Pampa: Textiles of Karnataka – A Curatorial Homecoming to the Region’s Resilient Craft

Lavina Baldota could easily be considered a global curator, but it is in Hampi, her “karma bhoomi”, that she has come full circle.

 Her curatorial journey began in 2019 with 'Santati Mahatma Gandhi: Then.Now.Next', marking Gandhi’s 150th anniversary. This was followed by 'Sutr Santati' (2022–2024), 'Khadi a Canvas' (a tribute to Raja Ravi Varma), and 'Stambh' (a contemporary exploration of Indian craft through functional art). Her work has taken her across India and to Melbourne, but 'Pampa: Textiles of Karnataka' marked a return to the region where it all began. 

 

Mayank Mansingh Kaul, her co-curator and friend, recalls, “After 'Sutr Santati', I asked her, ‘What’s next?’ She replied, ‘It’s time to create something that announces my coming home, especially with Baldota Foundation’s work in the Hospet-Hampi region.’”

Baldota’s ties to the region run deep. Thirty years ago, she moved from Bombay to Hospet, near Hampi, after marrying Rahul Baldota, joint managing director of the Abheraj Baldota Group, founded by his grandfather, Abheraj Hirachand Baldota, a freedom fighter and Gandhi associate. As CSR head, Baldota leads initiatives such as tree planting, school foundations, and promoting ecological balance and community welfare across 24 villages.

 

This sense of calling inspired 'Pampa: Textiles of Karnataka', an exhibition that blends Baldota’s curatorial knowledge with a community-driven approach. Collaborating with Kaul, Pragati Mathur, Nupur Saxena, and Priyaa Saxena, Baldota sought to capture the full scope of Karnataka’s textile traditions, something few exhibitions have done before. “Unlike 'Sutr Santati', which offered a broader perspective, curating Pampa was much more immersive,” she says. “It allowed me to connect directly with textile clusters, and as I delved deeper into the project, it became clear that if I didn’t act soon, much of what remains could be lost. There was a real urgency.”

A Gathering of Craft, Culture And Community

 

'Pampa: Textilesof Karnataka' found its home at the Mantapa Photo Exhibition Centre in Hampi, a UNESCO heritage site. The centre’s towering pillars and intricate stonework set the stage, standing as silent sentinels to Karnataka’s textile legacy.

At the entrance, two displays captured attention: a hand-embroidered banner by Sandur Kushala Kala Kendra, celebrating local craft, and an installation by Pragati Mathur and Mitesh Palrecha, Fire, Water, Earth, Air, Ether, Sun, Moon, and the Stars, evoking the essence of Hampi and Lord Virupaksha (Shiva) through Mulberry silk, desi cotton, wool, and pure zari. Inside, Lord Virupaksha hovered in the Nayaka kalamkari mural, designed by Vipin Das and crafted by Aksh Weaves with local artisans.

 

 

Baldota explains, “Pampa, the ancient name for the Tungabhadra River, symbolises Hampi's sacred roots. It’s also an epithet for Devi, the goddess of the divine feminine. This exhibition embodies the convergence of cultures, reflected in local crafts like Lambani and Kasuti embroidery, and Siddi quilting. These crafts, practised by women, serve as a unifying language, celebrating the intersection of craftsmanship, spirituality, and unity.”

From Looms to Life: A Tapestry Of Karnataka’s Textiles

 

“We didn’t want this exhibition to feel like a formal conference,” says Kaul. “We envisioned it as a bheti—a gathering for connection and exchange.” The exhibition told stories of how textiles shape identities, from elite patronage to agrarian and nomadic communities. Baldota adds, “Karnataka’s textiles deserve greater recognition. We’re building a ‘seed collection’ for future work.”

 The exhibition focused on the handmade, hand-patterned textiles of Karnataka. It featured both original pieces and reproductions from public and private collections, with contributions from patrons like Uma Rao and Pavithra Muddaya of Vimor.

 

In effect, it was a collection of 108 stunning “textile windows,” bringing to life a daydream from glossy magazines. Informative and beautiful, it was always—some might say excessively—elegant.

Sarees from Ilkal, Mysore, Gajendragarh, Udupi, and Gulgedgudd, along with Kasuti embroidery, Kambli wool blankets, sacred Buddhist textiles, and Navalgund durries, showcased the authenticity of Karnataka’s textile traditions. “A 150-year-old Molakalmuru weave, reproduced by master weaver Manjunath, promises to revive traditional craftsmanship,” Mathur adds.

The exhibition contrasted royal patronage—garments reflecting Mysore’s courts and the Coorg community—with rural traditions, such as handwoven lungis and towels, highlighting Karnataka’s role in the Khadi movement, which produced India’s national flag.

 

Khann textiles, known for intricate brocading, evolved from blouse fabric to contemporary favourites, partly due to mediations by designers like Geeta Patil of Kubsa, who pairs Khann with Ilkal sarees. “It’s crucial for artisans to adapt to modern tastes,” says Baldota.

 

Kasuti embroidery, once a domestic craft, has become an industry. Asha ben Savla, who has perfected Kasuti over 40 years in Hubli, contributed a replica of the Chandrakali Ilkal saree, believed to have been made for Indira Gandhi. 

Textile designer Gaurang Shah’s collaboration with Banjara artisans near Hyderabad demonstrates how traditional techniques can evolve. “When the right people with the right intentions get involved, we see real value,” Baldota says. She also highlights contemporary works centred on textile traditions by Chanakya School of Craft, Julie Kagti, and Jason Cherian."

Reviving Karnataka’s Textile Tradition for the Next Generation

 

Despite its success, the exhibition, which could have run for a month, closed on March 11, barely two weeks after its opening. For Baldota, 'Pampa: Textiles of Karnataka' is only the beginning. “This is an ongoing initiative to highlight Karnataka’s textile legacy,” she says.

The exhibition was more of a survey than a scholarly endeavour, designed to be local and accessible. “We had buses full of weavers, artisans, and schoolchildren. It’s been rewarding to see how it inspired them to explore new possibilities in their craft and appreciate textiles from the ground up,” Baldota shares.

 

Looking ahead, Baldota plans to take Pampa to cities like Mysore and Bengaluru. “The goal is for the state to recognise these textiles’ significance, with state museums playing a key role,” she says. Future versions will feature commissioned pieces, evolving from a directory into a conversation with contemporary sensibilities.

Her ultimate aim is for the exhibition to resonate with today’s generation. “I want the children of these communities to reconnect with their ancestral craft. Even if they don’t pursue it professionally, they should appreciate its value and take pride in it, keeping that connection alive.”