By Laasya Khandavalli, AIDMI, India

Poonamben belongs to the Chitara family of skilled artisans, engaged in the preservation and practice of a 750-year-old painting tradition known as Mathaji Di Pachadi, which means “behind the mother goddess.” These paintings historically evolved from kandit, or portable idol images, developed when Hindu temples were destroyed during the Mughal period. During British colonial rule, these portable icons allowed people excluded from temples by caste-based barriers to worship at home. Today, these historically rich artworks serve both spiritual and artisanal decorative purposes and are sold to both tourists and institutional clients.

Poonamben’s multi-generational business has remained rooted in local traditions, yet it has also been presented to overseas recipients. Their registered business is well-known to the local Gujarat government, with approved patents for their craft and artwork. Occasionally, the government will commission the Chitara family’s business to present their artwork as gifts to guests, even for such high-profile events like the G20 Summit, which took place in India in 2023. While the Chitara family’s work sometimes receives these large orders, their livelihood remains deeply vulnerable to seasonal weather shifts. Their rooftop workshop is built with stones and a metal roof, with no air conditioning and open windows. Between the occasional commissioned orders, the artisans sell their artwork at street markets to get by. Poonamben reports that her monthly income during uncommissioned work months is around.

The summer heat resulted in long periods of illness for some members of the family. Unable to work, the painters were not able to create many artworks during the summer. This was especially concerning for the family because the dry summer months are their peak season for output. This year alone, they faced a 5000 rupee loss during the summer months. Cotton cloth, the primary raw material on which they create paintings, gets damaged if wet, and the increased humidity affects drying, paint quality, and line precision. These conditions make the monsoon season suboptimal for painting work, hence the dependence on the dry season. Even transitional weather periods cause enough humidity to compromise the artwork. The family is often forced to halt work when members fall sick, such as last year when Poonamben’s father was ill for the entire dry season, severely reducing their painting output.

To cope with these seasonal stresses, the family has adopted a number of heat and weather adaptation measures. The family installed makeshift roof insulation using cardboard, white wash, and green curtain nets to reduce internal temperatures at home and in the workshop. Cotton street umbrellas are used while selling artwork outdoors to protect from direct sunlight. Long-term seasonal planning has proved critical to their business, maximising production during the dry season despite the risks of heat illness in order to build their inventory ahead of the rainy months.

When evaluating the different small businesses and Poonaben’s accounts, a common experience was felt in the seasonal difference between the dry, hot summer and the humid, rainy monsoon. The dry season is physically strenuous but allows them to work more. The monsoon season, although somewhat cooler, often damages goods and significantly limits mobility due to high humidity. This means that for some businesses, such as the Chitara painters, braving the extreme heat is necessary for their business’s survival, regardless of the health consequences. That is why it is imperative to find effective climate adaptation strategies for such small businesses.