Travel+Leisure India & South Asia talks to cultural role models and philanthropists who are taking steps to preserve Indian heritage through art.
Travel+Leisure India & South Asia joined an exclusive panel of renowned philanthropists, who are fostering social change, to discuss the transformative power and potential of philanthropy in addressing the sustainable practices in art and tourism. Organised by GivingPi – The India Family Philanthropy Network, the evening — called Rendezvous with Philanthropy — was moderated by Tinaz Mistry, Committee Member Jolie’s, and included reflections by Veerangana Solanki, an independent curator.
A Look at How Indian Philanthropists are Preserving Heritage
Yeshwant Holkar
Partner Ahilya Experiences, Board Member REHWA Society
Yeshwant Holkar is a dynamic and visionary leader. Not only is he a partner of Ahilya Experiences, this Indian philanthropist also works to preserve Maheshwari handloom traditions as a board member of REHWA Society and WomenWeave, two not-for- profit NGOs in Maheshwar.
T+L India: Travellers today often seek more authentic and culturally-rich experiences. How does Ahilya Experiences cater to this demand?
Yeshwant Holkar: The experience we offer is to invite guests into our home. Any home is infused with a personality, a philosophy, a way of living. Inviting people to partake in that way of living, and also to connect with the people and history that are integral to their environment, is at the root of an authentic experience.
It is these principals that are behind our organic farm, zero waste water program, plastic negative practices, our Solar Fort (60-70 per cent of Ahilya Fort’s electricity comes from solar) and fleet of EVs (100,00 kilometres per year of zero carbon, solar-powered car transfers for our guests).
T+L India: How do you personally contribute to ensuring authentic and sustainable experiences for travellers?
Yeshwant Holkar: I’d like to think that my contribution to these sustainable practices, beyond getting them going, is to instill a sense of pride and ownership in our teams. My greatest satisfaction is to see the pride and confidence with which Bhola, our Head Beekeeper at Ahilya Fort, explains to guests how vital bees are to the natural environment and how much our garden has benefitted from our 12 bee boxes.
T+L India: Handloom weaving is often deeply rooted in the cultural heritage of a region. Could you share some examples of how handloom traditions have influenced the identity and culture of the places you’ve travelled to?
Yeshwant Holkar: India has arguably the most diverse and widespread tradition of handloom weaving in the world. While not being a subject expert myself, being exposed to the world of handloom through my parents has enabled me to see how intricately it is woven into the culture of nearly every place we have visited in India. In the Deccan, one sees the shepherds of Karnataka and Maharashtra proudly carry their gongadi (a handwoven blanket of corse sheep wool) over their shoulder, ready to shelter under during a storm or lay their head on at night. Handloom traditions are also seen in the multitude of styles and drapes of sarees and ceremonial textiles.
T+L India: Are there any destinations known for their vibrant handloom traditions that you recommend to travellers?
Yeshwant Holkar: Kashmir is a must for the Jamawar; Maheshwar and Chanderi [for their] thriving Handloom clusters.
T+L India: What’s your take on the rise of sustainable and purposeful tourism?
Yeshwant Holkar: We see more travellers appreciating sustainable practices when they travel, and studies show that people are increasingly choosing to patronize destinations and experiences that are more sustainable. We hope that this trend accelerates both in terms of consumer preferences and what is offered by destinations.
Brijeshwari Gohil
VP of Princeps, Founder Bhavnagar Heritage, and Director – Nilambagh Palace
Brijeshwari Gohil has left an indelible mark in various domains. From being the Vice President at Prinseps Auction House & Gallery to consulting for museums and the Indian heritage industry, this visionary philanthropist is a force to reckon with. Armed with a BA in Archaeology and History of Art, she also holds a Masters in Heritage Management and Conservation.
T+L India: Could you please shed some light on the museums that you are currently restoring?
Brijeshwari Gohil: I am currently restoring an old museum in Bhavnagar, which has been in a dilapidated state since a few decades now. The museum is owned by a private trust and all of the work is being taken on by the local people. My aim has always been to work in cultural preservation with and within the community. The museum houses old textiles, beadwork, wooden carvings and artefacts that were locally created many years ago. All the pieces are being restored by our local artisans, while students from various schools and colleges came on board to document and archive. I hope that it become a space which educates and engages visitors with the arts and crafts of Saurashtra, Gujarat and inspires people to preserve, promote and protect these art forms.
T+L India: Can you tell us about your experiences with art during your travels?
Brijeshwari Gohil: My experience with art during my travels has been so diverse and contrasting from a national versus international lens. I curated an exhibition in 2017, titled Nature to Culture. As a part of that, I travelled to various parts of India–like Assam, Karanataka, Gujarat, Rajasthan, Telangana–documenting crafts that were dependent on nature. There is so much diversity within each state and region. From the shitalpati mats of Assam, which are created using raw materials from the local agricultural land to Rogan Art of Kutch, which uses castor oil as a binding agent to create pigments, I believe every part of India has a cornucopia of art that is just waiting to be explored, appreciated and in many cases reinvented.
T+L India: Are there any particular destinations that have inspired your artistic curation?
Brijeshwari Gohil: I admire the way exhibitions are curated and museums and cultural heritage sites are maintained in the West. I draw inspiration from the use of technology, and the way centres and institutions engage an audience to weave a story. But where art, craft, cultural heritage is concerned, India holds the key to creative inspiration. During my recent visit to Agra, I interacted with the artisans working on marble inlay and found that to really inspire me with form, workmanship and design. On the curatorial front, I always draw inspiration from architectural designs and motifs, and textiles with their colours and textures.
T+L India: What are the travel destinations that you think are rich in artistic heritage or cultural significance?
Brijeshwari Gohil: I think every part of India is rich in artistic heritage and cultural significance. There is so much I am yet to explore in Gujarat itself. The step wells of Gujarat, such as Rani Ni Vaav or the less popular Brahma Kund of Sihor, fascinate me. I believe they are engineering and architectural marvels, which if maintained and preserved well can still be of use in helping with the water crisis.
The monasteries and Silk Route trade in Ladakh interest me. They narrate stories of cultural and politics with Buddhist influence. The monuments of Southern India are testimony to our ancient Indian artistic heritage and hold tremendous cultural significance. My favourites would be Hampi, Badami and Mahabalipuram.
T+L India: What is the most significant lesson you’ve learned as an Indian philanthropist, and how has it influenced your approach to giving?
Brijeshwari Gohil: The most important lesson as a philanthropist I believe is to give and contribute your money, time and effort with a cause you genuinely align with. This will keep you going even when you may not see instant results, and the honesty from which that sense of giving stems will inspire more people to do the same.
Sangita Kathiwada
Founder & Creative Director – Mélange, Kathiwada Raaj Mahal, Kathiwada Foundation
Sangita Kathiwada, a prominent philanthropist in the Indian fashion and design industry, opened Mélange, a fashion and design house which provides a platform for emerging designers. She has also established The Morarka Cultural Centre at the National Centre for Performing Arts ( NCPA) and restored the famous Kathiwada Raaj Mahal to convert it into a heritage boutique hotel.
T+L India: What are the key practices that destinations and travellers should adopt to promote sustainability in tourism?
Sangita Kathiwada: As a traveller, every touch point matters– right from carpooling to the airport to using steel bottles for drinking water. Choose digital touchpoints over physical, be it using GPS for directions or not printing receipts at ATMs. Use sustainable clothing like linen which can be used two-three times before washing. Travellers should pack light and reuse clothes wherever possible; smaller loads of clothes for washing result in lesser use of water.
Similarly, for destinations, upcycling and recycling should be at the core of everything. Use local ingredients and local products around the property. Natural alternatives in toiletries like neem combs and infrequent washing of bed linens. Avoid paper pamphlets and have information disseminated digitally at every touchpoint.
T+L India: While restoring the Kathiwada Raaj Mahal, what challenges and obstacles you faced while advocating for sustainable tourism?
Sangita Kathiwada: Conscious consumption is an ongoing practice. When we started out, we had to educate and train the local staff on how best to recycle and upcycle. Similarly, guests who visited our property had to be made aware of all the local gems that were incorporated into our experiences at Kathiwada Raaj Mahal. The soft furnishings used on the furniture around the property are made from upcycled handlooms. I’ve repurposed old heirlooms and furniture for contemporary requirements, and not created a carbon footprint by importing. We empowered the skilled locals of Kathiwada by using their local talent and not outsourcing the same.
T+L India: What is the most significant lesson you’ve learned as an Indian philanthropist, and how has it influenced your approach to giving?
Sangita Kathiwada: Small actions by individuals can have a large impact. Philanthropy can be done across any sector, including the arts. You don’t have to be an industrialist and banker to get funding to do good work. Along with our storytelling and romance of the handmade, we should bring to the forefront the intrinsic value of raw materials and man hours. We should spread awareness about the labour-intensive process and why should you pay INR 30,000 for a handloom saree instead of INR 3,000. By bringing this to the forefront, art will have its own merit and will not depend entirely on external funding. When we make artisans our partners in the process, we won’t be patronising. [We will] become true patrons.
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