Vous êtes sur la page 1sur 42

WARLI PAINTINGS

Craft Internship Documentation


ACKNOWLEDGMENT
We would like to express our heartfelt gratitude and appreciation to the following:

NIFT, Mumbai-FC Department for giving us this wonderful ooportunity to study this historical craft through the
craft internship Module.

Ms. Deepa Labh, for mentoring us throughout the module and helping us at all the stages of the development of this
internship project.

The VANGAD family for making us feel welcome in their family throughout the stay of the internship and giving
us information and guiding us in the reasearch.

and, Ms. Sushmita Dal Pal and all the faculty of Fashion Communication Department for giving us their valuable
tips and suggestin for improvement in our project.

Gazal Roongta

Krti Bisaria

Madhur Goyal

Mayank Chauhan

Poorvi Arora

Santosh Kumar

Manali Shitole

Vanya Mittal
CONTENT
• Craft Internship

• Maharashtra
Arts and Crafts of Maharashta

• Dahanu
Jawahar

• Warli
Warli Paintings

Elements and Value, Material and Process

• Contemporary Warli

• Aids and Help offered

• SWOT Analysis
General Problems faced by Warli artists

• Ideation and Problem solving


Promotional Material

Marketing Strategy

Product suggestions
7

CRAFT INTERNSHIP
PURPOSE OF CRAFT INTERNSHIP:

It’s about knowing the craft & understanding the craft placed in different clusters i.e. different parts of India.
It’s about knowing about the craft in depth. A detail study of the art /craft, the people, the social background,
the culture, the Geographic’s of the place. It consists of a detail analysis of how the craft started, how it all
evolved in a certain part of the country, why it evolved the reasoning. It is also about knowing how important
this craft is for the people who are still preserving it.

The basic purpose of the Craft Internship is to study the craft, recognise the problem areas for the craft &
then come up with a design solution for promoting the craft & spreading the craft.

RESULT FOR CRAFT INTERNSHIP

The result of this Craft Internship is a design solution in form of hoardings, banners, product catalogue,
paper bags, symbol, product tag etc. The hoarding & banners are for promotion of the exhibitions
conducted by the artisans. The paper bags are made for promotion of the craft-that is done by getting in
collaboration with the branded stores such as ‘Bombay store’, ‘fabindia’, ‘karigar’. Colaborations can be
done so that they select our product tag to attch with their products for the promotion of the craft.

Craft internship not only is understanding about the craft but is also about giving design solutions for the
problems and difficulties faced by the artisans.

OUR CRAFT INTERNSHIP

Our CI is based on Warli painting of Maharashtra & how warli painting evolved , its history, its social
importance. We had to recognise the problems faced by Warli despite it being such an old and well-known
craft of Maharashtra and then subsequently suggest improvements & the promotional design strategies.
8

MAHARASHTRA
Maharashtra is a state located in the western part of peninsular India.Maharashtra is bordered
by the Arabian Sea to the west, Gujarat and the Union territory of Dadra and Nagar Haveli
to the northwest, Madhya Pradesh to the northeast, Chhattisgarh to the east, Karnataka to the
south, Andhra Pradesh to the southeast, and Goa to the southwest.

Mumbai, the capital city of the state, is India’s largest city and the financial capital of the
nation. Marathi is the language of Maharashtra.

In the 17th Century, the Marathas rose under the leadership of Chhatrapati Shivaji against the
Mughals who were ruling a large part of India. After the third Anglo-Maratha war, the empire
ended and most of Maharashtra became part of Bombay state under a British Raj. After Indian
independence, Samyukta Maharashtra Samiti demanded unification of all Marathi speaking
regions under one state. At that time Bharat Ratna Dr. Babasaheb Ambedkar was of opinion
that linguistic reorganizaion of states should be done with - “One state - One language”
principle and not with “One language - One state” principle. He submitted a memorandum to
the reorganization commission stating that, “ Single Government can not administer such a
huge state as United Maharashtra. The first state reorganization committee created the current
Maharashtra state on 1 May 1960 (known as Maharashtra Day). The Marathi-speaking areas
of Bombay state, Deccan states and Vidarbha (which was part of Central Provinces and Berar)
united ,under the agreement known as Nagpur Pact, to form the current state.
9

ARTS AND CRAFTS OF MAHARASHTRA

A region as diverse and rich in geography, biology and people and customs, naturally has a long and varied
tradition of art and crafts. Maharashtra is the proud home to various different artistic techniques which have
flourished under the many rulers including the Marathas, the Mughals and the British. From the paintings at
Ajanta, so many hundreds of years ago, to today’s Warli paintings, Maharashtra’s ties with the Arts have always
remained strong and nurturing.

PAITHANI SARIS

The art of weaving Paithani saris is 2000 years old. The yarn used is pure silk and the zari or gold threads are
drawn from pure gold. A heavily brocaded Paithani sari takes anywhere from six months to one and a half years
to weave

SAWANTWADI CRAFTS

From recent evidence, it appears that the craft of lacquer ware was introduced into Sawantwadi around the end
of the 17 th and the beginning of the 18 th century. Lacquer ware can be broadly divided into three categories.
Firstly, turned lacquer ware which is the craft of applying coloured lacquer on an object which is turning on a
lathe, and then polishing and buffing it by means of a kewda leaf. Secondly, painting of floral borders and motifs
on surfaces of objects and thirdly, the painting of mythological figures on various surfaces.
The lacquer ware and earthenware of
During the 18 th and the 19 th centuries, various schools of this craft were started in Sawantwadi. The artisans
Sawantwadi
who trained in these schools, many of whom were imported from nearby Goa, came to be known as Chitrakars
or Chitaris.

These days, Sawantwadi lacquer ware has a large range of products and concentrates on traditional hand painted
and lacquered furniture and light fittings. Ganjifa card games, which were played and made in the 18 th and 19
th centuries, are produced in all varieties and can be found in private collections and in museums.
10

CLOTHING AND JEWELLERY

Traditionally, the Maharashtrian woman wears a nine-yard sari known as navwadi , and the men are characterised
by colourful turbans or phetas . Maharashtra as a region has a strong textile history and has several different
types of saris or materials that a typical of a particular part or region, such as Kolhapur , Pune and Paithan.
Jewellery patterns of the Marathas and the Peshwas are still very much in vogue. The Maharashtrian woman
loves to wear her malas and hars or necklaces. A favourite with all, is the nose ring or nath , usually with pearls
and red and white stones.

KOLHAPURI CHAPPALS

Kolhapur is well known for its textiles and cottons, but it is of course most famous for its hand-made leather
sandals or chappals . These leather sandals are very popular the world over, and their simple styles have made
them popular. The cost depends on the quality of leather and design, but in general Kolhapuri chappals are Maharashtrian Paithani Sarees
reasonable and good value for money. Narayan Peth A traditional Maharashtrian sari usually from around
Sholapur, the Narayan Peth sari is beautifully woven in silk with a contrasting zari border, generally with ‘
rudraksha ‘ motifs

WARLI PAINTINGS

The Warlis are tribal people who live in the Thane district, north of Mumbai. Traditionally, Warli paintings or
chawk were made by women during wedding rituals. These sacred pictographs used rice paste and straw, which
was then smeared on the walls of their modest huts. The main figure was of Palghat, the goddess of trees and
plants, symbolising creative energy. These days, even young men have taken to painting and they are often done
on paper incorporating traditional decorative Warli motifs with modern elements as well such as the bicycle,
etc. Warli paintings on paper have become very popular and are now sold all over India.
Warli Painting
11

DAHANU

Dahanu(Village) is a coastal city and a municipal council in Thane district in the western state of Maharashtra,
India.

THE CITY

The name “Dahanu Gaon” originates from the word “Dhenu Gram” meaning the village of cows. A lot of cattle,
particularly cows were owned by the people in Dahanu. Today, Dahanu has become a major commercial and
industrial town in the Thane district. It is well known for the chickoo fruit and accounts for over 50% of India’s
chickoo production. Rubber balloons, rice mills and manufactured goods, are major manufacturing products
which are produced in Dahanu. There is also a 500-MW power plant that supplies electricity to Mumbai. The
electricity is distributed by Reliance Energy.

INDUSTRIES

The BSES (Bombay Suburban Electricity Supply) PowerPlant was renamed as Reliance Energy Power Plant
in the year 2005. Dahanu is a coastal region, the staple food of the people living there is rice and fish. Dahanu
Road railway station is the last main station within boundary of Maharashtra State en route Mumbai Vadodara
Western Railway line. Many Express trains halt at this station. Weather here is very pleasant in the winters.
Dahanu is also famous for the tribal people called adivasis. Dahanu and surrounding area is designated by
the government of India as ecologically fragile zone to protect the greenery from industrial pollution.Dahanu
Rd.also has many balloon factories in Masoli area.

GEOGRAPHY

Dahanu is located at 19°58′N 72°44′E / 19.97°N 72.73°E. It has an average elevation of 9.89 metres
12

ROUTE TO REACH

Through the map, there are various train routes to take to reach from Mumbai to Dahanu.

DEMOGRAPHICS

As of 2001 India census, Dahanu had a population


of 44,393. Males constitute 52% of the population and females 48%. Dahanu has an average literacy rate of
71%, higher than the national average of 59.5%: male literacy is 77% and, female literacy is 64%. In Dahanu,
13% of the population is under 6 years of age. Originally
13

all land & property were own by local tribals but today There are many houses who belongs to “Panchal
society” some of the surnames from the society are Mestry, Lohars, Dahanukar and many more.

CLIMATE

The climate of the region is characterized by three distinct seasons:

a. Summer (feb to june)

b. Monsoon (june to october)

c. Winter (november to jan)

The temp range is from maximum of 42 degree Celsius in summers to a minimum of 12 degrees
Celsius during winters. Monsoon is the season when the harvesting is done and celebrated
most.

LAND AND WATER

most of the land in the region is hilly and undulating. Agriculture is confined to low lands in
plains, valleys and gentle slopes. the laterite soils are shallow, with poor fertility and low water
holding capacity. soil fertility is dependent on the organic matter provided by trees growing on
slopes and hill sides. the quality of soils is deteriorating due to cutting of forests and increasing
use of chemical fertilizers for boosting agricultural productivity.

ART & CULTURE

The peoples in dahanu are tribals in majority,tribal culture is a pictorial example of inimitability,
equality and simplicity combined to success. The origins of this land are tribals. World famous
tribal art “warli art” is root from here. simmilelrly Tarpa dance, Dhole dance are famous across
the world.
14

JAWAHAR
A “Tehsil” that comes under The district of Dahanu. A prime location known for the most authentic Warli
painting. Known as the origin place for these painting style. The beautiful location of jawahar, also in thane
district, is home to a large no of warli artists. It ios called the “mahabaleshwar of thane” because of its scenic
beauty and cool climate. The stylized and contemporary paintings can be seen in the outer areas of jawahar,
where extensive marketing of the art in the form of paintings as well as products is undertaken by various non
profit and tribal reform institutes.
15

WARLI
The Warli style of painting evolved from its mural form from the tribes of WARLIS. The Warlis indulge in this
activity during festivals, on community occasions such as harvesting or rituals such as weddings and dances. They
draw inspiration from everyday lives for their themes. These paintings depict social life. Images of human beings
and animals, along with scenes from daily life are created in a loose rhythmic pattern. These tribal paintings of
Maharashtra are traditionally done in the homes of the Warlis. Painted white on mud walls, they are pretty close
to pre-historic cave paintings in execution and usually depict scenes of human figures engaged in activities like
hunting, dancing, sowing and harvesting.

INTRODUCTION

Warlis are a tribe inhabiting the western parts of India. This ancient tribe is famous for their traditional
paintings, revered by all as the ‘Warli Paintings’. Like all other arts, paintings too are formed and
influenced by a number of socio-political, cultural and religious aspects. Religion is, in fact, one of
the major formative forces that shapes and is evident in the Warli paintings. Warlis are worshippers
of nature. An awe of life in all its forms leads the Warlis to revere almost everything – animate or
inanimate. Being always conscious of the phenomenon of death, they look upon even the humblest
manifestation of life with great wonder. The multiplicity of life in all its varied manifestations is
respected by the Warlis. This is the reason the tiger can be painted in both his ferocious and benevolent
form in the same painting. For the Warlis – life is a combination of the fantastic, imaginary, unseen
and the real, tangible, everyday objects. Their paintings beautifully portray this as they show their
ancestral god riding a humble horse.

THE RELIGION OF WARLI

An awe of life in all its forms leads the Warlis to revere almost any object, animate or inanimate. Thus in the
death song we not only have the sun & the moon Gods of pillars and even the God of thin wire. In marriage
song, as the auspicious moment nears, to ward off the evil spirits the Warlis remember the whole galaxy of
16

Gods; from the forest gods to God of hands. Acutely conscious of death they look upon even the humblest
manifestation of life .

Since in their daily life warlis have to actively contend with nature, their chief gods are elemental nature gods.
Thus there are not only the sun & the moon Gods but the God of thunder, of lightning, of the great wind, of
rain and many others. Perhaps to dispel their awesome greatness, they are viewed in an anthropomorphic form,
as personal images whose actions are similar to those of humans. But there is also a loving, playful interaction
between men & God, where Gods actively participate in the affairs of men. This is because the warlis believe
that all of the life is interconnected and the actions of men affect the entire cosmic order & vice versa. Thus
each wedding after the harvest is seen as one which will bring about the union of universe and the bride & the
bridesgrrom are seen as a divine couple coming together.

THE SOCIO ECONOMIC BACKGROUND OF THE WARLI TRIBE

A number of tribal communities - Thakur, Mahadev koli, Katkari, Warli, Kokna, etc - are present in dahanu and
surrounding areas.Their livelihood is totally dependent on agriculture and forests. most of them are small and
marginal farmers or land less laborers. the health and nutrition status if the people is poor.

WARLI PAINTINGS
ELEMENTS and VALUE

Since in their daily life, the Warlis need to actively contend with nature, their chief gods are elemental nature
gods and goddesses. The Sun, Moon, Thunder, Lightning, Great Wind and the Rain and many others form the The celebatory mode of the warli tribals
Warli pantheon. Perhaps to dispel their awesome intangibility, these gods and goddesses are worshipped in (marriage)
anthropomorphic forms – having almost human attributes and superhuman qualities. They depict the gods in
playful interaction with the human kind as for them – all life is interconnected and the actions of men affect the
cosmic order and vice versa.

With change of seasons, the gods appropriate to the seasons are worshipped. For the Warlis, each year is born in
the monsoon, reaches its full bloom during harvest, and attains maturity and finally death after the last corn has
been threshed and sold in the market. With the bringing in of the first rice, the rain god’s festival Naranadeva is
17

celebrated with KAMADI DANCE. The dance is also related to each festival like TARPA AND DHOL dance
during divali and after harvest. Dhumsa during the marriage. Kambadi dance during the monsoon, Gauri
dance during the ganpati festival where they worship the herbal plants and Gauver (seasonal flower). This is
also season of marriages and nuptial bliss. The presiding deity of marriage – Palghat – the vegetation deity
is worshipped with all heart.

PALGHAT is the personification of all the bountiful nature. The Warlis believe the eternal process of birth
and death is contained within the womb of the woman and the pot – the boundless container of life, represents
it. The goddess Palghat then stands for the pot overflowing with vegetation and life.

The Warlis do not worship their gods according to the accepted sense of the word. For them, worship means
a great deal of fun, enjoyment, dance, drink and no work at all. Worship to them is not self-abnegation, but
self-fulfillment by which the gods are satisfied. During the festivities, sacrifice of a goat or a chicken is made
to the Gods, to be later distributed and eaten by those present.

The main topics/subjects of warli paintings are:

HARVEST FESTIVAL:

The agricultural season for the Warlis begins around ‘Vasishaka’(May). With the first rains In Jyestha
(June) the paddy seeds are planted. Then the people are busy with agriculture. From the month of
‘Bhadrapada’(Sept) the people begin harvesting. The celebration of the of the “Cheda puja,” every
year during harvest, when the people have enough money, is both an act of thanks giving as well as
a re-enactment of the first event of settling down at place. The festival of the Tiger God takes place
in the month of ‘Karthik’(nov) in the second fortnight, when the villagers can donate enough money
from their harvests. The ritual begins with the story of “Vaghasdeva” ( the Tiger God) being sung and
the others come to listnn to it. The song continues the whole night and day. The women do not take
part in the celebration. No work goes on in the field during this time.

With the festival of the ‘Tiger God’over the villagers begin preparing for the puja of ‘Kansari’-the
Corn Goddess. When the paddy has been cut and stacked in front of huts, threshing cannot take place
till the goddess has been propitiated. The song of Kansari which is sung during this time is a long
narration of the story of the Corn Goddess.

Among the many legends about ‘Mahalakshmi’ one is that she provides children to the Warlis but turn
18

vengeful if human sacrifice is not made to her.

TARAPA DANCE:

During the three days of Diwali, drinking and dancing are the main rituals for its their thanks
giving to natures bountifulness. The dance, which begins during the day, continues throughout
the night. They dance in the open space to the tune of the Tarapa played in turns by different men.
The dancers never turn their backs to the tarapa but dance facing the tarapa. The dancers move
according to the tarapa plaryer, turning and moving as he turned. When the tune of the tarapa
changes the dance changes they will continue to dance to the tarapa until the puja of the ‘Tiger
God. After that they cannot play the Tarapa and are only allowed to play the ‘Dhhol’(drum)
during Holi, after which only the Kahali (flute) is plated.

The notes of the tarapa were a consistent, deep drone through the night to which the dancers
moved with unflagging enthusiasm.To The untrained ear it sounded ‘unmusical’ and ‘repetitive’
but consistent listening to it revealed that sound was more like a barely human drone .it seems
to consist of one bass note ,which was stretched to it maximum length without any variation The
sound essentially expressed a continuity of life in which all living things had to participate.

MARRIAGE:

The marriage season begins usually from the end of Magha(Feb) to Phalguna (March) bringing
with it festivity and colour. This is also the culmination of the ritual cycle of the year, the last cat
necessary to activate the forces of nature. The Warlis believe that with the marriage of the bride
and the bridegroom, all the living things are fertilized reenergize into creativity. Every single
marriage then, is a cosmic event and the long process of marriage ritual, desinged a it is to affect
creation, is carefully observed according to convention. Unlike the Hindus it is the bridegroom
who has to pay the bride price for the bride. A white paste for the painting is prepared for the
painting by sieving the rice flour. Then the wall was leaped with cowdung over which geru(red
mud) was smeared. Two savasinis (Women shoes husbands are alive) first make a chaukat
(Square) and then the goddess palaghata. Simultaneously other women of the village drew trees,
animal and men around the square. A goddess is also shown. The fertile goddess of vegetation
was now ready and would preside over the wedding activities which take place over three days.
19

The marriage paintings function in a way similar to the seasonal cycle for the Warlis. They encapsulate
their entire universe concerning themselves with fundamental aspects of their lives. Made at the time
of marriage, they express their most fertile moment and all that precedes and follows it. A typical
painting will be found in the darkest part of the hut. In the center is a large square intricately designed
like rich sari pallu. Within this stood a triangular figure which was part human with its body striated
like the bark of a tree. On the side is a smaller square containing a five headed figure riding a horse.
Trees swirled around the square, the different varieties of leaves a forming the web of foliage. The
sun the moon are also seen in the painting rotating on their discs throwing lines of energy in different
directions.

These caukats are made at the time of marriage and are essential for without them the wedding
cannot take place. The central figure of the painting is the marriage goddess ‘Palaghata’ and it is
her presence which is essential for the wedding. The decorative square around her is known as the
cauk with the smaller square being called deva cauk.The god inside the deva cauk is known as
Pancasiriya. The foliage around the goddess is meant to provide her with shade. The location of
each painting is of significance. IT hardly reveals itself to the eye immediately.

DEATH:

Its not the end of human existence but another beginning. They believe that death is the same as
marriage ad observe almost similar rites (as well as during marriage). Since in their daily life the
Warlis have to actively contend with Nature God. Thus there are not only the Sun and Moon Gods
but the God of Thunder, of lighting, of the beginning of a tentative move towards sculpture. The
ancestral sprit which seems to demand a molded from also allows the Warlis to find self-expression
in wood and stone. In the backyard of almost every hut are installed three feet high wooden planks
with disc-like heads.

MATERIAL

Warli art is known for its monochromatic depictions that express the folk life of socio-religious customs,
imaginations and beliefs. The use of colour is usually white against earthen colors. Interestingly, geometric
designs are the dominant patterns in Warli paintings and dots and crooked lines make up the units of their
composition. Simply painted on mud, charcoal and cow dung treated surfaces with rice paste for the colour
20

white. The material for Warli painting is bought from the near by market in Raithali. In the earlier days people
used rice powder solution and brushes made from bamboo sticks which are now being replaced by poster
colours and the polished brush. There are three different varieties of sand, Geru Mitti which is red in colour used
for polishing the wall or cloth before making the Shaddi ka Chowk, Kale Mitti, black in colour, and the last one
is in ‘cow dung powder’ for dark green in colour. The black sand and the Geru sand is brought from the market
and per packet cost Rs. 10 to 15. For making paintings on cloth, a typical Latha cloth is used.

PROCESS:

The technique to working on Warli art (on any medium) is as shown in the pictures.

The finished sample painting


21

CONTEMPORARY WARLI PAINTINGS


In order to fulfill the increasing in the market, specially the custom order on the international scale, Warli paintings
have evolved in terms of motifs, material and colours, but still the tradition is adhered to. There have been new
applications of this art developed by a few tribes to keep this art alive in India, as well as internationally. This
contemporisation is sometimes mistaken for digitalized versions made in order for mass production and is steadily
taking away the income source of this tribe.

INTRODUCTION

Today, small paintings are done on cloth and paper. For the Warlis, tradition is still adhered to but at the same
time new ideas such as the use of colour have been to meet new challenges from the market.

Contemporary Warli paintings have however branched out of the usual colors and have started using vibrant as
well as rustic colors. Marriage is one of the most important themes in Warli art. Their marriage god, Palghat,
birds, trees, men and women dancing in circles, various celebrations, etc are popular Warli depictions. Flora
and fauna, musicians, agriculture, etc are some other paintings that are generic of Warli art. The modern Warli
art comprises of abstract as well as more regular representation of objects such as bicycles, transistors, etc in
corners of paintings.

Warli art uses some common colours and ingredients like henna, indigo, ochre, black, earthy mud and brick
red. Warli paintings on paper have become a popular medium of art and are available across India. The small
paintings are done on cloth pieces and paper but they look best as wall frames such as the Murals. India
paintings have considered Warli art to be one of the most aesthetically appealing forms of art.

WARLI TODAY-

Walris worship their paintings and could not think about commercializing their art till 40 years ago when people
of India discovered this art. The warli paintings are liked instantly because it is so alive that one can almost feel
the activities and hear the trumpet and drum beats of the little people. Today small paintings are done on wall Warli paintings done on silk sarees
22

and paper but the best art comes out on the walls and murals.

In the course of our field work we met The VANGADS- warli artists from dahanu. They cannot separate
themselves from the paintings and their art forms an integral part of their lives. With pure imagination and
creativity their painting brings an air of authenticity. When asked about the changes in their artistic tradition,
they were glad that their art is greatly appreciated and as long as the art form is maintained, change is
welcome. Their aim is to preserve this art and to make it known to the world. The only grief that this tribe
has is the industrilisation or the digitalisation of the art for the mass production and reduction of labour and
costs, which reduces their hand work demand.

MODERN APPLICATIONS OF THE CRAFT

Warli would have been a fast dying art had if it were not for the constant and diligent effort of the government
along with the passionate and dedicated artisans who are members of the tribe. Even with the contemporised
and increasing popularity of the craft, the art still remains confined to the households of the warli tribe. The
paper paintings which in the early seventies were so vitally alive have become mechanical, certain decorative
elements like the central square or the circle of dancers are reproduced in painting after painting without any
innovation.

MOTIFS

The motifs are sometimes modified and stylized according to need.

PRODUCTS AVAILABLE

Bed sheets, table cloth, napkins, kurtas, ladies tops, scarves, handkerchiefs, pen stand, mobile stand, coasters,
cup plates, trays, photo frames, table top accessories and various other products are made these days, apart
from the paintings in order to popularise the art.

Also, though not by the tribal people, the digitalization of the common motifs of the paintings are now
developed in order to mass produce and is commercialised, which loses it authentcity of warli painting and Mr. Anil Vangad, the leading warli painter
the tribal people are not getting enough credit for it.
23

AIDS AND HELP ORGANISATIONS


Warli would have been a fast dying art had if it were not for the constant and diligent effort of the government along
with the passionate and dedicated artisans who are members of the tribe. The Warli Tribe people of tribes of Jawahar,
Ganjad, Ramkhind, Talasari, Palghar and Vasai get various educational, moentary, housing and product promotional
plans and offers from various government based or NGO based schemes and plans.

MEETING WITH ORGANIZATIONS


There were several government and non profit organization which have been working for the upliftment for
the warli tribeand who were able to furnish us with useful detail about the warli tribe and works done till now
for their upgradation.

 Ikatnik Adivasi Vikas Prakalp


This is a government organization which helps and assists Scheduled Tribes in their development, education
and overall upbringing. It covers only four areas:
• Dahanu
• Palghar
• Vasai
• Talasari
According to the census of 2001 the tribal population of these places is as follows:-
• Dahanu -2,53,972
• Palghar - 1,40,732
• Vasai – 1,40,522
• Talasari – 1,07,379

The organization has various plans and schemes for the tribal people help them accordingly. For e.g.:
• GHARKUL SCHEME – in this scheme they provide a house for the beneficiaries and spend approx
Rs. 1 lakh per house. It is basically a house development scheme. In this scheme, no money is taken Adivasi Vikas Prakalp
from the beneficiary, as it is a 100% subsidy scheme aided by the state0centrak govt and sometimes in
24

• collaboration with an NGO.

• NUCLEUS – This scheme is provided only to those who apply wherein they provide financial aid by
giving Rs. 15000 per head. Out of this amount 85% is given by the govt and 15% is the applicant’s
investment

For availing these schemes one has to apply for it first. Then, around 50 beneficiaries are selected out of approx
200-300 applicants on the basis on the BPL.
Apart from these schemes the organization stresses upon educating the tribes and thus has set up about 35
schools, classes upto 10th or 12th. These are boarding schools and children from all surrounding areas take
admission here. Also for further studies they provide a hostel for the students and give scholarships as well.
They also provide caste certificates, set up gram panchayats and help in their functioning.

 Pragati pratishthan
An NGO working for the popularization and upliftment of the warli
tribal painters. They help the deaf and mute tribals to paint various
products with warl paintings and provide them wth a platform to sell
these products.

Meeting with the head officer of Adivasi Vikas Prakalp


25

SWOT ANALYSIS
In order to clearly understand the weeknesses, USP and the problem areas for the craft of Warli Paintings, we talked
to the different people from every section involved in this art: the government officials, the painters, the villagers and
tourists and asked them about their opinions. From this, a SWOT analysis was done:

STRENGTH
• Traditional art: warli is one of the most ancient arts in India. Though discovered very late, it was one
of the primitive ways of communication. The art form is a way of passing on their common folklore
amongst a people who traditionally do not use the written word for communication.
• Simple and easy: warli is a very simple art form, there is nothing complicated about the paintings. The
motifs and figures are all basic drawings of stick figures and easily understandable designs.
• Huge demand: the warli art, being commercialized in the 70’s, is relatively young and there is a huge
demand for this art, not only in India but all over the world. In fact a few dahanu artists have already been
abroad to display their art.
• Not time consuming: The paintings are not very intricate and can be learnt very quickly. Thus, the artists
can make numerous paintings in one day and fulfill the demand in a short span of time.

WEAKNESS
• Lack of awareness: the people of dahanu and surrounding areas are not aware that warli art can be taken
as a serious profession. Most people know it as an auspicious tradition at the time of marriage.
• Dependence on agriculture: most of the tribal people are farmers and depend on agriculture for their
survival. Very few people actually know how to explore this craft as a serious profession.
• Communication: most of the artists are uneducated and thus speak on their native language, warli marathi.
As a result they face communication problem when it comes to promotion of their craft.
• Infrastructure: dahanu is a rural area and the infrastructure is very basic. If this area is properly urbanized,
it can help in a major way for upliftment of the craft.
• Monotony of motifs and colors: warli art is characterized by white and mud brown shades. But in order
26

• to attract customers, contemporization needs to be done. Experimenting with new motifs and colors will
help in coming up with new themes and subjects thus making it appealing to the market.

OPPORTUNITY
• International market: warli is becoming increasingly popular in all parts of the world. Thus the government
and artists should work together to tap on the international demand and increase the awareness of this
tribal craft.
• Age of internet: with the increase and spread of technology, internet facilities are now available in
every nook and corner of the world. The artists can spread their art through this media and also get
orders for paintings. Some artists have already started their own blog sites and web pages. This media of
communication can help save this native art from dying

THREATS
• Industrialization: a lot of artists now have been forced to quite this job due to the increasing demand of
mechanized goods. Even warli paintings have been at the receiving end of this technological advancement.
Therefore this traditional art faces stiff competition from today’s machine age.

GENERAL PROBLEMS FACED BY ARTISANS


• Lack of awareness: there is very little knowledge about the craft as a potential professional. Most people
view it as just a part of tradition and an auspicious ritual during festivals and marriages.
• In the past, there have been a sincere efforts in terms of revival of this craft. However the warli artisans
are not aware of the available resources and their rights in this aspect.
• Noone knows how about traveling and simple mundane activities like how to purchase a local train ticket
makes the people of the tribe unable to travel and avail the available resources.
• Inadequate infrastructure: they face lack of transport problems due to lack of good roads and transport
facilities.
• Being generally shy in nature they are intimidated even by the thought of going to the city and marketing
27

• their paintings.
• Low market demand: people who are interested and willing to buy warli find it difficult to find authentic
artist as everything has become machine made in today’s time. Therefore the artisans face stiff competition
from the machine age.
• Communication: the native language of the tribe is warli marathi, thus many of the artists face
communication problems in terms of promotion of their craft.
28

IDEATION AND PROBLEM SOLVING


After analysing the SWOT and the different problems of the painters, the main problem was identified as “Lack of
awareness” of the presence of Warli and the importance of the manual art of Warli paintings. So based on the Design
Methodology of problem solving the following steps were followed:
• Identification (the problems of the painters)
• Brain storming
• Idea mapping
• Short listing
• Finalizing design solutions and planning the startegy

On the basis of this study and the above steps, the design solutions were decided to be categorised into THREE
sections:
• Promotional Material
• Marketing Stretegy (to go along with the promotional material)
• Suggestive products

PROMOTIONAL MATERIAL
In the promotionll material, we designed various graphic collaterals, pertaining to different sections of lifestyle
of potental customers.
29

SYMBOL
We have created a symbol and not a logo for warli, as a representation of the warli painting. This symbol is designed using the warli
figurines, which are the key focus for representation of warli. The inspiration is taken from the tarpa dance of warli tribe.
30

POSTER
The above poster was designed for a hypothetical Warli paintings exhibition to be held by the Rotaract Club at Bandra-Kurla Complex.
The colour theme was taken simple and the basic onees that are used in Warli paintings themselves to compliment the whole theme.
31

POSTER
The above poster was designed for a hypothetical Warli paintings exhibition to be held by the Rotaract Club at Bandra-Kurla Complex.
The colour theme was taken simple and the basic onees that are used in Warli paintings themselves to compliment the whole theme.
32

PRODUCT TAG:
It is a single fold tag with the modified tarpa dance cut out in the front; information about warli in inside and company name and
contact at the back. The color is chosen according to the price tags used by karigar to compliment it. The idea of making a product tag
was to spread awareness about warli art.
33

BOOKMARK
The bookmark designed has a very simple and direct look, informing and making people aware
about warli painting with the use of the main and most commonly identifiable motif. The marketing
strategy behind this was to distribute the bookmarks to the bookstores like crosswords, landmark,
odyssey etc, who can give them away to the customers.
34

BROCHURE
A three fold brochure, describing the essence of the Warli paintings and the importance of these handmade paintings. following the
simple colour scheme, it aims to spread awareness and increase popularity towards this art.
35

Inside of the brochure

PRODUCT CATALOGUE
A four page catalogue, gvining despcritive information about the products other than paintings, made by the warli tribal people. These
products are to promote applicative use of warli painting art in creative products.
36

PAPER BAG:
the paper bag designed has the famous tarpa dance with a little modification and variation. The purpose of making the paper bag was
to distribute it to stores like Karigar, for giving it to those who purchase any warli product.
37

CALENDAR
Calendar made for the various
craft and art stores for sale, as
well as an idea for corporate gifts.
uses various warli motifs andthe
main focal tarpa dance.
38

PROMOTIONAL STRATEGY:
In order to go along with the graphic design collaterals designed, we decided to plan an aggressive marketing
strategy in order to publicise the art in its true form through various mass communicative methods,
collaborations etc:

COLLABORATIONS:
• Contacting crossword, odyssey home book shop, galjotia’s, texson, Bombay store and other book store
chains for bookmarks and calendars.
• Art shops like Karigar, Bombay store, etc. for the product tag collaboration and paperbags.
• Sari & ethnic wear chains

MASS AWARENESS CAMPAIGN BY:


• Shadow theatre, movies
• providing the Warli painting brochures at various art stores, handicrafts exhibitions etc.

CORPORATE GIFTS:
• Promoting of the above products and other available products as corporate gifts
39

THE SUGGESTIVE PRODUCTS


The products we made intend to familiarize the youth with warli style of painting and graphics. Major
obstacle in promotion of warli is that the color palette is very dull. Thus in order to get the youth interested,
we have created vivid interpretations of the existing products in an urban functional format. Example:
coasters, mouse pad, lampshades, umbrella, paper bags etc.

Mouse Pad

Coasters