Rural Tourism at Pochampally

Rural Tourism Project

at Pochampally

ANDHRA PRADESH India

Project Report commissioned by the Department of Tourism, Andhra Pradesh

June 2004

Kiran Keswani architect

Bangalore, India

[email protected]

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CONTENTS pg. no.

Preface 3 PART I - Understanding Pochampally Introduction 5 About Pochampally 6 Developing a Weavers’ Village as a Tourist Center 10 Weaving Process 12 Vernacular architecture 16 Cultural traditions 24 PART II - Future course of action 1 Weavers’ program 28 2 Recommendations from the people of Pochampally on How to make the village attractive to the tourists 32 3 Proposed activities

1. Documenting the process of restoration of Pochampally 37 2. Round-table discussion 3. Study of existing livelihood scenarios 4. Documentation & dissemination of Pochampally traditions,

customs, art & folklore 38 5. Contour mapping of the village 39 6. Awareness workshop for weavers 7. Workshop for community on heritage 40 8. Exposure visit to craft villages in Kerala/Goa/Orissa 9. Constitution of a village ETP committee 10. Interventions in Livelihoods 41 11. Microenterprise management training 12. Training of human resources in traditional building systems 13. Solid waste management 42 14. State level workshop for hospitality industry 43 15. Maintain one street as model weaver street 16. Renovation of the main street façade in traditional idiom 44 17. Develop a museum, craft center & training center 18. Design & construct effluent treatment systems 47 19. Workshop to draw up a code of ethics/conduct 20. Use of the village tank as a recreation facility 21. Renovation of existing haveli as guesthouse 48 22. Construction of Information & Interpretation centre 51 23. Sound & Light show on Bhoodan movement 24. Construction of R&D center on weaving 25. Celebration of festivals associated with date-palm fruit 52 26. Involving Shyam Benegal in the ETP 27. Fashion show to showcase Ikat weaving tradition

4 Additional activities recommended

A. Handloom Tour Circuit 53 B. Micro-planning 54 C. Public programs D. Encouraging Private participation E. Inviting tour operators to Pochampally F. Status report on Infrastructure G. Physical Planning 55 H. Marketing ‘Rural tourism’ 56 I. Exhibition on Pochampally in the Netherlands

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PREFACE This report understands the objectives of the Rural Tourism Scheme (RTS) and the Endogenous Tourism Project (ETP) as put forth by Govt.of India and UNDP.

Rural tourism is any form of tourism that showcases the life, art, culture and heritage at rural locations, thereby benefiting the local community economically and socially. Endogenous or transformative tourism means travel, where the source of attraction lies ‘within’ the host community or environment. For those who will be part of the implementation team on the Pochampalliproject, it is important to know that the objectives of the Endogenous Tourism project are to :

1. Build capacity at the local level 2. Initiate location-specific models of community

tourism enterprise 3. Build strong, community-private partnerships 4. Support innovative and promising rural tourism

initiatives.

At Pochampally, Rural Tourism development will aim at providing :

a tour of the Weaving craft a taste of the cuisine and an experience of the culture

A Project Report on ‘Weavers’ Village at Pochampally, as Tourist Center’ was commissioned by the Department of Tourism, A.P. in June 2003 and submitted to Government of India for consideration under the Rural Tourism Scheme. In September 2003, a technical committee was constituted by the Department of Tourism, Andhra Pradesh for execution of Civil works under this project. The committee comprises of : 1. Sri Raghavan Retd.Engineer-in-chief & former Director-General National Academy of Construction (NAC) Chairman 2. Executive Engineer A.P. Tourism Development Corporation Ltd. Member 3. Sri Peketi Ranga Art Director Member 4. Mrs.Kiran Keswani Consulting Architect Member 5. District Tourism Officer, Nalgonda Convenor The present Report ‘Rural Tourism Project, at Pochampally’ consists of two parts. The first part is the work done towards this project before the sanction was received from the Government of India. The second part covers the studies, strategies and activities decided upon and the interactions with the teams visiting Pochampally following the approval to develop Pochampally as a Rural tourist destination. The focus is now on the holistic development of the village and its people.

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Part I Understanding Pochampally

1 Introduction 2 About Pochampally 3 Developing a Weavers’ Village as a Tourist Center 4 Weaving Process 5 Vernacular architecture

6 Cultural Traditions

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1 INTRODUCTION It is proposed that Pochampally, a weavers’ village in Nalgonda district in the State of Andhra Pradesh, near the city of Hyderabad, be developed as a Tourist center towards promoting Rural Tourism.

11 km stretch from the highway to the village

Why Pochampally for Rural Tourism • Ikat handlooms Pochampally has been famous for its Ikat sarees and fabric. • Close to Hyderabad Pochampally is located 46 km from the city of Hyderabad, however 36 km of this distance is on the National highway NH9. • Bhoodan Yagna This movement was initiated by Vinoba Bhave at Pochampalli

• Rural character Pochampally still retains its rural character with a long winding stretch of road from the highway towards the village.

• Traditional houses The weavers houses are red tiled roof structures in stone masonry with little courtyards within. • Picturesque ambience The village has a lake which is known as Peddacheruvu or Pochampally cheruvu with greenery all around it. • Ramoji Film city Ramoji Film city, a popular tourist attraction is en route to the village.

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2 ABOUT POCHAMPALLY Pochampally is famous within andhra pradesh for its silk (pattu) sarees. Prior to independence, it was also known for bangles or gajulu and pearls or poosalu. In fact the village got its name from “Gajula-Poosala-Palli”. This later became Gajula Pochampally.

At Pochampally, telia rumals were made during the pre-independence period. Natural dyes were used. The colours were extracted from leaves and flowers, especially from a flower called Modugu puvvu. The rumal was also exported to some countries abroad. For the purpose of designing the rumals, the weavers used the technique of tie and dye also known locally as Chittakam-addakam. Later, cotton sarees were made using the same technique and they soon became popular.

The cotton ikat sarees of Pochampally weavers were recognised by the Central govt. handloom Department and the weavers were sent to Chennai, Delhi and Mumbai to learn more about the handloom weaving techniques. This is when the weavers became aware of the material ‘silk’. They mastered the art of silk weaving and the Pochampally Pattu Cheeralu or Silk sarees of Pochampally became popular. However, due to the poor economic status of the weavers, lack of education and the lack of knowledge of the export market and its requirements, the appreciation of the art of Pochampally became restricted. Compounding the problems of the weavers further, was the growth of the power mills. Production of sarees with similar designs as had originated at Pochampally became common. This led to the widespread availability of cheap and low quality sarees. Customers preferred to buy printed sarees as they were less expensive than the painstakingly made hand-woven original Pochampally sarees. Also, the time taken for the original sarees to be made and brought to the market was around two to three months. This only added to the market advantage that the mill-made sarees had. The handloom weaving process is more elaborate and takes longer. Within the same time, the power loom produces much more and at a faster rate.

Some of the elders of the village think that one of the reasons for pochampalli not having the recognition or fame that is its due could be because of it being less accessible, it being 11 km from the national highway (the NH-9 that connects Hyderabad to Vijayawada). This may have led to some of the surrounding villages prospering by weaving similar ikat sarees and selling them under the brand name of pochampalli. VINOBA BHAVE MANDIRAM This village is often called Bhoodan Pochampalli, named after the first ever Bhoomi Daanam (land donation) which was made on 18th of April, 1951 by the first sarpanch of pochampalli, Mr. V. Ramachandra Reddy to Acharya Vinoba Bhave. This kind of Bhoodaanam caught up all over India, where Acharya Vinoba Bhave collected the land donations from the landlords and then distributed them among the needy. There is an ashram by the lakeside.

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Statistical Information GRAM PANCHAYAT BHOODAN POCHAMPALLY Commencement year of Gram Panchayat 1959 Pochampally becomes mandal headquarters 1984 (with 21 villages within the mandal) The village of Pochampally has 17 Blocks & 5 hamlets Extent of the village 28 sq.km. Population 11, 896 persons (2001 census) Men 6,092 Women 5,804 SC 992 ST 104 Population density 391 / sq.m. Total no. of houses 2,625 Number of roads (main + sub-roads) 16 Drinking water supply units 8 Agricultural land 6387 acres Opening Vinoba bhave ashram / mandiram 1951 First land donation by Vedire Ramachandra Reddy First Sarpanch Vedire Ramachandra Reddy Annual income of Gram Panchayat 12 lakhs Main Occupations Weaving Fishing ( Chepala Pempakam )

Agriculture ( Vyavasayam ) Schools - Government 8 - Private 9 Hospitals Primary hospital 1 Homeopathy hospital 1 Veterinary Weavers’ Co-operative Societies 2 Youth organisations 3 Number of banks 3

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Post-office 1 Cinema 1 Community hall 1 Government office buildings 14 Number of water taps 800 Village poet (Gram Kavi) Sri Kairamkonda Narasimhalu (Bhavakavi) Lakes & Canals in the village 6 Clubs - K.V.T. Sports club

- Friends Sports club Hostels SC & ST 2 Rice mills 3 Old buildings (Puratana Katadalu) 101 door house Temples in the village 5 Infrastructure development People have to walk two to 2 ½ kms for getting drinking water. The entire village has an open drainage system. Pochampally is located around a large lake called the Pochampally Peddacheruvu (pedda is big and cheruvu means lake)

In order for a PLACE to stand still in time, we need to prevent further deterioration of the houses and demolition of the traditional structures. The streets need to be retained without being subjected to “road widening” and “development”. However, Development must take place because Pochampally is a living village, with people and they must grow, with the rest of the surrounding towns and cities. So, the “development” here must be different. Development of a village or town usually implies first the physical development. This would consist of the Reframing of byelaws, the Repair of the drainage systems, the Waste disposal system, Transportation to the village and within it, the Water supply network and so on. In Pochampally, we must work towards Not “bigger roads” but better roads – a different road system perhaps that is not motorable but can be utilised by

pedestrians only. The part of Pochampally that abuts the main road of the village has good ground water. The rest of the village has poor water supply.

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Percentage Distribution of Communities Weavers ( Padmasali ) 70 % Potters ( Kummari ) 2 % Agriculture (SC / ST ) 10 % Goldsmiths ( Kamsali ) 1 % Blacksmiths ( Kammari ) 1 % Washermen ( Chakali ) 4 %

Brahmins 2 houses Shepherds ( Gollakurma ) 3 % Toddy-collectors (Kallugeeta/Gouds) 2 % Fishermen ( Mudira ) 5 % Basket weavers ( Medarollu ) 1 % Carpenters ( Odlollu ) 1 %

Handloom weaving ( Chenata )

Current Tourist inflow

• Indians, as well as foreigners visit the village of Pochampally in Nalgonda district, A.P.

• The average number of visitors per month is estimated at 2000 persons.

• According to the villagers, there is no season for the outsiders to visit the Ikat shops. There is a continuous flow of visitors.

• Visitors generally come to buy the fabric or sarees and are do not show much interest in the process of weaving or in the rustic ambience of the interior of the village

• However, some people do appreciate the village character.

• A few people also show interest in the weaving process as well as in the ashram history

• Basically, it is either the cloth or the Ashram that attracts people and not the other crafts such as pottery, basket-weaving, etc.

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3 DEVELOPING A WEAVERS’ VILLAGE AS A TOURIST CENTER

Objective : Tourism to be a part of the Rural Renewal & Development Process Time frame : Development of Plan 3 months Realisation of the Plan 2 years The Development of the Plan may consist of : Phase I Understanding existing conditions & Identifying local needs Phase II Rural Tourism Planning Phase III Implementation Strategies

For the success of a Tourism project, it is important to know who is the tourist and what the expectations of this tourist are. In a Rural tourism project, it is more important to know if the villager will participate in the project and lend to it the authenticity and tradition that it must rest on. If the tourist visiting Pochampally is a foreigner, he usually appreciates everything that the villager does. He visits the village to understand the weaving process. He finds picturesque the weaver’s traditional house, the one with clay tiles and mud walls and is also intrigued by the modern concrete one that he understands as an evolving indian vernacular. If the tourist is an average Indian, he mostly travels to Pochampally because he needs to buy ikat sarees or fabric and he has heard that he will be able to buy them at a much lesser price than in Hyderabad or elsewhere. If there is a “Tourist center” here that has a pleasant outdoor environment which can also become a holiday place, he then visits with his family and spends a half day or an entire day here. He is also curious about the weaving process. Sometimes, this tourist thinks, “culture” is not for him. However, he would like to take his family to Ramoji film city. So, he combines the trip with a visit to Pochampally and it makes a good holiday for him. For the urban highly educated indian, a Heritage village at Pochampally may be of great interest because he believes that he knows little about rural India and would like his family to learn about the living traditions and culture of andhra. The important question :

WHAT DO THE WEAVERS AT POCHAMPALLY THINK about such a project? The Pochampally Rural Tourism project can be a ground-breaking example of how tourism enterprise can work with local people that is the weavers, by sharing benefits and respecting the land and traditions of the people. The project needs a new and viable form of development to be promoted, where a Rural Tourism policy is integrated into the overall rural development strategy for this region. The cultural potential of Pochampally can be utilised to regenerate the village and bring in economic and social benefits. Pochampally, like Pedana, Ponduru and other weaving villages in andhra has an intrinsic historic value. External support can make it possible for the village to bring itself into a new functional setting, where it continues to thrive as a craft centre but now also becomes a tourist centre.

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External support can come from the Government or private investors for :

• Design, credit and marketing support for the weavers

• Maintaining the physical fabric of the town

• Providing the know-how on tourist needs The Planning and design process would benefit from the feedback of foreign and indian tourists, tour operators, local entrepreneurs, government agencies working in the area and private investors. The Rural Tourism Project must involve as participants all the stakeholders in the project. This includes the Central and State governments, the Weavers’ Co-operative Societies, the Master Weavers of Pochampally and Voluntary organisations in Hyderabad working towards improving the andhra handloom industry such as Dastkar Andhra.

The Rural Tourism Project at Pochampally will need inputs in the following Fields of Development :

• Tourism • Infrastructure development • Community development • Entrepreneurship development Enhance or impart skills Facilitate financial support Provide marketing Develop networking strategies • Economic development

There is a need to identify the Main Actors in the Pochampally Rural Tourism Project such as :

• Policy Makers • Facilitators • Advisors • Funding agencies • Professional bodies • Voluntary organisations • Residents of Pochampally • Potential tourists • Tour operators • Travel writers

There are several issues that need to be simultaneously planned to bring about rural development whilst tourism development is being initiated in Pochampally

Implementation Plan • Capacity Building • Physical interventions • Project Management strategies • Funding options • Knowing the shortcomings • Resource management plan • Employment opportunities • Operational constraints

For the development to happen meaningfully, there needs to be a consensus on the many issues between weavers and the planning & implementing agencies. These need to be discussed widely at the workshops to be held during the planning stages. Every participant must know that there are other actors and other fields of development where simultaneous progress must be made.

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4 WEAVING PROCESS 1 Acquiring the oiled maal or yarn from outside the village. It is obtained from Bangalore, in the State of Karnataka. 2 Washing in detergent water for removal of oil 3

Using ratnam or charkha i.e. spinning wheel, the thread is wound on to a box or pipe

4 It is then transferred to the Pose Aasu and the process is termed as Chitiki poyadam 5 Designs are marked on the thread using either charcoal or a pen which is then prepared for dyeing 6 The dyeing process

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After the yarn has dried, it is transferred on to another Aasu, also called a Chitki, known as the Tippe Aasu. On this the design is marked.

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8 It is then spun on to a Ponte 9 The thread is now transferred on to a Kandal or Uusa 10 This Uusa is fixed on to a Nade. This Nade is put in the loom and weaving begins

It takes a day or two to prepare the loom or Muggam. Weaving a saree on the Muggam takes about 15 days. The designing is done using graph sheets. This often takes upto 2 months.

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5 THE VERNACULAR ARCHITECTURE The design of the proposed textile bazaar, the museum, the cultural centre and the weavers resource centre must have a vernacular language. In order to develop this vocabulary, documentation of the existing domestic architecture of the region has been carried out. This traces the habitat needs of the weavers, the influence of culture on their buildings and the spaces and built-forms generated out of these. The houses at Pochampally are mostly RCC constructions. The vernacular architecture has already been abandoned for modern pucca houses that can be maintained more easily. It is possible to continue the architectural traditions with appropriate interventions. Intermediate solutions must be provided that will allow traditional materials to be used and at the same time make them maintenance free. The old techniques need not be bartered for the new. Cost-effective technologies are being developed by architects and engineers who have a concern and respect for vernacular architectural forms and elements.

A TRADITIONAL HOUSE at Koyyalagudem

The village of Koyyalagudem is about 10 km further down the National highway NH9 from Pochampally and is representative of the architectural tradition of this region. Nature of Spaces

There are open spaces also within the house. Often, there is a small open-to-sky space in the large interior. This is where the dyes are made or where the yarn is dipped into the dye. Being a wet area, it must necessarily allow sunlight to come in so that no water is allowed to stagnate inside the house. The tiled roof slopes in from four sides into this open-to-sky space with a small

overhang.

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may be asked to prepare exhibitions that form the basis of an exchange between weavers and the public. Traditional costumes of India that have been made out of IKAT weaves will be studied & documented. Alongwith exhibitions, there will be lectures and workshops. The Resource Centre will have its own exhibition gallery for educational exhibits for the weavers organised by institutes from India and abroad. This room is also provided with other working details such as a peg at the end of room for passing the yarn while weaving. Often, there are four to five looms with weavers working in one large room while the preparing of the yarn for the loom and the dyeing process happen simultaneously in adjoining rooms of the house. The house has a working space and a living space. The toilets are outside the house. The cooking activities take place within the house.

Elevation of the drying area with country tile roof

House facades in the village

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The Plan

A Plan that has developed from the livelihood needs of the inhabitants. The house has pits built into its floor during the construction of the house, for the placing of the weaving looms. Every member of the family is involved in the process of weaving and most of the time is spent in the large weaving room. Telugu names : Weaving Room Nethana illu Verandah Arugu Open-to-sky court Gacchu Backyard Ranguladdakam

Illu

Loom Moggam Loom pit Paggam Dyeing vats Golem

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The Verandah

One enters the house from the street through the arugu or verandah. The verandah opens directly into the weaving room, which is the largest of all the rooms.

Since all day long, the weavers are in a sitting posture, there are niches at a low level for keeping articles related to weaving. This room also has storage spaces where the Uusalu and threads are stored. The room is provided with supports for hanging the yarn and for storing the Achhu which is used during the weaving process.

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Backyard Sometimes, one enters into a large front room and then perhaps, into an open space which is the backyard and more importantly the working area for making of the dyes.

Backyard

The backyard has vats of water, a small stove and some empty pots for use during the dyeing process. When the dyeing is not on, this area is used for washing clothes of the household. The backyard also has the toilet and the bathroom on opposite walls. There is also a well which is the source of water for the house. Beyond the store room is the open-to-sky space where old looms or unused weaving tools are stored such as the chitiki, the Aasu, the muggam etc. The drying area is used for drying the dyed yarn,

for drying clothes of the family and sometimes for storing extra equipment.

Store room This room is used for storing unprocessed yarn, coloured yarn, woven fabric etc. It is a small room with weaving material stacked against the wall. This room also stores the food grains for the family in clay pots. All the items are kept towards the walls creating free space in the centre of the room which is often used for sleeping purpose.

Toilet

The well in the backyard Plan of the Store room

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Puja room This room is used both as a praying space and also as a store room. Kitchen The weaver’s family uses both the traditional way of cooking i.e. the Poiee or chulah – the stove that uses firewood as fuel and also the LPG gas stove. The kitchen is provided with places for storing utensils and for other needs. Bedroom The bedroom usually has an almirah or cupboard and a wooden cot, sometimes without a mattress. MATERIALS

Building materials used are clay bricks for walls, a lime plaster, tapering stone columns that are again plastered with lime mortar for a smooth finish. The roofs are made with red clay tiles over a timber understructure. Doors and windows are in timber and are usually painted in bright colours.

Mixing the mud for plastering the walls

CONSTRUCTION TECHNIQUES Walls The walls of the house are made out of mud. The technique of mud construction used is rammed earth i.e a formwork is made out of wooden planks and wet mud is put into it and rammed down. The thickness of the wall varies from 2 ft for the inner walls to 2ft. 6 inches for the outer walls. The walls, both inner and outer are whitewashed. Some of the houses are 60 to 70 years old and therefore, parts of the earth walls are in a deteriorated condition. Sometimes, portions of the wall that are worne out are repaired using cement or patched up with mud mortar.

As families grow, more living spaces are needed. Often, the traditional house has an extension in the backyard which is done using brick walls and cement plaster. Flooring In the past, the flooring was done in mud and spread over by cowdung. With the increasing use of the rooms for various activities, the floor of the main weaving room is subsequently made up in shahabad stone. Stone is better able to take the wear and tear of the production process. The floor of the kitchen is usually finished with mud and cowdung. The other rooms of the weaver’s house such as the puja room, the store etc. sometimes have mud & cowdung flooring or tandur stone or cuddapah stone flooring.

The verandah and the drying area within the house mostly have stone flooring since here there is more activity. The washing area or the dyeing area in the backyard of the house is also done in stone.

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Roofing The house primarily has sloping roofs made with red clay tiles. The roofs slope in various directions. The roof is covered with mangalore tiles on the outer side facing the street and also on the backyard side. The rest of the roof is covered with country tiles. The roof tiles are supported on battens that rest on roof trusses

Roof Section

The main or primary rafter is usually made of teak wood and the other members of the truss are country wood or even bamboo. The verandah has a lean-to roof which is also covered with mangalore tiles. The roof overhang protects the mud walls

Natural Light

The main source of light to most parts of the weaving room is the open-to-sky space in the centre of this room. The house also receives natural light from its wall openings and from its roof openings. There are windows that open on to the verandah that bring in light. In addition, some of the mangalore clay tiles in

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the roof are replaced with glass panes, to allow sunlight to flow in. The positioning of the weaver’s pit is done in such a way that the entire light coming from the window is on to the loom from behind the weaver. The height of this window is such that, when the weaver sits at the loom, the light comes in from over his head. For those weavers, who have their pits a little away from the window, there is a skylight right above the loom, in the form of the glass tile in the roof. The other rooms, like the kitchen, the store, the bedroom also have skylights, which bring in soft and diffused light. House decoration It is usually the women who provide the finishing for the houses. It is a highly skilled work and is done with great care at the time of construction of the house and at regular intervals afterwards to maintain the appearance of the buildings. It is often at the time of annual festivals like Sankranti and Dussehra that a thorough cleaning and whitewashing of the house is taken up. Doors & Windows

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6 CULTURAL TRADITIONS

at POCHAMPALLI

W e a v i n g i s a n a r t and I t i s a W A Y O F L I F E

The IKAT that Pochampally has made over the years, has attracted countries from all over the world. Ikat is a woven fabric in which the pattern is tied and dyed before weaving.

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The weavers of Pochampally, Nalgonda District belong to the padmasali sub-caste. The story goes that they are the descendants of the god Markandeya, who's son Bhavana Rishi bore 101 sons who became weavers. The first cloth they wove was from the fibres of the lotus stem and so they came to be known as padmasali or lotus weavers. Life and activities revolve around the family and religion. Celebrations of weddings, births, festivals and pujas (worship) make a rich social life bringing play into a life disciplined by rigorous work schedules. Woman's work begins at daybreak, with thorough sweeping of the home, entrance, and street outside. This is followed by application of a thin slurry of cattle dung and water which gives a fine coat to the earthen road, controlling dust and inhibiting insect pests. Upon drying, the roadside entrance is finely decorated with lines of powdered lime drawn by skilled fingers creating symbols of beauty as well as good fortune. Women then help in the weaving practice by winding bobbins, making warps, tying resist areas, or any of the many tasks involved in lengthy procedure.

Children have long days at school attending until Saturday lunchtime. They still have time to help with weaving processes as needed, occasionally during their lunch break. Gradually their skill develops learned from practical experience. However today parents are encouraging their children to gain skills outside the weaving village, many opting for computer training.

1 Ikat is also made in Gujarat and in Orissa. In Gujarat, there is Patola – the double-ikat silk saris, now woven only at Patan. In

Orissa, there is the Saktapur – sari with a chequerboard design in the central field, woven in single and double ikat at Sambalpur.

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Village men are the weavers, putting in long hours to produce their textiles. However relaxing on a holiday can mean having a 'toddy' party. Toddy, also known as 'White Water' locally, is a mildly alcoholic drink taken from the liquid of a palm tree. Toddy 'tappers' climb the palms, hanging terracotta pots in the trees to collect the liquid which drips from cuts made at the base of leaves. FOLK ARTS During festivals and especially during Jataras, many of the folk arts are perfomed in the village. Most of the Jataras take place from January to March every year. They have Veedhi Kathalu (street plays), Bhagavatam and so on. They also showcase Burrakathalu, Oggukathalu (these are street plays like Mallanacharitra which is performed using traditional musical instruments) GAMES The traditional games that are played even today at Pochampally are

1. Bongarala aata (top) 2. Gillidanda 3. Kabaddi

Pochampally organises Kabaddi tournaments involving the neighbouring villages. SONGS Batkamma Paatalu or a folk dance played with wooden sticks is performed during festivals as well as Kalpu Paatalu (songs of the fields) are sung. MUGGULU or Rangoli is done in the front of the house.

In India, art has been a part of everyday life. In Andhra, the threshold was cleaned every morning with a water and cowdung mix and the woman of the house drew ornamental designs (‘muggulu’ in Telugu) with rice flour in the frontyard. It was also a gesture of offering food to the ants and crows. The women started their day at dawn with an act of creativity. A particular ‘Muggu’ was drawn if the people of the house were on fast, another one gave the message that a member of the family was taken ill and the guest could visit another day. Several designs were symbolic of celebration or happy occasions. The tradition to draw the designs every morning continues.

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OTHER SKILLS at Pochampally The late Shri Sileveru Ramalingam used his talents to make portraits in ikat fabric. His son Shri Mrityunjay is a Cartoonist for the telugu magazine ‘Andhrabhoomi’ but can perhaps help to revive the portrait-making in ikat. The people of Pochampally have not only been skilled in the art of weaving but have also possessed other skills, some of which need to be rediscovered and revived. BASKET WEAVING

The artisans at Pochampally working on Baskets, Copper utensils and clay pots.

COPPER UTENSILS

POTTERY

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PART II Future course of action

1 Weavers’ Program 2 Recommendations from the people of Pochampally 3 Proposed Activities 4 Additional activities recommended 5 Budget

1 Weavers’ Program The Endogenous Tourism Project is meant to be an alternative model of tourism where the rural community is the primary beneficiary. At Pochampalli, where 70% of the population of the village are Weavers, it is important that the production and marketing of the ikat sarees and fabric reach a level of excellence. This then must be the most important activity to be taken up for implementation under this project.

Developing Endogenous Design & Marketing Capabilities (Upgrading design skills and training the Weavers to target a globalised market) Design It may be essential to bring designers to Pochampalli who know the current design trends in the market. A Design Cell or Weavers’ Resource Centre needs to be established which is run by two students (as part of their practical training) from National Institute of Design, Ahmedabad or Fine Arts Department, Andhra University, Visakhapatnam. Fine Arts students from rural backgrounds may be given preference for such placements. These students will continuously build up the design archive for Pochampalli. New designs will be prepared with the help of Master Weavers and young artisans from the village. One would need to identify who currently supplies designs to the weavers. The Design cell will work in close co-ordination with the already existing local designers from Pochampalli. There will be a shop where a weaver can buy a new design. Marketing A course must be formulated in Marketing based on the latest research in marketing. This is to be offered in Telugu at the village itself. Workshops need to be organised for the Weavers on how to enter new markets. Credit An organisation such as BASIX, based in Hyderabad may be requested to offer their professional services in this field. They may assist a local micro-finance institution in obtaining a five-year loan which may be used as a Revolving Fund by the Weavers for obtaining the raw material, etc. Opportunity Recognition Workshops may be organised for the Weavers to help them in recognising opportunities in different markets. These workshops may also include modules on ‘Thinking how to think’. There may be two workshops per year and the duration of the workshop may be 10 days.

P e o p l e m u s t b e g i n t o u n d e r s t a n d t h e h a n d l o o m p r o c e s s What he weaves, he must sell While we ask the weaver to share his culture and his way of life with tourists, we must also plan to bring about a positive change in his life. For the Weaver, it is important that what he weaves must sell. While relevant strategies are being outlined and implemented by those that oversee the Handloom sector, how can tourism also make a visible difference? It is said that, Marketing is not a battle of products, it’s a battle of perceptions. How do we want people to perceive ANDHRA HANDLOOMS? A vivid display of the history of the art, of the complexity of the production through changing exhibitions and museum displays can help influence the perceptions of those who visit Pochampally as tourists.

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Traditional textile industry in andhra pradesh The Report on ‘Growth & Prospects of the Handloom industry’- a study commissioned by the Planning Commission prepared by Seemanthini Niranjan & Soumya Vinayan for Dastkar Andhra, 2001 includes extensive field data and contains valuable recommendations based on the needs of the industry that include inputs in Raw materials, Credit needs and Marketing requirements. If a Handloom weaving centre is to become a Tourist centre, we must ensure that weavers continue to thrive and efforts must be made to revive the industry to its original glory.

The village of Pochampally lies in Nalgonda district in andhra pradesh. Nalgonda district comprises of seven talukas and belongs to the Telangana region. It has for long been an important center of handloom weaving. This district has registered a considerable increase in handloom weaving over the decades. While the district as a whole had 5,667 looms in 1921, by 1931 this had increased to 11,715, an increase of 107% (Census, 1931 : 165). They wove fine cotton sarees, both plain and checked or striped, chutki sarees, telia rumals, khadi, susi cloth and tie-dye designed fabric. In 1995, there were 18,719 looms in Nalgonda district. The ikat technique of weaving has been in Nalgonda district for the last 35-40 years. The origin of this technique is not very clear, but it appears to have been learnt, and was not indigenous to the region. According to one version, weavers from Chirala who migrated to Nalgonda brought this technique of tie-dyeing with them. Another version holds that the Nizam settled a few weavers of Mashroo (brocaded cloth, with cotton inside and silk outside) here and that the ikat technique developed out of that. Telia rumals are no longer woven, and to meet the

(largely urban) demand for ever-new varieties, innovations in dress material fabric and furnishings have gone on. Bedspreads, tablecloths, cushion covers, napkins of various sizes, towels and so on are produced in addition to the earlier range of products. Ikats received a fillip in the 1960’s, when the government began encouraging the export of such fabric. The Festivals of India in the 1980’s are also said to have fuelled export interest in ikats. However, export-driven production caused other serious problems in the long run. Some of the weaving villages in Nalgonda district other than Pochampally and Koyyalagudem are Bogaram & Siripuram (cotton centres), Choutuppal (mainly mercerized cotton) Puttapaka, Ghattupal & Vellanki (which do both cotton and silk weaving). According to the study conducted by Dastkar Andhra, Koyyalagudem was earlier a destination of abundant work availability. However, this has changed in recent years due to a fall in exports. Since 1995, export orders have not been as forthcoming as in the past. Several reasons have been cited for this trend (Yadagiri, 1998) some of which are:

• Ban on chemical dyes by European markets. Azo-free dyes are used instead, but this renders the product expensive.

• Drastic increase in prices of yarn and dyes. To cut costs, inferior materials are used, and weavers lose out in the world market

• Cancellations of export incentives by the central govt.

• Lack of any market survey about tastes and fashions

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UNIDO cluster intervention in Jaipur Block printing "Cluster Development and Business Development Service Promotion – The UNIDO Experience in India".

(UNIDO - United Nations Industrial Development Organisation)

Strengthening co-operation among the block-printers

Creating an environment of mutual trust among competing SSIs was important. The reluctance of the firms to participate even in an introductory meeting indicated that 20 years of bitter competition had made any trust-building initiative remarkably difficult.

The Focal Point therefore shifted the focus of awareness building towards the artisans’ sons hoping that they may not yet share the same mutual mistrust and that their superior education would equip them with a longer-term approach to business. A series of one-to-one interviews were conducted to identify the needs and priorities of these young artisans. It thus emerged that they shared a keen interest in strengthening marketing skills. A market orientation training program was organized for 23 young artisans. Besides class teaching on marketing promotion, quality testing, product development, advertising and distribution, the program included a visit to Delhi (to showrooms and representatives of artisan support agencies) and to Jaipur.

The vision and action plan developed for the cluster envisaged the revaluation of the traditional form of production and the improvement of the living standards of the artisans by:

o Reducing the cluster disarticulation (i.e. lack of linkages among the different cluster actors);

o Enhancing the design, production and marketing capacity of the firms;

o Developing a product image (including a common brand) in line with current market demand; and

o Improving and increasing the types of business support services available in the cluster.

The most significant obstacles preventing the realization of such a vision included:

o The lack of communication among the artisans;

o The absence of an active association;

o Inadequate quality control capacity of the entrepreneurs;

o Lack of design and marketing skills as the hand-block printers had grown accustomed to working as sub-contractors for exporters; and

o Inadequate access to credit.

As a result of the UNIDO intervention the dormant artisan association, Calico Printers Co-operative Society (CALICO), was revitalized. In addition, several networks were promoted and an export consortium - Consortium of Textile Exporters (COTEX) - was formed. The Small Industries Development Bank of India (SIDBI) initiated various activities in areas related to marketing training, design development, technical training, creation of an innovative credit mechanism and targeted national and international exposure of artisans and exporters. SIDBI has also adopted this cluster under its Rural Industrialisation Programme for further intervention. UNIDO started to collaborate more and more closely with a local NGO, the Indian Institute for Rural Development (IIRD). Numerous other nation-wide SSI support institutions joined, including the State Bank of India, the Development Commissioners (Handicraft), the Development Commissioners (Handlooms)and the Chamber of Commerce.

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As there is tourism potential, there may also be seen a potential once again for exports to increase alongwith it. However, there are other factors listed above that must also be worked upon if this is to happen. Bringing tourists to Pochampally and Koyallagudem will bring about an awareness of the town amongst the people of the State and of the country. The exchange programs with museums abroad may bring exposure to the Ikat handloom weaving from Andhra Pradesh. This exposure must be channelised suitably so that there are economic benefits to the handloom industry in the long run.

Existing Marketing methods at Pochampalli According to the villagers, before the Weavers’ Co-operative Society was set up, the weavers sold sarees from their homes. Some of them carried the materials (sarees & bedsheets) to other parts of the country (to Hyderabad, Secunderabad, Calcutta & Madras) and returned home after selling their stock. Once the Co-operative Society was set up, the weavers started selling their products to the society, which in turn would make it available for the public. Later, groups comprising of four to five weavers started to invest money in setting up private selling outlets. This is how one now sees a row of private ownership shops along the Main road. There are no particular demarcations among the shops as to which are Wholesale and which Retail. But, the Co-operative Society sells it at a wholesale rate.

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2 Recommendations from the people of Pochampally on

How to make the village attractive to the tourists

Vinoba Bhave Complex Visitors coming to the village must be made aware of the Bhoodan movement in a pictographic museum (in the ashram premises or elsewhere)

1. Vinoba Bhave photo museum 2. Ramachandra Reddy photo gallery (first

person to donate land & the first Sarpanch of Pochampally)

3. History of the village 4. Growth of weaving in pochampally 5. Khadi exhibition hall

View from Ashram, overlooking the lake

• The Ashram, the statues & the pillar (stupam) + verandah or front platform to be made into one complex

• Bhoodan ghat to be created by making steps going down to the lake

• To build around the lake, gardens & play equipment for small children (tourists)

• To construct guesthouse for tourists

• To make a Kaman (welcome arch) at the highway and a second one at the entrance to the village which shows the bhoodan history and the history of weaving

• Near the ambedkar statue, a hastakala stupam (like the bhoodan stupam)

•

Bhoodan stupam near the Vinoba Bhave ashram

• Visitors / tourists to not smoke or drink in and around the ashram as well as on the road

leading up to the ashram

• From ambedkar statue to vinoba ashram, the main to be made into a double road

• Drainage system to be laid along the main road

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• Tree guards for trees recently planted along main road. So far, guards using local materials, such as twigs have been used

• Street lighting for the main road

• Beautification of the lake similar to Tank Bund development in Hyderabad

Success of the Endogenous Tourism Project :

• Tourists need to be made aware that the village and its tourist activities exist

• The tourist package to Ramoji film city must include Pochampally on its route

• The history of Pochampally’s traditional crafts can be showcased.

• Tourists could be taken to the temples in the surrounding region

• The museum showcasing the crafts of Pochampally should have stalls to sell the indigenous products to the tourists

• Construction of guesthouses for visitors to stay in the village for a few days, to enjoy the serene surroundings, the lifestyle and culture of Pochampally

• There must be some special attractions during festival times for the tourists, such as Street storytelling or Veedhi Kathalu and Folk tales or Burrakathalu

• According to the restaurant owners, some more infrastructure towards developing good food joints would help. The food outlets that exist at present are not good enough.

• From one of the village elder’s point of view, such a project can be successful only if the villagers have the basic necessities of food and clothing.

• Development of the Co-operative society making all things, such as cloth, handicrafts and other talents available for the tourists

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3 Proposed Activities

The implementation plan as proposed by : Mr. A.K. Prasanth, Consultant Mr. R.K. Anil, Project Support Officer, UNDP

Proposed list of Activities for the Endogenous Tourism Project and Rural Tourism Scheme

S.No Activity Responsibility/Resource persons Duration Remarks

0

Selection and appointment of resource person for Project preparation

Kishan Rao, Director, AP Tourism

January, First week, 2004

Appointment with clear terms and conditions is essential for the project. Project report to be drafted so that the project can take off

1

Documenting the process of restoration/renaissance of Pochampalli

Kishan Rao and Kiran Keswani, Architect, Designmindz

January 2004 to December 2005

Documenting the complete process helps in transferring the learning to other ETP and RTS sites in future

2

Covening a round-table discussion of all the persons mentioned in the 'Responsibility' column and R.K.Anil, UNDP representative. Hiring all the resource persons with appropriate terms and conditions. Kishan Rao

End of January, 2004

This is necessary to arrive at a common understanding of the larger picture of ETP in Pochampalli by all the resource persons involved

3

Study of the existing livelihood scenarios and resource use patterns in Pochampalli.

G.Muralidhar, State Project Advisor (Livelihoods), SERP and CEO, Akshara

February to May 2004

The output of this study would help in taking appropriate interventions to strengthen the livelihoods and address the gaps in the value chains

4

Docmentation and dissemination of Pochampalli traditions, customs, art, folklore etc., Kiran Keswani

January 2004 to March 2004

Useful for retaining the local knowledge and wisdom for posterity

5 Contour mapping of the village Sisodia, District Collector, Nalgonda

January 2004 to March 2004

Useful for planning, sewage, surface drainage etc.,

6 Awareness Workshop for weavers

Kishan Rao, Director, AP Tourism; Dastkar AP

First week of February, 2004

This would motivate the primary stakeholders to identify with the ETP and participate as equal partners in the project

7

Awareness workshop for the community in Pochampalli about their historic heritage

Kishan Rao, Director, AP Tourism

First week of February, 2004

This would motivate the primary stakeholders to identify with the ETP and participate as equal partners in the project

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8

Exposure visit for selected opinion makers of Pochampalli to craft villages in Kerala/Goa/Orissa

Kishan Rao, Director, AP Tourism, R.K.Anil

Mid-February, 2004

Seeing is believing; this would expose them to the various opportunities of livelihoods through tourism. Anil would coordinate the visits from Delhi

9

Constitution of a village ETP Committee ensuring gender equality and representation for different sections of the community

Kiran Keswani, Nomula Ganesh, Sarpanch, Pochampalli

Second half of February

This committee would oversee the implementation of various project activities and ensure participation of the community

10 Interventions in livelihoods

N.V.Ramana, BASIX; G. Muralidhar, NIFTetc., from June 2004

Different professional organisations in credit, microfinance, marketing, design, etc., would coordinate their interventions based on the study results

11

Microenterprise management training including tourism-related training/capacity enhancement of the village youth G.Muralidhar

June to December 2004

It contains of separate but inter-linked modules; this training is necessary to benefit from the interventions in livelihoods

12

Training of human resources in the use of local/traditional material in construction / renovation / landscaping

Kiran Keswani and others to be decided in consultation with Kishan Rao

March and April 2004

The trained human resources can be used in any 'brick and mortar' activity to be taken in the project

13 Solid waste management

Nomula Ganesh, Sarpanch, Kiran Keswani and Kishan Rao from May 2004

Identify persons who are sensitive to the local milieu and traditionand design an indigenous non-energy intensive and environmentally friendly system that is easy to maintain by the village Panchayat

14 State level Workshop for tourist trade / hospitality industry

Kishan Rao, Tour operators association, media Sep-04

Output of this workshop would be useful for marketing Pochampalli as an ETP destination

15 Maintain one street as one model-weaver street Kishan Rao

September to December 2004

To be taken up after the end of monsoons

16

Renovation of the main-street façade in traditional idiom; and street scaping

Kishan Rao and Kiran Keswani


To be taken up after the end of monsoons

17

Develop and construct a museum, craft-center, and training center on the 2-acre land near Vinobha Ashram Kishan Rao

November 2004 to November 2005

The preceding two activities would provide the learning needed to take this up

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18

Design and Construct effluent treatment systems for the dyeing effluent


May to October 2004

Identify persons who are sensitive to the local milieu and traditionand design an indigenous non-energy intensive and environmentally friendly system that is easy to maintain by the village Panchayat

19

Village level workshop to draw a code of ethics / conduct for both hosts and guests

Nomula Ganesh, Sarpanch, Muralidhar, Akshara

June or July 2004

The output of this workshop will be used in Information and Interpretation Center; Muralidhar belongs to this region and is a development professional of long experience sensitive to any negative externalities of development interventions

20 Use of the village tank as a recreation facility Kishan Rao

November 2004 onwards

This activity can happen only after substantial work has been done in tourist infrastructure

21

Renovate of the existing dilapidated haveli to be used as a guest house for tourists Kiran Keswani

January 2005 to October 2005

This is the time when tourists would have been sufficently attracted to stay and experience the place

22 Construction of an Information and Interpretation centre



Should be ready around the time when the tourists start trickling in

23

Sound and Light show on Bhoodan movement at the Vinobha Ashram

Department of Culture, AP Government; Kishan Rao

January 2005 onwards

should be ready by the middle of the year

24 Construction of R&D center on weaving

NIFT, KVIC, Rural Technology Institute in Wardha

January to December 2005

25

Celebration of festivals associated with date palm fruit (munjalu), non-fermented toddy (neera), local games etc., Kishan Rao

on the lines of beer festival of Munich and champagne festival in France

26 Involving Shyam Benegal in the ETP Kishan Rao

He has made a classic movie 'Sushman' on the plight of Pochampalli weavers and can add glamour

27

Fashion show at Pochampalli by leading designers showcasing Pochampalli ikat tradition Kiran Keswani Nov-05

involving select representatives of tourist trade, fashion industry, hospitality industry, media, etc.,

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Activity 1

Documenting the process of restoration/renaissance of Pochampalli Objective : Documenting the complete process would help in transferring the learning to other ETP and RTS sites in future Time duration : 2 years

Activity 2

Covening a round-table discussion of all the persons mentioned in the 'Responsibility' column and R.K.Anil, UNDP representative. Hiring all the resource persons with appropriate terms and conditions. Objective : To arrive at a common understanding of the larger picture of ETP in Pochampalli by all the resource persons involved Time duration : One week

Activity 3

Study of the existing livelihood scenarios and resource use patterns in Pochampalli.

Objective : The output of this study would help in taking appropriate interventions to strengthen the livelihoods and address the gaps in the value chains. Time duration : 4 months

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Activity 4

Documentation & Dissemination of Pochampally Traditions, Customs, Arts & Folklore Objective : To retain the local knowledge and wisdom for posterity

Time duration : 3 months The research and documentation may be taken up as follows : Group I : Muggulu Pottery Woodwork Basket-weaving Group II : Folklore Group III : Festivals Customs & Rituals Costumes Group IV : Traditional games Castes & Communities Group V : Santha Bazaar Group VI : Life in Pochampally This documentation will be used to create a cultural archive within the

village, which the villagers can add to or take from. It is proposed that alongwith showcasing the ancient tradition of weaving, the villagers will also share with tourists : • Village sports

• Folk Music

• Dance

• Festivals

This work will consist of :

1. Photo-documentation 2. Sketching 3. Information-sourcing

Information will be sourced from the people of Pochampally, from local records, from books by indian and foreign authors and from institutional research journals. The dissemination may take the form of :

1. Exhibitions to showcase Pochampally as an interesting rural destination 2. Awareness programs for the Pochampally children 3. Cultural visits for children from schools in hyderabad 4. Slide presentations & Films for the villagers and the visitors to the village 5. Special attractions during festival times for the tourists, such as Street storytelling or Veedhi

Kathalu and Folk tales or Burrakathalu 6. Pochampally Heritage festival (similar to the Goa Heritage festival)

Research work & documentation of the weaving processes & the history of the craft to be carried out, which will be housed within the Weavers’ Museum.

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Activity 5

Contour mapping of the village Objective : To assist in preparing the master plan for the village, the drainage systems etc., Time duration : 3 months For the village development to take place and to understand the facilities that must be planned, it may be essential to first document the entire village in physical terms. A Master Plan showing the existing roads, existing houses, shops, temple, lake and so on may be prepared by the local authorities. This will be useful in establishing the location of any new tourist facility or amenity.

Activity 6

Awareness Workshop for weavers Objective : This would motivate the primary stakeholders to identify with the ETP and participate as equal partners in the project Time duration : One day One-day Awareness Program for the Weavers and people of Pochampally on ‘Why the Govt.of India and UNDP have chosen Pochampally as a tourist destination and how to go about it’ In the meeting held with stakeholders at Pochampally on 16

th Nov’03, many of the participants

mentioned the beautification of the lake and the enhancement of the Vinoba Bhave ashram. It is may be essential to emphasise that although the development of the usual tourist activities will be needed, this project is different from others and its focus will be showcasing the craft or skill of the weavers. For many weavers, this is a livelihood and a lifestyle and they may need to be introduced to the idea of this very skill being the most important part of the tourism project. This may be done by showing a film or a power-point presentation on similar work done towards Rural Tourism at Raghurajpura in Orissa. The expectations of the Pochampally project may be easier to explain during this presentation. Secondly, a presentation may be made on the Calico Museum of Textiles at Ahmedabad. This could help the weaver families understand how textiles have been showcased, the way the guide conducts the tour within the Museum housed in the Sarabhai estate, how samples of the various weaving techniques can be shown and how postcards and books on Ikat textiles will generate interest among visitors.

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Activity 7

Awareness workshop for the community in Pochampalli about their historic heritage Objective : To motivate the primary stakeholders to identify with the ETP and participate as equal partners in the project Time duration : One day

Activity 8

Exposure visit for selected opinion makers of Pochampalli to craft villages in Kerala /Goa /Orissa Objective : To expose the local people to the various opportunities of livelihoods through tourism. Time duration : One week

Activity 9

Constitution of a village ETP Committee ensuring gender equality and representation, for different sections of the community Objective : To oversee the implementation of various project activities and ensure participation of the community Time duration : One week

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Activity 10

Interventions in livelihoods

Objective : Different professional organisations in credit, microfinance, marketing, design, etc., would coordinate their interventions based on the study results. Time duration : 6 months to one year

Activity 11

Microenterprise management training including tourism-related training /capacity enhancement of the village youth Objective : This training is necessary to benefit from the interventions in livelihoods and will include training the village youth to be tourist guides. Time duration : 6 months

Activity 12

Training of human resources in the use of local / traditional materials in construction / renovation / landscaping TRADITIONAL BUILDING ARTS PROGRAM Objective : The trained human resources can be used in any 'brick and mortar' activity to be taken in the project Time duration : 2 months Introduction Indigenous architecture is a reflection of the social & cultural traditions, local materials, climatic influences, skills of local artisans & ways of building. In any given region, there is a consistent pattern or typology that has evolved over generations of a particular community living there. At Pochampally, houses have been built around the life of a weaver. The plinth or floor accommodates the pit loom; a little courtyard gives the weaver an open-to-sky space where he makes his dyes. Natural light filters into the house to aid in the weaving process. RESEARCH & DOCUMENTATION

Understanding Vernacular architecture Today, any new construction in Pochampally is an RCC construction. It is easier to maintain and reflects an affluence that a family has struggled to achieve. The vernacular architecture is being abandoned for modern pucca houses. Gradually, few houses will remain with the rich architectural vocabulary of the past. It is time to document this tradition from which there is much to learn. This was an architecture that used a holistic approach to living and that is in harmony with the natural environment.

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Traditional Building Skills There is an urgent need for the revival of the traditional building arts. This will provide employment to the rural youth. Secondly, any new construction by the villagers or within the Rural Tourism project will benefit from trained skilled artisans in the coming years. It is possible to continue architectural traditions with appropriate interventions. Intermediate solutions must be provided that will allow local materials to be used and at the same time reduce the level of maintenance.

The skills that can be focused on are : 1. Stone Masonry 2. Country tile roofing 3. Lime Plastering 4. Woodwork (Timber joinery for roofs, Fascia

board, wooden columns, doors & windows) An intensive research & documentation of the local materials, building techniques, rituals connected with the maintenance of the houses and the plans & details of the houses must be carried out. This will be used for Construction/Renovation/Landscaping in the Rural Tourism Project.

The Village carpenter at Pochampalli

TRAINING PROGRAMS

In order to revive the building arts, training programs may be formulated and implemented for Pochampally and the neighbouring villages. Some of the steps to be taken are :

a. To locate master craftsmen of traditional building art forms b. To make out dimensioned patterns based on old traditional patterns for handing over to

master craftsmen for reproduction during their training program. This is a continuous process and will help evolve new patterns and new designs.

c. To select old houses which need restoration and to make these available for conducting training on actual working conditions

d. Selection of artisans / trainees for receiving training e. To prepare the curriculum for training in the various art forms f. To prepare films, slides and literature for being used as training material

Time Duration : 1 year

Activity 13

Solid waste management

Objective : To design an indigenous, non-energy intensive and environment-friendly system that is easy to maintain by the village Panchayat. This can be taken up by Exnora (an acronym of EXcellent, NOvel and RAdical Ideas), an organisation which was founded in 1989. Exnora’s primary aim is to take environmental issues to the common man and help him understand them better, by forming people based organisations In the new system of (Solid Waste Management) SWM adopted by Exnora, the households share the cost of employing a rag picker, (renaming him street beautifier). He is given a monthly income and provided with a tri-cycle cart and a uniform. The Street Beautifier goes from door to door collecting the waste stored inside the houses in the tri-cycle cart and transported it to the transfer stations (secondary collection points), from where it is cleared by the Municipal Corporation. The system ensures :

• cleanliness and hygiene of the surroundings.

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• Rehabilitation of the rag pickers and integrating them into the main stream, by providing employment opportunities and dignity of labour to them.

• People’s participation in the system and thus their responsibility toward their environment.

Contact details : EXNORA INTERNATIONAL 42 Giriappa Road T. Nagar Chennai 600017 India Phone: +91-44-8283366 / 77 • Fax: +91-44-824 1688 Email: [email protected] • Website: http://indiaa.com/exnora/ Time duration : 3 months

Activity 14

State level Workshop for tourist trade / hospitality industry Objective : Output of this workshop would be useful for marketing Pochampalli as an ETP destination Time duration : 2 days

Activity 15

Maintain one street as a model weavers’ street Objective : To preserve the physical environment the weavers’ lives Time duration : 3 months

A. Preliminary Survey a. Mapping / Architectural documentation of every house b. Photo-documentation c. Study of Fontainehuis in old city, Goa d. Nature of renovations required e. Skills needed for refurbishing the houses f. Examples from other villages/towns in India & abroad g. Study of streets of Koyyalagudem, near Pochampally

(which retains its rural character) h. Training programs for skills needed i. Sketch details (Joinery, drain details, etc.) j. Some of the neighbouring street facades to also be

documented B. Architectural plans, elevations & sections with specifications C.

D. Architectural detailing E. Identifying skilled artisans & planning the training programs F. Implementation Program

a. The techniques & materials to be used b. Skilled artisans for that particular task c. Cost estimates d. Time frame e. NGO co-ordination & Community involvement

G. Material Sourcing & Monitoring Program H. Maintenance Plan

(Traditional houses need more maintenance than concrete houses. A system needs to be planned plus strategies on how to put this system into place)

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Activity 16

Renovation of the main-street façade in traditional idiom; and streetscaping Objective : To create a textile street bazaar with the spontaneity and character of a rural bazaar. Time duration : 6 months The Pochampally main road will be designed so as to retain the shops that are already built and to bring in the traditional idiom through elements and semi-enclosed spaces that are added to the front of the shops. In the village, there is the Santha or weekly market, where all kinds of commodities are brought for sale once a week. There is a social function also to this marketplace. It is a meeting point for all age groups, a place also for sharing ideas and opinions.

A. Design Study a. Mapping of the entire stretch,

every shop, every light pole. b. Photo-documentation c. Perceptions of the Weavers /

Traders d. Needs of the Buyers / Users /

Visitors e. Anticipated use & Tourist

expectations f. Examples from abroad, to study

& understand

B. Concept Plan (Architectural Design & Planning) C. Planning norms for future development

Tree Plantation Programme As soon as feasible, a tree plantation programme may be undertaken to line all approach roads with shade-giving trees. This may be taken up by the Forest department with the support of the local people. Time Duration : 3 months

Activity 17

Develop and construct a museum, craft-center, and training center on the 2-acre land near Vinobha Ashram

Objective : To bring about an understanding of the handloom process and to give every visitor an experience of the life of a weaver. Time duration : 6 months

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Design Programme

• Weavers’ Museum

• Cultural zone Information cell

Craft shop Office Amphitheatre

• Exhibition Pavilion

• Cafetaria/Food stalls

• Guest Rooms

• It is essential that many trees be planted in any center planned in this region so that shaded areas are available for tourists at all times. Temperatures in the summer can go beyond 40 degrees celsius and no tour would be enjoyable outdoors if the tourists need to walk in hot conditions.

• One Peepal or Banyan will be planned for the future (take long to grow but lend a place the shaded comfort and elegance that no other tree can match). There will be Vepa or Neem, Usarichattu or Gooseberry tree, Mamidichattu or Mango tree and other varieties. With the presence of the Usarichattu, the place can also be used by local people during Kartikmasam or the month of Kartika when it is customary to picnic with family and friends under the gooseberry tree – lunch which is termed as Vanabhojanam. There will be the Champa tree planted in the small open spaces or courtyards.

• Graphics and signage systems using indigenous materials and art skills

• Adequate Parking areas WEAVERS’ MUSEUM A building to house exhibitions on Weaving traditions will derive its design from the architecture of the weaver’s house in Pochampally and Koyyalagudem. The Museum will be a “Weavers’ Museum” rather than a “Textile museum” i.e it will focus on the life of the weaver, the weaving techniques, and also on the textile patterns made at Pochampally. The aim of the Permanent Handloom exhibition would be :

The layout for the exhibition could be based on the plan of a weaver’s house. It will therefore have a large central hall with :

� Making of the dyes � Dyeing of the yarn � Looms demonstrating the weaving process

and � Display panels explaining in detail the process, the sourcing of the material, history of

Andhra handlooms etc.

( The exhibition structure will also have a small part which is open-to-sky just as a small portion in the weavers house is kept open to sky where the making of the dyes and other washing activities are done. This detail in the roof also lets in natural light )

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CULTURAL ZONE A Cultural Zone which comprises of an amphitheatre and management offices would form a part of this tourist centre. The Pochampally tourist centre will revive the tradition of street performers. It will have open spaces where an individual artist can perform and express himself. There will be an amphitheatre where folk performing arts can happen, where music festivals will bring people together. EXHIBITION PAVILION This will be a space for changing exhibitions.

Themes :

1. A Day in the Life of a Weaver 2. Making of a Saree 3. The Story of Indian Yarn 4. IKAT 5. Telia Rumal 6. Chintz & Cotton - India’s textile gift to the world 7. Weaving Centres of Andhra Pradesh 8. Weaving, the Media and Industry 9. Production : from yarn to fabric 10. Looms & how they work 11. House of a weaver 12. Gajam family of Puttapaka 13. History of weaving in Andhra

Collections � Textiles � Antique looms � Weavers’ tools

Design Principles Any new development for Pochampally towards Tourism must be made in the traditional context, without too much change to the village environment and its needs. We need to understand the natural features, the terrain, the soil, the availability of water and also the ways adopted by the local community to manage their natural resources.

• The Centre’s buildings will be small structures set amidst large shady trees

• All structures to have brick walls that are whitewashed & Red tiled roofs

• Multitude of open spaces that allow for many different kinds of shopping activity, with spaces designated for the small entrepreneur

• Verandahs and Courtyards

• Tree planting and selection of plant material to include many local varieties of trees that can lend shade, fragrance and colour to the place

• Blue painted doors and windows

Houses along a typical street • Cuddapah or tandur stone flooring for indoors and outdoors

• Unpolished grey granite stone for benches, as fencing, for tree surrounds and for the entrance to the plaza

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Activity 18

Design and Construct effluent treatment systems for the dyeing effluent Objective : To design an indigenous, non energy-intensive and environment-friendly system that is easy to maintain by the village Panchayat Time duration : 6 months

Activity 19

Village level workshop to draw a code of ethics/conduct for both hosts and guests

Objective : The output of this workshop will be used in the Information and Interpretation Center. Time duration : One day

Activity 20

Use of the village tank as a recreation facility Objective : To utilise a natural resource towards promoting tourism in the village Time duration : 6 months

Development of the Lake (Cheruvu) environs

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Activity 21

Restoration of the existing dilapidated haveli to be used as a guest house for tourists Objective : To preserve the architectural heritage of Pochampally by re-adapting it as tourist accommodation Time duration : 6 months

101 DOOR HOUSE AS A GUEST HOUSE It is proposed that the “101 door house” at Pochampally on the way to the Vinoba Bhave ashram be restored and re-adapted for use as a Tourist Guest-house This building has been selected because it is one of the oldest & largest masonry constructions in the village. It has a unique architectural character, small but interesting spaces within and an old world charm which can make a good Museum or Guest house building. There are several weavers’ houses with tiled roofs which perhaps could have served as alternatives to house a museum. However, these houses are still in use, whereas the 101 door house has been unoccupied for the last few years. The owners are willing to lease out the house to the Department of Tourism for use. The house was built 80 years ago and belongs to the family of Mr. Ramakrishna Rao and Mr. P.V.Ranga Rao. The Plan

The Plan comprises of an entrance courtyard to the north. This leads to a semi-enclosed verandah lined by an arched colonnade. At the centre of the house is the main central hall with small rooms on either side. A courtyard on the east side acts as a transition space between the main living and sleeping spaces and the well and granary store. The access to the first floor is from a staircase leading

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Façade / Elevation

Ground floor and first floor drawings with detailed dimensioning have been prepared at scale : 1/8” = 1’-0” and accompany this report.

Construction techniques & Building Materials

Walls The walls are built using stone or brick masonry. These are load-bearing. The thickness of the walls varies from 1’-6” to 2’-6”. Lime mortar or mud mortar ha been used for the walls, which are finished in Lime plaster. The walls are presently in a deteriorated condition. Thick walls and relatively small openings in the external walls are perhaps seen as providing the much needed protection from the summer heat.

Roof

The house primarily has sloping roofs to cover parts of the ground floor and all of the first floor areas. These were originally covered with half-round country tiles. More recently, the half-round tiles have been replaced with mangalore tiles. The roof tiles are supported on country wood battens that rest on teakwood rafters that rest on the load bearing stone/brick walls. The spaces on the ground floor that have enclosed spaces above or that make a terrace or open-to-sky space have been covered by madras terrace roofing. This roof type consists of 2” thick bricks placed diagonally on timber planks and bound with lime mortar.

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Flooring Shahabad stone has been used for the flooring in the entrance sitout as well as in the interior spaces.

Staircase

Plan of staircase

Doors

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Activity 22

Construction of an Information and Interpretation centre Objective : To provide the tourist with a simple and interesting introduction to the village and its

people Time duration : 3 months This area will have a ticket counter, a shop selling momentoes, publications, brochures, picture-postcards, management offices & public pay toilets.

Activity 23

Sound and Light show on Bhoodan movement at the Vinobha Ashram Objective : To bring alive the intensity of the efforts of Acharya Vinoba Bhave Time duration : 3 months

Activity 24

Construction of R&D center on weaving / Weavers’ resource centre Objective : At this centre, the weavers will have access to training in Marketing, Design & Entrepreneurship skills.

The centre will invite fashion and textile designers to spend time at Pochampally for interaction with the weavers on traditional and modern design as well as weaving processes. This centre could be an extension of the Weavers’ Service Centre at Hyderabad. It would be located within the Pochampally village so that it is easily accessible to all the Weavers. Design students will be encouraged to document various creative & technical methods used at Pochampally for centuries. This will help generate an archive for research scholars from India & abroad in the field of textiles.

Weavers’ Resource Centre Training areas Research section Library & Archives Workshop

Time duration : 6 months

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The HINDU, Jan 8, 2004 NABARD to help weavers The National Bank for Agriculture has taken up the task of registering the products of Pochampalli handloom silk cluster under the Intellectual Property Rights – Geographical Indication of Goods (Registration & Protection) Act, 1999, on behalf of two local weavers’ organisations. The two organisations are the Pochampalli Handloom Weavers’ Co-operative Society and the Pochampalli Handloom Tie and Dye Silk Saris Manufacturers’ Association. The registration will prevent unauthorized use of Pochampalli designs and brand and enhance market opportunities in the country as well as in foreign countries and bring economic prosperity to weavers.

Activity 25

Celebration of festivals associated with date palm fruit (munjalu), non-fermented toddy (neera), local games etc. Objective : On the lines of beer festival of Munich and champagne festival in France Time duration : Different cultural events once a month or depending upon the village festival calendar

Activity 26

Involving Shyam Benegal in the ETP Objective : He has made a classic movie 'Sushman' on the plight of Pochampalli weavers and can add glamour

Activity 27

Fashion show at Pochampally by leading designers showcasing Pochampalli ikat tradition Objective : Involving select representatives of tourist trade, fashion industry, hospitality industry, media, etc.,

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4 ADDITIONAL ACTIVITIES RECOMMENDED

Activity A

The Handloom tour circuit There are weavers‘ villages in many parts of andhra pradesh such as Pochampally, Pedana, Mangalagiri and so on. Pochampally is famous for its IKAT fabric and Pedana for its Kalamkari. These craft or weaving villages can together make a Handloom tour circuit A walk through Pedana, where the kalamkari fabric is made . . .

starting on the main road, into a small street, inside a house, through courtyard, into another street, passing by verandahs and trees, climbing steps, carving of blocks, coming out into backyard, narrow lane, more weaving, yarn hung to dry in the sun, the sound of the working loom. At a later stage, other weaving villages in Andhra Pradesh may be linked with Pochampally to make such a Handloom tour circuit.

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Activity B

Micro-Planning • Resources • Housing • Transportation • Economy : Services & Trade • Education • Health

Activity C

Public Programs

1. Economic & Social Seminar ( to visualise the village as not just a place to live in, but also as a key to development )

2. Interactive workshops towards tourism planning 3. Guide & Hospitality training programs

Activity D

Encouraging Private participation There is a need to invite private enterprises, institutions and business houses to participate in the Pochampally Rural Tourism Project. A meeting may be conducted to put across the concept idea of the project and seek suggestions from private investors on what they see as a mutually beneficial relationship in this program. It may be useful to extend the need for investment to facilities needed in the village as well as on the way to Pochampally e.g. a wayside amenity at the point of entry from NH9 to the Pochampally road i.e. at 11 km from the village; perhaps a highway plaza on the way from Hyderabad to Pochampally along the national highway.

Activity E

Inviting Tour Operators to Pochampally Conducting a meeting of Tour Operators – Local and Foreign on the Proposed project at Pochampally, organising a day’s visit to the village for them to allow them to know the village, its plus points and its drawbacks. A two day program consisting of Day 1 – Visit to Pochampally Day 2 – Workshop in Hyderabad on findings at Pochampally The feedback from this Workshop may be ploughed back into the development of the project for a realistic approach.

Activity F

Status Report on Infrastructure In order to know whether Pochampally is already structured to take a daily inflow of visitors or to plan for an additional tourist inflow, a report on existing infrastructure facilities may be prepared. This report may include details on existing conditions of :

• Water supply w.r.t. current demands

• Drainage

• Electricity

• Street lighting

• Roads

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Activity G

Physical planning Street development (to include - road repairs, but no widening Lighting inputs would include providing sodium vapour lamps. These would be moderately used, without floodlighting the street and the street lamps would be old-fashioned designs) Infrastructure Upgradation including water supply, sanitation & electric supply Landscaping of the accessways and the vicinity of the weavers’ houses

Existing linkage of house drainage to the street drainage

Refurbishing the weavers’ houses In consultation with the Weavers’ a tour route may be worked out within the village. Based on this route, the houses that a tourist may enter to be identified. These houses to receive priority in being refurbished, roofs to be repaired, painting jobs to be undertaken etc. In addition to this, the other house owners to be offered incentives or some financial assistance to refurbish their houses in the traditional way. Design guidelines to be drawn up which all house owners must adhere to. These guidelines to be based on the indigenous ways of building adopted in Pochampally region in the past.

The weavers houses, the street corners would all become part of a larger rural tourist center.

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Activity H

Marketing “Rural tourism” If the villagers can play host, the tourist will experience the village through their eyes. Playing host would mean offering a tour of the habitat, a taste of the cuisine, an experience of the culture and an exchange of the livelihood pattern.

Pochampally

The Land of

Sunlight Weaves LESSONS FROM Kerala Tourism

• Prepare an audio-visual to market Pochampally as a Weavers Heritage Centre

• Send promotional CD’s to travel writers

• Host teams of travel writers and TV crews from across the world

• Ads in travel magazines

• Road shows and trade events

• Quality brochures in various languages

• Small book on Weavers of Pochampally or the Textile traditions of Pochampally (that should be priced at not more than Rs. 200)

• Involve local people

• Interact with and invite constant feedback from tour operators

• Ensure earnings are spread in the area

• Follow a focused plan

• Improve Roads

• Better public transportation

• Hold a Tourism Mart focussing on the Weaving Craft villages of andhra pradesh

• Coin a memorable catchphrase e.g. “Land of Sunlight Weaves” or something better

• Encourage local entrepreneurs

Activity I

EXHIBITION on Pochampally IN THE NETHERLANDS

- Ms.Martine Wolff, Foundation for Internationally Shared Heritage (FISH), The Netherlands

Any handloom exhibition in the Netherlands requires adequate action from a dutch counterpart to convince a museum to take it on. If it is organised, in the Netherlands, then it has to be planned maybe years ahead. The Tropical Museum in Amsterdam would be a fit place. Some of the other places can be the Wereldmuseum in Rotterdam, the textile museum in Brabant, also maybe the Openlucht Museum in Arnhem. The Ethnographical Museum of Leiden, maybe. Or a museum in an other European capital, if another country would participate. This could be Budapest, Hungary, where the 17th century copies of chinz can be found. Or, the textile museum in Mulhouse, France, where they show the story of French textile of the Provence, which is on Indian cotton and motifs too.

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Maybe the public would like to see the production process, in photo's blown-up, and the results of that in real. Also the history of Indian textiles on all of Europe.

For the best museums, an exhibition always brings the result of new research. The strong point of the andhra handloom exhibition could be to show the wide and long-lasting influence which Indian textiles had all over Europe. People know a bit about the Dutch, French, British copies, but not of the Hungarian or Scandinavian ones. In Germany, Poland, Russia, one might also find examples. What has been published in all these countries could be researched. One is referring to folk-textiles, commonly used.

A view of Professor Earl Snellenberger's exhibition Surface Design India: Contemporary Printed, Dyed, and Embellished Textiles held at the Leah Ransburg Art Gallery at the University of Indianapolis

Also, this theme is most interesting to show in India, as few Indians realise the huge influence of Indian cotton, material and motifs, all over Europe. The influence started earlier than the European expansion, through the Silk Route, and through Venice. It might be interesting for Indians to see the European copies. What they copied, how, and why. The Europeans translated Indian motifs to what they understood, and everywhere in a different way. The theme also shows similarities and differences among the European cultural traditions. So, it is a very European cultural theme. One needs to stress the fact that originally, Europe did not know any cotton for daily use, Europeans had wool (from sheep) and linen (from flax). And then, show the first imports of cottons and their spreading over Europe, first the original ones, then the locally made copies. This is a big and fascinating story to tell. And, so colourful. The current Indian practice of handloom weaving, decorating textiles, etc. is worth to be shown, because India has been consciously conserving man-made techniques. Europe did not, for reasons of enabling the people to earn their living, and the West longs for the personal touch of man-made products. A part on fashion design, western designers of both fashion and interior decorating, using hand-made woven and embroidered Indian textiles, could be included.

PLUS

• Excursions for School children from Hyderabad to Weavers’ Village

• Audio-visual packages to be prepared on Pochampally weaving for Primary & Secondary schools of A.P.

• Connect with Weavers Associations abroad to plan Weaving tours for foreign tourists

• Travelling Photo-exhibition on Pochampally (photographs of ikat fabrics and sarees, the weaving process, and the history of weaving in Nalgonda to be mounted as a small travelling exhibition for India and abroad)

• Picture-postcards to be produced of colourful Ikat patterns and sent for sale to all tourism offices in Andhra and India

• Fashion shows

• Creating a website for Pochampally Weavers Village

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• Research to be done towards Tours that will highlight the weaving, cultural and architectural traditions of the region. The package to be offered to Tour operators for indian and foreign tourists ( Extensive briefings to be provided to tourists on local cultural values. A booklet may be provided to foreign visitors with information on Pochampally and its way of living. Some of the advice given in the booklet may be : “Remember that we are guests of a different culture. Please follow the customs of the Weaver community and respectfully try to learn about them during your stay here”)

• Sketches and Paintings by well-known andhra artists of Pochampally with subjects such as ‘the weavers’ or the ‘Pochampally landscape’

• Outreach Programs in collaboration with SpicMacay Hyderabad (the student group working towards

understanding and promoting indian culture)

• Calendars that corporate houses are encouraged to buy (e.g. city-based companies may sponsor a

calendar that features 12 images from the Weavers village, for distribution to its staff and clients)

Principal Consultant : Ms.Kiran Keswani Research & Documentation team : R. Raghavendran G.Vamsi Mohan G.S.V. Purnima K.V. Nirupama Navata Anil Kumar

Important names & addresses : Pochampalli Handloom Weavers’ Co-operative Society Pochampalli – 508284 Dist. Nalgonda, A.P. Ph : 08685 – 222628 Sri Nomula Ganesh Sarpanch Bhoodan Pochampalli (Mandal) Nalgonda Dist. , A. P. 508284 Ph : (O) 08685 -222087 from outside A.P. 916 - 222087 from Hyderabad (H) 222705

Rural Tourism at Pochampally

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