2.3 Modern Examples

The reason I have chosen these above exampleshere and not for my case studies is because these projects are of a smaller scale and they deal lesser with preserving the culture of a people, rather they deal on preserving a particular artform and act as a community center. The difference between these projects and my project is that the Siddi Heritage Cultural center will aim at preserving an entirety of a culture and thus combine multiple aspects if not all the aspects of siddi cultural behavior and make a centrecombining all the activities of Siddi Culture.

3. Cultural relevance:

KAWANDI :

The Siddis of Karnataka are known in recent years for their unique style of quilting called kawandi. Siddis go through a complicated process of quilting that makes their style distinct from surrounding groups. The process involves taking recycled fabric scraps and arranging them in stylistic geometric patterns, sometimes embedded with religious symbols. Quilts are usually made for family members by older women who can no longer work in the fields. The quilts are put to use as mattresses, crib covers, or covers for cold monsoon nights. The non-profit organization Siddis Women Quilting Cooperative (SWQC) was created in 2004 in an effort to provide a source of income to the community and quilt makers. In 2011 an exhibition titled “Soulful Stitching: Patchwork Quilts by Africans (Siddis) in India” was shown in the Museum of the African Diaspora, helping these quilt makers and the community to gain recognition.

Siddi Quilt (Kawandi) Kawandi Quilts in The museum of African Diaspora Siddi Woman quilting

Traditionally, Siddi quilts are created for family members and used as sleeping mattresses in warm weather or as covers during the cool, damp monsoon season. Large quilts come in sizes based on one, two or more family members. A quilt for three or more persons is regarded as auspicious, as it implies a growing family with children. In addition there are small, baby-sized quilts that are often decorated with brightly coloured patches (tikeli).

Kawandi are normally made of pieces of cloth from old, worn-out clothing gathered together by the quilters from family, friends or from items purchased at the local used-clothing markets. Some women incorporate parts of garments, such as the neckline of a child’s blouse or an old shirt (sometimes with the buttons still attached). Otherwomen may cut the garments into small square or rectangular patches of brightly coloured cloth (tikeli). The tikeli are often placed on top of other, larger patches to create a series of layers in contrasting colours. When the quilters have enough pieces of cloth to make a quilt, a cotton sari is acquired and used as the backing for the quilt.

Four corner start Flower finish Blessed belly Scrappy strips

Kawandi are often called patchwork quilts, but technically they are made in an appliqué technique. Starting at one corner of the sari, the women begin to work their way around, fixing the patches in place with lines of back stitch or running stitch, until the entire sari is covered. The stitches are seen as important, as they add a distinctive ‘rhythm’ that is regarded as the part of the ‘visual signature’ of the maker, along with the colours, designs, shapes and sizes of the cloth patches that individuals choose to use. The final step is to sewat each corner of the quilt one or more folded square patches, which form a multi-layered triangle called a phula, or ‘flower.’ These serve no specific function, but they are regarded as essential to a properly finished or ‘dressed’ Siddi quilt. A kawandi would be regarded as ‘naked’ without the phula.

Finished Quilt

Quilt on display by Fabrizio Mauro, 17 “ x 28 “

PERFORMING ARTS ( DANCE AND MUSIC ):

Siddi men and siddi women performing the ‘ Dhamal ’ dance at different occasions in Mundgod and Yellapur.

Siddi community has been thriving through music and danceand these people have integrated music and dance into a form of celebratory event for the community. Largely settled in suburbs and forests, Siddis often work as coolies and unskilled labourers on plantations They were recognised as a