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The legacy lives on...
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It was to revive a fading craft that Richard Shivaji Rao Holkar started the Rehwa Cooperative Society 25 years ago. Today, the Maheshwari weaving tradition flourishes with renewed vigour.
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IN a world increasingly defined by nanoseconds, what instantly strikes one about Richard Shivaji Rao Holkar is the air of studied calm. In smart khaki trousers and full-sleeved shirt, this scion of the Indore royal family could pass off as any suave businessman. But get talking to him and those intrinsic princely trappings of benevolence and regality emerge.
Amidst the delightful clutter of objets d'art at the Apparao Galleries, Holkar speaks about his decisive dream — Rehwa, and his efforts to anchor the present to the past. Time flies... and the sultry afternoon gives way to a cool evening drizzle.
With the erstwhile Maharajas consigned to history following the country's Independence, patronage to artisans too dwindled. The weavers of Maheshwar, whose lives were intertwined with the spindle, the Narmada and the local temples, found themselves socially adrift. Though educated in the U.S., Richard was deeply moved by their agony. Committed to revive the craft formerly patronised by the royal house of the Holkars, he founded the Rehwa Cooperative Society along with his ex-wife Sally. Today, 25 years since its inception (with just eight weavers!), Rehwa stands as a showpiece to the establishment — on not just how work can be galvanised at the grassroots but also on how weavers can be made self-sufficient.
"The quintessence of Rehwa is to act as a catalyst," Holkar explains with genial enthusiasm. "It aims to provide inputs and allow weavers to work independently. Another thrust area is woman's empowerment — not just preparing them to be self-reliant but also instilling confidence in them to face market challenges. Looking back, our first major step was to break the conventional mindset and bring the women out of their homes to the society. The next milestone was to gradually change the styles of weaving and make the weavers focus on what the market wanted (and not what they can offer the market). This involved a bit of fashion, design and colour consciousness. After this was achieved, it was time to fan out from Maheswar's traditional market and also expand the product line. So now, the fine textures and rich colours of Maheshwari saris, dupattas, coordinated salwar materials and yardage are in demand abroad too... "
Over the years, Rehwa's activities have grown manifold. Having transformed a dying craft into a thriving business, the society focussed on all-round development of the weavers and their ilk as well. The result, a school for the weavers' wards and free medical treatment for their families. "Recently, Maheshwar was chosen as one of the cluster projects of UNIDO. And this obviously means broader inputs for an already energised place," Holkar discloses with a smile.
In terms of experimentation with texture, colour and design, this curator of culture explains, "Traditional Maheshwar colours are saturated. Now, it's time to think colour, season-wise. So the palette has evolved afresh. Nevertheless, sticklers to tradition can have their shades too. In terms of design, we will soon try hand block prints on Maheshwari. The temples there are rich in motifs and artisans can easily draw inspiration from them. Other proposals include setting up embroidery units to lend value addition to the Maheshwari creations, revival of the nine-yard saris and manufacture of superfine wool/silk shawls."
The recent past has witnessed a nostalgic spin in the couture scene. And this has undoubtedly benefited traditional textiles. Does Holkar think this ethnic wave is here to stay? "Designers and consumers should understand that traditional handloom fabrics are gentle on the skin in a tropical climate. The challenge lies in making designers aware of the value of proven ethnic textiles. Haute fashion's relationship with handlooms has to be explored," says Holkar, who has planned a mega show in March 2003 involving top-notch designers to showcase the intricate Maheshwari tradition. "But sponsors are yet to come by... " he muses.
Revival of the dormant textile industry is just one facet of Holkar's commitment to nurture tradition. A fine gourmet and cook, he has co-authored a book on "The Cooking of the Maharajas" with Sally (he now pens a column "Maheshwar Musings" for a Delhi-based magazine.)
That's not all. In an attempt to preserve the monumental Ahilya Fort in Maheshwar, he recently converted it into a heritage hotel. "We had to generate enough cash flow to conserve it as a living structure. Any building that's lived in and maintained survives. Besides, by converting it into a heritage hotel, I believe we can create renewed interest in Maheshwar," adds Holkar, whose favourite pastime is fishing.
And what dreams does he have for his children? Would he expect them to continue the legacy? "My 22-year-old daughter Sabrina and 19-year-old-son Yeshwant Rao have grown up around the world. It's up to them to make their choices. Nevertheless, my daughter has a philanthropic bent of mind. Let's wait and see... "
Living between New Delhi and Maheshwar, with his partner, filmmaker Pamela Rooks, Holkar continues to imbue everything he does with a deep sense of responsibility. Recently in Chennai in connection with Rehwa's exhibition, he was seen at the venue actively interacting with customers.
And that simplicity is the leitmotif of life was evident when the unassuming "maharaja" calmly walked down Khader Nawaz Khan Road to the hotel on Nungambakkam High Road. So down-to-earth, so unfussy ... a far cry from the mystique of the Maheshwari saris!
T. KRITHIKA REDDY
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