Kamladevi Chattopadhyay played a stellar role in the survival and growth of Indian handicrafts, says Uma Nair
Imagine an India without Kalamkari, Phulkari or Kutch-embroidered cushion covers, block-prints on linen and fabric, brass-inlaid accessories as well as terracotta figurines and pots in your gardens. It might have been a reality had it not been for the efforts of Kamaladevi Chattopadhyay as most Indian crafts would have died out long ago. India celebrates the 115th birth anniversary of this missionary of Indian culture.
Revival of handicrafts
An ongoing exhibition at IIC highlights the key events in Kamaladevi’s life and her invaluable contribution to the craft. Known for her role in the revival of Indian handicrafts in the post-independence era, Kamaladevi was recognised for her contribution in shaping the freedom struggle. On her 115th birth anniversary on April 3, this exhibition showcases her deep commitment to the revival of crafts and textiles of the country, highlighted in samples of Kalamkari, toda embroidery, puppets, Chau dancer masks and little nuggets of history.
Kamaladevi was way ahead of her time. She set up the All India Handicrafts Board, the Crafts Council of India (CCI) and its affiliate bodies, and the regional handicrafts design centres. But beyond her capacity to organise infrastructure and encourage talent, was her commitment to talented craftspersons in the country. Responsible for the revitalisation and resurgence of Indian handicrafts since Independence, a struggle in which she took an active role.
A true feminist and a fearless crusader of women’s rights, she was the first Indian woman to contest a legislative election and was also associated with the All India Women’s Conference.
Symbol of handicrafts
She retained her femininity and was elegance personified through it all. It hurt her sensibility to think Western fashions were de rigeur and Indian products were crude. The spirit of defiance, made her the Indianesque model-in brightly coloured thick handloom saris, with blouses that had attached woven borders.
Awards and ambition
Kamaladevi was the first chairperson of the All India Handicrafts Board, a post she held for 20 years. UNESCO honoured her with an award in 1977 for her contribution towards the promotion of handicrafts. To meet the growing needs of craftspersons, Kamaladevi established the CCI in 1965 in Mumbai. It later moved to Delhi and was established in Chennai in 1976. The CCI carries aloft the banner of its founder-patron, working for the welfare of craftspersons and development of handicrafts as a voluntary, non-profit making NGO with a network of 14 affiliated councils all over India.
Kamaladevi was the recipient of the Magsaysay International Award, the Padma Bhushan, the Padma Vibhushan and the Watamull Foundation Award for services in the social and economic fields. Shantiniketan honoured her with the Desikottama, its highest award.
Indian craftsmen like Gurappa Chetty from Masulipatnam, whose father revived Kalamkari and Bangalore-based guru of natural dyes, KV Chandramouli, became legends in their lifetime.
Aesthetics and culture
She had an inherent sense of aesthetics which extended itself to nature, culture, music, dance and simple utilitarian craft. Though unconventional, she enjoyed the beauty of festival rituals. She could sit through classical concerts as well as folk performances like Yakshagana. It was she who brought Yakshagana artists into the limelight and took them abroad for concerts.
Her life’s mission was to restore Indian craft and cultural heritage to its rightful place as she was deeply inspired by Gandhian philosophy. Kamaladevi was exposed to the theatre in early years, fostering her passion for plays and acting.
Sangeet Natak Akademi
She took part in Gandhiji’s Salt Satyagraha, excited to be a part of this “spectacular drama in Indian history” but art and culture were her first love. The love of theatre and the performing arts propelled her into establishing the National School of Drama. As chairperson of the Sangeet Natak Akademi, Kamaladevi was able to help many deserving musicians and dancers.
Kamaladevi was sensitive to the artisan living in penury as much as she was concerned with languishing craft and was largely responsible for the craft renaissance in post-Independent India. Textiles, embroidery and craft were her other passion.
Missionary of culture
With a vision far ahead of her time, she became the queen of craft and India’s indigenous art traditions. She advocated that craft should be fashioned keeping in mind current trends and the contemporary market. This led to the revival of old and dying craft traditions. Another area of Kamaladevi’s concerns was Chamba Rumaal the embroidery of Chamba Valley in Himachal Pradesh. At IIC this exhibition on Kamaladevi’s life and works focusses on her cultural symbolism and her eye for crafts and folk arts — in the collection of puppets, masks, and textiles.
Her love for folk dances made her encourage and popularise the Chau dance of West Bengal with its oral traditions and human face. Her inclusion of folk dances and crafts in the India festivals abroad added a note of indigenous identities to the Indian idiom abroad. She also brought Indian terracotta traditions to the global platform.
Expression of spirit
Kamaladevi was Gandhian in principle as she stressed the importance of craft patiently fashioned by hand, which, according to her, was an expression of the spirit. She travelled to every nook and corner of India seeking out crafts and folklore and customs. She researched extensively and wrote a number of books on craft like Handicrafts of India, Carpets and Floor Coverings of India, The Glory of Indian Handicrafts and Indian Embroidery, besides her autobiography and other books.
Her words from 1978 still ring true: “The urge to create is a natural one. When this is stifled, there are distortions in the personality. As you know, handicrafts are often used as therapy to assist emotionally disturbed people. It helps them regain their balance.”