheme (NHIS)
for Health Insurance to the Handloom weavers and Mahatma Gandhi
Bunkar Bima Yojana (MGBBY) that provides Life insurance cover in case
of death or total/partial disability due to accident or natural cause.

Mill Gate Price Scheme: This scheme makes yarns available at mill gate
price to the handloom agencies to make their regular supply of basic raw
material to the handloom weavers easier.

Government marketing schemes provides platform to the weavers to partic-

ipate in the domestic and international trade events to exhibit their and sell
their products.

They have been provided aids from the government aid but the aid doesn’t
fulfill their needs as many weavers are not aware of the schemes. Half of the
artisans don’t carry their artisans card.

The government society which is established there is rarely functional and

the artisans don’t work there as they don’t get sufficient wages.
Dhana jata (made out of wheat stems) are placed in
house entrances as they consider it to be pious.
ECONOMICAL ENVIRONMENTAL
Artisans procure the dyes from nearby local markets or from the Kotpad is warm and humid region with average annual rainfall of
Gonda tribe in the jungles of Koraput districts at fluctuating prices. 1567 mm. Maximum temperature during is around 35 C and mini-
mum temperature during winter is around 10 C.
Selling price of the fabrics is in the range of Rs. 250 – 1000 , on the
other hand woven products like saris , stoles , gamccha , bedsheets Ingredients for dyeing is sourced from local forests.The process of dy-
can cost Rs. 350-20,000 depending upon the place of purchase and ing is eco-friendy. During the monsoon, the dyeing process is stopped
marketing expense. because of the absence of sunlight. The most suitable time for dying is
from November to March.
The cost price which have been calculated by officials does not earn
them enough profit so as to enable them to sustain a bare minimum
lifestyle. LEGAL
The government society of weavers in Kotpad gives an option to the
52% of the population in Kotpad are employed. 47% of workers are artisans whether they want to join it or not. If they tend to join it,
in Main Work (Employment or Earning more than 6 Months) while they are bound with time limits to work, estimated timetable, costing
53% are involved in Marginal activity providing livelihood for less which is done on the basis of the hours and not on the basis of the
than 6 months. aesthetic appeal of the fabric or the design which lowers the artisans
interest to work and join the society.
SOCIAL The wages which are being provided are on the basis of the hours
Kotpad Block of Koraput district has total population of 120,929 as
invested in making of the fabric which is comparatively less than what
per the Census 2011 and 13.5% people lives in Urban areas while
they get if they work by their own terms.
86.5% lives in the Rural areas. Majority of the working population
are Marginal Workers.

The weaving is practised from generations, for daily use, any pious KOTPAD WEAVER
occasion, marriage and death rituals. Now people are involved in CO-OPERATIVE
handloom to earn their livelihood . SOCIETY (WCS)
was established in
the Kotpad district in
TECHNOLOGY the year of 1956. But
There has not been any change in the technology. These artisans due to low wage rate
make their own tools including the spinning wheel, bobbin, loom, and work burden it is
etc. inactive since many
years.
swot analysis

STRENGTH
The age old tradition of this tribal craft of KOTPAD, which is famous for
giving a rustic look to the garment by the usage of natural dyes has got the
GI.

People are still making simple traditional motifs.

The process is eco-friendly as they use natural dies.

The people aim to carry on their legacy. And teach their children as well as
educated them.
 OPPORTUNITIES
It gives a classic vibe.

Organic dyes is being used promoting slow and sustainable fashion. At

this time sustainability is only what Nation seeks for. Kotpad has a higher
WEAKNESS possibility to rise above other handlooms.

Mostly two toned and off white colours were used till now. Iconogra- Lot of scope for design intervention as the artisans are eager to attend lots
phies have been replicated since ages. Hence it makes them look similar. of workshop related to this craft so that they could pass it on to the next
generation.
The artisans are not well aware of their opportunities, be it government
schemes or their rights.

Usage of 20s and 40s cotton makes the fabric coarser and hence the
product heavier.
THREATS
Lack of professionalism.
Pit looms are bad for health as it gives a strain after a while.

No technological advancement yet.

Changing market and Cheap chemical dyes.

NAME AGE GENDER PROFESSION CONTACT No. QUALIF
BIDYADHAR MOHONTA 53 M WEAVER 7978088376 SECOND
SHRI GOBARDHAN PANIKA 66 M WEAVER, DEALER 9938294630 PRIMAR
JEMMA PANIKA 60 F DYER, WEAVER 9938575524 PRIMAR
PRASTAM MIRIGAN 35 M WEAVER 9668292550 PRIMAR
TANKA MIRIGAN 16 M WEAVER 9668292550 PRIMAR
PINKU SARABU 26 M 9348061549 SECOND
BDIBAKAR SARABU 38 M 9348061549 SECOND
SITARAM TANTI 55 M WEAVER 8081514797 SECOND
TANKADHARA TANTI 23 M WEAVER 8018523427 SECOND
GOPABANDHU PANIKA 50 M WEAVER 8249999210 ILLITER
TRILOCHAN TANTI 23 M WEAVER 9337139302 PRIMAR
DEVDAS TANTI 25 M WEAVER 6372465061 COLLEG
BASUDEV TANTI 80 M WEAVER NIL PRIMAR
NITIYA MIRIGAN 62 M WEAVER 6371963014 ILLITRA
PASHURAM MIRIGAN 35 M WEAVER NIL ILLITER
PHULA SING MIRIGAN 32 F WEAVER 9078825180 PRIMAR
BIJENDRA SARABU 26 M WEAVER 7749029327 PRIMAR
PADMA SARABU 23 F SPINNING 7749029327 PRIMAR
KAPILESWAR MOHONTO 53 M WEAVER, DEALER 8249452066 PRIMAR
POORNA TANTI 60 M WEAVER NIL PRIMAR
HARI TANTI 45 M WEAVER 8455878752 PRIMAR
PARSURAM TANTI 28 M WEAVER 6371781887 PRIMAR
KESHAV TANTI 24 M WEAVER 9178194334 PRIMAR
JAGABANDHU PANIKA 50 M WEAVER NIL PRIMAR
SUDA MOHONTO 50 F DYER 8249452066 PRIMAR
BOIDI TANTI 20 F WEAVER NIL PRIMAR
KURAN MIRIGAN 56 M WEAVER NIL PRIMAR
PADAM MIRIGAN 55 M WEAVER NIL PRIMAR
KAMALA TANTI 71 F DYER NIL ILLITER
HASTI PANIKA 60 M WEAVER NIL PRIMAR
 the interviews
T No. QUALIFICATION WORK EXPERIENCE WORKING HOURS PER DAY TRAINING AVG. INCOME PER MONTH
088376 SECONDARY 25-50YEARS 8 HOURS NO 10000+ INR
294630 PRIMARY 25- 50 YEARS 4-5 HOURS YES 10000+ INR
575524 PRIMARY 25-50 YEARS 4 HOURS NO 10000+ INR
292550 PRIMARY 10-25 YEARS 9-10 HOURS NO 10000+ INR
292550 PRIMARY 0-5 YEARS 10-12 HOURS NO 10000+ INR
061549 SECONDARY 10-25 YEARS 5 HOURS YES 5000-7500 INR
061549 SECONDARY 25-50 YEARS 5 HOURS NO 2700- 2800 INR
514797 SECONDARY 10-25 YEARS 5 HOURS NO 4500 INR
523427 SECONDARY 5-10 YEARS 8-9 HOURS YES 10000+ INR
999210 ILLITERATE 25-50 YEARS 2-3 HOURS YES 10000+ INR
139302 PRIMARY 5-10 YEARS 4 HOURS NO 2500-5000 INR
465061 COLLEGE 5-10 YEARS 7 HOURS YES 10000+ INR
PRIMARY 25-50 YEARS PRESENTLY NOT WORKING YES 2500-5000 INR
963014 ILLITRATE 25-50 YEARS 4 HOURS NO 5000 INR
ILLITERATE 10-25 YEARS 6 HOURS NO 2500-5000 INR
825180 PRIMARY 10-25 YEARS 10-12 HOURS NO 5000-7500 INR
029327 PRIMARY 15 YEARS 7-10 HOURS YES 2500- 5000 INR
029327 PRIMARY 5 YEARS 5 HOURS NO 2500- 5000 INR
452066 PRIMARY 25-50 YEARS 6-7 HOURS YES 15000 INR
PRIMARY 25-50 YEARS 8-12 HOURS YES 4000-5000 INR
878752 PRIMARY 25-50 YEARS 8 HOURS YES 3000 INR
781887 PRIMARY 10-25 YEARS 8 HOURS NO 5000-7500 INR
194334 PRIMARY 5-10 YEARS 10 HOURS NO 2500- 5000 INR
PRIMARY 25-50 YEARS 8-9 HOURS NO 7500-1000 INR
452066 PRIMARY 25-50 YEARS 5-6 HOURS NO 1500 INR
PRIMARY 5-10 YEARS 5-6 HOURS NO 2,500-5000 INR
PRIMARY 25-50 YEARS 8 HOURS YES 5000-7,500 INR
PRIMARY 25-50 YEARS 9 HOURS NO 5000-7,500 INR
ILLITERATE 50 + YEARS PRESENTLY NOT WORKING YES 2500-50000 INR
PRIMARY 25-50 YEARS 8 HOURS NO 5000-7500 INR
TALES OF CLUSTER
She got the most beautiful sparkling eyes,
She got the most enthusiastic perfect smile,
She’s like the sun in the morning and moon in the night,
She got the whole damn sky,
A sky full of dreams, happiness, hope and curiosity.
She got the vibe of a Disney princess completely magical. Married to a
prince charming blessed with a girl child.

This is the story of a princess from Bastar named Dalim Tanti. Lived
and grown up in Bastar with her uncle and aunt. With a primary
education till 10th boards she has the knowledge and courage to rise
up like the break of dawn. She’s brave and bright, capable to fight the
war of life. A new phase of her life started when she got married to a
prince named Somnath Tanti. Binding the knot of marriage leaving all
others free she came all the way from Bastar to the land of handloom
called Dongriguda, a small beautiful heaven like village in kotapar
practicing an unique handloom called Kotpad. Each and everything
about the handloom amazed her. When interviewed she said, “This
is completely new and magical. I have never seen anything like this. I
love the saris so much that I wish to weave it myself one day and wear
it. It’s the softest ad most comfortable to wear. And I am very happy
and proud that my husband is practicing this handloom. I find happi-
ness watching him while working.”
These words of her made us feel proud. She seeks for this magic
named kotpad handloom.
 Shri Gobardhan Panika, the son of kotpad who made us feel proud. Proud
of his achievement and dedication. He is as unique as the handloom. His
dedication took him and his wife away from the chains of worldly affairs.
They said having a child would distract them from their work. A 60+ cou-
ple celebrate their love working together. Shri Gobardhan Panika is being
honoured by Padma Shri award by president Ram Nath Kovind on 20th
of March 2018 , National Award from late president APJ Abdul Kalam on
12 december 2005 and Sant Kabir Award from our Prime minister Naren-
dra Modi on 7th august 2015. Jemma Panika wife of Gobardhan Panika is
nowhere left behind she’s also an National awardee. This husband and wife
love to share their love for kotpad. Together they deal with the customers
worldwide.

Talent is something that each and every artist here inherit,

Recognition is something that each and every artist here deserve.

Churra Chunni
He worked 6 long months on
it and got Santh Kabir award
for that from Narendra Modi
in Chennai 2013.
Two old weavers in Dongriguda A lady using household tools to
village. kill lice and comb hair.
People cover themselves with big sheets of plastics which acts as
raincoat during rainy season.
A saree being woven in a pit loom.
 Conclusion

In this present world of competition there is a race of existence of which the Kotpad
handloom is not a part of. Recognition, acceptance and opportunities is all they seek
for. This cluster was a journey of emotions. A journey which made us feel proud of its
existence and its authenticity, at the same time made us feel sad knowing that they are
not getting the amount of recognition they deserve. This cluster took us closer to the
nature. Untouched by any artificial chemical portraying the true concept of sustainabil-
ity, the Kotpad handloom aims to carry this tradition further accepting the challenges
of the changing taste and needs of the market. Be it the colour from off-white to blue,
green, yellow, pink, maroon etc; or the motifs from the nature inspired motifs to the
human inspired motifs.
 the team

SONALI RAUL RAUNAK RAJ ANKITA NAYAK APARNA BEHERA BHOOYASEE PATEl
(Team Leader) Graphics, Photography, Research, Survey & Research, Survey & Research, Survey &
Research, Survey & Documentation Documentation Documentation Documentation
Documentation