Handloom has a special place in India’s textile heritage, not just for its timeless beauty but also for the generations of weavers who have kept these traditions alive. Among those weavers is Murakala Nataraju from Alikam village near Srikakulam, Andhra Pradesh, who has made the Telugu states proud by receiving a National Handloom Award during the 12th National Handloom Day celebrations from the President. A fourth-generation weaver, Nataraju has spent years preserving traditional techniques while introducing contemporary motifs and designs to Srikakulam’s distinctive handlooms. During his recent visit to Hyderabad, CE caught up with Nataraju for a conversation about his journey, craft and efforts to inspire the next generation of weavers.
Excerpts
How does it feel to receive the National Award?
This award is because of everyone. It is not only my work but also the effort of every person who has worked with me. The appreciation and recognition I received encouraged me, and the National Award has taken that recognition further. I hope this award inspires more people to come forward and learn this skill.
How did your journey begin?
Weaving is a skill that was passed down to me by my grandfather. As far back as I can remember, we were weaving. We would wake up around 3 am, work on the looms and then go to school. The clothes we made were often what we wore for festivals. This was our livelihood, and if my grandfather could not weave, there would have been nothing left for us. My father never allowed us to see the difficulties he faced as a weaver. Today, around 250 people work with me and earn their livelihood through weaving. We regularly come to cities and participate in exhibitions to showcase our work. In Srikakulam, with the guidance of Ramesh Ramanatham, we have also started working with red cotton, with around 40 people currently involved in it. The Weavers’ Service Centre appreciated my samples and recommended my name for the National Award. That is how my work received recognition. I have also worked on ‘Jamdani cotton Kandi’, a weave associated with Srikakulam that has gained recognition beyond India.
Tell us about the weaves and techniques you work with.
The technique we learnt from our grandfather initially involved weaving dhotis with traditional boti work. With our generation, we began experimenting with flower and tree motifs. Gradually, we adapted these designs to Jamdani weaving, and that work became one of the reasons I received the National Award. For me, the idea is to create new trends in design while retaining the techniques and essence of traditional weaving. Jamdani cotton and Khadi have value and recognition across the world, so being recognised for this work makes me extremely proud and happy.
How do you hope to inspire the next generation?
Many traditional skills that are slowly disappearing are now being practised by only a handful of people. There was a time when families believed weaving was not a viable profession and encouraged their children to take up other forms of work. There were also social challenges. In some communities, men who worked as weavers found it difficult to find marriage alliances because the profession was not considered financially secure or prestigious. The income from weaving was also very low, which pushed many people away from the craft. Things are gradually changing as people understand the value of handloom. This National Award is also an inspiration for the younger generation. Many people are continuing to weave simply because they do not want this art to disappear. They want to carry it forward, and I believe this skill can live on through the recognition and encouragement that the award has brought.
How do you want to take the weave forward?
I want to provide training, particularly to women, and I have already been training them without charging a fee. For the next generation, especially in Jamdani weaving, we need more support and encouragement. If people support these traditional weaves, they can attract younger generations and create more opportunities for those who want to learn the craft. My aim is to ensure that this artwork does not become a thing of the past, but continues to live through the next generation.