In the lush and dense forests of the Niyamgiri hills in Odisha, there resides a remarkable tribe known as the Dongria Kondhs. They gained international recognition when they fought against a mega conglomerate to protect their sacred hill from bauxite mining. To the Dongria Kondhs, the Niyamgiri hill represents a deep reverence for nature, intricately woven into their textiles' visual language, particularly exemplified by the revered Kapdaganda shawl.

　　This sacred cloth symbolises their profound connection with their environment and relationship with the Niyamgiri hills. However, their fight extends beyond environmental conservation. The tribe has been diligently combating the misappropriation of Kapdaganda motifs by various textile brands and design labels. The Kapdaganda shawl, primarily crafted and embroidered by the women of the Dongria Kondh community, has recently secured a Geographical Indication (GI) tag, acknowledging its cultural significance.

　　"Tribal communities in the Odisha region have a rich legacy of weaves," said Anuradha Kandala, a social entrepreneur whose enterprise Folkweave works with the weavers of South Odisha. Kandala is one of the many people who are working towards the revival and preservation of the textile heritage of tribal communities in India.

　　Root Of The Matter

　　India's rich tradition of tribal textiles is endangered by contemporary fast fashion trends and factors such as climate change, affecting the natural dyes and fibres used to make these textiles.

　　Apart from grassroots individuals like Kandala, multiple designers who have roots in tribal communities are working to preserve their textile heritage. They create pieces that pay homage to their heritage by skillfully blending traditional techniques and practices with contemporary design.

　　Delhi-based designer Jenjum Gadi is renowned for his unique, handcrafted designs incorporating tribal motifs and culture. A member of the Galo tribe of Arunachal Pradesh, Gadi finds inspiration in his culture's intricate motifs and patterns.

　　Street Cred

　　The task of revival sometimes involves reimagining and reshaping the narrative of indigenous textiles to express contemporary style. Founded by designer Ashish Satyavrat Sahu, a graduate of NIFT, Gandhinagar, Johargram collaborates with the weavers of Jharkhand to reimagine textiles into cutting-edge streetwear.

　　"We are working on tribal textiles on primitive handlooms in Jharkhand," said Sahu, "and creating streetwear garments using tribal saris, shawls and gamchhas."

　　These designers and brands are leveraging the power of social media and YouTube to raise awareness and share valuable insights on tribal textile culture and traditions.

　　These transfers of textile knowledge are crucial for ensuring the perpetuation of the cultural legacies of the tribesYou will find the Johargram social media platforms discussing how tribal textiles in the state are characterised by the use of red and white colours, where "red" depicts sacrifice and "white" denotes tranquillity. Sahu describes the motifs reflected in Johargram's distinctive products, "If we talk about the motifs of Jharkhand's tribal textiles, these are chiefly inspired by nature. They draw inspiration from our surroundings and day-to-day objects. Some of the motifs which are used are dati (saw teeth), jalri pati (bamboo mat), ipil (star), buruba (mountains), chaapa (bamboo comb), rigdi (raised close by), chuda (mountain height) and machila (short stool)."

　　Similarly, Kandala's posts talk about the Parenga Paraja community of the Koraput region, whose textile colours are primarily white and green, symbolising peace and the environment. These textiles used to be commonly found in daily markets when each community was involved in weaving before fast fashion and power looms became predominant.

　　The Big Picture

　　Indigenous textiles hold great significance globally, as they play a crucial role in representing cultural identity, boosting tourism, driving innovation, and contributing to the creative economy of different communities. However, the knowledge and skills associated with indigenous textile production are at risk of being lost due to various factors, including the detrimental effects of climate change and extreme weather events. This situation necessitates collective action to preserve these invaluable traditions and ensure their continuation for future generations.

　　Upon closer inspection, it becomes evident that the resurgence of indigenous textiles is also an effort to safeguard the environment and natural resources of the region while enhancing the livelihoods of the local community.

　　In most of these textiles, natural fibres from plants and trees are used for spinning and dyeing. Kevisedenuo Margaret Zinyu, a designer based in Kohima, Nagaland, talks about the process of procuring nettle fibre from the Noklak district of Nagaland, a forgotten craft.

　　She founded Woven Threads, a design initiative established in 2014 to encourage women to sustain their roots by preserving the unique weaving tradition. The initiative produces home furnishing products, contemporary textiles, and more.

　　The National Institute of Design graduate, a member of the Angami Naga community, is also a coordinator for the Tribal Design Forum in Nagaland, a community of creative professionals. Her design studio collaborates with cooperative societies and like-minded individuals in sustainable handloom and handicraft sectors, as well as livelihood skills involving the younger generation. She is one of the many designers who ardently emphasise the vital role of imparting textile knowledge and skills.

　　These transfers are crucial for ensuring the perpetuation of the cultural legacies of the tribes. Their designs are not just patterns; they encapsulate narratives interwoven into the fabric, preserving stories and traditions for generations to come.