Craft Document by akritijain1992

Koyilandy Hookah

Copyright ÂŠ 2016-2017 Student document publication, meant for private circulation only. No part of this document will be reproduced or transmitted in any form by any means without the written permisssion from the publisher and National institute of Design. All photographs and illustrations used in this document are copywrite ÂŠ by respective people and organisations. Written and Edited by Akriti Jain (Lifestyle Accessory Design 2015) Swasti Sharma (Lifestyle Accessory Design 2015) Printed by

Koyilandy Hookah

Documented by : Akriti Jain & Swasti Sharma Guide : Ms. Shimul Mehta Vyas

PREFACE

India has a huge craft heritage, the crafts of India are diverse, and have rich history and traditional value. The craft of each state in India reflects the influence of different empires that had ruled their lands. It shows us the change in eras. Throughout centuries, crafts have been embedded as a culture and tradition within rural communities. These crafts are the cultural heritage of India. This Documentation is just a small contribution made to keep preserving and reviving these crafts, entrust this heritage to coming generations. The documentation follows the Guidelines set by National Institute of design. The purpose of craft documentation is to make students understand the richness of craft and factors, which keep the crafts alive for centuries and how one can keep preserving it. Craft documentation included field visit and intensive research about the craft. The study for this documentation is done on the bell metal craft of â&#x20AC;&#x153;Malabar Hookahâ&#x20AC;? in Kerala. The research was done in Urallur a place in Koyilandy district of Kozhikode in Kerala. It is included in the Arikkulam Panchayath. The research method used in this project was interviewing different people related to the craft and gathering information directly from the sources and drawing meaningful insights. All the information provided in this document is based on the data from field visits, readily available authentic references, books, and internet. We are glad to present you this document for future references for the design and development of the craft.

ACKNOWLEDGEMENT

The completion of this document would not have been possible without the true help and suggestions given by our guides, colleagues, friends and our families. We would like to thank NID as an institute, to provide us with an opportunity to have this experience. We would like to thank Ms. Shimul Mehta Vyas, the course mentor and our coordinator, Mr. Amresh Panigrahi for their mentorship and guidance. We are grateful to our colleague Sanjay Premanand and his family, for their help and hospitality. They made us feel comfortable in their home town Kerala and also helped us in translations. We would like to thank Mr. Thahir Kunhammotty (owner of Capital exports) and his wife for their time and space. A special thanks to all the artisans we interacted with, for their patience and wisdom. After all the barriers of culture and language, they helped us in understanding the intricacy of the craft through communicating with us through different possible ways. Lastly, we would like to thank our families for their constant support and motivation.

About NID National institute of design is one of the premium Design Institutes of India. The institute functions as an autonomous body under the Department of Industrial Policy and Promotion, Ministry of Commerce and Industry, government of India. NID is recognized by the Department of Scientific and Industrial Research under Ministry of Science and Technology, government of India, as a scientific and industrial design research organization. In 2010, Business Week placed NID in its list of top design schools in the world. NID has been making efforts to provide design intervention for craft, handloom, rural technology, small, medium and large-scale enterprises, and outreach programs for capability and institution building and sustainable livelihood, employment opportunities and economic growth. It encourages students to understand the value of craft by introducing courses, which encourages students to interact with artisans and see craft by their perspective to understand the core values of craft, tradition and culture. Students are sent to different parts of India to cover a traditional crafts in form of Document book. This allows young generation to access the traditional knowledge and keep the craft alive.

http://www.nid.edu/Userfiles/links/large/VKS_10171.jpg

About Craft Documentation Craft Documentation is a module held in Lifestyle accessory Design department in NID. During this module student get the opportunity to go for a field visit where the craft is located. The purpose of the field visit is to collect primary data about craft and the craft practitioners. According to the guidelines given, one should cover the making of the craft, the culture around it, and study the lifestyle of the practitioners. In the following Document, bell metal craft of Malabar Hookah making is covered. Malabar hookah or Koyilandy Hookah is famous for its intricate and royal aesthetics. This craft has been practiced for more than 300 years by the Moosari community of Kerala. Due to current scenarios, low awareness about the craft and increasing price of raw material has brought this craft on the verge of extinction. Today, this is the last generation who are practicing this craft. Craft documentation gives students a gateway to have an embodied experience of the environment from which the craft is coming from. This enables students to understand the value of craft and gets an access to the traditional knowledge bank of our country. One understands how credible crafts are. One also understands what factors are affecting the craft and in which way, this informs us about the actions needed to be taken in order to remedy the decline and keep the craft alive. Awareness is very important and to give right awareness to right people is very necessary. This documentation is small contribution towards awareness.

CONTENTS Preface Acknowledgement About NID About craft documentation Contents Chapter 1 : Kerala ..................................................................13 • About Kerala • Kozhikode History Trade settlements in Calicut Arab settlements Koyilandy Crafts village • Crafts of Kerala Kera crafts Nettur-petti boxes Screw pine craft Wood carving Bell metal Crafts Uru crafts Chapter 2 : Hookah ..............................................................27 • • •

Origin The hookah theory Current scenario of hookah consumption in India

Chapter 3 : Koyilandy Hookah .............................................33 • Practitioners • About the traditional process – lost wax casting • Making of Koyilandy hookah Components of Koyilandy hookah Raw material – primary Raw material – secondary Tools Stages of the process Mezhu-pani (wax work) Mann-pani (Mud work) Varp-pani (Casting) Assembly of parts Polishing and packaging

Chapter 4 : The Practitioners ...............................................60 • Export House About Layout of the place The workspace Craftsmen and work division Artisan profiles • Cottage Industry • Current scenario of craft Chapter 5 : The Market ........................................................82 Chapter 6 : Personal experiences and insights .....................86 Bibliography

Kerala

The land of kera or coconut, Keralam, is truly â&#x20AC;&#x2DC;Gods own countryâ&#x20AC;&#x2122;. With its enchanting backwaters and scenic landscapes, it is a land rich in culture and traditions. There is a myth regarding how Kerala rose from the sea when Lord Parasurama threw his axe into it and the sea receded to bring up a narrow strip of land.

Kerala is situated in the south west part of the Indian peninsula, having the Arabian Sea on the west and the great Western Ghats on the east. The land stretches 50 kms north-south along a coastline with a varying width of 35 to 120 kms. The coasts of Kerala are covered by coconut groves, the terrain differs from east to west drastically and the state is divided into three distinct regions â&#x20AC;&#x201C; hills and valleys, midland and plains, and the coastal region. It is one of the most desired tourist destinations of today.

Fig.1.https://en.wikipedia.org/wiki/File:IN-KL.svg

Fig.1. Map of India showing kerala

It has a varied demography with their unique culture and traditions. Kerala is Indiaâ&#x20AC;&#x2122;s most advanced society and clean and very peaceful state. It offers exciting holiday options with specially designed packages that focus on the stateâ&#x20AC;&#x2122;s attractions. The economy of the state shows that both urban and rural areas report asset holdings much higher than that of the Indian average. The State ranks among the top three Indian States. The various industries in Kerala that contribute to its economy are livestock, irrigation, agriculture, fisheries, forestry and wildlife, energy, banking and finance, and migration.

A state noted for its rich culture and heritage, besides having scenic beauty, pleasant climate and rich natural resources. Religious tolerance, cleanliness, simple life and a broad outlook are some capabilities in a Keralite. Kerala has always had contact with the rest of the world for several centuries in the past. The kings and chieftains of Kerala have always provided assistance to people from other lands, not just for trade but also to create settlements and propagate their culture and religion. In Kerala, there is no antagonism between one religion and another. Many churches, mosques and temples are situated adjacent to each other portraying communal harmony.

Fig.2. Calicut Beach

STATE SYMBOLS 1. State Tree - Coconut tree 2. State Flower - Kanikonna (Cassia fistula) 3. State Animal - Indian elephant 4. State fish - Pearl spot fish ( Green Chromide) 5. State Fruit - Jackfruit 6. State Bird - Great hornbill 7. State Seal - The emblem portrays two elephants guarding the state and national insignias. The state insignia is the conch-shell of Lord Sri Padmanabha and the national insignia is the famous Lion Capital.

1. https://shuva.aminus3.com/image/2006-12-13.html 2. https://flowers.bms-systems.info/kerala-official-flower/ 3. https://www.keralataxis.com/wp-content/uploads/2016/01/kerala-elephants.jpg 4. http://b-live.in/2015/08/08/kerala-karimeen-has-kin-in-madagascars-paretroplus/

4 3

5. https://cochinblogger.wordpress.com/2013/07/01/jackfruit-country/ 6. http://www.vedanti.com/News/great_indian_hornbill.html 7. https://upload.wikimedia.org/wikipedia/en/thumb/d/d7/Seal_of_Kerala.svg/512pxSeal_of_Kerala.svg.pngW 19

KOZHIKODE A metropolitan city in Kerala, it is endowed with green countryside, historical sites, beaches, hills and rivers, and wildlife sanctuaries. It has a unique culture and a very friendly ambience; the city of hospitality. Calicut was the capital of the erstwhile kingdom of the Zamorins. Once a known commercial centre, today it is one of the best cities in Kerala. The city of Calicut, the Anglicized form of Kozhikode, is the headquarters of the district which is 38.25% urban. The district of Kozhikode is boarded by Kannur district to the north, Wayanad to the east, and Malappuram to the south. To the west, lies the mighty Arabian Sea. The district is situated between latitudes 11° 08’N and 11° 50’N and longitudes 75°30’E and 76°8’E. The division of the district into 4 Taluks came into effect in 2001. They are: Kozhikode, Vadakara, Koyilandy and Thamarassery.

Fig.3. Vasco da Gama before Zamorin of Calicut by Veloso Salgado

During classical antiquity and the Middle Ages, Kozhikode was dubbed the “City of Spices” for its role as the major trading point of eastern spices. It was the capital of an independent kingdom ruled by the Samoothiris (Zamorins) in the Middle Ages and later of the erstwhile Malabar District under British rule. Arab merchants traded with the region as early as 7th century, and Portuguese explorer Vasco da Gama landed at Kozhikode on 20 May 1498, thus opening a trade route between Europe and Malabar.

Fig.3. https://commons.wikimedia.org/wiki/File:Vasco_da_Gama_entrega_a_carta_do_ rei_Dom_Manuel_I_de_Portugal_ao_Samorim_de_Calicute.jpg

Kozhikode, once a famous cotton-weaving centre, gave its name to the Calico cloth Kozhikode city continues to be a centre of flourishing domestic and international trade. Its contribution to all round development of the district in trade, commerce and economic development over the years is spectacular. Kozhikode city is the marketing centre for commodities like pepper, coconut, coffee, rubber, lemon grass oil etc., produced in Kozhikode and the neighbouring districts of Wayanad, Malappuram and Kannur. Fig.4. Map of Kerala with districts

The history of the district of Kozhikode is inevitably intertwined with the history of the city of Calicut. Called ‘Kalikooth’, by the Arabs, the city was also called ‘Kallikottai’ by the Tamils and ‘Kalifo’ by the Chinese. The term Kozhikode might have originated from two root words – Koyil (palace) and Kota (fort). With a past dating back to thousands of years, the history of Kozhikode is marked by thriving trade relations, poignant invasions and glorious liberation struggles. Its role as a prime trade centre of eastern spices from classical antiquity through the medieval times, earned it the name ‘City of Spices’. By 14th century, Kozhikode rose as the citadel of an independent kingdom ruled by the Zamorins (Samoothiri). Samoothiri is the hereditary royal title used by the Hindu Eradi rulers of a medieval kingdom on the Malabar, part of the present day Kerala. Between 12th and 18th Kozhikode enjoyed the position of a leading commercial centre of southern India. The renowned Portuguese trader and navigator Vasco Da Gama, who headed the trade mission from Portugal, landed at Kappad, Kozhikode in 1498, charting a direct sea route from Europe and heralding a tumultuous period in the history of the land. Later, the Zamorin made a pact with the Dutch to weaken Portuguese power and by mid-17th century the Dutch ousted the Portuguese from the leadership of spice trade from Malabar Coast.

Fig.4.http://www.mapsofindia.com/maps/kerala/kerala.html

In 1766 Hyder Ali of Mysore invaded Kozhikode and captured most of the northern Malabar coast. This led to a direct confrontation with the British East India Company which in turn resulted in four Anglo â&#x20AC;&#x201C; Mysore wars. From 1520 till 1589 the Zamorinâ&#x20AC;&#x2122;s naval fleet was under the Grand Admiralty of the legendary Kunhali Marakkar (Chief of Naval Force) who organized effective naval campaigns against the Portuguese forces. Present day Kozhikode district was among the territories ceded to the British East India Company by Tipu Sultan of Mysore in 1792 at the end of third Anglo - Mysore war. The newly acquired British possessions on the Malabar Coast were organised into Malabar District which comprised of present day Wayanad, Kozhikode, Kannur, Malappuram and Palakkad. The Malabar District was part of the Madras Presidency and its administrative headquarters was Kozhikode. The city also witness to several national movements as part of struggle for indian independence from the british. A branch of all India home rule league founded by Ms. Annie Besant started functioning in the city. Renowned freedom leaders Muhhammed Abhdu Rahiman , K.P.Kesava Menon participated in several national movements. Calicut was also major centre for rising communists party of malabar(1839) and quit india movement 1942. Trade settlements in Calicut Influence of the Muslim culture can been seen everywhere from food to music and even to languages. The residents of Calicut mostly have a good appetite for delicious food. Biriyani is the famous food item for all the people. Sea food is also an integral part of the cuisine as Calicut is near the sea. Arab settlemements The Arabs were looking for new openings and the foundation of Calicut was the answer to their prayers. They were perhaps the first set of foreigners that came and settled in Calicut. Keralolpatti* has a story of 2 rich seafaring merchants from the city of maskiyath in Arabia (perhaps the Muscat of today). Their father sent their elder son to search for a safe port across the Arabian Sea to settle down and start maritime trade. He went to several chieftains and entrusted a huge jar to each of them for safe keeping for a year until he returned. They were told that the jar contained pickles, but it was actually filled with gold under the pickles. When the merchant returned next year to retrieve the property, he found that all his jars except the one he gave to the zamorin were opened and the gold was replaced by pickles. Only the zamorin raja of Calicut was not tempted. Therefore the Arabian merchant decided that Kozhikode was theâ&#x20AC;?city of truth and settled down here.

*The Keralolpathi is a Malayalam work that deals with the origin of the land of Kerala.

Koyilandy is a taluk and a Municipality town in the Kozhikode district in the North Malabar region, state of Kerala. As of 2001 India census, Koyilandy had a population of 68,970. Males constitute 48% of the population and females 52%. Koyilandy has an average literacy rate of 83%, higher than the national average of 59.5%: male literacy is 86%, and female literacy is 80%. In Koyilandy, 10% of the population is under 6 years of age. Economy of Koyilandy revolves around fishing, local businesses and remittance from Gulf. Craft Village An Initiative of Dept of Tourism, Govt of Kerala Sargaalaya, the art & craft village at Iringal is designed as an initiative to put Keralaâ&#x20AC;&#x2122;s traditional arts & crafts on the tourism trail. The craft village is set up on 20 acres of land on the banks of the Moorad River, just 200 meters off Kozhikode â&#x20AC;&#x201C; Kannur National Highway near Koyilandy. The craft village has 27 cottages where, a hundred or even more artisans can work. Apart from showcasing crafts & craftsmen from across Kerala, Sargalaya has a Crafts Design & Technology development centre that provides training for craftsmen on the latest techniques of production & encourages innovation in the traditional system.

Fig.5. A view of the Craft Village, Sargalaya

Fig.5.https://www.thebetterindia.com/wp-content/uploads/2017/03/arun2.jpg

CRAFTS OF KERALA The art and craft of any country or state is a living example of the regions rich past and heritage. Kerala is a treasure trove of the finest crafts that one has ever seen- it touches a nerve chord that arouses your artistic sensibilities Kera Craft (Coconut Craft) Coconut craft involves utilization of all parts of coconut; artisans practice weaving, knotting, carving techniques to make products out of Coconut tree.

Fig.6.Elephant made out of Coconut husk

Fig.7.Coconut Leaf weaved Containers

Fig.9.Utensils fashioned out of Coconut shells and Coconut wood

Fig.8.Coconut shell craft fish

Fig.10.Nettur petti Jewelry box

Nettur petti boxes Nettur petti, the jewelry boxes are a mark of the aristocratic upper class Kerala women. The nettur petti as the name says, was once produced in nettur, which is the region of Malabar near Kozhikode. Production center now include besides Nettur, Trivanthapuram and chakai. Brass work as done on the Nettur petti, is similar in vocabulary and craftsmanship, to highly ornamental brass locks or the chithrazhu, which may be seen on the main entrance doors if many old houses of Kerala.The casket has a pointed top just like the gopuram of a temple and the base is a rectangle that, supports the upper portion and also becomes the storage space for jewelry. Fig.6,7,8,10.http://www.travankore.com/Traditional-Craft/Coconut-Craft-Elephant-Kerala-handicraft|6:30 pm Wed 30 Augâ&#x20AC;&#x2122;17 Fig.9.https://www.swadesi.com/news/wp-content/uploads/2016/06/20.png Fig.11.https://in.pinterest.com/pin/377246906259296617/

Screw pine Craft Women in their homes practice one of the oldest cottage crafts of Kerala, the thazhapaya/screw pine products of daily use. Over 800 years old, this craft. The plant, which grows locally along the banks of the rivers and streams of green plant, peeled into thin strips that are weaved to make products.

Fig.11.Screwpine products

Wood Carving Especially rosewood carving is found concentrated mainly in Trivandrum and Trichur, with Ernakulum and Cochin being the next most important centers. Apart from rose wood sometimeswhite cedar, teak, jackfruit tree wood is used. Sandalwood carving of Kerala is very famous. Sandalwood is used extensively to make religious images, figures in traditional costumes, and animals (mainly the elephant) in the same centers where rose woodcarving is done.

Fig.12.Wood carving Products from Kerala

http://www.discoveredindia.com/kerala/handicrafts-in-kerala/screwpine.htm|7:27pm Wed 30 Augâ&#x20AC;&#x2122;17 Fig.12. https://d3gyiijzpk1c44.cloudfront.net/upload/product_photos/base/0/38/15/original1.2494247.2.jpg|11:27 pm wed 30 Augâ&#x20AC;&#x2122;17 https://c1.staticflickr.com/1/61/160302356_c0b08f2035_b.jpg|11:39 pm Wed 30 Aug 25

Bell metal Craft Moosaris (Traditional Metal smiths of Kerala) specialize in the making of cast bell metal utensils with thick cooking surfaces. Bell metal, an alloy of copper and tin, and has a most attractive surface with an gold tint that does not tarnish and needs no tinning.

Fig.13.Urli (Metal vessel)

Fig.14.Para: a brass utensil used for measuing

Fig.15. Nilavilakku (Malabar Lamp)

Fig.16.Aranmula mirror with brass frame

Aranmula kannadi metal mirror craft An unusual and unique product-the mirror, unlike the other mirror is made out of an alloy of copper and tin, a product of Aranmula in the district of pathanamthitta near Chengannur in Kerala. Mirror is casted using the lost-wax casting process and after applying a metallic powder mixed with special oils. The artisans then laboriously rub the metal with hessian cloth or soft velvet fabric over several days. It is said that artisans stumbled on this technique while they were making crowns for deity .The temple chief was so delighted with this mirror that he included it among the eight auspicious items used to worship.

Fig.13,14,15&16-http://www.cultureshoppe.com|6:55PM Wed 30 Augâ&#x20AC;&#x2122;17

Uru Craft

The name Uru is associated with the traditional ship building culture of Kerala. In addition, the art and science of making these ships came from the Arab world, some several centuries ago. The Arabs called them ‘dhows’ and they eventually became the traditional Arabian trading vessels. Centuries ago, Arab traders traced their way to the spice-scented shores of Kerala. Moreover, after coming to know about the availability of good timber in the forests of Kerala and the presence of skilled artisans in shipbuilding, the Arab merchants began to place orders for constructing dhows to the artisans of Malabar in north Kerala. The tradition of ship building still continues; perhaps not in its original glory, but on a minimal scale.

Fig.17.Uru making culture in Beypore, Calicut

Fig.18. Artisan making a souvenir boat live during the Crafts Village Faur at Sargalaya

Kerala is rich in traditional crafts and villages are their work places. Bare hands and simple tools, shape the things using locally available raw material. These indigenous crafts have been enriched by Kerala’s exposure to art and culture of countries beyond its shore. The coasts of Kerala have been a prime destination for traders from lands across the oceans. Merchants from the Arabian peninsula in particular who had prosperous business relations have greatly influenced the cultural facets of Kerala. They not only bought Kerala’s produce, but also commissioned local craftsmen to make things of their culture. The hookah is one such object of oriental culture.

Fig.17.https://i.ytimg.com/vi/V8lFvE4kWzk/hqdefault.jpg

Hookah

Hookah term originated in an oriental water pipe initially used to smoke Tobacco* or some other substance .Water pipe terminology can depend on regions and includes names such as “shisha” (Egypt, Saudi Arabia),”narghile” “nargile”or “arghile” (Israel, Jordan, Lebanon, Syria), and “Hookah” or “hubble bubble” (Africa and India ). Narghile is from Persian word nargil or “coconut “and in Sanskrit narikera , since the originally nargile was made from coconut shells . “Shisha is from Persian word Shishe or “glass”. In Mughal empire the urdu word huqqa is used (nastaleeq**),Also the origin of English word Hookah.

Origin Hookah is been used to smoke tobacco and other substance for at least four centuries, there are two theories regarding the origination of the Hookah. One is according to (Cyril Elgood) that it was invented by a physician Irfan Shaikh of the Mughal Empire, he was a Physician of Akbar(1542-1605 CE). Hookah smoking has been practiced in India for over 400 years. It was used as a way of reducing potential harm from smoking, on the suggestion of royal physicians, as tobacco was then an unknown substance. In a small bowl at the top, tobacco, flavored with molasses was kept smoldering with burning charcoal. When the smoker puffed on the hookah, the smoke passed down through a tube and then through a jar of water before being inhaled. As the use of tobacco spread in India, the hookah became the most prevalent form of smoking tobacco (also used by some people for smoking opium and hashish). Different forms of hookah were created to suit all social classes. Used by both men and women, the practice of hookah smoking became popular in areas where the Mughals had a strong influence and became a part of the culture. When the British came to India with the East India Company, some of them adopted the practice for a while, for social acceptance, as it was a fashion, until other forms of smoking largely replaced it. Second theory is that it could have originated in Safavid dynasty of Persia The exact date of first use of Hookah Or Qalyan (called in Persia) is not Known, the earliest (1535) literary evidence of the hookah comes in quatrain by Ahli Shirazi, a Persian poet suggesting that hookah was already in use in ancient Persia and soon after that it made its way to India; from where it eventually spread to South East Asia during that time. In 19th century, Turkish women of high class society used hookah as a status symbol. This can be seen in many art pieces of that era. In India, it was tremendously popular especially during the Mughal rule. It symbolizes pride and prestige and was also a part of a lot of customs. Koyilandy, a small fishing town of Kerala is extensively famous for its Malabar hookahs. These are still exported to many Arab countries. The Hookah is not that much consumed anymore by the masses because of the bans implemented by many states and cities in India, especially in Gujarat.

*Tobacco ,which is a generally moist flavoured and sweetened is placed in head of the water. **Nastaleeq is one of the main script styles used in writing the perso-arabic script and traditionally the predominant style in calligraphy.

William Hickey, shortly after arriving in Kolkata, India, in 1775, wrote in his Memoirs: The most highly-dressed and splendid hookah was prepared for me. I tried it, but did not like it. As after several trials I still found it disagreeable, I with much gravity requested to know whether it was indispensably necessary that I should become a smoker, which was answered with equal gravity, “Undoubtedly it is, for you might as well be out of the world as out of the fashion. Here everybody uses a hookah, and it is impossible to get on without it, I have frequently heard men declare they would much rather be deprived of their dinner than their hookah.” Wed 26th ’17 3:32pm https://en.wikipedia.org/wiki/Hookah#India

Fig.19.Row of muslim hookah makers demonstrating various stages in the manufacture of hookahs from coconut shells - eastern Bengal 1860s

Fig.19.Source: British Library (bl.uk) Posted by Old Indian Photos at 10:40 PM http://www.oldindianphotos.in/2011/05/row-of-muslim-hookah-makers.html 31

The Hookah Theory In the water pipe, inhalation of charcoal-heated air is done through perforated aluminum foil separating the charcoal from the flavored tobacco to become smoke; this smoke is sweetened and flavored .other forms of tobacco may contain less sweeteners /flavors and are called Ajami or Tumbak . Smoke travels down the body of the pipe and bubbles through the water in the bowl to cool on its way to smokers lungs. It was believed that the hookah reduced the chemical content of the tobacco by chemicals getting diffused in the water, although there were no scientific approvals proving this theory apart from the fact that smoking tobacco from the pipe made it smoother .which gave the famous misconception that the shisha is filtered due to the water in it, seems to be one main belief justifying it being less injurious. However, it is well known that making air bubbles pass through water doesnâ&#x20AC;&#x2122;t change their content and since the volatile carcinogen of tobacco smoke and other particles will stay within the air bubbles during their passage through water, it does not render shisha any less harmful.

Fig.20.The working of a hookah Fig.20. By tobaccopreventionk12| Published September 24, 2015 |https://tobaccopreventionk12.wordpress.com/2015/09/25/high-numbers-on-hookah-use/hookah1/

While there are only a few scientific studies on water pipe smoking (on contents, delivery, absorption and epidemiology) there are sufficient enough of them stating that this practice is hazardous in nature. The 400 yr old hopeful idea that the water pipe could make tobacco smoking safe has thus been debunked. No doubt should remain that hookah smoking is quite risky in terms of causing addiction to nicotine as well as several illness. - The hookah â&#x20AC;&#x201C;the Indian Waterpipe|Conclusion pg 1322 | by Cecily S. Ray | CURRENT SCIENCE, VOL. 96, NO. 10, 25 MAY 2009

Current scenario of Hookah Consumption in India Although hookah might have originated in India but the cultural significance and societal acceptance is reduced. Government has banned several states and cities for public consumption of hookah. There are frequent raids and according to the Indian govt. the owner and the provider are punished strictly for about 3 years of jail though the costumer is supposed to pay a fine of about 1200INR, personal possession of Hookah and smoking at home is still legal in India.

Fig.21. Modern day electronic shisha

Men and women, especially teens and youth, would do well to keep away from smoking the waterpipe. State and local governments need to be vigilant and prohibit the practice in public establishments in order to protect the youth, who are the main targets. Due to the several studies and awareness amongst people the myths of hookah being safe and less toxic is no more. However, Hookah is still very popular among youngsters and still celebrated in some villages as a symbol of pride and wealth

Fig.21.https://www.eltahan.com/Mya-Bambino-Hookah/2051/

Koyilandy Hookah

Koyilandy hookahs, traditional smoking pipes, of Kozhikode made in Koyilandy were famous across North India, the Gulf and Pakistan. Prepared by Moosari, a coppersmith community, these Hookahs were once considered a pride of Koyilandy. However it is not so any more. But in Gulf countries, Koyilandy hookahs are still very popular as â&#x20AC;&#x153;Malabar Hookahâ&#x20AC;?.

The craft owes it origin to a group of Yemeni merchants who had taken up residence at Koyilandy about 500 years ago. They commissioned the local craftsmen to make hookah, an object of oriental culture. Made by local craftsmen, the Hookah impressed Yemeni traders and soon came to be known as Koyilandy Hookah. Besides being ornately designed with attractive motifs, the Koyilandy Hookahs have a coconut shell as the water holder. Even today, these hookahs are exported to gulf countries. Practitioners The Moosari(Metalsmiths) communities of Kerala have been the traditional smiths, who practiced the profession of melting and creating, materials and utensils in bronze and brass. This community for ages had settled on the banks of the river Nila. With the advent of technology and differential life styles, majority of them moved out of their traditional activity in search of new pastures. They belong to the Vishvakarma community (which comprises of five subgroups - carpenters, blacksmiths, bronze smiths, goldsmiths and stonemasons). More than 500 years ago traders from Yemen in West Asia also came to Koyilandy, and some of them settled here. They engaged local artisans from the Moosari community to make hookahs. These elegant pipes known as Malabar hookahs or Koyilandy hookahs were later also made by the Thiyya castes in Kerala. Once there were about 120 families involved in Hookah making. Today, only six families are left. The craftsmen believe it is very difficult for them to adopt other business as they are in this trade since childhood and picked up the skills from their forefathers. About the traditional process : lost wax casting Lost wax casting also known as investment casting, “precision casting” or cire perdue (French for “lost” or “waste wax”) is a process used to create metal objects in which a duplicate metal object is cast from the original sculpture. It is practiced all over the world and known by various names in various places. This process is practiced for more than 4000 years and has changed very little. Craftsmen in ancient India and Egypt were probably the earliest practitioners. It involves constructing a model in wax or wax-resin combination of suitable thickness, and forming a mold over the outside of the work to be cast .The wax is then drained or “ lost” by heating the entire mold, which is left with a hollow space formerly occupied by the wax. Into the space, the molten metal is poured until it fills the void completely. After cooling, the mold is removed and the casted object is finished with tools.

THE MAKING OF KOYILANDY HOOKAH

Components of Koyilandy Hookah These are the Malayalam names of the parts of Hookah made by the Artisans. Kolyilandy hookah is made in units. These units are later assembled together and airsealed from inside using bitumine. This is the main body of the Hookah to which the the smoking pipe and the bowl for tobacco is later attached. These parts our made by different craftsmen. The wooden cylinderical tube on which the tobacco bowl rests is made out of cocunut tree wood by craftsmen who work on wood. Coconut tree wood has a distinct grain pattern and is easily identifiable.

The Hookah parts are detached and sold and are assembled when in use. This also aids in the cleaning and maintenance of the hookah and ensures compact packing while shipping.

Fig.22. http://www.travankore.com/image/cache/data/H-TRITMP025-545x545.png

The hookah of koyilandy has 5 parts â&#x20AC;&#x201C; the base of the hookah is called Irippu, it holds the body known as thondu. The wooden stem, thandu connects the body to the holder, thattu. Which holds the tobacco for burning. The pipe is the final fitting of the hookah.

Fig.22.Traditional Koyilandy Hookah

RAW MATERIAL - Primary The Following are the primary materials used in the making of a malabar hookah. Most of them are sourced locally. Brass

It is a metal alloy made up of copper and zinc mixture, depending upon the composition in which the brass is made there are various types of brasses and there properties changes depending upon the the amount of zinc and other metals mixed in the copper. Lead is mixed to increase the machinability of the alloy and thus increasing the ease to manipulate the metal in certain ways needed . Types of Brass : • Alpha brasses (copper >65 %, zinc > 35%) • Alpha-Beta brasses (Duplex brasses) (copper >55-65 % , zinc > 3545%) • Beta brasses (copper >50-55 % , zinc > 40-45%) • Gamma brasses (copper >61-67% , zinc > 33-39%) • White brasses (copper >65 %, zinc > 35%) Beta brasses can only be worked hot, and are harder, stronger, and suitable for casting. The high zinc-low copper content means these are some of the brightest and least-golden of the common brasses. (source:Wikipedia) Composition of Brass Metal Alloy used for the craft: Brass =1kg Copper + .9kg Zinc + .05kg lead The Brass which is used for making Koyilandy hookah is Beta brass; Beta brasses have almost equal proportion of copper and zinc and .05% of Lead to increase its machinability. Brass prepared for the craft is molten, and casting is done by the craftsmen. For the preparation of the metal alloy, copper, lead and zinc is sourced from various retailers and wholesalers in the nearby areas or states; as per requirement and convenience. Material Source: Copper and lead is sourced from Calicut city which is approximately 30 km from Koyilandy Taluk(municipality). Whereas the Zinc comes from Bangalore which is a city in Karnataka state but as the material cost less they import it from there.

Mud

Soil used for the craft is brought from the paddy fields in the nearby area. The prime reason is it being smooth and finer than the other soil. This soil is further refined and is mixed with cow dung and clay. This mixture is used in three different coarsenesses depending on the applications..

Also, the mud waste coming from the previously fired pieces after casting are crushed into smaller and refined pieces and then mixed with the soil and clay mixture. This is a way to recycle the waste generated from the processes.

Fig.23.The pit in which the clay soil is is kept

Mud used in the craft:

10 parts of Soil+5 parts of cow dung +2.5 parts clay Material Source: They source the soil and clay form the Chorode village nearly 3km away from Vatakara town situated in Kozhikode district in state of Kerala. Wax

Wax is an organic compound which is malleable in certain temperatures; naturally wax can be obtained by plants, animals and petroleum. Wax is a non-water soluble material but gets dissolved with few organic solvents. There are various types of wax and there properties differ from each other. Paraffin wax is extracted from Petroleum it is an odorless and colorless wax which stays in its solid form and comes in market in chip form and usually used for making candles. Why Pine Resin: The reason for adding Pine resin in the wax is to achieve strength in the structure of wax. This is done in order to provide some flexibility in the wax, hence making it less brittle. As the wax needed for further processing of making molds for casting should not break easily, this is avoided by adding pine resin because it has adhesive properties. Wax used for the craft: Paraffin Wax(1kg) + Pine Resin(350gms)

Paraffin wax is an excellent material for storing heat, with a specific heat capacity of 2.14–2.9 J g−1 K−1 (joules per gram kelvin) and a heat of fusion of 200–220 J g−1. (source:Wikipedia) Material Source: Wax and pine resin both are sourced from the Koyilandy Taluk. Fig.24.Wax pellets and natural resin

RAW MATERIAL - Secondary

Fig.25

Fig.26

Coconut Shells Coconut shells are found in abundance in this kind of geographic location which can be one major reason for craftsmen to choose coconut shells for the water storage purpose in the hookah, the coconuts used for small sized hookah are taken from the farms from the locality. Whereas, the bigger sized hookah requires bigger sized shells, for which the sourcing is done from outside Koyilandy.

Coal Coal used for the process is the natural stone coal which is used for heating. Mostly the coal is used for casting process, where huge amount of heat is required to melt the metals to create metal alloy. For the whole process around 100kg of coal is used in the week. Material source place: Thamaserry a village near koyilandy.

Fig.25. https://thumbs.dreamstime.com/t/coconut-shells-empty-sticked-together-as-decoration-47489138.jpg Fig.26. https://d2e1tbtdbinpro.cloudfront.net/media/articles/pop/coal-01.jpg

Fig.27

Fig.28

Resin Pine resin is used for the coating parts of the hookah to fill any kind of gaps which might come during casting process and also to mix in the wax and bitumen for increasing strength. It is one of the most important material for the process. It is called ‘arakida’ in the local language Malayalam. Resin is usually sourced from the Koyilandy.

Bitumen Bitumen is a petroleum by-product it’s a black colored solid material with high melting point but hardens very quicklys. The bitumen used for the process of making hookah contains powdered coal and pine resin (pitch tar) which acts like a glue. The Bitumen used for the craft: Bitumen + Saw-dust + Powdered coal Material Source: Koyilandy

Fig.27. http://herb.co/2017/03/17/rosin/ Fig.28. https://3.imimg.com/data3/PB/KS/MY-1181328/bitumen-industrial-250x250.jpg 43

TOOLS - Wax work The tools for waxwork mainly include things that help in moulding and do precision work. Most of these tools are made by the artisans themseleves, according to their needs. Some other daily use things are used as a makeshift solution to their requirements.

TOOLS - Metal work Metal working tools are the basic ones that are needed for casting and adjustments. These tools are mechanical and mostly hand tools. Some tools are specially made for their purpose. For example, the hand drill (see figure.30)

Basic tools used with their indigenous names • Hammer – Chuttika • Chisel – Aroli • Tongs – Kodil • Rasps – Aram • Mallet – Mezhumutti • Wax Knife – Mezhukathi • Hand drill – Thamaru • Crucibles – Musha • Wooden moulds – Marach • Harvest Knife – Koduval

Fig.29. some tools used for wax work

Fig.30. Hand drill called â&#x20AC;&#x2DC;thamaruâ&#x20AC;&#x2122; created by artisans for the purpose of drilling tiny holes in the metal for attachment.

Stage 1

The process involving any kind work Mezhu-pani with wax is called ‘Mezhu(Wax work) pani’ in the local language, Malayalam. Preparation of wax and wax moulds is done on a model. Intricate pattern that adorn the koyilandy hookah are made at this stage.

Mann - pani (Mud work) This process involves preparation of mud and clay, and the application of the mud for the casting. It is work involving mud and is called ‘Mann-pani’ in the local language Malayalam. The application of mud is done in 3 different stages with 3 different qualities of mud. Stage 2

Varpa - pani (Casting)

Stage After the mud 3 covered pieces dry, they are fired in the furnace. Molten metal is puored into this void thats left after the wax has melted off. This gives the intricate pattern and the form of the hookah. Casting is a big process and artisans work together and schedule the days for casting in advance.

VARIOUS STAGES IN THE PROCESS

Stage 5

Polishing & Packaging

Then the final buffing and polishing is done during this process. It includes removing scratches and unwanted marks, bringing out the golden lustre of brass and Making the metal body smooth to touch. They are packaged and prepared for shipping.

Assembly of parts The casted metal pieces of hookah Stage 4 are assembled and the various casted parts are fixed together to make the hookah. It also involves reconditioning and sanding of small parts. The coconut water holder is also attached during the assembly process.

MEZHU-PANI (WAX WORK) Preparation of wax is the first step. Gum and wax are melted in 1:2 proportions.

Fig.31. Gum-wax paste poured in urli filled with water to make slabs.

The gum-wax paste is poured through a sieve into a water tray. Water helps the molten paste to condense. Once condensed it is cut into pieces and beaten to obtain thin films for making moulds. The thin sheets of wax and resin are put in hot water so that it softens and aids in creating the intricate pattern of various parts of the hookah.

Fig.32. A wax piece placed in water for cooling..

For this, the film is pasted on the wooden model or marach of each part of the hookah. As per the design, the wax layers are laid securely on the model. Fig.33. Artisan using wooden models to make wax hookah parts.

Various patterns to adorn the body of hookah are obtained using wax film on metal blocks having the required decorative patterns. These decorative cutouts are then pasted on the wooden model. The gaps depending are carefully filled with molten wax.

Fig.34. (left) image shows the lead dies used for making wax pieces with the intricate work. (right) separate wax pieces of hookah joined together to understand how the different parts will be made.

When everything is perfect, the mould is carefully removed. The inner and outer surfaces of the mould are then coated with burnt clay paste. These are then immersed in clay slurry and are kept for drying. Once dried, they give another layer of mud coating before preparing them for casting. 49

MANN-PANI (Mud Work) Mann-panni is the process where the craftsmen apply mud on the wax mold which will be further used for the casting process. It consists of two major steps: • Mud preparation Sourcing Crushing of burned mud molds. Mixing of all the components for final paste Final refinement • Mud coating I coat (most refined) II coat (little coarse) II coat (coarser ) Mud preparation Mud preparation is done by a female worker as women is more tuned and skilled in grinding the mud and also aware how much exactly mud pastes should contain moisture. Mud preparation is done using the following procedure: • The procedure starts with mixing of soil with water to soften the hard mud lumps; the soil is coming from paddy fields nearby the village. • The soil is then converted into fine paste all the big lumps and stones are removed in

Fig.35. (Left )sieve used for mud straining and (right) grinder to refine mud.

• crushed mud is sieved from the sieve and the refined parts is used in the mixture prepared for the coating. • This refined recycled mud is then mixed with soil clay and cow dung water in form of fine dough. Fig.36. Drawing of the hand grinder used for mud preparation. It is called ‘ammi kallu’ in the local language Malayalam.

This fine dough is further refined, using hand-grinder by the women worker. • This fine dough is then used by the crafts to cover the wax mold in the mud paste and let it dry in the natural light under the tarpaulin. • In the following procedure the burned pieces of mud coming after casting is broken and then the burned mud is crushed via machine which is used in flat rice industry the pieces to develop the metal pieces of hookah. •

The dried piece is ready for the second coat.

Fig.37. Artisan grinding the mud mixture for mannpani (left)and flat rice machine used for crushing burned pieces obtained after taking out casted brass pieces.

Mud Coating Mud coating is done in three stages. Every stage the way of preparation and steps involved differ and the fineness of mud changes according to the purpose of the coating. Following are the stages of mud coating. Smooth coating ( Stage I) The refined mud is coated on top of the wax pieces in such a way that the mud reaches in the intricate carved surface, in-turn during the casting process the chances of loss of the intricacy of the work is minimal. The smooth mud coat also ensures that heat is only transferred till the depth its required. Process • The fine dough made by the women worker is then given to the craftsman who will further remake the dough by changing the moisture content as per the requirement. • Then slowly start taking small-small parts of mud rub it with his hand to understand the texture and smoothness of the mud and then applies it to the wax pieces. • Only the parts with an intricate design/ pattern are covered at this stage. • The coated pieces are kept for semi drying in natural light. • The top part of the pieces are attached with an inverted “V” shaped wax piece that will guide the molten metal to flow in the require area only acts like a path for metal to flow. • This “V” shaped wax piece is covered at the second stage of the mud coating

Fig.38. Stage I of mud coating, mud coated pieces and pasting of inverted “V” shaped wax piece using hot knife.

Rough coating ( Stage II) The second coat comes once the first coat is dried up, this coating is less smooth and is applied on top of the first coat. The coarseness will let the heat pass in through and the wax will melt and leave the space for molten metal to settle in the gaps and the metal pieces are ready. Process • For the rough coat the mud used is coarser as this coarseness help the hea travel inside the piece and it’s burned properly. • The coating is done for which the mud paste is liquid and the first mud coated pieces are dipped into this mixed paste and then dried for third coat. Fig.39. Stage II mud coating and drying pieces in natural light.

Fiber coating ( Stage III) This is the last stage of mud coating the mud is the most rough in the last layer contains coconut fibers. Process • The last coat for the pieces is the coarsest this allows maximum amount of heat and also supports the previously applied finer coats which might break in the high temperature. • After the coat is done the coated pieces are dried and kept in attic bellow which casting is done so the smoke helps in fast and indirect drying off. • Then the tip of the mud piece is pierced to make a bowl kind of form on top for easy flow of metal.

Fig.40. Artisans placing row of mud coated pieces on top of passive furnace to dry. 53

VARP-PANI (Casting work) Hookahs are made of brass, an alloy of copper and zinc. To obtain the alloy, these metals are placed in earthen crucibles in the desired proportions for melting. One of the furnaces is filled with the moulds of the body parts of the hookah. The moulds containing the smaller parts of the hookah are placed on top of the wall of the furnace. The moulds are baked on coal and coconut husks till they become red, that being a sign that the wax inside has melted. This is the most crucial stage of making a hookah; the mould should neither be overheated nor under heated. When done, the moulds are taken out of the furnace for casting.

In another adjoining furnace, crucibles containing scrap brass is put and covered with coconut husks. The furnaces are then kept charged for about two hours. Fig.41. (top to bottom) Moulds placed in furnace for burning; burned moulds; mud crucibles with measured ratio of copper,zinc and lead.

The artisans buy old copper vessels as scrap and put them on top of this fire to be heated. Once the copper turns red, they are taken out and beaten down into smaller sizes with a hammer. They are then added to the crucibles in the furnace when the fire becomes white. As the copper starts to melt, it is broken down into smaller parts with the help of metal tongs. They heat slabs of zinc separately in a fire made from coconut husks. Once it starts melting, it is taken out and placed on a damp gunny bag and water is poured over it. It is broken down with a mallet and added to the crucibles in the furnace and allowed to be melted and properly mix. One by one the alloy is carefully poured into the moulds. The artisans take utmost care while handling the hot brass alloy. These are then allowed to cool, so as to make the molten brass acquire the design of the hookahsâ&#x20AC;&#x2122; body parts.

Now, the mud covering has to be broken to take out the bronze body parts.

ASSEMBLY OF PARTS The surfaces are now thoroughly cleaned of dry mud particles and the parts are buffed to obtain their metallic luster. This stage invloves various micro processes to achieve the final Hookah. The following are the processes : Reconditioning of parts Reconditioning involves rectifying errors which have been occurred during the process of casting and the production, usually the errors involve left out spaces and left out metal carvings these parts are then rectified by adding metal plates and hammering of the parts to check the correctness of form and also to remove any left out mud coatings.

Fig.42. Finishing of casted pieces and removal of extra resin from the coated piece

Cleaning on lathe There are two steps on lathe one is done before resin coating to sand and clean the surface of the hookah parts after this only resin coating is done and then second time cleaning is done on the lathe. Application of resin coat The cleaned pieces are then heated and then they are coated in resin powder which melts in high temperature. The extra resin part is removed and then the part is given again for the cleaning by lathe. Resin application is done to fill the negative spaces in the motives of the hookah to give nice contrasting colors and finish to the hookah - the black matiness of resin and shining golden of brass. The resin is put to enhance the intricate pattern and also to seal off any tiny pockets or gaps.

Fig.43. Resin coating and removal of extra resin after coating.

Removal of resin coat using lathe Craftsmen put the job onto the lathe and then remove the extra Resin coat using a blade of the hex saw. The parts are cleaned again on a lathe and put aside for assembly. Attachment of small components Small components made throughout the process are then attached to the other parts using thin (approx. 1mm) of brass wire. A variety of floral cutouts in German silver are fixed onto the body to enhance its aesthetic appeal. This is done by drilling small holes onto the body using a hand drill and the cutouts are attached with brass wire. Fixing the water holder (Coconut) Now, a container has to be made to hold water for cooling the smoke as it is drawn through. Koyilandy hookah makers use coconut shells to make water containers. The hole on the shell serves both as the inlet and outlet for the smoke. The shell container is fixed inside the hookahâ&#x20AC;&#x2122;s lower part with bitumen. The water holder or the coconut is hollowed from top and a small hole is done in the bottom and the coconut shell is then closed by using paper and bitumen to block the openings so that when bitumen coating is done it Fig.44. Pouring molten bitumen to fill gaps and fix coconut shell in doesnâ&#x20AC;&#x2122;t fill the openings. the lower part of hookah. This ensures that there are no air and water leaks in the hookah. The upper and the lower part are then joined together using small pieces that are also fixed with brass wire. 57

Attachment of top and bottom The top part and the bottom part of the hookah are checked if the fitting is proper or needs adjustment. If the two parts are not able to fit properly then the parts are filed and beaten up to fit together. The lower part is inserted into the upper and temporarily fixed. The attachment points are marked on the part that holds both the top and bottom together. After marking, its lightly tapped to seperate the temporarily fixed parts. Holes are made using a hand drill called â&#x20AC;&#x2DC;thamruâ&#x20AC;&#x2122;. The top and bottom are fixed by fixing brass wire and hammering it closed in the matching holes. Bitumen Pouring After the parts, the bottom part(Attached with coconut) and the top part of the hookah are attached together with brass wire. Molten bitumen is poured in and out of the hookah in order to create a layer of bitumen on the inside that seals off any air leaks and openings. This also re-ensures the attachment of its parts. Attachment of the base When the main body of the hookah is done and assembled then the base of the hookah is attached to it, in the base also the legs of the hookah are attached together with the rest of the parts. These are attached by screwing into the threaded holes created under the base. Fig.46. Drawing of the stand of the hookah getting filed after casting. As it is a very small part, it is attached to a tool that acts as an extended handle. Especially used for small parts so the artisan can hold and finish them.

Fig.45. Checking the fitting of pieces; marking points to make holes. pouring bitumen after assembly of hookah; fixing legs in the base of hookah.

While, the assembly of the casted parts happens, the next batch of moulds are mud coated and prepared for casting. They are kept out to dry and are made ready. This speeds up the time taken to make a hookah.

Fig.47. Illustration showing the wax moulds after mud coating, stacked up for the next step i.e. of casting.

POLISHING & PACKING The polishing is the final step in finishing of the hookah. It is done in three stages to achieve the desired feel. Three different metal polishing compounds are used for each stage, each having a different property to enhance. Buffing compounds are made of tightly-sized abrasives held together with glue or grease binders. Different kinds of abrasives are used for finishing various materials such as ferrous and non-ferrous metals, plastic and wood. Buffing compounds are made for the two phases of buffing: “cutting down” and “coloring.” Source: http://www.schaffnermfg.com/buffing-wheel-compound/ 6.1.2017|11:00 pm| Stage one : The first stage of polishing takes out all the undesired marks and scratches from the body. It involves cleaning of extra resin and bitumen coats using kerosene. It is applied using the brush and then cleaned using a rough cloth on the lathe machine.

Fig.48. Buffing compound used for polishing on the hookah.

Stage two : The second stage brightens the color and shine of brass. It involves the application of the buffing compound on the buffing wheel, and then the brass parts are buffed to get the lustre on the hookah. Stage three : The third stage is to provide the surface with a glazed and smooth hand feel. It mainly involves the final finishing of the pieces with another buffung compound and finer smoothening.

The hookah parts are then put into plastic packets which are wrapped in newsprint paper. The parts are numbered accordingly. They are placed into wooden boxes which are stuffed with hay and straw to prevent the parts from moving around in the box and ensure their safety. The wooden boxes are nailed and are covered with jute cloth which is stitched up on the sides. It is palletized and the consignments are made ready for shipping. Size of box is fixed for easy shipping. Usually the number of pieces to be exported depends on the size of hookah in more demand. If, smaller hookah is in demand more pieces can be exported. Each box is numbered and details are written on top. Following is the number of pieces that fit inside one box : • 16” hookah = 8 pieces • 18” hookah = 6 pieces • 20” hookah = 4 pieces • 22” hookah = 3 pieces

Fig.49. (from top to bottom) Hookah Fig.50. Three sizes of hookah - 18”, parts wrapped separately in a plastic bag; 20”, and 22” respectively. Then packed in newsprint sheet and numbered; packed inside wooden crate with hay stuffing; nailed shut and covered with jute; palletized and prepared for shipping. 61

The Practitioners

Demand for the hookah in the market is not as high as it used to be earlier, the past few decades have seen a decline in cottage industries. Currently there are a handful left that struggle to meet the market demands. Which is why some people have developed businesses out of them by establishing export houses, leading to increase in production capacity and the resultant profits.

EXPORT HOUSE Capital Exports are manufacturers and exporters of brass artware and handcrafted hookahs, situated in Uralloor near Koyilandy district of Calicut, Kerala. The company exports around 4000-6000 pieces of Malabar hookah every year to Jeddah in Saudi Arabia. They have a small in-house manufacturing unit in their residential premises. It includes a workshop, a barn for storage and a warehouse for packaging and palletization.

Started out as only exports.

Established in 2001

Cost of Brass = Rs.70 / Kg

Low demand in market

Outsourced product from cottage industries and exported to Saudi Arabia. Slow production in cottage industry. Every year 2 containers shipped. From 2006

Began In-house manufacturing. Hired artisans from cottage industries for production and workshop set-up.

Cost of Brass = Rs.300 / Kg

Price of raw material increased by 24% since 2006

Number of shipments per year became 3. i.e. every 4 months product is shipped. and number of container in every shipment also rose to 3. Number of containers sent every year became 9. with increase in prodution capacity demand grew

Year 2016

* Approximate number of pieces each container has is 1600 (depending on the size of the hookah)

Fig.51. Thahir Kunhammotty (Proprietor of Capital Exports) with wife Shahina, outside their residence.

The company was established in 2001. Till 2006 the product was outsourced from local artisans and cottage industries nearby. As the demand increased, they started in-house manufacturing by hiring various artisans and creating a production line. This helped speed up manufacturing to meet the increasing orders. Now, the outsourcing is only done if the orders are exceeding the amount that can be manufactured in-house. one major change is the price of raw material brass which has increased by 24% since last 10 years. For a 16 inch hookah, 1.7 kg of brass is required. 120 kg of brass is melted every week on the day of casting. Out of which approximately 70 pieces (all sizes) are made. Their 7-8% wastage of brass during casting which is then reused in the next casting day. Name of Export House Capital Exports

No. of labors

No. of pieces produced

10-20

4500-6000

No. of consignments Shipped per year 3

Layout of the place

The Workspace The workshop is built in a form of hut as are mainly seen in coastal areas. It is constructed from cemented bricks with wooden beams for support, the slanted roof is made from brick tiles and it is extended in places with corrugated aluminium sheets. Natural light is the main source of light as the work starts early in the day and ends by dawn, but there are basic halogen bulbs and CFL lights to provide light during late evenings orvery early mornings. The whole space is divided into 14 sections wherein each section is dedicated to a type of activity.

Fig.52. (from top to bottom) Entrance of the workshop during evening; Side view of the workshop from the backdoor of Thahirâ&#x20AC;&#x2122;s residence; Entrance pathway to the export house.

The main workshop area is designed to reduce the heat generated during the process of casting. The open attic helps the rising heat and smoke to escape the workshop and the overlapping roof protects from rainwater seeping inside the place.

Fig.53. Heat escaping through the open attic

The outer space is dedicated for drying the pieces after mud coating in the sunlight and is covered with an opaque blue tarpaulin sheet. The space is fenced using plastic netted fence to avoid snakes and animals entering from the connected jungle. The space is smartly utilized for storing the craftsmenâ&#x20AC;&#x2122;s personal items like watch, tiffin boxes, water, radio etc. A small space is specially dedicated for basic cooking purposes like boiling water. Each space is personalized according to the artisanâ&#x20AC;&#x2122;s needs by the artisan himself.

Fig.54. A makeshift holder made from coconut shell

Fig.55. Various ways the artisans have utilised and personalised their workspaces

The workshop has an extra barnhouse for coconut shells (used for burning ), its a single space with slanted roofs. 69

Craftsmen & Work Division An artisan is born after years of experience, dedication, and hard work. Artisans working in Capital export house are such examples, each of them have learnt this skill when young and have experience of many years working and honing their craft. This craft is a functional product, which leaves no room for errors and they make sure there are none. Craftsman or an artisan (from French: artisan, Italian: artigiano) is a skilled craft worker who makes or creates things by hand that may be functional or strictly decorative, for example furniture, decorative arts, sculptures, clothing, jewelery, food items, household items and tools or even mechanisms such as the handmade clockwork movement of a watchmaker. Artisans practice a craft and may through experience and aptitude reach the expressive levels of an artist. Source: https://en.wikipedia.org/wiki/Artisan#External_links 24.9.2017|12:45 am|

Total number of artisans involved in the hookah making process are 10-12 which includes 1 female artisan. The work is divided according to their specialization in different stages of the process. This helps speed up production and manufacture more in lesser time span. Following is the number of artisans involved in different stages : • Wax work - 3 (includes one who makes the wax pieces, and the other two who make the wax body) • Mud work - 2 (the female artisan is involved in the preparation of mud and the male artisan is responsible for covering the wax pieces in mud and prepare them for casting) • Casting - 5 to 6 (on this day everybody is involved in casting except the ones who work on wax body and polishing of hookah) • Assembly - 3 • Polishing and packaging - 3 Majority of the work is done by men as they are skilled in it and have learnt and practised the craft for generations. 90% of the casting work was done by men as it involved dealing with extreme temperature. Though the woman artisan helped them with small tasks like getting coconut shells for burning from the barn. Her other jobs mainly entailed preparation of mud, as the owner mentions that women are good in grinding and understand the material properties. Thus, most of the time women are only appointed to do the mud preparation. Each artisan is well skilled in all the process but for efficiency, they’ve been assigned specific tasks. All the artisans are treated well without any discrimination. After every succesful shipment they are paid with a congratulatory meal prepared and served by the owner’s wife. The salary of all the artisans is based on the number of pieces they each prepare of the work assigned to them. On the day of casting each of the artisan gets an equal bonus amount in hand.

ARTISAN PROFILES

Balakrishnan cheta Experience : 35+ years He is one of the main artisanâ&#x20AC;&#x2122;s in the workshop. He was mostly involved in the process of casting and worked on the casted metal parts to create the body of the hookah. He also does the bitumen pouring and resin coating. Although all the artisans are skilled to perform any process involved in the craft.

Narayan cheta Experience : 40+ years He is the senior most artisan in the workshop. He is experienced in all processes but works only on creating the wax moulds of the hookah. He is still passionate about the craft and enjoys his work. He has interests in other crafts as well and does pottery and some other crafts as a hobby.

Preman cheta Experience : 35+ years He is involved in casting and the attachments of metal parts of hookah. He is well skilled to refurbish and recondition the hookah parts if there are any damages or compromise in function. His family was involved in the craft and he learned it from his father.

Valsan cheta Experience : 20+ years He is skilled in wax work. This craft runs in his family and he learnt it from his father. He studied and worked as a forest officer for a while due to the adversities faced by artisans practising this craft. After his retirement, he went on to continue his family business and now works in the export house. His children have moved away from the family profession.

Rajeevan cheta Experience : 20+ years He handles the lathe machine in the workshop and is skilled in the processes involving it. He is also involved in casting and assembling of the casted hookah pieces. He does reconditioning of hookah parts and removal of resin on lathe.

Reeja chechi Experience : 5+ years The work dedicated to her is mud preparation. She is skilled in grinding, and knows the proper proportions of the raw materials, used in order to create the right consistency. She also helps out during casting by fetching coal and coconuts for firing the furnaces, shifting of moulds and materials, and any other way she can. She also boils drinking water and makes tea for the artisans and herself. She leaves home early compared to rest of the male artisans.

Shashindran cheta Experience : 30+ years He is skilled in wax work and is also involved in casting. His main job is to make the wax intricate patterns that are assembled to create the wax moulds. He is adept in understanding the required amount of thickness for each piece and keeping them constant with the very basic hand tools.

Chandran cheta Experience : 20+ years He is skilled in mud work and is adept in understanding the strength and delicate nature of wax. He applies the mud coats according to the requirements. His job is very important as it needs to ensure that the intricacy of the patterns are not lost during casting. He is also involved in the casting processes.

Vishan cheta Experience: 25+ years He works on the final polishing and finishing of the hookah. Motorised buffing machines bring out the beautiful golden of brass. He has been working for more than two decades and finds his job satisfactory.

Ram Krishnan cheta Experience : 20+ years He is mostly involved in the process of hand sanding and finishing of small parts of the hookah, like the legs and other parts which require sanding and finishing. he uses hand files and sometimes a vice bench.

Ravi Indran cheta Experience : 20+ years

He works on the final polishing and finishing of the hookah. He likes his job irrespective of challenges faced.

There are two more employees in the export house. They are responsible for packaging and numbering the hookah pieces, and preparing them for shipment.

COTTAGE INDUSTRY A cottage industry is any small business that is run from someoneâ&#x20AC;&#x2122;s home, especially one that involves craft.. An industry in which employees work in their own homes often with their own equipment. The hookah making cottage industry of Peruvattoor in Koyilandy has been there for generations. The number of families involved in the hookah making business used to be around a 150, but now in the current scenario barely 6 families are left. Many craftsmen today are looking for alternatives. There complain is high material cost and fluctuating rates of dollar. Their currrent survival is due to the orders they receive from other big export companies, and the koyilandy society which is established to uplift art and craft of the Kerala state. One of the artisan mentioned how there is no respect for the craft in the society and someone who is doing a less skilled job such as welding is having more reputaion in the society.

Fig.56. (top) Workshop area of craftsmen from cottage industry; (bottom) Family home of the craftsmen.

The cottage industry owned by Narayan cheta and his brother Velayudhan was started by their grandfather. They work along with their cousin Chandran and make around 50 hookahs in 2 months. The manufacturing is slow in comparison to the export house, because here there are fewer number of artisans and there is no division of work amongst them. Each of them make 20 hookahs at a time, from the first stage to the last. They work all day from 6 am to 10 pm in the night. Their children have migrated to other jobs and feel that the family business cannot earn their bread and butter anymore. Their family is one of the few cottage industries left who are striving to sustain against all odds.

Fig.57. (top,left) Narayan cheta - 40+ years of experience; (top, right) Velayudhan cheta - 40+ years of experience; (bottom,left) Chandran cheta - 30+ years of experience.

Fig.58. Flower pot designed by Narayan cheta in order to sustain this craft.

Due to low demand of hookah, they put effort on expanding their product range by creating a flower vase. they understand the changing mindset and increase in awareness about the negative effects of smoking hookah. One major reason is that there own region sees it as a taboo. The cottage industries are surviving on the orders they get from the export companies and by the koyilandy society. Its unfortunate that they are few amongst the last generation who are skilled to do this craft. In the 1977-1980 period, hookah was a thriving business. Almost 90% of the houses and lands in this place used to be owned by hookah traders. Then, an investment of 1200 to 1300 rupees would give around 30,000 to 35,000 rupees in return. Gradually the smiths ran out of work during Saddam Hussein’s rule in Iraq and the Gulf war in 1991. As it affected export of hookahs to west asia. Similarly, during the emergency period in India, the smithies began to suffer losses. Following these, lot of them could not continue the smithies or employ artisans. The hookah craftsmen who did not know any other occupation, found it difficult to do any work other than this in the immediate aftermath of the war. “We are more familiar in closed quarters while other available jobs were to be done out in the sun.” The artisans still continuing the craft feel that the one’s who shifted their fields of work are well off now and the ones who chose to stay back lag behind.

Lot of them who were compelled to shift to other occupations have returned to making hookahs eventhough, they feel that other jobs pay better. “This is an unprofitable work of an artisanal nature and involves a lot of hardship. If you go out and do any other work, you will earn around 500 rupees per day, but not for this craft. but we continue with this occupation because we do not know any other trade.” Traders and exporters place orders with specifications of sizes, and they make hookahs accordingly. On average, a hookah takes almost a week to prepare. Hookahs come in various sizes ranging from 12 to 24 inches and are sold at prices ranging between Rs 500 and Rs 1,500 a piece. The artisans in the cottage industry feel that the demand is there but there is shortage of craftsmen as there are only handful of them left who still continue to make hookahs. They also feel that the middlemen, exporters and traders, don’t pay them well. But they have no other source and are financially unable to look for markets for themselves. Hookah export is witnessing a decline, thus making manufactures or exporters not to forward any big order to these craftsmen. This trend has jeopardised craftsmen’s life. Due to the increasing cost of raw material, many feel that they won’t be able to continue this craft after sometime. They take small loans from the banks to run their business. The cost of raw material is increasing but not the cost of the hookah. There is no assistance whatsoever from the government. Many of them say they would return to the trade if the government subsidises the price of raw materials, a benefit enjoyed by those hookah makers in Moradabad and Iran. The craftsmen feel the only solution lies with including Koyilandy Hookah to handicraft items’ list. Otherwise, the extinction of this famous hookah is not very far away.

CURRENT SCENARIO OF THE CRAFT

Fluctuating dollar rates, instability in order amount, and increase in raw material cost is adding up in favors for the extinction of the craft. The visible depletion of craft can be seen easily in the statistics which shows how 120 families working in the craft have been reduced to 6-7 families and few artisans working for export houses. Narayana cheta, a senior craftsman mentions that they are the last generation working in this craft.

“The famous traditional craft of a small fishing town of Kerala ‘koyilandy villag’ is on its verge of extinction.Artisans associated with traditional hookah industry are facing a major financial crunch after rupee appreciation in international market hit exports. Of late hardening of Indian rupee against dollar has resulted in an exports slowdown. The slump has the artisans worrying, as many of them are associated with the trade since childhood and are solely dependent upon it for their sustenance. According to artisans the lack of orders and artisans are not able to fetch basic need for their families which leading to no other option but to stop the work and opt for some other work.” Source : Excerpt from a web article published by zeenews on their website on 17th June 2007 | http://zeenews. india.com/home/indias-traditional-hookah-industry-facescrunch_377599.html

Though, in Gulf countries, Koyilandy Hookahs are still very popular as “Malabar Hookah.” Manufactures and exporters are facing a tough time after the Gulf war. Huge stocks are lying as waste in godowns in huge quantities. Most of the exporters have either stopped exporting or closed their shutters due to high debts. “Since international trade thrives on dollar, we are also bound to suffer any fluctuation in its value. I keep this going only because it used to be a family business.” The Malabar hookahs, once a thriving trade and export item from Koyilandy to West Asia, are now difficult to find anywhere. Till a decade ago, this region used to teem with artisans engaged in the trade. Not any more. Most of the other manufacturers are either debt-ridden or have closed their shops. They are perhaps the last remaining symbols of Malabar’s once glorious commercial ties with the Middle East, but Koyilandy’s 500-year-old hookahs are now going up in smoke. The high cost of raw materials and a fluctuating dollar have almost stopped hookah exports sounding the death knell of what once epitomised social smoking in the Middle East. 83

The Market

The coasts of Kerala have been a prime destination for traders from lands across the oceans. Merchants from the Arabian peninsula in particular who had prosperous business relations have greatly influenced the cultural facets of Kerala. They not only bought Keralaâ&#x20AC;&#x2122;s produce, but also commissioned local craftsmen to make things of their culture. The hookah is one such object of oriental culture.

The hookah market mostly consists of the export business run by local business persons of the Koyilandy village. These hookahs are mainly exported to the Middle East and Gulf countries where they are famous with the name of Malabar hookah. The major market for the hookahs has been the middle east ever since its inception, 500 years ago. The Malabar hookah is known for its intricate pattern and the coconut shell water holder base with bitumen sealing from inside. The brass gives it a royal feel, which attracts the Arab crowd. The hookah is a great option people commonly choose for gifting purposes. As there is not much awareness and demand in India, the hookahs are majorly exported and not much are manufactured for domestic trade. Every year around 4000-5000 pieces of hookah is exported by a single export company in which ,there are about 3-4 export houses located in Koyilandy including 5-6 independent cottage industries working for these export houses or for retail purposes.

Fig.59. Malabar hookah available for retail at Travancore.com

Fig.60. Malabar hookah available for wholesale at Alibaba.com

Other ways to find the Malabar hookah is to find them on some of the Online websites. Fig.20. http://www.travankore.com/Malabar-Hookah-Kerala-Handicraft-TRITMP025 Fig. http://www.alibaba.com/product-detail/TRADITIONAL-BRASS-MALABAR-HOOKAH_50034244545.html?spm=a2700.9099375.35.5.680e11993LxJ9k

You can also find one in some antique shops in Kozhikode or the craft association of Kerala run by the government. There are many knock-offs available in the market mostly coming from other parts of country. The look is same, but the beauty of Koyilandy hookah is its perfect functioning. Checked by the artisans themselves the major way to identify the original koyilandy hookah is by the intricate motifs on it that date back centuries and have not changed since then. Fig.61. Malabar hookah in an antique store in Kozhikode.

Manufactures and exporters faced a tough time after the Gulf war and during the Indian economic crisis in 1991. Huge stocks were lying waste in godowns. Most of the exporters have either stopped exporting or closed their shutters due to high debts. The remittances from Indians employed overseas also declined, consequent on the war-like situation. Particularly, it impacted economies of remittancedependent States and regions such as Kerala.

Year 1970

There was demand for hookah in the market.

Number of families involved in the craft were around 100.

But after the emergency in India in 1975. The Indian economy was in a bad state. It affected exports, and business became low. Artisans moved to other jobs to survive and gradually their number decreased.

The demand for hookah is less and so is the number of artisans.

Year 2016

Increase in raw material cost is making the business even more unprofitable for the manufacturers. Number of families involved in the craft are barely 6-7.

Craft on the verge of extinction.

Personal experiences and insights

The experience of documenting a craft is incredible; we cannot imagine ourselves stepping into the artisanâ&#x20AC;&#x2122;s shoes. Their skills and dedication towards the craft is phenomenal. By observing an artisan - a person with high skills and experience of many years, we get to learn how humans are capable of becoming a medium to create something so beautiful, all because of practice and passion towards their work.

Kerala, being a beautiful place in itself, is befittingly ‘God’s own country’. The hospitality shown by its people was apt, reflecting the same in the flora and fauna of the place. The place not only offers beautiful landscape but also a vivid culture of food, arts, values and heritage. This craft documentation has been an adventure. Going to a place where you don’t understand the language, makes you wonder how one manages to understand a craft to its core. It was overwhelming at first, but the people of Kozhikode were always helpful and understanding. Their hospitality makes you feel comfortable and at home. It exposed us to new things and open up to more cultures. Kerala is place rich in craft heritage and one of the most delightful thing is to experience it in person. Other than visiting craftsmen for Koyilandy hookah, we visited the Koyilandy Crafts Society where coconut shell cutlery was being made. We saw how they created various things of utility out of so little. We also visited the Craft fair in Sargalaya Arts and Crafts village at Iringal. Where arts and crafts from all over India, and some from other countries were showcased. There were live demonstrations of various crafts by artists. It made one feel special about having to see such beautiful and creative things of different cultures. There were also live performances of classical and different folk dances of Kerala.

The craft has an admirable intricacy and the skill required is unimaginable. Unfortunately, there is no one to value this and now, has only become a way to earn a living for the artisan. The artisans themselves are unaware of the value of their work nor is the exporter aware of the level of skills his artisans possess. There have been numerous reasons cited responsible for the death of the craft, some being the requirement of high skills and interest by the younger generation. Currently, the well-paying jobs do not involve much skill, but is valued. Whereas, the craft that requires hands on work is time taking and a very tedious process, mostly underpaid and undervalued. This discourages the younger generation to continue the craft. The craft, if not valued reaches the verge of extinction taking along with it the skills of an artisan and also his passion and dedication. A crafts and techniques that turns things into something beautiful and functional. One can only hope for people to understand the value of craft, perceive it the way it should be. Craft should be given honor, respect, and its due value., that is the only way for it to survive.

BIBLIOGRAPHY REFERENCES - WEB • Source: http://www.indiamart.com/proddetail/gold-starlustre-9950622488.html | 6.1.2017 | 10:50 pm • Source: http://www.schaffnermfg.com/buffing-wheelcompound/ | 6.1.2017 | 11:00 pm • Source: https://www.youtube.com/watch?v=G6Bxy8bBwzE | 5.1.2017 | Crafts of Kerala 3 - Koyilandi Hookah Uploaded by Mayank Ajugia • Source: https://kerala.gov.in/home | 8.1.2017 | 3:47 pm • Source: http://www.wikiwand.com/en/Koyilandy | 9.1.2017 | 8:21 pm • Source: http://www.craftscouncilofindia.org • Source: https://ruralindiaonline.org/articles/down-to-the-lastpuff/ | published on 30.12.2016 • Source: http://www.indiatraveltimes.com/society/society2007/ society20070611.html | publishen on 12.6.2007 • Source: http://www.andhranews.net/India/2007/June/18Kerala-famous-5017.asp#ixzz4urAKq8nt • Source: http://archive.deccanherald.com/DeccanHerald.com/ Content/Nov192007/national2007111836479.asp • Source: http://www.thehindubusinessline.com/2002/12/30/ stories/2002123000280800.html • http://www.camelcraft.com/kerala-handicrafts.html • https://www.indianholiday.com/kerala/arts-and-crafts/ • https://www.collinsdictionary.com REFERENCES - RESEARCH PAPERS • Source: https://www.jstor.org/ 1. The hookah information extraction system by Chris Barclay, Sean Boisen, Clinton Hyde, and Ralph Weischedel | BBN Systems and Technologies | 12.2.2017 2. Hubble Bubble Trouble : The need for Education about and regulation of hookah smoking by Merlyn A Griffiths,Tracy R. Harmon, and Mary C. Gilly | 12.2.2017 3. The hookah – the Indian waterpipe (CURRENT SCIENCE, VOL. 96, NO. 10, 25 MAY 2009) by Cecily S. Ray | 23.2.2017 REFERENCES - BOOKS • The Complete Metalsmith: An Illustrated Handbook by Tim McCreight • Splendours of Kerala (marg publication) by Mulk raj anand REFERENCES - IMAGE • Pg. 28-29 | Chapter 2 | http://www.smokfroot.com/fyi-usefultips.htm • Pg. 85-85 | Chapter 5 | http://www.arabwaterutilities.org/img/ map.jpg 95