Craft Documentation- Chanderi Weave. by Manish.2687

CHANDERI T H E

E N C H A N M E N T

O F

T H E

W E A V E

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CHANDERI T H E

E N C H A N T M E N T

O F

T H E

W E A V E

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THE CHANDERI FORT

ONTENT

1) INTRODUCTION About the city 13 About the craft 19

2)ACTIVITY SCHEDULE Day 01 23 Day 02 24 Day 03 25 Day 04 26 Day 05 27

3)MANUFACTURING PROCESS Raw materials 29

Tools and equipment 29 Production process 34 Design 35 Dyeing of yarn 36 Present scenario 36 Finishing process 36 Care and Maintenance 37 Motifs 37 Motif Designing 38

4)DESIGN INTERVENTION Design Intervention in Chanderi handloom 39 Mood board 41 Color palette 42 Sketches 43 Product 45

5)OPPORTUNITY MAPPING 47 6)SWOT ANALYSIS 49 7)GOVERNMENT POLICIES 51 8)EXPERIENCE 55 9)CONCLUSION 57 10)ARTISANS PROFILE 58 11)GLOSSORY 60 12)BIBLIOGRAPGHY 61 13)ANNEXURES 62 Authors Profile 70

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SHAHZADI KA RAUZA

AC K N O W L E D G E M E N T We would like to dedicate this documentation to the weavers of Chanderi, who work day and night to create this amazing art work and tells a story with each saree they weave. We are thankful to World University of design and the Fashion Department; especially my faculty and mentor Ms Anshika Agarwal, for giving us this wonderful opportunity to do this craft documentation & guiding us through each and every step of it. We would like give special thanks to Mr Vashim Ansari; guide of the Chanderi Museum, for introducing us to the city and various weavers, Mr Arshad Ikbal and Mr Khalid Ali; local weavers, for inviting us to their houses and to let us learn the craft from the roots, Mr Ashish Jain; textile designer; for giving us his perview on this craft and its market value; Mr A H Qureshi; Rural textile officer, he provided us government related information on this sector of this industry.

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BADAL MAHAL GATE

“I have learned that each and every piece of cloth embodies the spirit, skill, and personal history of an individual weaver… it ties together with an endless thread the emotional life of my people” -Nilda Callanaupa Alvarez

R E F A C E

Crafting objects is innate to Indian culture. Within the villages in India evolved a culture of handcrafting everyday object and in turn, the entire life. One of these craft is Chanderi weave of a small town named Chanderi, in Madhya Pradesh. Chanderi craft is done to understand the several aspects involved in the practice. The study focuses on the ethnicity of Chanderi fabric, its technique, varieties, development, history, challenges faced by the weavers, current position in the market, government initiatives and suggesting way for overall development and expansion of the craft. This book is to draw the attention of reader towards the beautiful weave of this town. We have tried to sensate the essence of the craft through this book. The history of the Chanderi saree dates back to as old as the Vedic Period. It was not just a saree back then but a work of art. It is deeply rooted in our culture and a pride to anyone who we don it. The name of this saree originates from the small town of Chanderi which is located in the Ashoknagar district of Madhya Pradesh. This place has a number of handloom clusters which produce the famous Chanderi silk sarees, Chanderi cotton sarees and also Chanderi cotton-silk sarees. This century old tradition produces some of the country’s finest sarees, worn by thousands of Indian women. The methods of hand weaving are developed through the years and are passed down the generations. The traditional methods are known to bring out the best in every saree with intricate zari work and interesting patterns. Further this research provides in-depth knowledge about the craft and the people who are dependent on Chanderi weave for their livelihood.

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TEXTILE OFFICE

I M

India has a rich tradition of craft, culture and values, which is evident in the form, colour, technique and texture. These craft are losing their values in today’s market because of industrial revolution. Being interested in the weave of Chanderi Sarees, from a long time, we grabbed this opportunity to study about the Chanderi weave, also called as woven air. The intricacy of the weave patterns and the handwork in each saree have always intrigued us. We tried to learn the journey of the craft from its origin till now. Undertaking this journey enabled us to understand the speciality and value of the craft and its existence and as how and why its importance is dwindling in today’s market. Being the design students of World University of Design, we got a scope to understand and interpret it as a document in our own perspective. This journey helped us to decipher the craft as an interpretation of culture, value and environment. We also wanted experience tradition in terms of present market scenario and modernized

img. 6 LANDSCAPE VIEW OF CHANDERI

NTRODUCTION

A romance of history and art, Chanderi, is a small queen town on the side of the River Betwa. It lies in the middle of north south highways, a strategic location for rulers and conquerors since the 10th century. Historical monuments mark this valley, and the surrounding hills with further boasting of the culturally rich past. Chanderi is home to forts and palaces, temples and monks, ancient gates, domes and archives and masonry stone carving. This is the birth place of the fabric that millions across the world admires, the chanderi fabric. Chanderi town has no actual consensus on when the town of Chanderi was founded. It is because of lack of written evidence. History of chanderi is inseparably linked to myth and folklore. It goes back to the era of Mahabharata. Legends claims that the Chanderi town was established by King Shishupal (Lord Krishna’s cousin), in the early Vedic period. Many other credits this town foundation to King Ched, who ruled over this region around 600 BC. The most illustrious of all legends, however, is ‘The Miracle of Water’, witnessed by King Kirtipal of the Gurjara-Pratihara dynasty, spurring him on to shift his capital from old Chanderi (Boodhi Chanderi), around 1100 AD, to the present town of Chanderi. It is believed that Kirtipal had been cured of leprosy by the waters of a spring he had chanced upon during a hunting expedition. This led the king to move his capital to the place which he now considered sacred. The same spring is said to be the source of the Parmeshwar pond.

img. 7 VIEW OF CHANDERI CITY

VIEW OF CHANDERI CITY

img. 8 VIEW FROM FORT

img. 9 DELHI GATE OF ANDAR SHAHAR

In the 8th century AD, the Gurjara-Pratihara dynasty established its sovereignty over Boodhi Chanderi, making it a sizeable township complete with all the regalia befitting a town. Not much is known about the Gurjara-Pratihara kings of Chanderi, other than the information yielded by an inscription found at Chanderi. This stone inscription originally belonged to a medieval temple which is no longer extant, and is now preserved in the Gwalior museum. It mentions the names of 13 Gurjara-Pratihara kings who ruled over Chanderi, but only describes the life of King Kirtipal, the seventh king, in detail. According to this inscription, King Kirtipal constructed three entities bearing his name — Kirti Durg, Kirti Narayana and Kirti Sagar. Kirti Narayana referred to a Vaishnav temple built either inside the precincts of the fort or near the fort, which, unfortunately, no longer exists. Kirti Sagar alludes to the tank near the fort. Chanderi town is locally divided into two parts, which are Andar shahar and bahar shahar.

img. 10 KURWASA-CHANDERI ROAD

Andar shahar is the area within the fort walls, which surrounds the city and was built to protect it from foreigners. Whereas, the bahar shahar is new the area outside the walls, this region is containing newly settled population of the town. The town is a block in Ashoknagar district, Madhya Pradesh, India. As per the population, report released by census India 2011, of Chanderi was 33,081 (which is now believed to be approximately around 60,000). Male constitute 52% of the population and female 48%. MONUMENT STORY OF CHANDERI A large number of monuments are scattered around the main town of Chanderi and on its periphery. These Monuments are inspiration for the weavers to design new motifs. Many of the traditional motifs are taken from these monuments. The jali work on these one of the favourite inspirations for the weavers. Some of the monuments are: -

Chanderi Fort : Crowing over a 71m high hillock locally known as Chandragiri, Chanderi fort is located at the periphery of this modern town. The fort is 5 km long and 1 km broad. It gives an aerial view of the town settled beneath. Chanderi Fort has three gates, One of the popularly known gate is Khooni Darwaza. The prisoners are believed to have been thrown from the fortification above Khooni Darwaza and their bodies shattered to pieces below. There’s another gate on the southwest of the fort, known as Kati Ghati. It is 59 metres in length, 12 metres in breadth and 24.6 metres in height.

img.11 VIEW FROM CHANDERI FORT

Badal Mahal Gate : Built by Sultan Mahmud Shah Khilji in 1450, Badal Mahal Gate was probably built as the welcome gate for grandee, visiting the palace. Badal Mahal Darwaza has a height of 100 ft. The structure features elaborate carvings and impressive motifs. As the name suggests, it was probably the entrance gate to a palace known as Badal Mahal or ‘palace in clouds’, however no such palace can be found anywhere near. This is the most photographed and visited monument at Chanderi.

img.13 BADAL MAHAL GATE

img.12 PILLARS IN CHANDERI FORT

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ama Masjid :

Located just few hundred meters from Badal Mahal Gate, Jama Masjid is a magnificent building comprising of three domes. The foundation of this mosque was laid in 1251 by Ghyasuddin Balban to commemorate the conquest of Chanderi. However, an inscription found in this mosque refers to the reign of Dilawar Khan (1390-1405 CE) but it does not talk about the mosque. This mosque has an airy court with sanctuary on its west and arched cloisters on its north and south, the one on the eastern side having been destroyed.

JAMA MASJID

akshman Temple & Parmeshwar Tal :

As per a legend, Parmeshwar Tal is the tank where the Pratihara king Kirti Pal took bath and was cured from leprosy. At one bank of this tank stood Lakshman Temple which has an interesting legend behind it. It is told that one a group of pilgrims stopped near Parmeshwar Tal to take rest after a day long journey. They were carrying an idol of Lakshman which they placed under a Peepal tree. When they woke up in morning and tried to lift the idol, the idol did not move.

hahzadi ka Rauza :

This is probably the most elegant and impressive tomb at Chanderi. It is located near the Lakshman Temple, amidst the cultivated fields. In the absence of inscriptions and historical account otherwise, historians assign this structure to fifteenth century CE. Though no historical account exists, but this tomb has a legend behind it. This elegant structure is built over a 12 feet high platform and from outside it gives an appearance of two storey building. However, from inside, it is a single storey square hall measuring 13 m. The dome surmounting the top once is no more extant. There were four chhatris on its four corners, only one has survived the ravages of time.

Two levels at the external façade are separated with eaves. These eaves on both levels are supported on brackets with serpentine struts as an addition. These serpentine struts which are also seen in few other structures in Chanderi seem to be the characteristic feature of the town architecture.

img.15 SHAHZADI KA RAUZA

img.16 CHANDERGIRI FORT

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RAJA RANI MAHAL

ASI MUSEUM

aja Rani Mahal : These two palaces stand side by side to each other. Raja Mahal is an imposing seven storey building while Rani Mahal is a two storey structure. Both the buildings are constructed in different styles therefore both would have been constructed in different periods. Rani Mahal appears to be earlier than Raja Mahal where the latter was probably constructed during the Khilji period in 13th century CE.

ASI Museum : Inaugurated on the 14th of September, 2008 the museum currently has displays in five galleries. The first gallery, called History of Chanderi begins with a display of photographs of the rock paintings found at Nanuan and other cave shelters, includes the tools and implements of the early man and goes on to the sculptures of the later centuries. Another gallery, titled Jain Gallery houses the statues of the various Jain Tirthankaras and remains of other Jain temples found at Thubon and Budhi Chanderi. In the Vishnu Gallery stone images of the different incarnations of Lord Vishnu like Varaha, Vamana, Narasimha etc. are on show. In the open air gallery around the central courtyard are displayed around 10 inscriptions in Sanskrit language but in different scripts.

B O U T T H E C RA F T

As our first morning dawned, the narrow snake-like street, that curves through the heart of the city, came alive with the sound of the loom. Through every window, a set of moving thread and shuttles confirms that the time of old weaving condition is still kept alive. Chanderi Handicrafts are unique & incomparable in the world. Its distinctiveness lies in the yarns, which never loses its shape & appearance. This creates unique transparency & texture which can be recognized by the naked eye easily. The Chanderi fabric made of cotton, silk or both has been celebrated for its sheer quality, lightweight, transparency, and its unique zari work. Transparency is one of the special features, which is rarely in any other textile product of the country. This transparency of the Chanderi fabric is the conclusion of single flature quality of yarn used. When the glue of the raw yarn is not taken out than it gives it the quality of flature yarn. The shine and transparency are obtained from nautral gum of the yarn. This unique transparent yarn is used in both warp and weft. Earlier, Chanderi saris had off-white body color, as the pre-dyed yarn was not introdused until the 1940s, when one family began to dye the cotton weft, resulting in the now well-known Chanderi Pastels.

img.19 CHANDERI SAREE

Traditionally, the bright colors like dark green, red, maroon, were used in Chanderi. However, now pastel colors are also being used to bring out the delicacy and the beauty of this fabric. Chanderi fabric colors show a preference for harmony between the borders and the body of the sari. A typical example of this is the use of black against red, which is a typical combination. A lot of contrasting borders are also being woven like the famous Ganga - Jamuna sari, in which one border is red, and the other border is green in color, while the body of the sari is white. It is said that a section of the weavers from Bengal migrated to Chanderi well before Independence and settled near the Betwa river, where humidity was conducive to fine count cotton weaving (muslin). Traditionally Chanderi fabric were made in cotton. These cotton yarns are finely hand spun on the charkha and this gave the luxurious finish. Since the last 500 years this cottage industry is creating sarees, safas, dupattas, patches pagdis and other dress materials especially for Royal families and higher societies. As per Ain e-Akbari, the dresses created at Chanderi were amongst the most favored dresses for the Mughal princess. The dress material was made using thinnest cotton yarns up to 200 counts. The cotton yarn was handspun by a local tribe called Katia. The other yarn made of pure gold and silver called zari for making borders and butis were being imported from France. Silk was introduced to the cluster in the 1940s. It was procured from Chamundi in Karnataka. Soon pure silk saree started getting produced in the cluster. At the time of India’s independence, Chanderi had 1000 active weavers.

Till the early 1950s, the weavers were operating traditional throw shuttle pit looms. The Government Training Centre at Chanderi introduced fly shuttle loom in 1951. Soon dobby and jacquard attachments followed, leading to an increase in production and consequently wages of weavers. Quantum increase in product offtake by state government organizations such as the MP State Textile Corporation, MP Hastha Shilpa Vikas Nigam (MPHSVN) and the MP State Handloom Weavers Cooperative Federation. The decades starting mid-seventies till the mid-nineties saw substantial government support that led to increase in the demand of this fabric. Such procurement, at its peak, amounted to almost 20 percent of the total output of Chanderi fabric and sarees. This led to an increase in the number of looms that went up to 4000 during that period. Traders and Master Weavers who used to finance the production system reportedly made larger gains on account of this increase in total production. Although they used to make some

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ZARI YARNS

investment in the cluster, investment of capital in various non-related businesses or outside the cluster was also distinctly visible. However, since the mid-nineties, there has been a consistent fall in purchases by government organizations due to mounting losses. In case of Chanderi, it fell from a peak of 20 percent from the early nineties to a level of about 10 percent in the late nineties, even though the volumes of production of the cluster had also gone up substantially during this period. Significantly enough, this period also witnessed a conscious effort on part of the state government to handhold the cluster in terms of active market interface strategies. The weavers and the master weavers were introduced to new and direct marketing channels like the metro markets (haats) which saw the growth of new trading groups and the exposure had considerable spin-offs in terms of design and market awareness, thereby infusing a new dynamism to the cluster. From the last several years, the demand for Chanderi fabric has been increased making it popular all over India. Today, Chanderi fabric is world widely known for intricate weave and transparency. The dress material made by Chanderi industry was categorized by 100% cotton unbleached grey yarn used in the body in both warp and weft border. Buties and pallus made of pure zari with the plain body.

Chanderi Fabrics Chanderi is a lustrous and fine material made of very fine cotton, silk, and all silk. The beauty of Chanderi lies in its fineness, softness and its transparency. The ends are often worked and fringed with heavy gold thread. Traditionally, Chanderi was used to make safas which further led to the development of saris as a product which has been in use ever since. The Chanderi material is now being used to make stoles, scarves, cushions, dupattas, draperies, and suit material. There has not been much change in the designs for the kinaras and butis. Many changes have come in the color combinations for the borders and butis. A lot of pastels, as well as contrasting borders, are in production. Pastels are being used for the saris which are in great demand. The major product of Chanderi weaving is the Chanderi Saree, which is a continuous length of fabric of dimensions 4852 inches in width and 5.5 meters in length. On one end of the sari, we have the pallu. An 80 cms piece of blouse is sometimes attached along with it.

img.21 BORDER WEAVE

SUNSET IN CHANDERI

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A 1

CTIVITY SCHEDULE

DAY

Our documentation started with the visit of the beautiful town to get to know about the city and the craft. Archaeological Museum Chanderi was the perfect destination to know about the city and its history. The museum is located at the south-west corner of the city. This impressive stone building contains valuable ancient sculptures and artefacts which are recovered particularly from Boodhi Chanderi and Thubon. The outer courtyard contains a beautiful garden with some ancient ruined doorways belonging to the Hindu temples and some sculptures. The museum has five galleries which have photographs of rock painting and tools, the status of Jain tirthankaras and other remains of Jain temple, images of different incarnations of Lord Vishnu, Sanskrit inscription in different scripts are on display. We talked to the guide of the museum, Mr. Vashim Ansari, at the last of our visit because he wasn’t available in the start. He gave us a brief history of the town and also narrated many folktales about Chanderi, which are as old as the city but have no proof to be true. He also told us that his whole family is doing the weaving, through generations, excluding him. He asked us to visit his house, as we told him that we are here to learn about the famous Chanderi weave. Thus, our museum trip ended with a positive note. We got to know about the city and got our lead towards the craft for its documentation.

img.23 ASI MUSEUM

nd DAY

Next day was our visit to the house of the museum guard, Mr Vashim Ansari. He invited us to his house for helping us in our documentation. His house is near the Badal Mahal gate. As Mr. Vashim already left for his job so we didn’t get to meet him but his family was as welcoming as him. Entering the house, our attention was gained by the handloom in the room. This handloom was set up in the ground and it covered one-third of the room. Mr Arshad Ikbal, younger brother of vashim, introduced us to the craft. His whole family is doing weaving since generations. The family has 3 looms and whole family, which includes wife of Mr Ikbal, his father and mother, are also doing weaving as their livelihood. He told us about the Chanderi fabric and its weave. The process includes silk yarn dying, beam wrap setting, weft setting on spool, handloom setting (according to desired design) and finally weaving. The family was currently working on 3 different sarees each of different designs. Mr. Ikbal have registered himself under Mahatma Gandhi bunker yojana (a government policy, see page no.), but says that they don’t get any benefit of the yojana. He also introduced us to his Neighbour, who were also weavers. We visited their houses as well. Mr Khalid Ali(one of the neighbours) came to the town in his childhood and learnt the weaving because of his personal interest, since then he is weaving. He has two looms in house on which he and his wife works individually. We learnt that Chanderi saree is a mixture of hand art in the form of weave and colourful yarns. Its quality and fineness depend upon the weavers, who weave sarees through hearts.

img.24 AT ARSHAD IKBAL’S HOUSE

img.25 MR KHALID ALI HOUSE

rd DAY

This day was dedicated to practice the weave to get to unfold its sheer elegance. For this we went to District Handloom office And training centre of Chanderi. This training centre is built by the government of Madhya Pradesh for giving the weaving classes to the people who wants to learn this art. The head of the institute is Mr A. H. Qureshi. We took a small visit of the building with him. The area is divided into two parts, one has 5 rooms, (each of them is allotted to different processes of weaving) and the second part has handlooms, number of looms are never fixed. There was a small gallery which had all the tools and raw material required for Chanderi weave. He gave us detailed information about all of those materials. We asked him to let us weave but he denied saying that all the looms are currently occupied by the sarees which are in the process. So, we cannot weave as the saree on the looms will be spoiled. And setting a totally new loom was not possible. Thus, we were not able to practice the craft/weave. Then also Mr. Qureshi gave us all the information about the craft, its history and explained us verbally how to weave this saree. we left the office by evening and headed towards our hotel. The training centre had all the facilities for of weaving but many few people were there for leaning. We were also told that now a days very few people come there to learn, showing the lack of interest of new generation in this craft.

img.26 IN CONVERSATION WITH MR A H QURESHI

th DAY

We went to Handloom park on day 04. This handloom park is Asia’s first handloom park with 4,352 looms in six different building. As we reached the park (by walking as it was near to our hotel), We searched in the main office building and nearby but couldn’t find anyone in there. Moving further in the second building we heard the voice of looms and entered in it. There we found 2 weavers on the looms and many other empty looms, some of which were not into use and of other weavers were absent. By introducing our self, we asked them about this handloom park and its benefit to them. The weaver told us that although the government has given them a great platform to weave in this handloom park but it has no major outcome because the park is built in the outer area of town and weavers find it easy to weave at home than to go to handloom park, only those who could not afford handloom in their house come to this park to weave. We went to see some other blocks too. Most of the other blocks were empty with only 2-3 weavers in them, due to Eid on the previous day. A boy of 8-9 age was spinning charka to roll the cotton yarn on the spool. He told us that after coming from school he comes here as his father is a weaver and helps him in his work. In the future, he also wants to be a weaver. The visit to handloom park was not much informative due to lack of people present.

img.27 LOOMS AT HANDLOOM PARK

th DAY

To know the market value of the Chanderi weave product, we did our market research on day 05. Chanderi suits shop was our first shop to visit. Mr Anu yagni, owner of the shop was very welcoming and supportive. He showed us many designs. Sarees of a variety of motive which were available in different colours. He told us that he has hired a master weaver who designs motifs and deicide colour scheme for him. This design he passes on his weaver, along with all the raw material required, who make the peg plan, punch card and other things to finally weave the saree. thus, all the sarees in his shop woven under him only. They also take contracts from outside of Chanderi and export saree to them in bulks. This business is running from generations in his family. Next, we went to another shop in Andar shahar, this shop was one of the famous shops of Chanderi. Famous celebrities like Indra Gandhi, Amir Khan, Karena Kapoor and many other have visited this shop. The owner of the shop, Mr Ashish Jain, is a textile designer. Besides selling the saree from the shop, they take contracts from famous brands like Raw Mango. He designs sarees himself and has many weavers under him to work for him. He told us that Chanderi saree is in huge demand these days because of its variety in designs and colours. In comparison to other Indian traditional saree Chanderi has much more demand due to its versatility.

img.28 CHANDERI SUIT SHOPS

img.29 SAREES AT SHOPS

P R O D U C T I O N P R O C E S S

img.30 CHANDERI SAREE WEAVING

A N U FAC T U R E P R O C E S S

RAW MATERIALS The basic raw materials used are Meena(cotton), Resum(silk) and Zartaar(Zari). None of these materials is locally available in Chanderi. Cotton yarn is mainly brought from Coimbatore and Gujarat. Mercerised cotton count is used. Silk, always 20 or 22 denier ungummed, is brought from China and Banaras. Real Zari was replaced by twisted zari to reduce the cost. The zari was brought from Surat, Banaras, Ahmedabad. The zari brought from Banaras is cotton-based while the zari from Surat is of silk-based. Most weavers used twisted zari, even though it is stiffer as it has a lower amount of silver. img.31 DYED SILK YARN

TOOLS 1 Handloom The handlooms in Chanderi is predominantly pit loom, which is less bulky. These wooden looms are used in the region from the former age. They are installed inside a pit which is about 3 feet deep. The weaver sits on the wall of this pit with his legs inside the pit. The looms are permanently installed in these pits and hardly moved from that place. Since the artisans own the looms, and they bear the expenses of maintenance and repairs on the loom, which sometimes cost them very expensive. img.32 HANDLOOM

Taana Or Warp Mechanism

Instead of using a warp machine like in most of the sari handloom industry, the Chanderi artisans used the old technology of preparing taana rolls where they open the bundles, stretch them and further roll them on to the tana roll which is held on two iron hooks. These iron hooks are plugged in the ground. To keep the threads, get entangled with each other, they are made to pass through a frame of two bamboo sticks. These two sticks are tied with each other with thread, leaving a slit in between and thus act as a frame with the help of which the threads are spread across the width of the loom. Thus, instead of using less space in the taana machine where the stretching and rolling of taana are done simultaneously, in this system the threads and manually stretched first and are rolled later. This process requires more time and manpower but it is prevalent here as a tradition img.33 TAANA BEAM

3 Rucch

img.34 RUCCH

The rucch(Reed) is a part of the loom which has two wooden frames on which the nylon threads are used to provide a mesh through which the threads of the warp pass. The two frames that fit parallel o each other in the loom, are connected two-foot pedals that provide them with an up-down movement. With the threads moving up and down through this frame, the threads of the warp are woven in an interlocked manner with a warp thread locked between them. This provides extra strength to the fabric

4 Charkha A charkha(Palida) is used to open the weft threads and convert them into small thread rolls called bobbins they are placed inside the flying shuttles. The bundles that are utilized in the process are either the plain silk or the colored once supplied by the dealer.

5 Muthiya img.35 CHARKHA

Muthiya is a cyclinderical shaped wooden handle. It is used to through the shuttle.

6 Sizeing Brush A brush used to untangle the yarns.

7 Dobby Machine Dobby machine are used for weaving the fabrics of pick up to 60 only.

8 Jacquard machine When the design have more than 172 picks, jackquard machines are used by the weavers. They are now commonly used by the weavers.

9 Shuttle Shuttles are the tools which carries the weft yarn and weave it through the warp. img.36 JACQUARD MACHINE

Denting (Fhanni Chidai): The process of inserting warp threads or ends through the dents of reed is called denting.

Pre Wraping (Gitti Purai): Wraping is a process by which long length of many yarns are winded on a flanged bobbin to produce a warp beam.

3.Kinari

Windind: winding the border yarns (mainly zari threads) for the weaving.

P R O D U C T I O N 2. Winding (Gundi Purai) : It is the

process of weft yarn transferring to obtaining a larger package from several small from spinner’s packages.

4. Dyeing Process: The Silk yarns are dyed in the warm water as per the need.

6. Healding (Rucch Bharai): The

end of warp sheet yarn are passed from the heald fram. it helps in forming the design or pattern in a fabric.

9. Pirn Winding( Bobbin

Bharai): Winding the weft yarns on the bobbin.

7. Street Warping(Beam Bharai): comprises winding the full width of the warp yarns in a single winding operation on the weaving beam. This is done on the streets.

11. Weaving (Bunaai): Finally,

weaving the fabric by the simultaniouse movements of all the limbs.

P R O C E S S

8. Warp Connecting (Taana Jhodai): Joining of warp beam to the rucch.

12. Finished Fabric 10. Drafting (Naka

Bhadhai): Joining of the Warp yarns according to the motif.

RODUCTION PROCESS

The intricate process of weaving Chanderi saree starts with designing of the saree by creating its motifs on paper and deciding color palette. This motif is made a little longer in length wise, as after weave the motif shrinks automatically due to tight weaving process. The weaver takes this motif to any nearby printout shops for the graph plane, the shop keeper prints the graph plane of the motif by decoding it on the computer. With the help of this graph, the weaver makes a peg plan of the weave. Finally, a punch card is made by counting picks of the weave. The punch card is decoded in the form of holes in a rectangular card, they are the one that goes into the looms. The raw material is then purchased according to design and silk yarn is dyed in the desired colour and cotton yarn is pre-dyed. Dyeing starts with mixing the color dye in warm water. The threads are dipped into dyeing solution, again and again, until the desired achieves the color. Finally, the threads are washed once more in saltwater and hung to dry. After dyeing the yarn is received by the weaver into forms of bundles. The threads then need to be detangled and stretched to make them tighter and suitable for warp and weft. A charkha is used to convert bundles into small roll called bobbins.

img,38 PREPARING THE TAANA

img.37 A BOY USEING CHARKHA TO ROLL YARNS ON BOBBIN

Warping or preparing the taana is a lengthy procedure in which the entire family contributes. The Chanderi weavers use all systems of preparing the warp roll. The warp roll adjusted on two iron hooks plugged in the ground and the threads then distributed evenly on it. The threads stretched to 1520 ft and after every 6 ft, it fixed with the bamboo stick so that they don’t entangle. Using a rod passing through the warp log, a log is used to bind the thread on it. This process is generally done for 8-12 sarees at a time which is a total length which is around 50 meters. The warp roll is placed to the extreme end of the loom and the threads are attached to the rucch which is the leftover of the previous weaving work. The loom is now ready and weaving begins. Here the weaver indulges in 3 different actions simultaneously. The right hand operates the string that provides the motion to the shuttle carrying the bobbin weft across the threads of the warp. The left hand provides an up and down motion to the wooden frame of the loom that falls on the threads of warp and weft to guide them to their respective places in the cloth. Both legs move in rhythmic synchronization providing the motion to the rucch which helps the threads of warp and weft to interlock. Once the weaving is complete the fabrics are taken off the loom and sent for cutting.

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WEAVEING

ESIGNS

Chanderi sarees have a plain base with dots or motifs of zari, which are placed at regular intervals to make a uniform design. Concentrated effort goes into preparing these exquisite and lovely looking designs on the border. Motifs are generally drawn from the tree of life, man, woman, birds, fruits, flowers. The most popular and traditional kind of buti is Asharfi Butti, which is in the shape of Asharfi. Today one can find beautiful motifs like ‘Nalferma, Dandidar, Chatai, Jangla, Mehendi wale hath’. Chanderi saris have a kinara, running parallel both sides. Lengthwise the same kinara is used to ornament the pallu, which forms the distinguishing feature of Chanderi. The woven Material with butis all over ornaments the Chanderi sari.

The same layout is used for the dress material. Unlike the Saris, the dupattas have a cross border on both sides. The only change in design that comes about in the Chanderi material is on account of the layout of the kinara and butis. The specialty of the soft Chanderi colors lies in their constant reference to nature. The fame and the romance of the soft Chanderi colors lie in their constant reference to nature, fruits; flowers and birds. The most popular color is red, as it is an auspicious color. The other popular colors derive their name from nature: Kesari (saffron), Badami (almond), Anguri (pale green), Morr gardani (peacock neck), Mehendi (green), Anandi (turquoise) and Rani (Indian pink).

Dyeing of the silk yarn The process of Dyeing silk in chanderi fabric as per MSME website is as follows: 1. Water is heated at 40 degrees. 2. A hank of yarn is soaked for about 4-5 minutes. 3. The hank of 20/22 deniers are for 12 saris and is not degummed because degumming would take away the basic crispness of the Chanderi fabric. This however reduces the degree of color penetration. 4. The dye is prepared in a separate utensil. 5. Amount of dye to be used (say 50 gms in this case) is measured by hand. 6. The dyes in use vary from good quality dyes to the local ones. 7. The hank is soaked in the dye for 3-4 minutes. 8. Ascetic acid is added to the container containing the dye and the hank is kept in this solution for almost 20 minutes. 9. The hank is then delicately squeezed with the help of wooden rods and dried. 10. The dyeing process takes about 45 minutes. 11. The normal charges are Rs. 4o/- per hank of12 saris. 12. This process enables colors, which are fast to 40 degrees.

img.40 FINAL SAREE WITN HIRAN MOTIFS

Present Scenario Today, blessed with a mix or traditional and modern techniques and deft skills of weavers honed by institutional supports, Chanderi stands out as excellence in every sense. The Chanderi sarees have unmatched sophistication and are popular among the Indian upper middle-class saree wearers. Many brands are coming forward for the growth of this fabric. Raw mango is one of the world wide known brand for chanderi fabric. Designers are directly connecting to the weavers now. They give their design and also often calls them to their factories for weaving. This is giving weavers and craft a huge benefit.

Finishing Chanderi fabric does not requires any finishing process. The fabric is taken out from the loom and is directly send to the master weavers, who applies his price tag and send it to shops or brands. From there the costumer/consumer buy the product.

Care and Maintenance of the fabric • Always wash gently with mild liquid detergent. • Always use cold water. • Use soft water for washing rinsing. • Do not squeeze during laundering. • Always dry in shades with wrong side out. • Zari product should be dry cleaned. • Saree should be ironed in open and never on folds. • Use hanger for storage and change the folds regularly. • If required, store on top in the box and never under pressure. • When storing for longer make sure that saree is dry cleaned.

img.41 DOLI MOTIF

img.42 MEHENDI LAGE HATH img.43 AASARFI MOTIF

OTIFS

Chanderi saris have a plain base with dots or motifs of zari, which are placed at regular intervals to make a uniform design. Concentrated effort goes into preparing these exquisite and lovely looking designs on the border. Motifs are generally drawn from earth and sky, hunting scenes, the tree of life, man, woman, birds, fruits, flowers, and heavenly bodiesThe motifs as with many weaving clusters come from nature and history all modified by the hands of the men and women who weave sarees.Walk around town and you can see the inspiration for the motifs everywhere. The pillars and walls of the Khila Kothi have carvings as does the Chanderi museum. All of this provide fodder for the weaver. Chanderi, unlike say, Kanchipuram is very advanced with respect to inventing motifs. There are fans, umbrellas, ear-rings, fruits like pineapple and pomegranate, and of course, flowers and vines from nature. The most common Chanderi motif is the ashrafi or the coin motif. The ashrafi butti, as it is called has many variations. Other motifs have to do with marital wishes. Nalferma, Dandidar, Chatai, Jangla are other common motifs. The “Sada Suhagan” motif is given to young brides so that they can stay as married women their entire lives, and die before their husbands to be frank. Modern day feminists including me might view these motifs as archaic and sexist. But there you have it. The long arm of Indian tradition. Other wedding motifs include “Mehendi lagi haati,” which shows two hands with henna on them, also a wedding ritual. Similarly, the palanquin motif woven on the border is the epitome of the old Indian bride being carried to her husband’s home before cars were invented.

OTIF DESIGNING

1. Sketch : A sketch is drawn manually by the designer or master weaver(img.44). 2. Graph Plan : The sketch is taken to the Computer and a graph plan is made out of it. A printout is taken of the graph plan (img.45). 3. Punch card : Punch card is a rectangular card, made of MDF board. This has holes representing pick for weave. These holes helps in the time of jacquard weave line. By counting X & Y axis of the graph, holes of the punch card are made (img.46). 4. Roll of Punch Cards : To complete one motifs many punch cards are used as one punch card has markings of one pick. A roll is made by combining these cards and placed in the jacquard machine (img.47). 5. Motif : Weaver weave this motifs on fabric using handloom. (img.48).

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img.48

E S I G N I N V E N I N T E RV E N T I O N

Design Intervention in Chanderi handloom Textile industry plays an important role in our country's economy. Handloom sector is one of the most important sectors, have the potential to produce employment. However, this sector is ignored in terms of development. Due to the lack of development in this field, the workers were forced to use traditional methods and equipment for their task, which was time-consuming and hard work. Workers suffered a lot of health problems due to the practice of traditional techniques of weaving. This leads to a loss of interest by workers in this field and their moving on other areas of work. It also seriously affects the socio-economic conditions of rural people. Besides, directly or indirectly it does affect the economy. It is also very time-taking work. So, ergonomic and technical improvement is important for upgrading traditional weaving. This work identified the issues with traditional weaving process of Chanderi handloom sector and propose solution provide a better working condition to the workers involved in the Chanderi handloom weaving sector. Further, the work also focuses to provide a viable and feasible solution to reduce ergonomic risk factors and satisfy workers of Chanderi handloom weaving sector by earn profit and also increase productivity and provide efficient work. Musculoskeletal problems are often related to the handloom weaving process

img.49 SITTING POSTURE ON LOOMS

img.50 SHAPE OF BACKBONE WHILE SITTING

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img.51 AFFECTED BODY PARTS DUE TO CONTINUES WEAVING

Design deficiencies often led to many problems for the workers and can be seen in the form of body pains, absenteeism, body discomfort, and job turnover. Body pains and discomfort tend to be Aggravated by the tasks performed in poor design workstation. In India, excess of 38 million people was utilized in the Handloom area. The greater parts of them had a place with low strata of society and were very poor, working in little families. Over 65% of weavers are men. When modern machines for weaving captured the market, handloom market greatly affected and it disturbs the Handloom weaver’s life. Due to poor workstation design, constrain posture, high muscle exertion and repetitive nature of the weaving task handloom weavers of Chanderi town. One other study reported that handloom weaving process involves repetitive task which was causing pain in the arms among the male handloom weavers of Chanderi town. The weaving business of Chanderi gives work to around 5000 individuals. Chanderi Handloom Weaver got paid 800-1500 INR to work done by them weekly. It was observed that Chanderi Handloom has the same conditions as most parts of the country, their many areas need to improve and update. Most weavers are facing many problems like health, safety, bad environment, and low wages issue. So, for the weavers, a ergonomical garment could be designed which will help them to improve thier sitting posture while weaving. It may also help them to reduse thier body pain. The garment need not to be full costume, it could be a simple belt also. But the cost of garment should be affordable by weavers.

D M

ESIGN PROCESS

OOD BOARD

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OLOR BOARD

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ONCEPT AND SKETCHES

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NITIAL CONCEPTS LAPTOP BAG

JACKET TOOLS ORGANSIZER

BOOT

INAL PRODUCTS

LAPTOP BAG

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P P O RT U N I T Y M A P P I N G

Raw material: 1. The raw silk, which is imported from Varanasi, is expensive as they have to in a smidgen. They also have to dye it themselves adding extra cost to the 2. The cotton yarn is pre-dyed which reduced the number of productions 3. We observed that there were not many problems regarding raw materials other than the

buy it pricing. prosses. costing.

Health & safety: 1. During weaving, all the limbs work simultaneously in each & every single shuttle-throw which causes a lot of limb pain. This must be taken care of because the weavers undergo through pain in dotage.

Ergonomic: 1. The sheeting posture of the weavers cause them pain in the back. To this, a new body posture garment can be designed which would reduce their pain or furthermore health problems.

Machinery: 1. The loom is currently in good condition as its frame is made up of iron and loom is made by good quality wood. 2. But the wooden looms break sometimes due to termites which spoil the wood. This leads to a huge loss because the sarees on the loom gets damaged and the new loom also had to be installed. 3. Reeds breaks often if they are made up of bamboo, or get rusted if are made up of iron.

Process: 1. The outdoor work of the process is done in the morning while the loom work is done indoor in noon which provides weavers a perfect schedule to organize their work according to weather and natural light. 2. Due to the handloom present inside the house they can work whenever they want and can also spend their leisure time at their own will.

Stacking & Packing Storage: 1. Yarns or zari thread do not require any special packing. They come in plastic bags and are kept in the almirahs/cupboards at the weaver’s houses (when not in use). 2. The packing of final saree or other products are done by either shop keepers or the master weavers, who put them in plastic bags and saree boxes before selling.

Transportation: 1. Silk and cotton yarns are imported mainly by trucks, which is the easiest and cheapest means of transportation 2. Saree or other products are generally transported on public transport if done locally. For orders of outsides of Chanderi town, transportation is done on rented trucks. 3. Sometimes during transportation due to inappropriate packing and weather, saree gets spoiled, resulting in a loss for the master weavers.

Branding & marketing: 1. Chanderi sarees are now world widely known due to its quality. Thus, now the market does not require a lot of branding of this. 2. Raw Mango is one of the leading brands whose specialty is original Chanderi products. 3. The branding of the Chanderi weave is done by either by designer or by the shopkeepers. 4. The master weaver or designer get all the credits for the product but the craft person is never mentioned.

Deals: 1. Although now weaver knows that the product, he is weaving will be sold in thousands in the market but he gets paid in a very less amount in compression to the selling price. 2. Most of the profit is taken by the master weaver who is the mediator between buyer and weaver. 3. Thus, all the deals made are mostly in favor of Master weavers or the brand.

End-Use: 1. Apparel 2. Home Furnihing 3. Accessories

img.63 CHANDERI SAREE

W O T A N A LY S I S

STRENGTHS

WEAKNESS

OPPORTUNITIES

THREATS

1. The clutter’s historical lineage & it promotes not only tourism but popularizes Chanderi nomination as a heritage town. 2. The rich resource of weaving, dyeing, and design skills. 3. due to growth in the tourist attraction, people are also interested in this craft. 4. Inherent strengths of Chanderi vis-a-vis other handlooms. 5. The readiness of the new generation to enter this trade. 6. Famous brands like raw mango taking interest in this craft. 7. Product if huge variety can be made through this fabric 1. The keenness of women and the new generation to learn and progress. 2. Amenability of the product for diversification according to fashion. 3. Huge number of varieties in colors and motives.

1. Lack of water and road infrastructure. 2. Lack of coordination between government policies and private sectors 3. Absence of social security. 4. Unsystematic dyeing process being adopted by many. 5. A dearth of capital investment in the outdated looms & technology, leading to outdated products & inability to comply with new requirements. 6. Weaver is socially, financially and market-wise backward and vulnerable. 7. Poor gender sensitization: women workers with no social or medical security. 8. The maintenance of the fabric has to be taken care of carefully. 1. Power looms are one of the biggest threats to this intricate hand weave. As it will affect the lively hood of all the weavers and lead them to unemployment. Also, the beauty of the handwork cannot be achieved by machine. 2. Competitions from power loom and Varanasi products; the influx of imitations.

img.64 CHANDERI SAREES

OV E R N M E N T P O L I C I E S

img.65 HANDLOOM PARK

G H

OV E R N M E N T P O L I C I E S

ANDLOOM PARK

To address the constraints of the lack of weaving condition, a project for the development of Chanderi Handloom cluster was sanctioned by Department of Industrial Policy & Promotion (DIPP), Government of India under Industrial Infrastructure Up-Gradation Scheme (IIUS) in March 2008. An SPV, in the name of Chanderi Development Society for Handloom Weavers, set-up to implement the project. The execution of components related to water supply and internal roads is envisaged to be through State Government agencies (PHED). The State Government has identified a 10-acre plot of land at Chanderi for common facilities. IL&FS suggested the possibility of developing an integrated handloom park by combining the components (other than water supply and roads). Such an integrated approach was felt to be useful in having a sustainable impact and thereby enhancing the competitiveness of the cluster. As per the guidelines IL&FS hired as Project Management Consultant (PMC) to develop a holistic development of the Chanderi handloom weaving cluster. The above approach would be strategized towards including the following as probable components of the Development Program –technology induction upgrading physical infrastructure –skill, design & market leveraging the tourism potential of the area -economic empowerment of the weaver. Activities/developments/highlight of this is given in Annexure 1.

img.66 HANDLOOM PARK ENTRANCE

Observation On our visit to the handloom park, it was mostly empty with only 2 to 3 weavers working in each block. Weavers were not interested in coming and working in the park as it is far from the town. They are more comfortable in working at home where they could weave anytime being with the family. The people who go to the park to weave are the one who could not afford looms or do not have proper space to keep the loom at their homes. The head in charge of this park has not been changed since its ignoration. According to the locals and other master weavers/designers, the handloom park should be under the person who generally wants the welfare of this craft. img.67 IMSIDE OF TEXTILE OFFICE

ISTRICT HANDLOOM OFFICE AND TRAINING CENTRE

This institute of textile technology was opened by major General His Highness the Maharaja sir Madhao rao on the 5th of December 1910, for the benefit of the entire weaving community of the state. Since then this textile office is helping to grow the Chanderi craft. Today also this institute is helping the new generations to learn the Chanderi weave.

img.68 TEXTILE OFFICE & TRAINING CENTER

AHATMA GANDHI BUNKAR BIMA YOJNA

This yojana was started by the government of India in December 2003. It was to promote the weaver’s financial and health status. Under this, the weavers were allotted cards on which they get raw materials at a low price. The full details of this are given in Annexure 2. This yojana has also failed to help the weavers as they hardly buy anything under this policy. Weavers should us their cards which had no enters of buying the raw materials. Although the government had provided a huge amount of fund to this sector if the industry but the profit of this is gained by the mediators, who sell the products in the black market.

img.69 MOTHER AND SON OF ARSHAD IKBAL

img.70 PASS BOOK FOR BUYING RAW MATERIAL FROM GOVERMENT

img.71 TEXTILE OFFICE COURTYARD

TEXTILE OFFICE VISIT

img.72 VIMAL OF MEENA & ZARI

img.73 MR A.H. QURESHI TALKING WITH US

XPERIENCE

Chanderi town is small and beatuiful town. The people here are very warm welcoming. Nearly all the people we talked to were supporting and were happy also to see youth like us taking interest in their craft. It feels to be around by this great traditional art of our country. Through this project we come to know the real and intricate beauty of the fabric from its roots. The project was a new way of leraning for all of us as it was our first experience of living with the craft person and learning their craft. The trip was an wonderful experience ,which will remain with us for lifetime and remind us of the how the craft works from the roots. We met several artisans, interviewed them, photographed and studied them to understand not only their craft but also their way of life. Our hearts went out to them seeing them struggling hard without much support in keeping this traditional craft surviving. The journey become a nice souvenir for all four of us.

A WEAVER

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ONCULSION

We started this project without any prior knowledge of the origin of Chanderi fabric. But once we saw what it was like back in the times at Chanderi town, we realized it was so much more. The vision for which Chanderi were so celebrated now seems dwindling if not lost. Having said that we would like we say that the skill level of these craftsmen is brilliant, and we wholeheartedly believe that given the right push and incentive, the Chanderi sarees can be as glorious asany other international fabric. It is with such measures and financial security that may be the craftsmen will once more be able to weave for the sake of art and creation and not just as a source of income, and the Chanderi fabric will again regain its regal appeal. Its our duty to acknowledge the significance of the craft that is concerned with its history, the artisans and the heritage of the India. So, as budding designers we hope that we have been able to put forward an insightful documentation that will aid in sensitizing the people about the value and remarkable finesse of this craft.

RTISANS PROFILE

Name: Vashium Ansari Age: 35 Family: 8 members Qualification: 12th Occupation: Museum Gaurd Address: Nijam-ud-din chauraha, Purana main market, Chanderi. Mobile no: 9340693292 img.75

Name: Arshad Ikbal Age: 25 Family: 7 members Qualification: 10th Occupation: Weaver Address: Nijam-ud-din chauraha, Purana main market, Chanderi. Mobile no: 9340692552 img.76

Name: Khalid Ali Age: 22 Family: 5 members Qualification: 11th Occupation: Weaver and exporter Address: Nijam-ud-din chauraha, Purana main market, Chanderi. Mobile no: 9131912456

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Name: Ashish Jain Age: 35 Family: 8 members Qualification: Bachelor in textile design Occupation: Textile Designer, Shop owner, Master weaver Address: Andar shahar, Chanderi. Mobile no: 9425132864 img.78

Name: A H Qureshi Age: 48 Family: 4 members Qualification: 12th Occupation: Rural extension officer Address: Hatkapura, Chanderi. Mobile no: 9425720633

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Name: Anu Yagni Age: 22 Family: 5 members Qualification: Bachelor of Art Occupation: Shop owner and master weaver Address: Mobin Bada, Chanderi. Mobile no: 9074950930 img.80

LOSSORY

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Dhewadi taani: 2up 1down weave.

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Flature: Untiwisted silk yarns

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Kunda: Hooks in the jacquard machine

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Meena : Cotton thread

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Muthiya: Wooden Handle

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Naal: Picks during the weave

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Naal Fekna: Throughing of shuttle through warp

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Naksha chitra: Graph paper

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Palida: Charkha

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Pinni: Bobbin of silk yarn

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Resum: Silk thread

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Rucch: Reed

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Taana: Warp beam

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Vimal: Bobbin

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Zala: Warp yarn between warp beam and reed.

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Zartaar: Zari thread

IBLIOGRAPHY

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https://www.utsavpedia.com/textiles/chanderi/ [07/09/2019] https://thedesigncart.com/blogs/news/chanderi [16/08/2019] https://www.india1001.com/blogs/1001_crafts/6380038-the-famous-chanderi-fabric [07/09/2019] http://mytextilenotes.blogspot.com/2011/06/chanderi-fabric-process-and.html [07/09/10]

ANNEXURE 1 Activities/developments/highlights/ of Handloom park in 2012-13 As per the requirement transfer or the land (10 acres) in the name of SPV i.e. Chanderi Development Society for Handloom Weaver was done on May 2011 for construction of Handloom Park. IL&FS Pvt. Ltd New Delhi (PMC) prepared the DPR and which was approved by SPV. In the next step, they prepared the estimate and drawings for the construction. State government suggested taking approval on the estimates from Government agency. State Government sent the proposal to the Ministry of Urban Development and CPWD for technical sanction or wetting the estimate prepared by IL&FS. CPWD informed that they used to provide TS on those cases only which are prepared by them. On 30th May 2012 SPV decided to issue the work order to CPWD for construction of Handloom Park. CPWD’s team visited the site and had meetings with IL&FS expert’s team and handed over the design drawings and details of the estimates prepared by them. Based on that CPWD prepared and submitted the estimates of Rs.2490.58 lakhs. Whereas in scheme funds are Rs.1574.24 lakhs. Request for scale downing the project was sent to DIPP, Ministry of Commerce and Industry New Delhi. Ministry advised that if the project is scaled down in similar ratio grant will be reduced, so state government or SPV can arrange the deficit amount

ANNEXURE 2 GUIDELINES FOR IMPLEMENTATION OF MAHATMA GANDHI BUNKAR BIMA YOJANA (MGBBY) DURING THE XII FIVE YEAR PLAN (I.E. 2012-13 TO 2016-17) INTRODUCTION: The Government of India had introduced the “Bunkar Bima Yojana‟ in December, 2003 which was a combination of Janshree Bima Yojana and Add-on Group Insurance Scheme being implemented in collaboration with the Life Insurance Corporation of India. Since, 2005-06 this scheme was revised and has been implemented revised with title “Mahatma Gandhi Bunkar Yojana”. During the XII Plan the Mahatma Gandhi Bunkar Yojana will continue to be implemented with the same benefits as were given in 11th plan period. The scheme will cover 26.19 lakh weavers during the period 2012-13 to 2016-17 including maximum renewal cases each year . OBJECTIVE: The basic objective of the “Mahatama Gandhi Bunkar Bima Yojana” is to provide enhanced insurance cover to the handloom weavers in the case of natural as well as accidental death and in cases of total or partial disability . ELIGIBILITY: For availing of assistance under the scheme, the weaver should fulfill the following conditions:1. The weaver should be earning at least 50% of his income from handloom weaving. 2. All weavers, whether male or female, between the age group of 18 and 59 years are eligible to be covered under the scheme, including minorities, women weavers and weavers belonging to NER.

3. The weavers belonging to the State Handloom Development Corporations/Apex/ Primary Handloom Weavers‟ Cooperative Societies will be covered under the Scheme. Weavers outside co-operative can also be covered under the scheme on a certificate from the State Directorate of Handlooms that they are fulfilling the eligibility conditions. 4. It will be the responsibility of the State Director in charge of Handlooms to verify the eligibility of the weavers who are proposed to be covered under the scheme. 5. It will be the responsibility of the State Director In charge and LIC to ensure that women weavers, weavers belonging to minorities and weavers of NER States (Arunachal Pradesh, Assam, Manipur, Meghalaya, Mizoram, Nagaland, Tripura and Sikkim) are given adequate representation while implementing the scheme. ADMINISTRATION: The authority in-charge of Handlooms in the State shall finalise insurance coverage of the weavers with the Life Insurance Corporation of India. SALIENT FEATURES OF THE INSURANCE COVERAGE: 1. The scheme will be administered by the LIC of India. 2. The authority in-charge of Handlooms in the State shall finalise insurance coverage of the weavers with the Life Insurance Corporation of India. BENEFITS: (i) Natural Death Rs.60,000/(ii) Accidental Death Rs.1,50,000/(iii) Total Disability Rs.1,50,000/(iv) Partial Disability Rs.75,000/PREMIUM: The annual premium of Rs.470/- per member will be shared as under: GOI contribution Rs.290/- Weavers’ contribution Rs. 80/- LIC’s contribution Rs.100/- Total premium Rs.470/-

OPERATIONAL MODALITIES: 1. The scheme is renewable every year and continuation of coverage is ensured only on payment of premium on the due date of renewal every year. The premium amount shall be paid by the beneficiary only one time for the whole year to the Life Insurance Corporation of India. This scheme will be effective from 1.10.2007. 2. The premium, once paid, shall not be refunded. 3. Maximum number of renewals shall be effected each year. The insurance coverage is ordinarily effective only after receipt of entire amount of premium i.e. both the Government’s as well as beneficiary’s share. In an unlikely situation where the Government’s share of premium is not ready, the LIC shall accept the share of the beneficiary and effect the coverage accordingly. 4. The office of the State Director-in-charge of Handlooms & Textiles and its subordinate offices in the field shall be the Nodal agencies for implementation of the scheme. Nodal agency will act for and on behalf of the insured members in all matters relating to the insurance cover. LIC will get in touch with State Directors In-charge of Handlooms for identification of beneficiaries, furnishing forms, instructions etc. for maximum coverage of weavers under the scheme. 5. A prospective beneficiary shall be required to fill up an application-cum-nomination form and submit the same to the nodal agency along with his/her share of the premium. The application form shall be made available to the nodal agencies by the LIC. No medical certificate is required and self-certification would suffice the purpose.

6. On receipt of the above, the nodal agency shall scrutinize the application and if found eligible, shall accept the premium amount and forward the lists of such beneficiaries along with premium amount to the LIC.

7. On receipt of the premium amount along with the list of beneficiaries from the nodal agencies, the LIC shall issue Cards/ Certificates to all the weavers covered under the scheme and it should be designed in such a way that the month/date of renewal should also be mentioned. The cards should be in vernacular language. This would enable weavers to claim their dues from LIC. 8. In the case of death or disability, the nominee/ beneficiary concerned shall submit his/her claim to the LIC through the nodal agency with required documentary evidence such as death certificate/post-mortem examination report/medical certificate/ discharge certificate and other related documents, as applicable. The nodal agency shall forward the claim, to the LIC within 15 days of receipt of the claim. LIC shall settle the claim within one month from the date of receipt of the claim and pay the amount to the beneficiary/ nominee directly by A/c Payee Cheque (under intimation to the Nodal Agency) or through the nodal agency. 9. In the event of non-payment of the insurance premium for the next year by the beneficiary, the insurance cover shall automatically cease. The beneficiary will however be free to rejoin the scheme in any subsequent year on payment of required premium. 10. In case a handloom weaver changes his employment during the period of insurance from one Society or Corporation to another, he/she, as the beneficiary of the scheme, shall furnish intimation to the nodal agency. 11. The State Governments and the State Handloom Corporations/Apex/Primary Handloom Weavers Cooperative Societies/ Unions/ Associations shall be actively associated in implementation of the scheme by way of sensitizing the handloom weavers to join the scheme by advertisements through print and other media. 12. The nodal agencies shall submit periodical reports indicating the details of coverage and settlement of claims to the Development Commissioner for Handlooms, Ministry of Textiles.

ADDITIONAL BENEFITS: 1. The “Mahatma Gandhi Bunkar Bima Yojana” also provides scholarship to the children of parents who are covered under it under “Shiksha Sahyog Yojana”. 2. A scholarship of Rs.300/- per quarter per child is to be paid to students studying in standard IX to XII for a maximum period of four years or till they complete XII standard, whichever event occurs earlier. The scholarship will be for academic year June to May. 3. The benefit is restricted to two children of the member covered. Both the children irrespective of gender-based discrimination will be covered for scholarship. 4. If a student fails and is detained in the same standard, he will not be eligible for scholarship for the next year in the same standard. It may be ensuring that the bright and scholary students from weaver community getting benefits under MGBBY – Siksha Sahayog Yojana need to be brought to limelight so as to encourage the children of the other weaver families to emulate them. 5. Once a person is admitted as a member under Mahatma Gandhi Bunker Bema Yojana, further proof of income is not necessary at the time of selection of beneficiary under the scheme. 6. No premium is charged either to the parent of the scholarship holder or to the nodal agency. It is an additional benefit given to the children of the parents covered under Mahatma Gandhi Bunker Bema Yojana. If the premium under Mahatma Gandhi Bunker Bema Yojana is not paid on annual renewal date in such case, the child shall not be eligible for scholarship. 7. The beneficiaries have to be selected for “Shiksha Shayon Yojana” out of the members covered under Mahatma Gandhi Bunker Bema Yojana. The targeted beneficiary students of a State may be divided among the members covered under Mahatma Gandhi Bunker Bema Yojana in proportion to the number of lives covered within that State.

The final selection shall be based on the criteria of poorest of the poor, as the number of scholarships is limited and without any gender discrimination. 8. The member of Mahatma Gandhi Bunker Bema Yojana whose child is eligible for scholarship shall fill up an application form (available with the nodal agency) and submit to the nodal agency. The applications duly filled up and certified will be sent along with the list of beneficiary students by the nodal agency to the concerned LIC P&GS Unit for disbursement of scholarship under “Shiksha Sahayog Yojana”. The scholarship will be disbursed to the beneficiary students through the concerned nodal agency. 9. LIC will send the Account Payee Cheque in the name of the nodal agency along with list of beneficiary students who will pass on the scholarship to eligible students. Nodal agency has to maintain records and submit certificate of utilization periodically to LIC, P&GS Unit CLAIM PROCEDURE: The beneficiary of the deceased member will be required to furnish the original death certificate to the nodal agency who will arrange to forward the same along with the claim papers to LIC i.e.; the Branch which has originally finalized the insurance cover. LIC will settle the claims by sending A/c Payee Cheque directly to the beneficiary; however, intimation to this effect has to be furnished to the State Government concerned and to the Office of the Development Commissioner for Handlooms. In the case of accidental claim, police inquiry report will also be required to be submitted. The detailed procedure will be mainly on the lines of the procedure of Social Security Group Schemes of the LIC. RELEASE OF FUNDS: 1. For release of funds, LIC and the Authority In-charge of Handlooms in the State shall identify the weavers to be covered under the MGBBY. The Office of the Development Commissioner for Handlooms

(DCHL), Government of India (GOI) in the Ministry of Textiles (MOT) shall release its share of the premium to the Life Insurance Corporation of India directly in advance, based on the number of handloom weavers to be covered under the Scheme. Every subsequent request for release must be accompanies with the note on the performance of the insurance company regarding the claims made and claims settled. 2. The Central Government share of the premium will be released directly to the LIC. MONITORING AND EVALUATION 1. Monitoring and evaluation of the progress of the Scheme will be done by the State Governments, which will submit quarterly physical and financial progress reports to the Development Commissioner for Handlooms. 2. LIC will hold a meeting the State Director/Commissioner In-charge of Handlooms and the Assistant Director, Handlooms at the district level in the 2nd week of every month to review the implementation of the MGGBY Scheme. LIC will arrange to provide the figures pertaining to that State from their Claims Department well in advance. 3. The Office of the Development Commissioner for Handlooms will monitor the progress through its field office and by convening meetings with State Governments and LIC from time to time. 4. This scheme shall be evaluated at the time of mid-term appraisal of the XII Plan. Sd/- (Balvinder Kumar) DEVELOPMENT COMMISSIONER (HANDLOOMS) Tele: 23062945 & 23063684

UTHORS PROFILE

Abhishek Dhiman Resident of Sec 3, BHEL, Haridwar. Mobile no. +91 7906078981 Email ID dhiman.abhishek0040@gmail.com Contributed in Production Process Writeup, Photography, editing.

Anup Rai Resident of Gautam Nagar colony, Varansi. Mobile no. +91 7905972591 Email ID Anup9800rai@gmail.com Contributed in Design Intervension, Photography, Photography editing, layout and designing of the documentation, editing.

Manish Maurya Resident of Inderpuri colony, Lucknow.s Mobile no. +91 9140197966 Mail ID manish74.8kumar@gmail.com Contributed in Introduction, Activity schedule, Manufacturing Process, Opportunity mapping, writeup of Aim, preface, Experience and conclusion, Final editing.

Tushar Awasthi Resident of A920/, Manas nagar, Lucknow. Mobile no. +91 8707280010 Mail ID tushar.awasthi198@gmail.com Contributed in SWOT analysis, Goverment policies & Glossory writeup, Photography, editing.