Chirakkal weavers society by Devi Mahesan

National Institute of Fashion Technology, Chennai Year -2016

CRAFT CLUSTER DOCUMENTATION ON

CHIRAKKAL WEAVERS SOCIETY

Documented by: Devi Mahesan Gopika M R Nandhini

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Study and survey of the Craft and Documentation Name of the Students: Devi Mahesan Gopika M Nandhini R Centre name : NIFT, Chennai Copy right @National Institute of Fashion Technology, Year - 2016 All rights reserved: no part of this book may be reproduced, stored in retrieval system or transmitted in any form by means of electronic, mechanical, photo copying, recording or otherwise without prior permission from National Institute Fashion Technology, except by a review/reader who wishes to quote brief passage in connection with a paper review/essay written for inclusion in a periodical, newspaper or broadcast. Faculty guide/Mentor (s): _____________________________

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ACKNOWLEDGEMENT Every project big or small is a cumulative effort of a lot people. Each element of this project would not have been possible without them. We take this opportunity to thank everyone who helped us through the course of this project. Firstly, we would like to acknowledge and appreciate every member of the Chirakkal Weavers society, who were warm hosts and preceptors. They made our stay and learning process a wonderful experience,that would be etched to our heart forever. We would like to show our gratitude to Dr. M.K. Gandhi who through his valuable comments and support guided us in the completion of this project. We would also like to thank Mr. B.Karthikeyan , Cluster Initiative Coordinater, NIFT Chennai who gave us the perfect environment and orientation. This project would not have been a reality, if it wasnâ&#x20AC;&#x2122;t for a few individuals who took their time off their busy schedule to help us through. We thank Mr Sarngadharan, C.D.E , Chirakkal Cluster and Mr. Shaji, Secertary Chirakkal Weavers Society. We are extremely grateful to Mrs. Ambika V G and Mr. Sujith who were patient with us and guided us through the cluster.

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Fig. 1 : Checkered fabric being woven

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PREFACE India is a vast country, with every region

having their own share of crafts and tradition. However, many of them have been neglected for years now and the wrath of time has slowly started taking a toll of these crafts. One such cluster, which has been present for ages, which has slowly started to succumb to the present scenario is Chirakkal Weaving. The weaves, looms and patterns made here are unique to the region. Years ago fabrics woven out of looms having 12 and 16 pedals existed here. But today, a time has come where it is nearly impossible to even find a swatch of the same. The number of weavers has reduced drastically due to the shortage of work. The products made here are peculiar. The satin bed sheet is extremely famous for its weave, colour palette and quality. Other products include veshtis, kaavi mundus and kitchen linens. The market for these has been really low due to high competition from power looms. The stock has not been moving and hence the production has reduced. The marketing segment doesnâ&#x20AC;&#x2122;t have great impact on the consumers. Only very few people even from within the vicinity uses handloom products. Many products are traditional and not up to the trend forecasts. After studying about the present scenario and markets, design intervention has been carried out. It has been done in such way as to help them both at fabric level and at product level. Effort has been taken to document every process and related details about the craft.

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Fig. 2 : Dyed yarns kept for drying

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CONTENTS 1. Introduction 2. India a) Handlooms in india 3. Kerala a) Handlooms of Kerala 4. Kannur a) Theyyam b) Parssinikadav 5. Chirakkal a) Region, people and religion b) Folklore academi 6. Introduction to cluster a) Route map b) Floor map c) Origin and history d) Raw materials e) Tools and equipments f) Countermatch loom g) Working of the loom h) Jacquard loom i) Pit loom j) Process k) Product l) Present day scenario m) Artisan’s profile n) Artisan’s analysis o) Challenges faced p) SWOT analysis 7. Design intervention a) Market study b) Markets available c) Brand study i. Hanveev ii. Fabindia iii. Jayalakshmi d) Consumer analysis e) Analysis

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11 13 15 17 19 21 23 25 27 29 31 33 35 37 39 41 43 50 53 55 57 59 73 77 79 96 100 101 103 104 105 106 107 108 109 111 113

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Thulya i. Introduction ii. Mood board iii. illustrations iv. Specification sheets Weaving exploration

8. Experience 9. Glossary 10. Bibliography 11. Annexure – i 12. Annexure – ii 13. Annexure – iii 14. Annexure - iv

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115 117 119 121 123 135 139 147 148 150 153 155 157 158

Fig. 3: Yarns on loom

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INTRODUCTION Antiqueness. Exquisiteness. Authenticity. Embracing the essence, vocalizing

the history, capturing the present, savoring the dedication and breathing the cultureâ&#x20AC;&#x201C; The Indian handicrafts endures. The crafts of India have a history that dates back more than 5000 years ago and has one of the finest craft traditions in the world. Not just rich craft tradition, but also technical efficiency was seen in the pottery, sculpturing, jewelry making and weaving realms way back during the Indus Valley Civilization. And they did not limit their affluence to themselves; they traded their astonishing range of merchandise with the outside world. With every era that passed by, the craft treasury of India became bigger and better. The Indian handicrafts list is extensive . Kalamkari, madhubani paintings, mirror works, block printing, authentic varieties of embroidery, temple carving, jewelry making are

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just a few to name. The crafts are deeply associated with region, religion and the culture of craftsmen. Each state of India exhibits a diversity of designs, producing distinct textiles and crafts indigenous to the region. Since time immemorial, the hand woven fabric of India has been famous. The Rig veda has accounts of the weaving practices. Words like baft hawa (woven air), abe rawan (running water) and shabnam (morning dew) were repeatedly used to praise about the quality of Indian textiles. Each region has a design directory specific to the area, which has been enhanced by years of expertise and skill of the craftsmen. The Bansari sarees, Kanchipuram sarees, shawls of Kashmir and Kullu are all proof of the magnificent textiles India produces. However, the journey of the Indian crafts has not been a smooth one. From weaving for the royal patronage, to working under the British in forced condition to partially losing the essence of their craft to the modern times, they have seen it all. But now, it is time to take a call, to save our heritage or to let it become our history.

Fig. 4 : Indian dance form - Kerala nadanam source: https://medicaltourisminkeralaindia.wordpress.com/tag/art-cultural-tourism-in-india/

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INDIA As the history of the world went on,

many civilizations rose and fell, and some of them ceased to exist. But there was one country, who built on each of these civilizations, chose to absorb the best. The spirit of India remains eternal and invincible, unaffected by the assault of time and all the hardships, come and gone. Indus valley civilization, The Aryans , The Mughals, The Rajputs, The Peshwasâ&#x20AC;Ś The list of invader that attacked India is long.. But it was impossible to crush the indomitable soul of India India is the seventh largest country and second most populous country and has the best and biggest democracy. India has 29 states and 7 union territories. It has a multi-lingual and multi ethnic society. Surrounded by Bay of Bengal on the east, Arabian Sea on the west and Indian Ocean on the south, India forms a peninsula. India is home to an extraordinary variety of climatic conditions,

making generalization difficult. The temperature in Leh might be as low as 12 degree, while Rajasthan experiences a scorching temperature of 49 degree. Everything about India is a reason to rejoice, be it the huge variety of foods, colors, architecture, terrains or wildlife. Even in the 21st century India is rooted deep in traditions. The past and present co-exist.

People forget the social barriers and come together to celebrate. There once existed a time when India clothed the entire world. The textiles produced by India were of the finest quality and was an inspiration to many a foreigners. Even today the shawls and sarees of India are world famous. Their design directories are unique and classy. Handloom is one of the most important ancient national traditional industries of India. Historians consider India as the birthplace of cotton. In the current scenario, only roughly 18% out of the textiles exported by India is hand-woven. This is an alarmingly low rate compared to the history we hold.

Religion in India is more than a belief; itâ&#x20AC;&#x2122;s a way of life. Several religions and castes exists India and India alone is the birth place of few religion like Hinduism and Buddhism. These religions exist side-by-side and have evolved together for thousands of years. Differences do arise at time, but at the India finds peace in chaos and beauend of the day, humanity rises above ty in distress. A land of faith, thought and contrast. India is vibrant, natural, all. vivid and tolerant. All of these build its India is known for the festivals. They foundation for being as incredible as celebrate the very essence of life it was, is and will always be. and are all about lights and colours.

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Fig. 5: handlooms in india

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HANDLOOMS IN INDIA Such is the history of weaving in India,

fine zari and silk thread. Owing to the Mughal influence, it has an intricate , three- dimensional and dense patterns. One of the types of Banarasi includes Khimkhwab (Woven dreams) which are sarees that have heavy borders with more zari visible than the underlying cloths.

that fragments of woven cloth were found from the sites of Egyptian excavations. Due to the hot, moist climate and the existance of monsoon, not many fabrics of the earlier times survived the wrath of time and climate. However, evidences from Cairo, Egypt of a fragment of cloth with a hansa (swan) proves that India was a famous textile The Baluchari sarees are woven in Murshidabad, West Bengal. Traditionexporter back in olden times. ally, the naqsha jala looms were used The handlooms of India produce prod- and Moghul and early British era was ucts that are rich in quality and aesthet- used as inspirations. They are known ics. Weaving in India was basically of for their choice of motif and intricate three types; the rural, the classic and weaving techniques. Silk is used inthe tribal. The rural weaving started as stead of zari.The motifs are outlined a way for obtaining fabric for their per- by white and these are two-toned sasonal needs. The classic weaves were ree- that is the warp and weft are of used by royalty, was intricate and cost- different colours. Three components ly. The tribals used simple looms to pro- adds up to create the uniqueness of duce desired fabric. As the needs for the saree â&#x20AC;&#x201C; zamin, border and pallu. each section were different, so were The zamin is normally plain, with butis their looms. A wide range of looms were or wavy or stripped patterns. The borused from early days. Pitlooms, the Naq- der generally has floral patterns. The sha Jala looms, frame looms and back- attraction of this saree is the pallu strap looms are few to name. Irrespec- which has elaborate designs. tive of which loom was being used, all of them produced fabrics that was unique The world famous Kanchipuram saree is one of its kinds and is woven on the to their regions. country jacquard or adais. The body Master weavers called Naqshabands and border has contrasting colours had migrated from central Asia and and high denier silk yarns are used. settled in Varanasi and went on to be- Zari threads are used for supplementcome a special class of master weaving warp and weft patterns. The borers. These weavers used the Naqsha der is created using the interlocking Jala looms to weave the elegant and weft technique called Korai whereas, ravishing Banarasi sarees. They used the end piece is made by the Petni NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

technique, where the warp is cut and retied to attain a different colour for the border. These are just a few techniques to be named. The handloom spreads all across the country. The Madras checks of Tamil Nadu, bandhani from Gujarat, Daccai from West Bengal. The unbelievably light and warm Pashmina and Shahtoosh shawls are a trade mark of the Kashmiri weavers. The ikat process, the weft, warp or both yarns are tie-dyed so as to create designs while weaving. Ikats can be found in Andhra Pradesh, Orissa and Gujarat. Assam is the home of eri and muga silk. The designs used in these weaving are mostly geometric indication of the nature and are typically red and white in colour. Assamese weavers produce beautiful designs on the borders of their mekhla, chaddar, riha (traditional garments used by the women) and Gamocha, which have minimalistic motifs. Amongst various others, handlooms are one of the treasure that Indiaâ&#x20AC;&#x2122;s past has left us with. The handloom industry suffered a lot due to new technologies, that led to drop in handloom products. Even though many efforts has been taken up, the industry still struggles. The fate of this long preserved crafts lies at stake today. 17

Fig. 6 : Kathakali Source: hhtps://www.mapsofindia.com/my-india/travel/explore-exquisite-performing-arts-at-the-kerala-kathakali-centre

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KERALA With

backwaters and beaches, tropical greenery and a culture to behold, along the Malabar Coast of India lays Kerala. Called God’s own country for all the right reasons, the very name brings in the images of rich heritage and tradition ranging from the narrative kathakali to the majestic snake boats ;the beautiful kasavu saree clad women to the extravagant Thrissur pooram; with a history that dates centuries back, to the face of the youth today, the list can be endless.

ranean and Red Sea ports. Kerala did not always exist as we know it today. The land was divided between different dynasties like Travancore, Chera and Samoothri. On November 1 of 1956, the present day Kerala was formed after the districts of Kasargod and Malabar joined along with the state of Travancore and Cochin. Every year November 1st is celebrated as Keralapiravi, Kerala’s birthday.

Kerala celebrates an array of festivals. Apart from celebrations for festivals like Christmas and Eid, most of the temples and churches have festivals of their own. However, Onam, the harvest festival is the most proclaimed festival, which is deeply rooted in Hindu myths. Asura king Mahabali ruled the land of Kerala years ago. During his reign, the land’s prosperity grew no bounds. Fearing his power, the Devas approached Lord Vishnu who incarHowever, carvings in the Edakkal nated in his fifth avatar, Vamana and caves from the Stone Age era fea- send him to rule over the netherworld, turing pictorial writings are believed Pathala instead. However, his wish to be from the Neolithic era around of visiting his earthly subjects once a the 5000 BC. “The Garden of Spices” year was granted. The famous vallam had established itself as a major spice kalli (snake boat boat race) are also trade center from as early as 3000 BC. conducted during this time. It had direct contact with all Mediter-

The history of Kerala has been cloaked under myths and conjectures. Lack of written accounts has led the historians to have different opinions about the history of ancient Kerala. Legends go by that Keralam was formed when Parashurama, the sixth avtar of Lord Vishnu threw his mazhu, axe across the sea, and the water receded as far as it reached.

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Images of kathakali and mohiniyattam runs to the minds of art enthusiasts at the mention of the state’s name. Thiruvanthira kalli, margam kalli, oppana, ottamthullal, chakiyarkuthu are just a few to name. Kerala experiences a wet and maritime tropical climate. Kerala is bestowed with a pleasant and composed climate throughout the year. Monsoons hit Kerala in the months of June- November. During December and January there is a slight drop in temperature and it smoothly transits to the summers. A feast for tourist, there are innumerable places to visit in Kerala. Kovalam for its beaches, Alapuzha for its backwaters, Kochi for its history, Wayanad for its wildlife, Palakkad for its lush greenery… these are just a few to name. With serenity enclosed all around , Kerala stands as just to the past and hope for the future…

Fig. 7 : Handlooms in kerala

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HANDLOOMS IN KERALA The

rhythm of handloom kaitheri can be heard as you enter many a villages in Kerala. Kerala handloom industry carries a vital role in the country’s economy as well as in the field of employment. For a major part of the weavers community, it is a way of life. The main communities that are associated with weaving are Salivas and Devangas, who had migrated from nearby princely states . As Kerala was a highly populated region, textiles were inco-operated in its socio-economic system. The two major aspects of textile production, spinning and weaving were handled by the Padma Saliya community. As it was an artisan class, they received some respect in the caste-hierarchal system of Kerala. Some sort of patronage was passed on to craftsmen by the rulers , who were settled in their respective jurisdiction. Most of these castes had migrated from Andhra Pradesh or TamilNadu. Cotton cultivation wasn’t a feasible idea here due to the monsoons in Kerala. Against the patterns and norms of dispersed settlement which was followed in Kerala, these craftsmen settled in streets or centers. There was no large scale use of cloths

for both men and women in olden days. In earlier days, a Kunchatta was used by women to cover their body. Even women from aristocratic families left their upper body uncovered. Several reforms led to the right for women to cover their body. During Onam, Onaapudava was distributed amongst dignities and also among common people as a gift. The centres like Chendamangalam, Balaramapuram and Chirakkal were famous for special varieties of cloth. These center used pitlooms for production of cloths. A pit was dug, in which the weaver lowered his leg and sat on the top. These looms were normally owned by the families of the weavers and were built in their houses. However with industrial revelation, the productivity of these looms were at stake. The yarn was tied through a bamboo pipe and distributed among the three wooden poles or Poorani. Later, the system of three poles was substituted by Pavumaram. The warp and wefts were immersed with rice water for adding starch to make it stiff. In pit loom, Achu and Racca were used to compress the yarn. The shuttle was thrown by one and caught by the other hand.

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The weaving included family labor, wherein both women and kids from the families were involved in the craft. Earlier, women did not weave but helped in the allied tasks. However, boys as young as seven years, learned the craft along with his father. Down south of Kerala lies Balarampuram, a town in Thiruvanthapuram which is historically important owing to the weaving. The king Balarama Varma bought in weavers from the Saaliyar community during the 17th century to weave cloths for the royal family. Today, the kasavu saree is praised by women all over the world and taken as an identity token. Further north of Kerala lies Kannur, known as the Manchester of Kerala. Here unlike in Balaramapuram weavers work for industrial societies. Kannur is famous for the number of pedals they use for weaving. They were times when 12 and 16 pedals were used. Also, width of the loom is between 98” and 120” which is really high compared to others.

Fig. 8 : map of Kannur

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KANNUR T

“ hariyudeyum thiryayudeyum naadu” translates to the land of loom and lores, and there is no line more apt for Kannur. The handloom industry of Kannur is vast and has a history of its own. The land is famous for its folk art, Theyyam. Kannur lies between Kozhikode and Mangalore on National Highway 66. The Thalassery–Coorg–Mysore interstate highway connects Kannur to Kodagu, Mysore and Bangalore. Kannur has four city bus terminals Kannur Central Bus Terminal at Thavakkara , Old Bus Stand near to Jawaharlal Nehru Stadium, City Bus Stand near to the District HQ Hospital and the KSRTC bus stand at Caltex Junction. One of the major stations of the Southern Railway, the Kannur Railway Station comes under the Palakkad Division. Currently the Kannur airport is under construction. The nearest airport is the Calicut airport which is a three hour journey from Kannur by road. The tourist locations includes Arakkal museum, Muthappan temple, Kannur fort, folklore museum etc. The district has three geographical divisions- highlands, midlands and lowlands. Major plantations like coffee, tea, rubber and other spices are done on highlands. Intense agricultural ac-

tivities take place in the midlands. The lowlands comprises of seashores and rivers. Crops like paddy and coconut are cultivated here.The district generally has a humid climate. However, the district experiences a blazing summer from March to May. During May end to September, the monsoons hits the districts. However, the maximum rainfall is received during the month of July. Kannur is bounded with a wealth of natural beauty. It is blessed with beaches, hill stations, rivers, historical monuments and religious centers. It is the home of Kerala folklore, which is a unique combination of dance, music and spirituality. Certain parts of the district has evidences of life in this area during the Neolithic age (New Stone Age) due to the rock- cut caves . They also have megalithic burial sites, wherein large stones where used to construct structures or monuments. Kannur has a history of royalty, wars, freedom struggles and revolts. The Cheras has started ruling the area in the early 9th century AD. This went on until 1102 AD, when the second line of Chera kings had come into power. However, some other areas where ruled by the Mooshika rulers. These

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rulers later came to be known as the Kolathiri rulers. Towards the end of 17th century, the East India Company got its first anchor in the area, when it erected a fort and factory in Thalaserry. And hence, started the disintegration of the royal families of the area. The late 17th century saw the rise of Pazhassi Raja, a man who managed to shake the very foundation the British. His men were able to overpower the British with the use of weapons like swords, bows and arrows and spears over the fire ammunitions. The fight went on till start of 18th century. Unfortunately, the Raja was shot dead in the end, which resulted in the end of the resistance movement. During the freedom struggle, Kannur became famous after the Payyanur conference where the fourth all Kerala conference was held, which made the resolution to fight for complete independence over swaraj. Kannur has a significant part in India’s history. Today Kannur is the sixth most urbanized district in Kerala. The city positions as a proof of both heritage and development.

Fig. 9: theyyam

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THEYYAM Two words to describe this art- fiercely beautiful.

To talk about Kannur, without mentioning about theyyam can never be justified. It is a part of their culture, tradition and most importantly life. For outsiders, it might be a tourist attraction but for natives, itâ&#x20AC;&#x2122;s just a fragment of their existence. It is a ritualistic dance popular in parts of north Kerala. Theyyam incorporates dance, mime, music and spirituality.It is also called kaliyattam. It is a way of worship to the spirit of heroes and ancestors. Each character in the narrative is a representation of a deity; the costume and appearance of the character follow ritualistic prescriptions that have been followed for years. The entire costume screams the influence of the region`s sculptural art forms. Theyyam is performed between the 10th of Thulam(mid-October) and continues till middle of Idavam(mid-

May).This time span signifies the end of one harvest cycle and beginning of next. The most significant accessory, the mudi, headgear, as well as for the lower garments are made from lightweight materials such as areca nut palm and bamboo. Coconut tree wood and areca nut palm wood are also used to make ornaments. Areca nut wood is also used for making marmula, breastplates, for female performers and the masks generally worn by fierce characters. It is believed that the spirit of the gods are evoked in the theyyam artist during the night time when they wear the costume and dance according to the beast. There are more than 1400 types of theyyam and each of them have a unique style of facial make-up, head gear, body paint and ornaments. Devakooth theyyam is the only form of theyyam performed by women.

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Theyyam is based on the beats created by Chenda, a musical instrument. Theyyam performers belong to one of the Hindu communities like Malayan, Vannan, Velan Koppalan, Mavilan, Chingatthan, Panan, Parayan etc. Each caste can righteously perform theyyam for certain dieties. Kerala being matrilineal, the right to the theyyam and their respective shrine is passed down from the motherâ&#x20AC;&#x2122;s family. A theyyam performance is divided into three parts. First being Thottam or the invocation. Here the artist appears in red head dress and not the entire costume. Various ceremonies are preformed next .Finally; the artist appears in the costume, which is the manifestation of the deity. The spirit of the deity is believed to migrate into the artist, who now has insights and curative powers.

Fig. 10 : Parshinikadav temple

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PARASSINIKADAV One of the most famous theyyam,

which takes place throughout the year, is the theyyam of thiruvappan and muthappan in the Parshanikadavu temple. The legend goes by the landlord Ayyakara Illath had no child. His wife was a devotee of Lord Shiva and prayed to him to bless the couple with a child. One day as she was returning after taking her bathe, she found a boy floating along the river on a flower bed. The couple bought up the boy as their own son. As he grew, he would go hunting and would eat along with people of lower caste. This was against the Namboothiri(Brahmin) culture and his parents asked him to stop doing so. He didnâ&#x20AC;&#x2122;t not pay any heed to them and as his mother got angry, the boy transformed into his Swaroopam( original form) which was quite ferocious. His parents realized that he is no ordinary boy, but was a god. As his eyes were ferocious, his mom requested him to wear Poyikannu. The poyikannu has tiny outlets, which just lets in a ray of light. The Muthappan

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and Thiruvappan are considered to be form of Lord Shiva and Lord Vishnu respectively. Unlike many other temples people of all caste and creed are permitted here. It does not follow idol worship, but in the form of Muthappan theyyam. The offerings and Prasad are also quite different from other temples. The offerings include toddy and fish. Theyyam happens here all throughout the year except for the period during mid Vrichikam( November). As theyyyam can be seen here all the time, the ritual is called nityostavam or daily festival. People from different religion and caste work together in the temple. The malyar caste plays the chenda, the kopad or fish for the temple is provided by muslims and the theyyam is performed by the vannam caste. The temple and its rituals are more than 600 years old and it continue attract people from all over the world

Fig. 11: Chirakkal palace

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CHIRAKKAL Chirakkal is a small village which has

a prodigious history to boast about. It is 7 km away from Kannur town. Before independence, the place was ruled by the Kolathiris or the Chirakkal Raja. The kovilakam or the palace still stays strong as a memorial of the by gone by days. The histories and legends of this dynasty has been documented in the “Mooshika Vamsham”, a Sanskrit book based on the Mooshika dynasty . The infamous Bekal and Chandragiri fort were initially under the Chirakkal Rajas. The Korapuzha river runs on the south of the village The Kolathiris had created the wonderful Chirrakal Kovilakam chira, a big pond which primarily used by the royal house. The pond spreads over 14 acres and is prestigious proof of the days gone by. Today, the Chirrakal Kovilakkam has been transformed into the Kerala Folklore Akadmei. ( Academy ) One of the ancient temple that is situated in Chirakkal is the Chirakkal Sri Krishna Temple. Legend says that the idol at this temple was the same that was used by Satyabhama, to worship Krishna in Dwaraka around 5000 years ago. Once she failed realize that her husband was standing nearby as she was immersed in the Pooja. Furious, her husband kicked the idol off, NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

which resulted in the idol’s right hand being broken and landed in the sea. Years later, the idol entered a fisherman’s net, which he gifted to then king Valabhan, who was in search for an idol for the newly built Kadalayi temple. Later on, during the time of British this temple was vandalized. It was rebuilt in the now Chirakkal, with the same idol. Another strange, yet humorous story is that how Chirakkal was divided into the Arakkal regency. According to legends, the Chirakkal Raja’s daughter was drowning the Chirakkal chira, when Mohammed Ali passed by. He was initially hesitant to save her as he belonged to a lower caste. However, he saved her and gave his dhothi to cover the princess. When the king heard, he was furious as an untouchable had touched his daughter and had given her the dhothi, which indicated that they married as according to customs back then, he had given a Pudava. Hence, he gave a part of the kingdom to her daughter and husband. It is amusing that a place so small can have a history so elaborate. Even as the village ventures into modern life, every nook and corner of the place has a story of its own, which will be forever etched to the natives’ heart.

Fig. 12: Valapatanam river

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REGION, PEOPLE AND RELIGION It is 7 km away from Kannur town. It

has an area of 13.56 sq km. There are 21761 women and 20545 men reside in this village. The literacy level is a whopping 97.4%. Two acres of mangroves forest known as kandal kaadu . Major crops cultivated here includes rice and coconut. Many small scale, medium scale and cottage industries exist her like weaving, beedi making and wood carving.The Valaptanam River is the source of water for this village. The village has a harmonious unity between the Hindus, Muslims and Christans. In olden times, the occupations followed by the people were based on the caste they belonged. However over time, there has been a change to this system. There are around 25 temples and 15 mosques. Known personalities from here include T.Balakrishnan Nair, a well-known poet .Former chief-minister of Kerala and a popular name in the Indian congress, the late Mr.K.Karunakaran was also born in Chirakkal.

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Fig. 13 : Folklore Academi

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

FOLKLORE AKADEMI Once the centre of folk art and

culture, Chirakkal is situated almost 6 km away from the Kannur town. A lot many local rulers had resided in the area, which resulted in the rich cultural and traditional values it beholds. As a token of recognition, The Kerala Folklore Akademi was set up here in 1995. The Chirrakal Kovilakkam, the home of the Chirakkal royal family. The proximity of the palace to the Chirakkal chira and the history it holds, has made it a prominent tourist location. The palace is 130 years old, which currently houses the administrative department of the Folklore Akademi, a folklore museum and a library. The rich artistic heritage of Kerala has been preserved in this museum. Costumes, head gears and other articles of folklore arts have been preserved here. These include life size models of art forms such as Theyyam and Patayani. The extend of information on different kinds of theyyam, its facial art and the information about the same is exemplary .Several other artifacts from the past have been collected here such as tribal musical instruments, old agricultural equip-

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

ments, weapons etc. The outer walls of the museum give a sculptural representation of the story Parayi petta panthirukulam- the 12 children born from the Pariah women. This story narrates about the 12 caste that forms henceforth. The museum has miniature models and information about various dance forms like thiruvathira kalli, oppana and margamkalli. The place showcases different kinds of shadow puppets and often hosts shows. Daily life objects of the Royal family have been preserved as well. The library is a hub of knowledge and is often visited by researchers and students. The museum also shows a short film on theyyam for its visitors. Even though the folklore akademi was just one kilometer away from the society, it was dejecting to know that they had absolutely no information about the cluster. It is understood that the museum is exclusively for folklore. However, the proximity of the clusters to the akademi would be a great help in preserving the knowledge about the looms and weaves.

Fig. 14 : Chirakkal weavers society

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

INTRODUCTION TO CLUSTER Kannur is commonly known as the

â&#x20AC;&#x2DC;Manchester of Keralaâ&#x20AC;&#x2122;. The Kannur handloom industry includes the cooperative societies both industrial and primary; khadi units and the unorganised individual units. Kannur is one of the twenty four leading textile center in India as per Ministry of Textiles. The Kannur co-operative segment has a total of 44 active units and 26 dormant units. The 44 units has a total of 3390 working looms, 2135 idle looms and 553 damaged looms. Co-operative societies came into being so as to save the poor weavers from being exploited by the richer weavers. All of these societies has a committee which comprises of elected president, secretary and members. All the activities that happen in the cluster are directed by this committee. Chirakkal cluster was the first society to be estabilished in 1936.The Chirakkal cluster comprises of seven cooperative societies. These includes Chirakkal weavers, Mayyil weavers, Azhikkal weavers, Royal weavers , Puzhathi weavers, Vanaja weavers and Pallikunnu weavers. In the course of this project, the Chirakkal weavers society has been chosen and studied forward. NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Pit looms were used for weaving in Chirakkal around the 16th and 17th century for the rulers of the areas. Small factories were started by the missionaries later on. Mundu made with double yarn warp and single yarn wefts were their initial products. Later on, they started exploring with coloured yarns and now have a wide range of products such as check shirting and bed sheets.

10 pedal and 12 pedal looms

The 10 pedal and 12 pedal looms were exclusive to just this region, which has now become a part of the past. The 10 pedal looms were primarily used to make satin bed sheet. Unique for its colour palette and finish, the production of these bed sheets are currently stuck up. One major reason being that, the stock has not being moving. Bombay Dyeing is the only other company which is capable of producing these bed sheets presently. 12 pedal looms were used to create extra warp motifs. The production of these has been at halt for more than 10 years now. Health issues caused while working on 10 pedal and 12 pedal loom is another major reason for the hindrance in the production. 35

Fig. 15 : Route map from Kannur railway station to Chirakkal weavers society

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

ROUTE MAP

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BUILDING 2

fig. 16 : Floor plan

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FLOOR MAP BUILDING 1(main building)

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Fig. 17: Chirakkal weavers society

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

ORIGIN AND HISTORY History states that three incidence

from the then Calicut and is a simple, led to the formation of the Chirakkal cheap equal weft and warp plain cluster as. Back in the 16th and 17th weave fabric, which are less coarse century, the Kolathiri Raja, the ruler than denim and canvas of Chirakkal bought in weavers, who belonged to the Saliya community Social reforms led by activists like Vagfrom the Cherannadu. These weav- bhatananda guru and Sreenarayana ers were bought in for producing fab- guru led to the improvement of the ric for the royal family. Some tales say Thiyya community. One of the activity that, in certain cases the fingers of in which they majorly engaged was the weavers were cut off by the royal weaving. This helped in obtaining an authorities so that design woven for organized structure for the handloom them couldnâ&#x20AC;&#x2122;t be replicated. The set- weaversâ&#x20AC;&#x2122; society. tlement of these people in Kadalayi theru led to the establishment of the The Chirakkal weaving society was first saliya theru in Kannur. Gradually, built in 1947. Back in the days when these weavers became the part of the society was at its zenith, they had the society. more than 500 looms. Some were inside or non-household loom and some In 1844, the frame looms where were household. House hold weavers bought in by the Basel missionaries acquire yarns and accessories from (Burnasseri). From 1852, these looms the society and weave on their own started using fly shuttles and took its looms. This system has stopped and present form. The famous products the society now only has inside weavproduced back then includes, mis- ers .The society has been identified sion mundu and the cali cloth or under the Handloom Development calico which were produced by the Scheme. weaving master. Calico gets its name

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Fig. 18: Yarns

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

RAW MATERIALS Dyes

Dyes impart colours to textile substrate in a molecularly dispersed form. The three types of dyes used in the society are vat dyes, reactive dyes and naphatol dyes. All of these are sourced from National Handloom Development Co-operation (NHDC).

Yarns

The raw materials used also includes cotton, linen, viscose rayon , jute and cotton blend. Cotton blends, fancy yarns and silk are only used according to the orders. Yarns are sourced from NHDC. The yarns comes in bundles of 5 kg each. Counts like 40s, 2/80s and 26 s are used for kaavi mundu. Finer counts like 100s are used for sarees and double dhothi. Coarser yarns of count 20s are used for towels. Counts like 10s and 6s are used for upholstery.

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Fig. 19: Checkered fabric being woven on loom

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

TOOLS AND EQUIPMENTS PVC pipe or bamboo sticks (Molla) These are used in the dyeing process. The hanks are hung from these while immersing in the dye bath. Previously bamboo sticks were used predominately but recently it has been changed to PVC pipe as the capacity of the latter is better. Fig. 14: Bamboo sticks used for dyeing

KIER boiling (Chembu) The aim of this process is to remove natural impurities like wax, wood fragments etc by treating it with the prescribed chemicals at suitable temperature. It is a large circular oiler used in bleaching and scouring of cotton fabric. They are continuously rotated by an engine and supplied with steam through the omitting gear. The society owns 5 boilers, out which 2 are working

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Fig. 15: Keir boiler

Dye Bath Tanks

Hydro extractor

The hanks are immersed in tanks, where the dye baths are prepared. The society has tanks of both cement and stainless steel. The dimensions of the tanks are 55”*24”* 32”. There are 17 cement tanks and 19 steel tanks. The cement tanks have not been used recently due to the cracks formed in them.

Hydro extractors are used to remove the water content or to dry the yarns. It has a perforated stainless steel wall. The wet material is kept in the container where it is rotated at a high speed, whichextracts the water out of the material.

Fig. 20: Dye baths

Fig. 21: Hydro extractor

Bobbin (Valiya nalli)

Pirns ( Nalli)

Bobbins are used for winding the yarn for warping. The varieties of bobbins have been tabularized below. S.no. 1 2 3 4

Height 5cm 14.5cm 15cm 14cm

Radius 1.65cm 2.65cm 3cm 3.2cm

Material plastic wood wood plastic

Table no. 1: No. of Bobbins and their different sizes

Pirns should fit smoothly and easily into the hollow of the boat shuttle. . The varieties of pirnshave been tabularized below. S.no. Height Radius Material 1 10.5cm 1.25cm plastic 2 10.5cm 1.25cm wood 3 9cm 1.25cm plastic 4 7cm 1cm plastic 5 6cm 0.5cm plastic 6 9cm 1.2cm plastic 7 9cm 1.2cm plastic 8 8.4cm 0.75cm plastic Table no. 2: No. of pirns and their different sizes

Fig. 22: Bobbin

Fig. 23: pirn

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Vertical warping frame One complete circumference of the vertical warping frame is 1 meter. The yarns are wrapped around the warping frame so as to acquire the needed length. While removing the warp the lease rod is secured first by tying a piece of string and two rods . Tie threads, preferably should be of a different colour and should tied at both the pegs. While removing from the frame, a chain is made so as to stop entanglement.

Charka (Spinning wheel) A charkha is used for spinning thread on to bobbins or pirns. In the charkha a drive wheel is turned by hand, while the yarn is spun off the top of the spindle. There are 40 charkhas in the society out which only 18 work.

Fig. 24: Vertical warping frame

Fig. 25: Charka

Shifts stands

Comb (Cheerpu)

These are used so as to give a surface for the hanks from where the yarn can be spun. They give the required tension and is well spread out, making it easier to work.

The comb is used so that the desired patterns using yarn can be created during warping. They have punched holes on a wooden frame. These also protect the yarns from intertwining.

Fig. 26: Shift stand

Fig. 27: Comb

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Wax (-ezhuku) Hardened wax is placed on a wooden comb like structure. It is used to smoothen out the fabric surface after weaving for products like veshti.

This table is used in the packaging department. It ensures that the product is of the specified measurement as it has predefined measurements on the table.

Fig. 28: Wax

Fig. 28: Measuring Table

Reed (Acch)

Template (Kambarpetta)

The reed is the part of the beater. It can be defined as number of dents per two inches.The slots in the reed are known as dents, which is one of the factors in determining the fineness of the cloth. The warp threads pass through headless and then to the reed, where the number dents per inch determines the gaps in the linear width.

Fig. 29: Reed

Measurement table

The template is used to make sure that the fabric doesnâ&#x20AC;&#x2122;t shrink while weaving and to pursue an uniform width.

Fig. 30: Template

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Shuttles

Loom(Maggam/ thari)

Shuttles are of three types: stick shuttles, rug shuttles and boat shuttles. The elements that decide which shuttle is to be used are; the size of the loom, the depth of the shed, the width of the warp and texture of weft yarns. Some design requires just one shuttle, whereas there are others in which it is used in rotation. The Chirakkal weaversâ&#x20AC;&#x2122; society uses boat shuttles. Threads are wound on the pirn which are inserted on a spindle in the hollow part of the spindle. The yarn from the pirn is carried through a slit in the curved side and unwinds when it slides through the shed. The two ends of the bobbin is covered by brass.

Looms are used to weave clothes and tapestry. The warp yarns lie vertically and the weft yarns are inserted at right angles. The basic obtive of the loom is to facilitate the inter weaving of weft threads by providing the appropriate tension that holds down the warp yarns. Backstrap loom, table top loom, draw loom, fly shuttle loom, power looms, jacquard loom, pit loom, counter match loom, counter balance looms and dobby looms are just a few to name. The cluster primarily uses counter match loom. Jacquard and putlooms were used in the recent past which has been stopped now due to various reasons.

Reel The reel is used to store bobbin while warping. The bobbins are arranged on the reel, according to design required for the warp. These also prevent the yarns from getting tangled.

Fig. 31: Shuttle

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Fig. 32: Reel

Fig. 33: countermatch loom

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COUNTERMATCH LOOM MAGGAM

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Fig. 34: counter match loom

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Fig. 35 and 36 : Working of counter match loom

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

WORKING OF THE LOOM When the pedal is pressed down, due to the rope(nool) tied to the treadle the heald rises, due to which the distance between the kalikkai and elakai increases. When the peddle is released, it comes back to the resting position.

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Fig. 37: Punched cards for jacquard loom

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

JACQUARD LOOM Jacquard can be used for weav-

ing a variety of design and can be used to make unlimited patterns. The loom is controlled by a bunch of cards laced together to form a uninterrupted course. Multiple rows of holes are punched on each card, with one complete card corresponding to one row of the design. Each position in the card corresponds to a hook, which can either be raised or stopped. The hook raises or lowers the harness, which carries and guides the warp thread so that the weft will either lie above or below it. The sequence of raised and lowered threads is what creates the pattern. These are capable of producing different weaves from one warp. The threading process of Jacquard loom can be tedious and labour intensive.

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Fig. 38: pit loom

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

PIT LOOM Pit looms have an overhead sley and

has four posts sunken into the ground. The loom is simple, yet high efficient. The weaver stands in a pit, which has been dug below ground level. The fabric is laid out and woven, instead of using beams.

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Fig. 39: Checkered fabric being woven

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

PROCESS

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

DYEING The weaving pre- process starts with

boiling of the hank, also called kettu. This step is carried out so as to desize the hank. Desizing refers to the process by which the sizing material which has been added to the yarn is removed. The hanks are immersed in the kier boiler (chembu) which is heated up and left overnight. The kier boiler in the Chirakkal weaving society has a capacity to hold up to 140 hanks. The omitting gear present in the kier boiler ensures that the hanks are immersed within the water. After the hanks are emptied from the boiler, they are washed thrice in a water bath containing washing soda, soda ash and silicate. In case the hanks to be dyed require a lighter shade, they are bleached. The bleach powder is mixed with water and stored in a water bath, which

is used multiple times. After the hanks are bleached, it is wind-dried, so as to ensure uniform dyeing. Three varieties of dyes used are vat dyes, Reactive dyes and naphthol dyes. Naphthol dyes has been prohibited in many countries as they can be harmful and hence the production is minimal. Vat dyes are water insoluble dyes which are mostly suitable for cellulosic fibers. These yarns obtain their desired colour through the process of oxidation, which results in the dye powder or paste having a different colour from its ultimate colour. For example, the powder form of red is blue in colour. These dyes are available in both paste and powder form. The powder form of vat dyes are used in the society, which is sourced mainly from National Handloom Development Co-operation (NHDC), Kannur. Vat dyes have excellent fastness to light, laundering, perspiration and chlorine. The M:L ratio for Vat dyes are 1: 20. The powders obtained are

converted into a paste by mixing it with sodium hydrosulphate. However, the expenses can be high, owing to the high initial cost of dye and application methods. One kilogram of red and gold cost Rs. 10,000 /- and Rs 12,000/- respectively. Other colours cost in the range of Rs 4000/- to Rs 7000/-. Also large quantities of the dyes are required for deeper shades. Under obligation due to the concerns related with naphthol dyes, the production of yarns dyed using the same has been obsolete. In naphthol dyes, the colour is produced by the combination of naphthols and bases. These dyes are insoluble and have good washing fastness. They are also comparatively cheaper. Hydro extractor is used for drying the hanks after dyeing. The hydro extractor can hold up to 40 hanks.* The statues of the apparatus used for the above mentioned process has been tabularized.

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Fig. 40: stretching of yarns to prevent tangles

Fig. 41: dye solution being prepared

Fig. 42: dyeing of yarns

Fig. 43: dyed yarns kept for drying

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

WASTE WATER TREATMENT The

waste water treatment takes place after the process of dyeing. The architecture of the dyeing areas provides canals, which collects the water which is released on to the floor. Two sets of tanks are placed at an area not more than 500 meters away from the dye house. One of the tanks is kept at an elevated level than the lower one. The waste water from dyeing is collected into the tank kept at the lower level. This water is transferred to the other tank with the

help of a pump. Here it is treated with slaked lime. Two cylinders are kept at the ground level. The water is furthermore passed through these cylinders to attain complete purification of water. This purified water is carried by a pipe and released into the Valapattanam River. However, the waste water treatment plant today stands as a symbol of ignorance to environmental responsibilities. The area is covered by climb-

ers and creepers. The waste water is collected in a pond like structure, where it is stagnant. This can cause the spread of diseases like malaria, which might affect the health of not only workers, but also to other residents around the area. Releasing of water into the river without treatment can be a disaster, especially for the river life. Even the officials seemed to be oblivious to this fact. Not even the dyeing master was sure of the working of the plant.

Fig. 44: Waste water treatment plant

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

WINDING The bobbins called valia nalli are

required to be winded so that it can used in reel for vertical warping. A charka or spinning wheel is used. Pirns (nalli) are winded for the weft. Pirns

are of a smaller dimension as compared to the bobbins used for warping. The different categories of bobbins and pirns used have tabularized. The hank is placed on the shift stand

and the end of the hank is placed on bobbin or pirn and the spinning wheel is rotated by hand. This action leads to the accumulation of yarn on the bobbin.

Fig. 45: Yarns being wound into bobbin

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

WARPING For the warp to be set up, the yarns

should be set up in the necessary order so as to obtain the required pattern. This is achieved by arranging the warp bobbins in the reel and passing it through the comb. One complete circumference of the vertical warping frame is 1 meter. The yarns are wrapped around the warping frame so as to acquire the needed length. While removing the warp from the vertical warping frame, it is made into a chain form so as to make sure it does not get tangled. The frame is build from wood and has four stripes which frame the boundary. These are attached to the middle log, which has a roller and ball bearing which assists the frame in his rotating motion.

Fig. 46 : chains being made from warped yarns to prevent entangling

Fig. 47: Yarns wound on the warping frame

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BEAMING Beaming

is the process by which the warp is loaded on the beam to form the beam roll. Five people are required for this process. Two people are required for holding the comb, two for turning the wheel and one for tightening the open end of the warp.

The comb is wide toothed and is held right in front of the wooden equipment so that the yarn does not get tangled. The comb is held at a constant tension to avoid any breakage. The comb holders are responsible for clearing out the knots, in case any

are formed. The individual grasping the open end should be constant and high on the tension provided. The other two people use the wheel to rotate the bundle and mount it on to the beam.

Fig. 48: Beaming

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

DRAFTING AND TWISTING Drafting

is the number of healds (racca) used to produce a design. It is the order in which the warp ends are taken through the heald eyes. There are several drafting orders like straight, pointed, group, broken,skip drafting etc.

Fig. 49: Drafting

As the density of the warp threads are high, skip drafting is used in the society. The advantage of this type of drafting is that it has less friction and breakage. In case the reed count is similar for

two orders, the warp of the previous one is not completely cut off. Instead the new warp is joined to the new warp by twisting (pirika) each of the yarn. The weaver applies bhasmam on their fingers during this process so as to get a better grip.

Fig. 50: Twisting

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WEAVING The countermarch loom ( maggam)

has two sets of lams, placed horizontally under the harness, one below the other. It often has many has many harnesses and huge overhead beams. As a harness is raised is by one set of lams, the rest of the harness are pulled down by the second set. These looms are efficient as they provide an excellent shed and an unbalanced number of harnesses can be raised. There is a jack arrangement for the each harness on top of the upper

loom frame. These are called overhead jacks. Each harness is individually connected with its own jack by ropes (nool) on each side of its frame. There are two sets of lams below the harnesses, one set above the other. The horizontal sticks of the upper lams are shorter than the lower lams and are called short set (kalikai). The horizontal sticks on the lower lams are called the long set (elakai). Each harness frame is connected directly with

its lam from the short set. This controls the shrinking shed. Each lam from the long set is connected to its overhead jack by long ropes that runs between the harnesses. This controls the rising shed. Both the rising and the sinking sheds are operated at the same time by the same treadle or pedal (kalu). As some of the warp threads are pulled up, the other warp threads are pulled down. Hence, both the sets must be tied to one treadle.

Fig. 51: Weaving

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5.Mock-Leno Weave Mock lenos are known as imitation lenos as a variety of weaves of ordinary construction which produce effects similar in appearance to the gauze or leno style obtained by with the aid of doup mounting. It is an open perforated weave like as leno fabrics. It is produced in the ordinary way without 2 pedals : Plain weave 3.Satin Weave 4 pedals :Plain, honeycomb, herring- One repeat of satin weave consists a special leno shafts. The weave is arranged in groups of equal or unequal bone, twill minimum of five ends and five picks. 6 pedals : Plain, honeycomb, twill When it is weft faced, it is called sa- sizes. Even number repeat size is normally used to produce this weave. This 8 pedals :Plain, satin, diamond, twill teen. 10 pedals: Plain, satin ,twill, diamond When it is warp faced, it is called sat- weave can also be divided diagonally into two equal parts. The smallest reThe patterns that are used in Chirak- in. peat size of this weave is 6X6. kal mainly involves mostly stripes and checks, which are used in home fur- 4.Honey Comb Weave nishing, shirting materials and kitchen Honey Comb weave is a fancy weave 6.Diamond Weave linens. Various kind of decorative fabrics are By reversing both the harness and formed by Honey comb. Cell like ap- chain draft of any regular twill anothpearance with ridges and hollows. er of weaves result that is very largely Weaves used : Single line crossing a single line or used, known as diamond weaves.For double line crossing a double diago- example, if the repeat size of basic reg1. Plain Weave ular twill is 4 X 4, than the repeat size One repeat of plain weave consists nal line. More warp and weft floats. of this design is 8 X 8. It is a reversible minimum of two ends and two picks. Moisture absorbent due to floats. design. So it may be divided into two One series of thread crosses another Constructed with pointed drafts. A reequal parts in both vertical and horiseries at right angles, passing over versible g=fabric having similar effect zontal axis. Pointed or V-drafting system one and under one in regular order, on both sides. is used to produce this design. thus forming an interlacement. The treadles are used to control the lams and shafts. Kannur is famous for the variety of pedals they used. Years ago, 12 pedal and 16 pedal looms were used. The products that can be developed from the different number of pedals are tabularized below:

2. Twill Weave One repeat of twill weave consists minimum of three ends and three picks. One or more warp yarns alternately woven over and under two or more weft yarns in a regular repeated manner.

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

CHECKING AND PACKING The common faults that occur are :

Bad/ Damaged Selvedge : This defect is produced due to faulty weaving and becaue warp ends being set too far apart.

Holes:

Holes formed due to use of needle, or while using the template to reduce shrinking

Dirt or Stains

Missing end or pick : The absence of ends(warp) or picks(weft) from some part of the fabric. These defects are checked on the checking table under bright light to identify the errors. The fabrics with errors aren’t taken forward to the packing section. Rather it’s kept in the storage room, where later on it might be used for product development.

Fig. 52:

The fabrics after checking are taken into the packaging room. The measurement table is used to cut and fold the fabric to the desired length. After folding the fabric, it’s organized according to order specifications. They are given a plastic covering to protect from water. The order is then picked up by employees from the specific company. Fig. 53: Packed Fabric

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Fig. 54: Products

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

PRODUCT This society is famous for its satin bed

sheet which is one of its kinds. The only other two ways in which these bed sheets can be replicated is by using water jet looms. They mainly sell con-

ventional products like veshti, lungi, sarees, shirting etc. Even though efforts were made into making products like bags, kitchen linen sets, pajamas etc, they did not go down well

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

in the market. A table containing the specifications of the products have been given below.

The society as such does not have a marketing department. The society showcases its works on platforms like handloom expo Kannur and Handloom Export Promotion Council. Their major sales happen during Onam, Vishu and Ramdan. The organization offers a 20 % discount on all products. Some of the products are sold through Hanveev, an initiative by the Kerala government to promote handlooms. The details of the products have been listed out below:

Towels

2/17s is the yarn count used for both their residence. Two varieties of lunwarp and weft. gis are produced. The first one uses 72s reed and a yarn count of 2/80s and the second variant uses 40s yarn Double dhothi Dhothis are used by men in India. count for both warp and weft. These They have been known to exist from a are available in two lengths- 1.8m very long time.The double dhothi pro- and 2m, having a width of 1.21m. duced here uses 80s reed. The yarn count of the weft is 100s,which is very Candy bed sheet fine. This make weaving of double Candy bed sheets are popular for dhothis quite difficult as it is time con- its fresh colour palette. This product suming. These are available in two uses a 60s reed. The lengths are conlengths -3.6m or 4 m. stant at 90” or 108”, but width varies within 48”, 60”, 72” and 90”.The yarn count of the warp is 2/40s and that Kaavi Kaavi is normally worn by men during of weft could be 26 s or 2/40 s. pilgrimage. These are produced using 72s and 56s reed. The three vari- Sari ties of yarn cunt used for kaavi mundu It has been quite some time since are 20s, 2/80s and 26 s for both warp sarees has been woven in the sociand weft in all the three cases. The ety. However, the sarees uses a 72s two lengths in which it is available are reed. The yarn count of both warp 1.8m and 2m and the width is 1.27m and weft could be80s or 2/120s. The total length of sarees are 5 ½ meter.

Two kinds of towels are produced here. The first one is the eerzha thorthu which uses 20s count for both warp and weft. The reed used includes 42 and 44. The dimensions in which these are produced are 27”x 54”. The second varieties of towels produced are the honeycomb towels. These come in three different dimen- Lungi sions i.e 30”x60” ; 24” x48”; 16” x 24”. Lungis are worn by men, normally at

Fig. 55: satin bedsheet 74

Fig. 56: single dhoti

Fig. 57: bath towel NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Fig. 59: double dhoti

Fig. 58: kavi mundu

Fig. 60: lungi

Fig. 61: candy bedsheet NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Fig. 62: honeycomb towel 75

Fig. 63: Loom shead

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

PRESENT DAY SCENARIO Wages

Schemes exist through which weavers who earn wages less than Rs.150, but has reached the limit of Rs. 75 gets their wages compensated to reach the required limit ( Rs.150) . The employment assurance scheme ( Thorial urappu ) ensures that the weaver have work, there by earning a minimum of Rs. 7500. The allied worker (bobbin winders, warpers) has to earn a minimum of Rs. 35 to get a compensation of Rs.75 per day. Production Incentive scheme . Weavers who produce above the standard level will earn double the wage. This scheme is currently only available to the weavers and not to the allied workers. A canteen has been build, where food has been sold at a subsidized rate. They also get medical facilities. The pension age is 58, after which a lot of the facilities are withdrawn. In an effort to teach the craft to outsiders, applicants were welcome who would receive a stipend ofRs.6000. Sadly only 2 applications were received. However, the conditions seemed different when we spoke to the artisans. A weaver who weaves a veshti earns as less as Rs. 700 a week, that too, only if she is able to complete the entire roll. The prin winders earn only Rs. 15 for winking an entire hank. The maximum number of hanks they can wind a day is about 8, which only makes it to 120 Rs a day. 20% of the profit is paid and 30 % bonus is given during festive times.Gratuity is NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

the payment given at the time of retirement, in return for the past service rendered. An employee in this society is eligible for gratuity if they have worked for 5 or more years. The employees state Insurance (ESI) is an initiative funded by both the employees and employers for the benefit of the artisans. Every month 12% of the salary is deducted and this cumulative is returned back as PF during pension. The welfare measures include employees provident fund, ESI and Kerala Labour Welfare fund. Measures have been implemented where children of the artisans are provided with scholarships and the aged are given medical concessions. . A canteen has been build, where food has been sold at a subsidized rate of 1/3rd the market price. From a society that was flourished with more than 500 looms, today the Chirakkal weaving society struggles to survive. The number of weavers has come down drastically. The low income for the amount of work put in the main reason. Weaves done with 12 pedals and 16 pedals, which were exclusive to Kannur arenâ&#x20AC;&#x2122;t practiced anymore. Orders are scare and job security is minimal. 77

Fig. 64: Artisans

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

ARTISANâ&#x20AC;&#x2122;S PROFILE

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Name Age Sex Address Marital status Family type Religion Education Languages known Experience Role in weaving process Family members associated with weaving Loom ownership Training received Working hours per day Working hours per week Weaverâ&#x20AC;&#x2122;s ID card Monthly income Health insurance

: Ramani M : 43 : Female : Chirakkal : Widowed : Nuclear : Hindu : 10th : Malayalam : 15yrs : Weaving : Parents : Society : No : 8hrs : 48hrs : Yes : 1400 : Yes

: Sreemathi S : 52 : Female : Chirakkal : Widowed : Nuclear : Hindu : 8th : Malayalam : 33yrs : Weaving : Siblings : Society : No : 8hrs : 48hrs : Yes : 2000 : Yes

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

: Usha K L : 47 : Female : Podikunnu : Married : Nuclear : Hindu : 12th : Malayalam : 17yrs : Weaving : Parents : Society : No : 8hrs : 48hrs : Yes : 1400 : Yes

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

: Vanaja K S : 38 : Female : Mangadu : Married : Nuclear : Hindu : 10th : Malayalam : 20yrs : Weaving : Parents : Society : No : 8hrs : Yes : 1500 : Yes

Name Age Sex Address Marital status Family type Religion Education Languages known Experience Role in weaving process Family members associated with weaving Loom ownership Training received Working hours per day Working hours per month Weaverâ&#x20AC;&#x2122;s ID card Monthly income Health insurance

: Leela T : 48 : Female : Kadalayi : Married : Nuclear : Hindu : 6th : Malayalam : 20yrs : Weaving : Father : Society : No : 8hrs : 48hrs : Yes : 1400 : No

: Babu : 53 : Male : Chirakkal : Married : Nuclear : Hindu : 12th : Malayalam : 20yrs : Weaving : Father : Society : No : 8hrs : 48hrs : Yes : 1800 : Yes

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

: Kannan T S : 62 : Male : Chirakkal : Married : Nuclear : Hindu : 10th : Malayalam : 40yrs : Weaving : None : Society : No : 8hrs : 48hrs : Yes : 1800 : No

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

: K. V. Lakshmi : 43 : Female : Chirakkal : Widowed : Nuclear : Hindu : 8th : Malayalam : 28yrs : Weaving : Parents : Society : No : 8hrs : 48hrs : Yes : 1400 : Yes

: Sheena M : 40 : Female : Kunnankai : Married : Nuclear : Hindu : 5th : Malayalam : 15yrs : Weaving : Parents : Society : No : 8hrs : 48hrs : Yes : 1200 : Yes

: Valsala M Rajan : 37 : Female : Kunnankai : Married : Nuclear : Hindu : 8th : Malayalam : 15yrs : Weaving : Sister : Society : No : 8hrs : 48hrs : Yes : 1500 : Yes

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

: M R Balan : 63 : Male : Chirakkal : Married : Nuclear : Hindu : 10th : Malayalam : 20yrs : Warping : Wife : None : No : 5hrs : 20hrs : Yes : 1600 : No

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Name Age Sex Address Marital status Family type Religion Education Languages known Experience Role in weaving process Family members associated with weaving Loom ownership Training received Working hours per day working hours per week Weaverâ&#x20AC;&#x2122;s ID card Monthly income Health insurance

: T Dhamodaran : 68 : Male : Chirakkal : Married : Nuclear : Hindu : 9th : Malayalam : 40yrs : Warping : Parents : None : No : 5hrs : 20hrs :No :1600 : No 85

N/A

Name Age Sex Address Marital status Family type Religion Education Languages known Experience Role in weaving process Family members associated with weaving Loom ownership Training received Working hours per day working hours per week Weaverâ&#x20AC;&#x2122;s ID card Monthly income Health insurance

: Satyan V : 67 : Male : Chirakkal : Married : Nuclear : Hindu : 10th : Malayalam : 30yrs : Warping : None : None : No : 5hrs : 20hrs : No :1600 : No

Name Age Sex Address Marital status Family type Religion Education Languages known Experience Role in weaving process Family members associated with weaving Loom ownership Training received Working hours per day working hours per week Weaverâ&#x20AC;&#x2122;s ID card Monthly income Health insurance

: Sreekuttan T K : 56 : Male : Chirakkal : Married : Nuclear : Hindu : 10th : Malayalam : 21yrs : Warping : None : Society : No : 5hrs : 20hrs : No : 1600 : Yes

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Name Age Sex Address Marital status Family type Religion Education Languages known Experience Role in weaving process Family members associated with weaving Loom ownership Training received Working hours per day working hours per week Weaverâ&#x20AC;&#x2122;s ID card Monthly income Health insurance

: Rajan K K : 51 : Male : Mayyil : Married : Nuclear : Hindu : 10th : Malayalam : 30yrs : Weaving : Brother : Society : No : 8hrs : 48hrs : Yes : 1800 : Yes

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Name Age Sex Address Marital status Family type Religion Education Languages known Experience Role in weaving process Family members associated with weaving Loom ownership Training received Working hours per day working hours per week Weaverâ&#x20AC;&#x2122;s ID card Monthly income Health insurance

: Bhaskaran S : 63 : Male : Chirakkal : Married : Nuclear : Hindu : 6th : Malayalam : 15yrs : Warping : Mother : None : No : 8hrs : 48hrs : Yes : 1400 : No

Name Age Sex Address Marital status Family type Religion Education Languages known Experience Role in weaving process Family members associated with weaving Loom ownership Training received Working hours per day working hours per week Weaverâ&#x20AC;&#x2122;s ID card Monthly income Health insurance

: Rameshan A K : 52 : Male : Chirakkal : Married : Nuclear : Hindu : 8th : Malayalam : 45yrs : Weaving : Parents : Society : No : 8hrs : 48hrs : Yes : 1600 : Yes

Name Age Sex Address Marital status Family type Religion Education Languages known Experience Role in weaving process Family members associated with weaving Loom ownership Training received Working hours per day working hours per week Weaverâ&#x20AC;&#x2122;s ID card Monthly income Health insurance

: Sujatha Devi : 46 : Female : Chirakkal : Married : Nuclear : Hindu : 7th : Malayalam : 15yrs : Weaving : Parents : Society : No : 8hrs : 48hrs : Yes : 1400 : Yes

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Name : Sreedevi T Age : 50 Sex : Female Address : Valapattanam Marital status : Widowed Family type : Nuclear Religion : Hindu Education : 8th Languages known : Malayalam Experience : 12yrs Role in weaving process : Weaving Family members associated with: Parents weaving Loom ownership : Society Training received : No Working hours per day : 8hrs working hours per week : 48hrs Weaverâ&#x20AC;&#x2122;s ID card : Yes Monthly income : 1600 Health insurance : Yes

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Name Age Sex Address Marital status Family type Religion Education Languages known Experience Role in weaving process Family members associated with weaving Loom ownership Training received Working hours per day working hours per week Weaverâ&#x20AC;&#x2122;s ID card Monthly income Health insurance

: Saraswathi K L : 49 : Female : Valapattanam : Married : Nuclear : Hindu : 7th : Malayalam : 17yrs : Weaving : None : Society : No : 8hrs : 48hrs : Yes : 1600 : Yes

Name : Sasidharan K Age : 46 : Male Sex Address : Chirakkal Marital status : Married Family type : Joint Religion : Hindu : 7th Education Languages known : Malayalam Experience : 30yrs Role in weaving process : Weaving Family members associated with : Parents weaving Loom ownership : Society Training received : No Working hours per day : 8hrs working hours per week :48hrs Weaverâ&#x20AC;&#x2122;s ID card : Yes Monthly income :1500 Health insurance : Yes

Name Age Sex Address Marital status Family type Religion Education Languages known Experience Role in weaving process Family members associated with weaving Loom ownership Training received Working hours per day working hours per week Weaverâ&#x20AC;&#x2122;s ID card Monthly income Health insurance

: Janaki Amma : 60 : Female : Podikunnu : Married : Joint : Hindu : 3rd : Malayalam : 39yrs : Weaving : Sister : Society : No : 8hrs :48hrs : Yes : 1200 : No

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

: Narayanan Kutty Name : 61 Age : Male Sex : Chirakkal Address : Married Marital status : Nuclear Family type : Hindu Religion : 8th Education : Malayalam Languages known : 40yrs Experience : Weaving Role in weaving process Family members associated with: Parents weaving : Society Loom ownership : No Training received : 8hrs Working hours per day :48hrs working hours per week : Yes Weaverâ&#x20AC;&#x2122;s ID card : 1200 Monthly income : No Health insurance NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Name Age Sex Address Marital status Family type Religion Education Languages known Experience Role in weaving process Family members associated with weaving Loom ownership Training received Working hours per day working hours per week Weaverâ&#x20AC;&#x2122;s ID card Monthly income Health insurance

: Rama T Prabhakaran : 49 : Female : Chirakkal : Widowed : Joint : Hindu : 7th : Malayalam : 30yrs : Bobbin and pirn winding : None : None : No : 8hrs : 48hrs : Yes : 2880 : Yes 91

Name : Ambika G Name Age : 62 Age Sex : Female Sex Address : Puzhadhi Address Marital status : Widowed Marital status Family type : Joint Family type Religion : Hindu Religion Education : 5th Education Languages known : Malayalam Languages known Experience : 30yrs Experience Role in weaving process : Bobbin and pirn winding Role in weaving process Family members associated with : None Family members associated with weaving weaving Loom ownership : None Loom ownership Training received : No Training received Working hours per day : 8hrs Working hours per day working hours per week :48hrs working hours per week Weaverâ&#x20AC;&#x2122;s ID card : No Weaverâ&#x20AC;&#x2122;s ID card Monthly income : 2880 Monthly income Health insurance : No Health insurance

: Sujatha M : 64 : Female : Pattotheri : Married : Nuclear : Hindu : 9th : Malayalam : 13yrs : Bobbin and pirn winding : None : None : No : 8hrs :48hrs : No : 2880 : No

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Name : Ajitha M K Name Age : 39 Age Sex : Female Sex Address : Palliyamoola Address Marital status : Married Marital status Family type : Nuclear Family type Religion : Hindu Religion Education : 7th Education Languages known : Malayalam Languages known Experience : 16yrs Experience : bobbin and pirn winding Role in weaving process Role in weaving process Family members associated with Family members associated with: None weaving weaving Loom ownership : None Loom ownership Training received : No Training received Working hours per day : 8hrs Working hours per day working hours per week :48hrs working hours per week Weaverâ&#x20AC;&#x2122;s ID card : No Weaverâ&#x20AC;&#x2122;s ID card Monthly income : 2880 Monthly income Health insurance : Yes Health insurance NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

: Prameela S : 51 : Female : Puzhadhi : Married : Joint : Hindu : 10th : Malayalam : 20yrs : Bobbin and pirn winding : None : None : No : 8hrs : 48hrs : Yes : 2880 : Yes

Name :Usha T P Name Age : 53 Age Sex : Female Sex Address : Chirakkal Address Marital status : Married Marital status Family type : Nuclear Family type Religion : Hindu Religion Education : 7th Education Languages known : Malayalam Languages known Experience : 40yrs Experience Role in weaving process : Bobbin and pirn winding Role in weaving process Family members associated with : None Family members associated with weaving weaving Loom ownership : None Loom ownership Training received : No Training received Working hours per day : 8hrs Working hours per day working hours per week :48hrs working hours per week Weaverâ&#x20AC;&#x2122;s ID card : No Weaverâ&#x20AC;&#x2122;s ID card Monthly income : 2880 Monthly income Health insurance : Yes Health insurance

: Shibu S M : 46 : Male : Puthiyatheru : Married : Nuclear : Muslim : Diploma : Malayalam, Tamil : 30yrs : Dyeing : None : None : Yes : 4hrs :15hrs : No : 3500 : Yes

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

: Hari K Name : 49 Age : Male Sex : Puthiyatheru Address : Married Marital status : Nuclear Family type : Hindu Religion : 12th Education : Malayalam Languages known : 30yrs Experience : Dyeing Role in weaving process Family members associated with: None weaving : None Loom ownership : Yes Training received : 4hrs Working hours per day :15hrs working hours per week : No Weaverâ&#x20AC;&#x2122;s ID card : 3500 Monthly income : Yes Health insurance NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Name Age Sex Address Marital status Family type Religion Education Languages known

: Ambika V G : 39 : Female : Chirakkal : Married : Joint : Hindu : Diploma : Malayalam, English, Tamil, Kannada Experience : 18yrs Role in weaving process : Weaving master Family members associated with : None weaving Loom ownership : Society Training received : Yes Working hours per day : 8hrs working hours per week : 48hrs Weaverâ&#x20AC;&#x2122;s ID card : Yes Monthly income : 12000 Health insurance : Yes 95

ARTISANâ&#x20AC;&#x2122;S ANALYSIS The survey was conducted to assimilate the condition of the artisans in various aspects such as their personal and pro-

fessional life. The sample was conducted on sample size of 34 which includes winders, warpers, weaving masters and weavers. Non-probable method of sampling was used to choose the sample size and interviews were conducted with the aid of a close- ended questionnaire. Refer to annexure- I

Age of artisans The survey was conducted on a sample size of 34, which includes winders, weavers, warpers, weaving master and employees from weaving department. On a sample size of 34, it was found that 14.7 % (5) artisans where above the age of 30, but below 40. Artisans aged between 40-49 comprise most of the working force with them taking up 32.4 % of the chart. Artisans of the age group 50- 58 comprise 23.5%. 29.4% of the artisans are above the age of 58 which implies that they have retired, but continue to work.

fig. 65 : Age of artisans

Education level of artisans The majority of the artisans have done matriculation (23.5 %). 17.6 % of the artisans have attended school till the 8th grade. Only 8.8 % has completed diploma, which are 3 people.

fig. 66 : Education level of artisans

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18 96

Experience of artisans The absence of artisans with experience below 10 years shows that, this crafts has not been taken up by anyone new in the near past. Most of the artisans have 10-19 years of experience. The lowest is people with experience in the range of 40-49 years. The nature of work leads to health issues, which makes people to retire early or confine their work areas to less tedious works.

fig. 67 : Experience of artisans

Role in the weaving process of the artisans The evidence from the pie chart shows that majority of the artisans are weavers. Bobbin and pirn winders takes up to 17.6 % of the pie chart.

fig. 68 : Role in the weaving process of artisans

Relatives of the present artisans who are related to the weaving industry The pie chart depicts the percentage of relative of the present artisans who are or were related in the same industry. Therefore, it can be concluded in a sample size of 34, 41.2 % artisans have no relatives associated with weaving. A whopping 38.2% had their parents and 17. 6% have their siblings in the same field.

fig. 69 : Relative of the present artisans who are related to the weaving industry

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Type of family of the artisans From the information given in the pie chart that was collected during the survey, it can be come to a conclusion that 81.8 % of the artisans lives in a nuclear family. Only 18.2 % that is 6 individuals reside in a joint family.

fig. 70 : Type of family of the artisans

Caste of the artisans The pie chart depicts data about the religion of the artisans. Hindu comprise the highest with 91.2 %. This can be explained as weaving and its related activities were religion oriented in the past years.

fig. 71 : Religion of the artisans

Monthly salary of the artisans The evidence from the pie chart shows that most of the artisans earn between Rs. 1000 and Rs 1500. Scarcity of work, which leads to having work only for one or two weeks can be accounted for the low income. 30.3 % of the artisans earns between Rs. 1600- Rs 2000. Only 2 artisans earn above Rs. 4100.

fig. 72 : Monthly salary of the artisans

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Languages known by the artisans Evident in the bar chart here is that all of the 34 artisans speak Malayalam. This can be explained as, it is the vernacular language. Only 2 individuals speak English and Tamil. One of the artisan also speaks Kannada.

fig. 73 : Languages known by the artisans

Languages known by the artisans It is clear from the pie chart, that only 58.8 % of the artisans have a weaverâ&#x20AC;&#x2122;s identity card. It can hence be concluded only people from this segment enjoy medical and other benefits.

fig. 74 : Availability of weavers iID card

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

CHALLENGES FACED High Production Cost :

Traditional way of work has led to the production cosr comparatively higher.

Competition from Power looms :

Cost of production for handloom is higher owing to the hard work put in. However, power loom products are way cheaper in the market. This gives handloom products a huge competition in market.

Loss of domestic market :

As products are available in the market at very low rates compared to handloom products, people from lower class and middle class tends to go for power loom products. Also, the buying nature of the domestic market is very seasonal.

Lack of innovation in products :

Skill up gradation and technical advances are low, which leads to lack of innovation in products. Also, they are not ready to explore much due to the uncertainty in market.

Lack of technology:

As authentic as it might be, but the frame looms used in Kannur require a lot of human effort and skill. Even though this leads to better quality and finishing, the time taken can be really high

Lack of artisans:

The wages are really low and there is no job security which doesn’t attract the youth to this profession. It is a skilled based work and even the artisans aren’t willing to send their wards for weaving.

Lack of marketing:

Market oriented designs are hardly developed. The traditional designs are continued to be made even when the market is null. This leads to a state when the stock is stuck up and doesn’t move, which in turns affect the weavers as work will not be available. 100

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

SWOT ANALYSIS • • • • •

STRENGTH

Availability of large number of looms. Unique product features- preferred in certain markets. Eco friendly segment Trust factor – from existing clients Availability of land and equipments

• • • • •

WEAKNESS

High cost of production Health issue due to weaving Lack of new generation in the field Lack of market oriented designs Absence of airport –affects exports

SWOT • • • • •

OPPURTUNITY

Textiles policies by the government Cluster development programs Recent rise in popularity of handloom products. Training for unemployed people Scope for advertising and endorsing

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

• • • •

THREATS

Weavers leaving for other occupations Power looms- low cost production Lack of new generation Ravage of time on equipments

101

Fig. 75: Kavi and Striped fabric

102

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

DESIGN INTERVENTION Even after years of experience and

legacy, a lot of products made in this society are stuck up. As stated before, a major problem identified during the study was that the sale of the products produced was low. Even though the fabrics produced were of the best quality, the end products were not market oriented. Even though the society had tried designing a few products, they weren’t a hit. This was due to the lack of market oriented designs. Also, a weaver doesn’t get enough remuneration for the amount of time and effort put it. This leads to a condition where the price of the product is way higher than the profit available to the weavers. Even when the market is low, the traditional products are continued to be made, which in turn leads to stock’s being stuck up. One major reason for the stock not moving is due to the lack of platforms for the products to be sold and also absence of promotion. Products need to be made which has

the essence of the tradition but with a hint of today’s trend. These would do better as the customers would be able to relate more with the products. The reach of the products has to be increased and not excluded to a few dedicated stores. Keeping all of these in mind, a design collection has been made, after studying North Kerala or Malabar region as a market segment, for upper middle class and lower middle class women aged between 1824. Three outlets for selling these garments has been chosen, which has the caliber and reach to promote theses products. The first brand is Hanveev, which is a initiative by the government, which solely sells handwoven products. However, they cover a lesser percentage of the market segment. The second brand is Fabindia. This brand is profit-organization which largely known for their connection with Indian textiles and handcrafts. This brand is exclusively known for promoting hand woven textiles and can

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

make a great impact on the weaving society. Lastly, Jayalakshmi has been chosen. This company is very popular amongst the customers in Kerala. Even though they presently don’t have a hand woven section, an addiction of same would a great step. A lot many weavers had to stop their career due to health issues, which includes leg and back pain. In a particular case, a weaver was advised to stop weaving on any loom having more than 4 pedals. However the classic product made here uses more number of pedals. Weaves has been tried out, with just the use of two shafts, but different techniques. These can be used to reduce the work load of the weavers, but creates interesting textures. These can be later used for home furnishing products to create captivating designs.

103

MARKET STUDY Market segmentNorth Kerala or Malabar region

Malabar region

Fig. 76: Malabar region

104

North Kerala, commonly known as the Malabar region consists of the districts of Kozhikode, Kannur, Wayyanad, Mallapuram and parts of Pallakadu. A clear difference can be observed in the lifestyle of this region from the rest of Kerala. The majority of Keralaâ&#x20AC;&#x2122;s Muslim population lives in this area, along with a predominant society of Hindus and a sizeable number of Christians. The population of this area consists of 8,813 males and 10, 363 female, making the female to male ratio higher than the average of the entire state. The available products in the female apparel section of this market segment includes sarees, tops, kurtis, salwaar kameez, burqas ,denims and skirts. Being a conservative community, not many girls above the age of 16 prefer to wear short tops or denims. They prefer to wear chudidars or sarees, as they cross late 20â&#x20AC;&#x2122;s. However, recently many of them prefer to wear kurtis, along with leggings. The different kinds of kurtis available can differentiated on the basis of length, sleeve length, silhouettes and neck pattern. It can also be divided on the basis of occasion. Comfort, design, colour and trends are the parameters

on the basis of which customers purchase. This can be explained as one legging can be paired with different kurtis to give a different looks. Even women who wear burqas prefer to wear kurti and leggings underneath. As explained before, the society had stocks which were stuck up. Most of these included bedsheets, kaavi mundu and upholstery fabric. A recent trend in Kerala involves men wearing kaavi mundu inspired from few movies. And hence, this colour has been popular in the market for some time now. The average sizes of women in Kerala are 10 and 12. Design had to be made keeping this in mind. Another trend that has been making rounds is ankle length kurtis and half sleeves along with them. Anarkali salwaars has been a huge hit in the Malbar region. However these cannot be worm for formal or semi-formal occasions. Average women and girls used to wear kurtis before which were considered to be mediocre and simple. These were majorly worn by women from middle class, however it recently has become common in all social strata. A great advantage of this apparel is that, it can be worn by all body types. A detailed study of the same was conducted on a sample size of 25 and has been given in the next section.

NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

MARKETS AVAILABLE Kurti designs are so boundless and

unique. There are different kinds of kurtis which can be differentiated on the basis of material used, silhouette, occasion, length, surface embellishments, sleeve type and neck line. Kurtis are today available for every 0ccasion, time and mood. Unlike certain time back , customers have recentl started moving over to kurtis over chudidar sets. This can be explained as one pair of leggings can be paired with different kurtis to get a new look. Also, on an average, more quantity of kurtis can be bought in the same price range of one chudidar sets. Kurtis are traditional, yet has its own sense, style and trends. It is a perfect blend. It has become a fashion staple in almost everyoneâ&#x20AC;&#x2122;s wardrobe. Popular brands that sell kurtis in the Malabar region includes Fabindia, Jayalakshmi, Kalayan silks and W.These are mostly branded shops. Along with these many local textiles shops sells kurtis. Also many customers prefer buying yardage and stitching them in the desired design. Fabindia primarily sells kurtis which are handwoven. Hence the pricing scale of this store is on the higher range. A simple, solid kurtis in fabindia can start from Rs. 900. This price range increases with detailing and

the type of surface emblishments used. A semi-formal kurtis, with basic embroidery costs in the price range of Rs.1200- Rs.2000.A pure silk kurti in fabindia can go up as high as Rs.6000. As costs are higher , the store is often visited by people from upper middle class or upper class. Even after being a niche market, their competition for share of wardrobe and wallet is high from its western competitors.

tion, having more two lakh styles for the younger generation at a lower price. W is a chain store, solely dedicated for kurtis. The price range here starts from Rs. 600 and go upto Rs. 6000. Most of the sales in these stores takes place during the festival seasons. This includes onam, Christmas, Eid and other local festivals. The sales in these months increases three fold. Along with these, various sales offers are given which increases the overall profit for the store. A major contribution to this is the fact that, custom has it that new cloths has to gifted during most of these festivals. Another major sales time is during wedding seasons. Most of the weddings are held in Chinga month (August- September) or during the summer break. As most of these shops gives concessions to wedding parties, even customers from middle class or upper lower class prefer to come here.

Jayalakshmi being a wedding collection destination, the types of kurtis available here are mostly party wears. Adding of brands like Biba in their store was very recent. Most genre of kurtis available here are anarkali kurtis. A basic cotton kurti starts from Rs. 600 and can go upto Rs. 3500.The latter amount in considered to be high for basic kurti, as the same price would fetch a decent party wear in the same store. However, a typical occasion based kurti set can go upto Rs.11,000. As stated before , Biba and W have allied with Jayalakshmi, giving a better range of casual Major competitions for these brands and semi-formal kurtis. are the small, local clothing stores. These shops source their kurtis from Kalyan silks again is wedding center. flea markets, making the price really However, the price range here slightly low. Adding to this scenario is the fact higher than that of Jayalakshmi. Even that, considering small towns, the though the lower range is same as shopkeepers and customers know above, the upper limit can go upto each other, adding to both of their Rs.2500. However, recently Kalyan greater advantage. silks had released ther youth collec-

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The reason why kurtis are popular is because unlike denim or short tops in the market segment, kurtis are not age specific. Even though the silhouettes and the colours might change for different age groups, as a whole it’s a staple fashion product. Most colleges in the Malabar region only allow girls to wear kurtis or salwaar to their colleges. This is a major advantage to the kurti market. College going girls normally prefer wearing styles that are unique than being more ba-

sic. Customers from this age group who are from the upper middle class or upper class wouldn’t mind shelling out another Rs. 500 for a garment which is different from others. These customers are also greatly affected by trends, especially through the medium of films or advertisements. Kaavi(material) and the silhouettes used has been recently popularized through many films.

average price of a cotton kurti is in the range of Rs. 700- Rs.800. For the durability, efforts put in and authenticity it offers, handloom products are on the higher side of the scale compared to other products. The average size of women in the market region is size 10- 12. And from the analysis it is clear that consumer where ready to shell out an extra bit for handloom products.

Hence, it can be concluded that the

BRAND STUDY One of the major problems identi-

the essence of the tradition but with a hint of today’s trend. These would do better as the customers would be able to relate more with the products. The reach of the products has to be increased and not excluded to a few dedicated stores. Kerala has been studied as the target market and three brands has been chosen which has a caliber to promote the products. The first brand is Hanveev, which is a initiative by the government, which solely sells handwoven Products need to be made which has products. However, they cover a fied during this study was that the sale as a whole was low. Also the designs developed are not market oriented. Even when the market is low, the traditional products are continued to be made, which turn leads to stock’s being stuck up. One major reason for the stock not moving is due to the lack of platforms for the products to be sold and also absence of promotion.

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lesser percentage of the market segment. The second brand is Fabindia. This brand is profit-organization which largely known for their connection with Indian textiles and handcrafts. This brand is exclusively known for promoting handwoven textiles and can make a great impact on the weaving society. Lastly, Jayalakshmi has been chosen. This company is very popular amongst the customers in Kerala. Even though they presently don’t have a handwoven section, an addiction of same would a great step.

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Hanveev

is the conceptualization of the Kerala State Handloom Development Co-operation to promote the handloom industry and to give a boost to the weavers. It was founded in 1968 and it slowly grew to become a synonym for excellence and quality. Presently, more than 2 million meters of fabric is produced as an cumulative effort of around 6500 weavers. Today, Hanveev has a chain of 52 exclusive showrooms , 7 mobile showrooms and are planning to set up more in showrooms in all Assembly constituency and municipality headquarters in the state. The cooperative office is set up at Kannur and has three regional offices in Trivandrum and Kannur. The regional office at Eranakulam and five other showrooms were forced to shut down in 2012 as it was not financially viable. The production takes place mainly in Kannur and Trivandrum. The products are sold at a discount of 20% off. The organization had a turnover of 16.41 crore in the financial year of 2012-2013. The price ranges varies for different products. The area of

the showroom also matters minimally, as transportation charges from the place of production is added. Vesthi comes in a wide price range, which starts at 520 for a Vesthi without zari and go upto Rs 10,000. Hanveev stands as hope for the handloom industry. Even after trying different schemes, the industry suffers huge competition. Hanveev needs to be promoted widely, so that our traditional textiles finds their way through to every individual’s life.

Product Range and Price Range The showrooms provide wide categories of products. The home furnishing branches out to satisfy their customers with different ranges of products such as towels, curtains, kitchen linen and many others. The bed sheets available here boast of superior quality and feel. Hand woven sarees, set mundu and veshtis carries on the legacy. Various undertakings of government sectors, public organizations, schools and colleges are also taken

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care of. The sarees have a price range of Rs. 800 – Rs 300. Un fortunately, no garments are available here.

Targeted Segment The sales in Hanveev have been affected due to the products that manufactured using power looms. Customers believe in the notion that hand woven products are expensive, but don’t foresee the quality and comforts it delivers. However, consumers are willing to spend the same amount or more to purchase clothing from branded shops, which is considered as a status symbol. The usual customers of Hanveev are those who have tried and tested the quality of handloom products. The sales are usually higher during festivals Onam and Vishu as authentic products are available here. However, owing to the cost of the raw materials and work, the cost of the products sure is higher than what a consumer from lower strata of the society could handle. Therefore, most the consumers are either from the upper middle class or upper class.

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Fabindia

is a garment retail store which was started in the year 1960 with a mission to promote and savor the artisans of rural India. By early 80â&#x20AC;&#x2122;s Fabindia was known for its garments. In 2000, they started with the non-textile range. The organic food, personal care products and handcrafted jewelry were started in 2004, 2006 and 2008 respectively. Fabindia has over 170 stores across India and abroad and also exports to over 33 countries. Fabindia today is the largest private platform for product that derives from traditional crafts and knowledge. Majority of their home furnishing and garment collections are sourced from rural parts of India, where the company forms a lose knit relationship with the artisans and gives them inputs by providing them with design inputs quality control, access to finances and raw materials. There are currently more than 40,000 artisans associated with the company. Fabindia faces very little competition just from small private boutiques, as no other company has started such an initiative at such a

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large scale.

Product range and price range The product range of Fabindia is extensive. 70 % of the products are garments, 25% are hmefurnishing, 3% of body care and 2% of organic food items. Garments are available for men, women, kids and infants. In the home furnishing department, kitchen linen, bath linen, bed linen and table linen are available. Upholstery, floor furnishing and curtains are also available. The products also include furniture, organic food and personal care items. Since the products available are handcrafted and are one of a kind, the price range is higher than a product of a similar kind. A plain pintuck kurti would cost Rs. 890, whereas a similar kurti can be bought from a retail store for Rs. 500 or less. The price range goes way up high to Rs. 6000

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for a silk brocade kurti. However, most of kurtis come in the range Rs. 1200- Rs. 2300. The price varies on the bais on the fabric used and surface technique.

Targeted segment Fabindia targets its collection at the Indian elites living in metropolitian cities, who has a taste for tradition and yearning to go back to their roots. The traditional aspect of the products helps them to reconnect with their inner selves. The freshness in the design along with the crafts rejuvenates it. Fabindia doesnâ&#x20AC;&#x2122;t not believe in advertising and rather relays in the old word-of-mouth publicity. They carry out interactive sessions with their customers every month known as Coffee Mornings. Most of their customers are from the upper middle class or upper class. To mix up the segmentsmore, recently fabinda has started selling furniture and other high end products on EMI basis.

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Jayalakshmi started in the year 1947

on cloth Bazaaar road, Cochin on a mere 400 Sq ft , with just the capacity to having seating for one customer. In 1997, the current store was opened in Cochin on MG Road.As the city grew, Jayalakshmi grew along with it. Slowly as years passed by many more stores opened and became a destination for wedding silks. As the fashion house deals in a wide range of apparels like salwars, lachas, sarees, readymade salwar suits, western wear, kids wear, etc. this is the place that people hit to get gorgeously decked up in fine apparels. Jayalakshmi has four spacious showrooms located in four major cities of Kerala. The leisurely ambiance, the varied collection, the colorful stock in all kinds of sizes makes shopping at the stores a pleasure. All the stores receive an individual footfall varying from 5000 to 10000 per day. Today Jayalakshmi stands as a progressive store that offers quality silks and dress materials across the major cities of Kerala.

Product Range and Price Range

Recently Jayalakshmi has tried to mix up their collections and to go off track than just have wedding collection. With time, the array on offer has grown from Sarees to include ethnic wear, western wear and branded wear. The ethnic collection for women include Lachas, Salwar-Kameez, Kutis, Shararas, Lehengas, Set Mundu and Sarees. For men the variegated bridegroom ensemble includes Sherwanis, Kurtas, Tunics and Pathani Suits. The kids also have an attractive collection to choose from. The western wear section for men and women has the latest trendy fashions and styles to offer. Recently other brands like W and Biba has joined hands with Jayalakshmi to allow their customers to have a wider range of collection to choose from. Price range for kurtis starts from around 450 and designer kurtis can go up to Rs. 2000. These are powerloom products and cost way

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lesser than their hand woven counterparts. However, there sure is a massive difference in quality and feel. However, rather than very few products, the company lacks the collections and promotion of handwoven products. With a wide range of customer reach, introducing handwoven textiles in here would be a boost for the handloom industry.

Market Segment

Jayalakshmi has an ample market segment. It ranges from lower middle class to upper middle class. Bridal section continues to be ones of their major attraction and consumers spent extravagantly for the same. But even in that case a pure banarasi saree would cost way more than a budget for a customer from the middle class. Hence, their market segment changes according to the products available.

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Fig. 77: Books

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CONSUMER ANALYSIS

Questionnaire based survey was conducted on a sample size of 25, having subjects in the age group 18 - 24. Refer to annexure - iv

fig. 78 :Age group

The survey was conducted on a sample size of 25, where maximum numbers of respondents were from the age group of 18-23.

fig. 80 : Frequency at which kurtis are worn on a weekly basis

The above pie chart depicts the individualâ&#x20AC;&#x2122;s frequency of wearing kurtis. Most of them ( 36%) wear it 4-6 times a week. About 32% wear kurtis 2-3 times a week. NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

fig. 79 : Length preference

It is evident from the above pie chart that, majority of the respondents prefers long kurti. 15 individuals out of 25 have opted for the same. Following is medium kurti, with 32 %.

fig. 82 : Prefernce of sleeve

Both half sleeve and Âž th sleeves has been opted by equal number of respondents. From the sample size of 25, 7 individuals prefer them each. 111

fig. 83 : Neckline preference

fig. 84 : Owning handloom apparel product

32% of the respondents prefer boat neck line. This can be justified considering that a few film recently had showcased the same. Both symmetric neck line and collar neckline has been preferred equally ( 6 each).

Only 4 of the respondents, which makes up to 16% own a handloom apparel product. This is an alarming short rate.

fig. 85 : Willingness of buying handloom products

It is evident from the pie chart, 84% of the respondents were willing to buy handloom products, which is a whopping 21 out 25.

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fig. 86 : Cost willing to be paid

Out of the 84 % who were willing to try handloom products, 50% where ready to spend between Rs. 1000- Rs. 2000. Also, 37.5 % were ready to spend between Rs. 500- Rs.1000.

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ANALYSIS The survey was conducted on 25 in-

the pattern of the Kurthis they wear dividuals. Majority of them were col- presently, but made out of handloom lege going students, who belonged fabric is a good way of implementing to the age group of 18-23. As most handwoven cloths on a day to day of the college in Kerala, only let kurtis basis. or salwaar, the number of times they wear it in a week was high. Most of After going through the stock, it was them inclined towards long kurtis and found that their sales were very seaequal number preferred half and Âž sonal. Most of their sales happened the sleeve. Also boat neck line was during Onam, Vishu or Ramdan. One voted highest number of time. Only product that was excessively made, 4 of these individuals presently pos- but which wasnâ&#x20AC;&#x2122;t moving out was sess a handloom product. This is a kaavi mundu. These are normally very small number. However 84% of bought by men who go on pilgrimthem were willing to use handloom age to temple like Sabarimala and products and were ready to spend Pazhanni. But these kaavi mundu between Rs. 1000- R.2000. which are produced on handlooms can be found in retail shop for half its Even the youngsters, who are mostly price. aware of social issues fail to recognize the importance of handloom. Their Hence we decided to implement wardrobes might having more than these kaavi mundu along with hand50-60 pieces of clothing, but none of woven stripes to make an kurti collecthem might be of handloom. Design- tion ing a collection for them, following

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THULYA “

Allied to assure; assembled to resolute. all the same; yet solatire.

“

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INTRODUCTION Thulya, a kurti collection for women

aged 18-24. Inspired from oodu or the roof tiles, the tessellation it creates and the overall effect and mood of uniformity. The kurti collection includes six semi-formal kurtis, designed to be apt for different body shapes. The fabrics used are kaavi mundu and stripes. The patterns that are created by the oodu has been the inspiration for the embroidery motifs. Embroidery has been used a value addition technique, which can be taught to the artisans. Due to shortage of work, the society works on the basis of mozha, wherein the artisans work turn by turn. Introduction of embroidery can be used to provide them with the allied workers with work. The embroidery motifs used are geometric and the stitches used are simple, so as to make it easier for the artisans.

Costing of the product Each kaavi mundu cost Rs. 350. Even though, in some cases the whole mundu might not be used, the prceof entire kaavi has to taken so as to make it profitable for the artisans. The stripes costs Rs.100 per meter. The cost of the embroider varies from kurti to kurti, depending on the intricacy, time and effort put in.The average stitching charges are Rs. 350, however, for patterns which are slightly complicated, it can go upto Rs.450. NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

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Design no. : T01 Neckline : v- collar Sleeve length : half sleeve Kurthi length : knee length Stitch used for embroidery : double running stitch Silhouette : sheath Motif used : 9 cm x 3 cm

Cost

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: Rs. 800

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Design no. : T02 Neckline : chinese collar Sleeve length : full sleeve Kurthi length : knee length Stitch used for embroidery : double running stitch Silhouette Motif used

: Box : 8 cm x 5 cm

Cost

: Rs. 900

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Design no. : T03 Neckline : v- collar Sleeve length : half sleeve Kurthi length : knee length Stitch used for embroidery : double running stitch, satin stitch Silhouette : Shift Motif used : 9 cm x 5 cm

Cost

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: Rs. 1300

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Design no. : T04 Neckline : V- neck Sleeve length : half sleeve Kurthi length : knee length Stitch used for embroidery : double running stitch Silhouette : box Motif used : 2 cm x 3 cm

Cost

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: Rs. 1100

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Design no. : T05 Neckline : chinese collar Sleeve length : full sleeve Kurthi length : knee length Stitch used for embroidery : double running stitch, satin stitch Silhouette : A- line Motif used : 2 cm x 3 cm

Cost

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: Rs. 1400

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Design no. : T06 Neckline : chinese collar Sleeve length : full sleeve Kurthi length : knee length Stitch used for embroidery : double running stitch, satin stitch Silhouette : box Motif used : 2 cm x 3 cm

Cost

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: Rs. 1120

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Fig. 87 : Woven Swatches

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WEAVING EXPLORATION

Design no. : W01 Weave : Plain weave Technique : The weft is interlaced between the warp alternately taking the weft up and down through the shed created, so as to obtain a running stitch like appearance. The weft has been passed in a similar way thrice.

Design no. : W02 Weave : Plain weave Technique :The weft is interlaced between the warp alternately taking the weft up and down through the shed created, so as to obtain a running stitch like appearance.

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Design no. : W03 Weave : Plain weave Technique : The weft is inserted and a rod like structure(straw) was used to create loops which were further beaten up to form piling.

Design no. : W04 Weave : Plain weave Technique : Weft chaining

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Design no. : W04 Weave : Plain weave Technique : Soumak

Design no. : W06 Weave : Plain weave Technique : Soumak

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EXPERIENCE The entire journey through the craft

cluster documentation would be a memory to behold forever. Travelling to a cluster and being one of them, for how so ever short the period might have been, gave us a perspective that could not be attained in any other way. It was quite difficult for the artisans to open up. They felt that their paradigm was completely different from us. Yet after a few days, they were ready to share their stories and lives with us. Never have we been so warmly welcomed to a family so huge. The artisans have been masters in their craft for ages, but their willingness to teach us and answer our doubts patiently taught us the greater lessons of politeness and humbleness. It was a hand on experience for us for everything we had studied. To see that many looms working at the same time was exceptional. We were thrilled to learn about the 10-pedal and 12 pedal looms and its working, but were dejected to know that they did not use them anymore. These looms and its products were unique to this region

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and now has become a part of the distant past. It was over whelming to witness the entire process- right from the hanks being dyed to weaving them into beautiful fabric. All of these done in large quantity, contrary to small swatches we were familiar with. The very sight of many looms in a degraded condition made us want to help them in all the possible ways that we could. A look into their storage room and further discussions with the secretary and other employees helped us to understand their problem further more. Products had to create which were feasible and viable in the market. This gave us the idea to create products, from the existing materials. As mentioned before, work is scarce. We have tried to incorporate embroidery and sewing in these products, so that there is constant work at the least for the allied workers. We are looking forward to visiting the cluster this December to teach them embroidery.

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Devi Mahesan - Photography - Write up - Embroidery - Design Devolopment

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Gopika M - Layout design - Data collection - Embroidery - Fashion illustration

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Nandhini R - Embroidery - Sketching - Data collection

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CONCLUSION Even

after having a history that’s dates back to before independence, the cluster strives through each day. In spite of being under aegis of the government, this cluster fears its end in the near future. The pre-process and process has been documented. The artisan’s profile was collected to analyze the problems faced by them at a grass root leave. Efforts have been taken in the course of this project to vocalize its problems, and to “locate” solutions for the same. Design Intervention has been carried out after studying the market thoroughly to make sure the products are viable. Several other explorations using the fabric produced also have been carried out. To reduce the pressure and effort given in during weaving, a few weaves has been tried out , which can be replicated. We sincerely hope, that the design interventions and explorations helps the cluster to flourish. We look forward to working with the cluster and its artisans in the years to come and be a part of the cluster’s present and future.

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GLOSSARY Word Bafta Hawa Abe rawan Shabnam Kimkhwab Kathakali Kasavu Thrissur Pooram Keralam Parshuraman Mazhu Chera Samoothiri Keralapiravi Kaithari Salivas Devangas Theyyam Arakkal Kaliyattam Thulam Idavam Mudi Marmula Devakooth Thottam Namboothiri Swaroopam Poyikannu Vrichikam 148

Meaning Woven air. A term used to describe Indian textile, Jamdani metamorphic ally. Running Water,. A term used to describe Indian textiles metamorphic ally. Morning dew.. A term used to describe Indian textiles metamorphic ally. Woven dreams. . A term used to describe textiles woven in Varanasi metamorphic ally. An narrative art from practiced in Kerala Zari used in the Kerala sarees A festival observed in Thrissur, Kerala Malayalam for Kerala Sixth avatar of Lord Vishnu Axe Royal dynasty in Kerala Royal dynasty of Kozhikode, Kerala Kerala's birthday, celebrated on November 1st Handloom A weaving community A weaving community A folklore practiced in northern Kerala The only Muslim dynasty of Kerala Synonym for Theyyam Malayalam month; October Malayalam month; May Headgear of Theyyam Breastplate used in Theyyam costume Only form Theyyam with female artisans Invocation of god during theyyam Brahmin, priest community Original form Fake eyes, used in theyyam costume Malayalam month; November NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

Nityostavam Chenda Kopad Kovilakam Mooshika Vamsham Kandal Kaadu Theru Mundu Nool Molla Chembu Valiya Nalli Nalli Charkha Acch Mezhuku Kambarpetta Kalikai Elakai Kaalu Maggam Thaniyam Kettu Racca Pirika Bhasamam Thozil Uraapu

Daily festival conducted in Parishini temple A musical instrument Fish Palace A royal dynasty of Kerala Mangrove forests Street A piece of woven fabric, used by men draped below waist Yarn Bamboo sticks Copper; Kier boiler Bobbin Pirn Spinning wheel Reed Wax Template used while weaving to reduce shrinkage Upper lam of loom Lower lam of loom Pedals Handloom Handloom Hank, bundle Healds Twisting Vibhuthi, holy ash Employment assurance scheme

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BIBLIOGRAPHY (n.d.). Retrieved May 26, 2016, from Theyyam- an exclusive web scenario of Theyyam: http://www.vengara.com/theyyam/about_theyyam.htm Hall, J. (n.d.). Retrieved June 12, 2016, from http://glimakrausa.com/wp-content/uploads/2012/05/cb-vs-cm.pdf http://sargaalaya.com/. (n.d.). Retrieved May 25, 2016, from Sargaalya: http://sargaalaya.com/aboutus http://shodhganga.inflibnet.ac.in/. (n.d.). Retrieved June 9, 2016, from shodhganga: http://shodhganga.inflibnet.ac.in/ bitstream/10603/84541/11/11.chapter%204.pdf http://shodhganga.inflibnet.ac.in/. (n.d.). Retrieved June 8, 2016, from hodhganga: http://shodhganga.inflibnet.ac.in/ bitstream/10603/19998/12/12_chapter%204.pdf http://shodhganga.inflibnet.ac.in/. (n.d.). Retrieved June 10, 2016, from shodhgang: http://shodhganga.inflibnet.ac.in/ bitstream/10603/2594/10/10_chapter%201.pdf http://tantuviclothing.com/. (n.d.). Retrieved May 26, 2016, from Tantuvi: http://tantuvi.com/history.htm http://www.mapsofindia.com/. (n.d.). Retrieved May 26, 2016, from Maps of India: http://www.mapsofindia.com/india/ Karafin, A. (n.d.). https://www.lonelyplanet.com/. Retrieved May 26, 2016, from lonely planet: https://www.lonelyplanet.com/india/kerala/travel-tips-and-articles/77024 keralatourism.org. (n.d.). Retrieved May 26, 2016, from Kerala, God's won country: https://www.keralatourism.org/kerala-at-a-glance/ RAVI, C. (n.d.). https://sites.google.com/site/cbrgem/. Retrieved May 24, 2016, from Footprints in my heart: https://sites. google.com/site/cbrgem/cherished-memories-of-the-chirakkal-i-love/historical-perspective (n.d.). Retrieved June 2016, from Handloom Expo, Kannur: http://handloomexpokannur.com/Chirakkal%20Weavers. html (n.d.). Retrieved July 2016, from Current Kerala: http://currentkerala.com/jayalakshmi-silks-keralas-favourite-shoppingdestination/

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1801: Punched cards control Jacquard loom. (n.d.). Retrieved June 2016, from Storage Engine: http://www.computerhistory.org/storageengine/punched-cards-control-jacquard-loom/ Panchayatilude. (2010). Retrieved May 2016, from Chirakal Grama Panchyat: http://lsgkerala.in/chirakkalpanchayat/ general-information/description/ Assembling framr loom. (2014, June 23). Retrieved May 2016, from looms and spindle: http://www.loomandspindle. com.au/blog/assembling-your-frame-loom A. Anthony, M. J. (2014). SMEs in Indian Textiles: The Impact of Globalization in a Developing Market. NewYork: PALGRAV MACMILLAN. About. (n.d.). Retrieved July 2016, from Hanveev: http://www.hanveev.com/about-2/sponsored-projects/cluster-development-program Ayrookuzhiel, A. M. (1983). The sacred in popular Hinduism : an empirical study in Chirakkal, north Malabar. Madras: the Christian Institute for the Study of Religion and Society, Bangalore by the Christian Literature Society, . Charithram ( History). (n.d.). Retrieved May 2016, from Chirakal GramaPanchyat: http://lsgkerala.in/chirakkalpanchayat/history/ Committe, T. (n.d.). Retrieved May 2016, from http://handlooms.nic.in/writereaddata/Balaramapuram%20Sarees635701520378938440.pdf Council of Handicrafts Development Corporations (COHAND). (n.d.). Retrieved May 2016, from Handmade in India: http://www.cohands.in/handmadepages/pdf/353.pdf Hall, J. (n.d.). Assembling and weaving on counterbalance and counter march loom. Retrieved May 2016, from Glimakrausa: http://glimakrausa.com/wp-content/uploads/2012/05/cb-vs-cm.pdf Incredible India- Discover India. (n.d.). Retrieved May 2016, from Incredible India: http://incredibleindia.org/index.php/ travel-discover-india/discover-india Indian Mirror- Indian industries. (n.d.). Retrieved May 2016, from Indian Mirror: http://www.indianmirror.com/indian-industries/weaving.html Integrated Handloom Development Scheme. (n.d.). Retrieved May 2016, from Shodhganga: http://shodhganga.inflibnet.ac.in/bitstream/10603/19998/12/12_chapter%204.pdf Intro to Countermarch and Counterbalance Looms. (n.d.). Retrieved June 2016, from Glimakrausa: http://glimakrausa. com/learning-looms-weaving/intro-to-countermarch-and-counterbalance-looms/ Introduction to Theyyam. (n.d.). Retrieved May 2016, from Theyyam- All about Theyyam: http://www.vengara.com/ theyyam/about_theyyam.htm Jacquard loom. (n.d.). Retrieved June 2016, from The great idea finder: http://www.ideafinder.com/history/inventions/ jacquard.htm

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Karafin, A. (n.d.). lonelyplanet - destinations . Retrieved May 2016, from lonelyplanet: https://www.lonelyplanet.com/ india/kerala Kerala at a glance. (n.d.). Retrieved May 2016, from keralatourism.org: https://www.keralatourism.org/kerala-at-aglance/ Kerala at a glance- kannur. (n.d.). Retrieved May 2016, from keralatourism.org: https://www.keralatourism.org/districts/ kannur/ Kerala, Home. (n.d.). Retrieved May 2016, from ProKerala: http://www.prokerala.com/kerala/dance-forms/keraladanceforms_theyyam.htm Kumar, S. R. (n.d.). Traditional Industries of India in the Globalised World. (March,2012). https://web.archive.org/web/20120522071945/http://cci.in/pdf/surveys_reports/indian-textile-industry. pdf. Mehta, R. (n.d.). Home / Travel / Theyyam : A Ritual Art Form of North Kerala. Retrieved May 2016, from Maps of India: http://www.mapsofindia.com/my-india/travel/theyyam-a-ritual-art-form-of-north-kerala QUESTIONNAIRE FOR THE HANDLOOM WEAVERS OF THE SOCIETY . (n.d.). Retrieved May 2016, from http://shodhganga. inflibnet.ac.in/bitstream/10603/40745/15/15_questionare.pdf RAVI, C. (n.d.). CHIRAKKAL KOVILAKAM - A HISTORICAL PERSPECTIVE. Retrieved May 2016, from Foot prints in my heart: https://sites.google.com/site/cbrgem/cherished-memories-of-the-chirakkal-i-love/historical-perspective Sargaalaya -About us. (n.d.). Retrieved May 2016, from Sargaalaya: http://sargaalaya.com/aboutus Tantuvi - History. (n.d.). Retrieved May 2016, from Tantuvi: http://tantuvi.com/history.htm The Chirakkal dynsaty- reading through history. . (n.d.). Retrieved May 2016, from Shodhganga: http://shodhganga. inflibnet.ac.in/bitstream/10603/2594/10/10_chapter%201.pdf Travel, Home. (n.d.). Retrieved May 2016, from Indianetzone: http://www.indianetzone.com/9/history_kannur_district_ kerala.htm Tyagi, M. (2013, January 25). Fabindia- Case study 2. Retrieved July 2016, from Slideshare: http://www.slideshare.net/ mayankbcl/fabindia-case-study-2 Video: Jacquard weaving. (n.d.). Retrieved June 2016, from Victoria and Albert Museum : http://www.vam.ac.uk/content/videos/j/video-jacquard-weaving/ Wilson, K. (1979). History of Textiles. Retrieved from http://char.txa.cornell.edu/IndianTex.htm Zimmermann, K. A. (2015, January 30). Live science- human nature. Retrieved May 2016, from Livescience: http://www. livescience.com/28634-indian-culture.html

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ANNEXURE - I ARTISAN QUSTIONNAIRE

1. Name of the artisan: 2. Address : 3. Age : 4. Sex : 5. Marital status : 6. Family type : a)Nuclear Family b)Joint Family 7. Religion: 8. Caste: 9. Education level : a) Illiterate b) Primary c) Secondary d) Graduate e) Post graduate 10. Language known: a) Comprehend – b) Read – c) Write – 11. Experience : 12. Occupation of forefathers : 13. No. of family members participating in the craft : 14. Loom ownership status15. Have you received training in weaving. If yes, for how long and from whom? 16. Regular workshops conducted in favor of the artisan 17. Engagement in other activities other than weaving: 18. Average working hours per week : 19. Average wage per day : 20. Monthly income: 21. Wages obtained in each process in the weaving value chain Process name duration/ Other details wage 1. Dyeing 2. Warping 3. Sizing 4. Bobbin winding 5. Weaving 6. Finishing 7. Loom / accessory 8. Repair NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

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22. Savings account availability a) Bank b) Post office c) Society related d) Local 23. Do you have a weaver artisan identity card? 24. Membership in trade unions 25. Participation in self-help groups 26. Facilities provided to the artisan 27. Medical help provided to artisans 28. Availability of health insurance 29. Major health issues related to weaving profession : 30. Access to safe drinking water? 31. Access to electricity? 32. Do you have access to raw materials for your work? Details. 33.Raw material Details 1. Yarn 2. Dyes 3. Firewood 4. Power 5. Others

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ANNEXURE - II CLUSTER AND SOCIETY QUESTIONNAIRE

1.Name of the village : 2.Population : 3.No. of households : 4.No. of weaving households : 5.No. of weavers : a)Male : b)Female : 6.No. of weaver/ weaver related institutions : a)Co-operative societies : b)rader associations : c)Caste groups : d)Government institutions : e)NGOs : 7.No. Of related units : a)Yarn agents/ shops : b)Garmenting units : c)Training institutes : d)Dyeing unit : e)Spinning unit : 8.Total no. Of looms : 9.No. Of jacquard looms : a)No of peddles used : 10.No. Of dobby looms : a)No of peddles used : 11.Total no of : a)Bobbins : b)Peg frames : c)Shuttles : d)Spinning wheels : e)Reed hooks : f)Lease rods : g)Reed : 12.Different reed counts used : 13.No. Of specific reed count used : 14.Width of fabrics produced : 15.Product range : 16.Price range per product : 17.Wages obtained by weavers per product :

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18.No. of employees working under different processes of the weaving value chain: s.no Process name No. of employees Wage duration 1. Dyeing 2. Sizing 3. Bobbin winding 4. warping 5. drafting 6. denting 7. Weaving 8. Finishing 9. Loom / accessory repair 19.Average wage obtained : 20.Dyes used : a)Natural : b)Synthetic : 21.No. Of dyeing units : 22.Stage at which dyeing occurs : 23.No. Of employees in dyeing unit : SOCIETY 1.Name of society : 2.Origin : 3.Aim : 4.Date of origin : 5.Location : 6.Present board members : a)President : b)Secretary : 7.No. of weavers on the board : 8.No. of women on the board : 9.No. of men on the board : 10.Membership : a)Turn over : b)Profit : 11.Special training programs available 12.Exhibitions conducted 13.Co-operation from the government â&#x20AC;&#x153; 14.Cooperation from NGOâ&#x20AC;&#x2122;s: 15.Cooperation from design institutes: 16.Insurance claims available: 17.Medical claims available : 156

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ANNEXURE - III QUESTIONNAIRE FOR PRODUCT

1.Product name2.Product range3.Dimension4.Yarn count5.Colours6.With of checks / stripes7.Repeat size8.Product range 9.Cost10.Do you follow any trend forecast? If yes which forecaste? 11.Market for the product12.Mode of packaging13. Average amount for packaging14.Mode of advertising15.Average amount for advertising16.Is it in co-operation with government retailers ? 17.Do you sell the products in: a.Malls b.Specialty stores c.Retail stores d.E-tailors e.Dollar stores LOOM SPECIFICATION FOR PRODUCTS 18.Loom used: 19.If Jacquard, punch card specifications 20.Drafting Order 21.Weave Used: 22.Warp order: 23.Weft Order: 24.Warp ratio: 25.Weft ratio: 26.Warp Colour: 27.Weft Colour: 28.Status of yarn provided (dyed or undyed) 29.Designs provided by a. Designer b. Society c. Traders d. Individual NIFT / CHIRAKKAL WEAVERS SOCIETY / TD - 2014-18

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ANNEXURE - IV QUESTIONNAIRE FOR KURTHI COLLECTION

1) Name 2) Age i. 18-24 ii. 25-28 iii. 29-32 iv. 32and above 3) Frequency at which kurtis are worn on a weekly basis i. Once ii. 2-3 times iii. 4-6 times iv. Daily v. Never 4) Preferred length i. Short ii. Medium iii. Long 5) Preferred sleeve i. Sleevless ii. Short or cap sleeve iii. Half iv. Three-fourth v. Full 6) Preferred neckline i. Asymmetric ii. Collar iii. Boat iv. Symmetric v. Other 7) Do you own any handloom product ( apparel) i. Yes ii. No 8) Are you willing to buy handloom products i. Yes ii. No 9) If yes, how much are you willing to spend on the same? i. Less than 500 ii. Rs.500 to Rs.1000 iii. Rs.1000 â&#x20AC;&#x201C;Rs 2000 iv. Rs. 2000 and above 158

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