The Paradox of GI Tagging: Exploring Warli Art’s Commercialization, Its Implications for Tribal Upliftment and the Role of Indian Knowledge System

Abstract

The Government of India brought in the Geographical Indication Tag into force in 2003 to protect the distinctive products of India within the nation. This was in view of the various unique methods of creating a product or an artform which has been passed down over decades within the family or a community. It primarily includes crops, textile, artforms, toys etc. The Darjeeling Tea from West Bengal and Alphonso Mangoes from Maharashtra to name a few have benefitted out of it immensely. But there is a flipside to it as well, noting the number of these GI tagged products losing its authenticity and uniqueness.

Warli art is the quintessential element of the tribal knowledge system, geographically located on the northern outskirts of the Sahyadri Range in Maharashtra, India, specifically around the districts of Thane and Palghar. It comprises geometric figures used to form various shapes. These paintings depict different scenarios, events, or human activities such as celebrations, animal husbandry, pottery, hunting, etc., which are symbolic of the tribe’s oneness and uniqueness. Tarpa, a peculiar instrument popular in this culture, is also depicted in the paintings. Ti is generally drawn on walls and windows of the houses celebrating any festival or a marriage (Lagna Chawk and Dev Chawk). The background is of red-ochre shade generally made of bark and brick powder on which the figures are drawn in white which is made of rice powder and gum. Bamboo sticks are chewed at one end and used as a brush for this. These paintings majorly show men and women intertwined and dancing symbolic to uniqueness and unity.