The Eri Weaving of Meghalaya This is a student craft documentation undertaken in partial fulfillment of the Master of Design program in National Institute Of Design Documented by: Anushka|Dikshita|Divya|Nripa|Paromita|Ushasi|Vaishakhi M Des 2015-17
Guide: Vijai Singh Katiyar
Acknowledgement We would like to express our gratitude towards our guide Mr. Vijai Singh Katiyar, for the support throughout the development of the research document from the beginning. This would not have been possible without his guidance. We would like to thank our professor Mr Sakthivel for directing us towards the contacts who were crucial for us to even reach the right clusters in Meghalaya for the information required. Peter Marbaniang (research student) and Desmond Kharmawphlang, (Head of the Department, Folklore Northeast University), for leading us to the translator, cluster locations and officials. We thank Diemgdoh, (Deputy Director of Sericulture; Government of Meghalaya), for information on sericulture with respect to the Ri Bhoi district. We are grateful to Mr Precious Tmung (Nongtluh Women Weaving Centre) for letting us experience and learn dyeing and weaving of eri silk in the workshops conducted there. We would also like to thank all the women participating there for being patient and co-operative with us. Liminia Pyngrope (Designer at the Nongtluh Centre) helped us understand the process of designing and converting them onto fabrics. We thank Madame Tariang (District Director - Handloom Officer) and Madame Bla (Assistant Director Handloom Officer) for helping us with statistical data regarding the clusters and sharing their knowledge about the development of the handloom clusters in Ri Bhoi. We would not have been able to make this document if Poleish did not translate all the Khasi to English and vice versa so as to be able to communicate with the people there. We thank our friend Dikshita Hazari for arranging our accommodation and a comfortable stay in a state which was completely new to us. Also, we cannot forget thanking our NID family for constantly encouraging, supporting and inspiring us in our interpretation of our journey of Eri.
This is a student craft documentation undertaken in partial fulfillment of the master design program in National Institute Of Design. Documented by: Anushka Dikshita Divya Nripa Paromita Ushasi Vaishakhi M Des 2015-17
Guide
Vijai Singh Katiyar
Preface Silk is a word that brings into the mind the images of grandeur and luxury, but there is very little that one will know when asked about Eri silk. It’s the same when one asks about the seven sister states of our own country. It’s unfortunately rare that a person can name all of them, leave alone their capitals or anything else about them. It’s the unexplored nature of the geographical region, its tribes, its philosophies and its crafts that drew us to it. When we are increasingly living in a space where we struggle to save the environment in the most little ways we can, in a society which is struggling to keep its children away from the addictions of digital media and a society where patriarchy is causing headlines often, Meghalaya with its Ri Bhoi weaving culture stands out in a contrast in terms of these settings. National Institute of Design encourages the students to not just study a craft in isolation, but to start from the context and then join the dots. Our study is an attempt to interpret our journey of Ri Bhoi in its entirety with the foreground being the Eri Silk textiles of the area.
Contents The Nature’s Spell Cultures and Co-existence
18
-Myths and Monoliths
22
The Standing Tribes
26
Story of Their Life -Livelihood -The Taste of Meghalaya -Static Stilts
The Weaver’s Hub: Ri-Bhoi
28
29 30 32
34
-Handmade Products
39
The Femme-runners
40
The Spinning Tale
6
10
46
-Host Plants -Cocoons -Life Cycle of Eri -Yarns -Mordants and Dyes -Spinning and Warping -Fabrics -Garments -Symbolism -Specifications -The Loom -Sourcing
48 50 53 57 60 68 77 80 82 84 98 99
Analysis
103
Future Prospects
104
Bibliography
108
Photographs Cited
109
Meghalaya
M
eghalaya, the Abode of Clouds, is a state in the Northeast region of India, where Eri silk weaving is rich textile heritage of the people. Eri silk weaving which is famous for its feel and sturdiness is carried out by the local women. The state has a total area of 22,429 sq km and about one third of the state is under the cover of the mountain forests. Shillong is the capital of Meghalaya. The state is surrounded by Assam to its north and Bangladesh to its south.
The state of Meghalaya was formed by carving as many as two different districts of the state of Assam where Eri silk weaving is also practiced since decades. It was on 21st January in the year 1972 that Meghalaya was formed out of Jaintia Hills and United Khasi Hills.
8
9
M The Nature’s Spell
10
eghalaya, one of the Seven Sister States of northeast India is tucked away in the hills of eastern sub-Himalayas. It is one of the most beautiful State in the country, blessed with abundant rainfall, sun-shine, virgin forests, high plateaus, tumbling waterfalls, crystal clear rivers and above all with sturdy, intelligent and hospitable people. The rolling mists in the valleys, the undulating hills, numerous lakes, caves, sacred forests, exotic flora and fauna, together provide a perfect get-away from the heat. Meghalaya is also geologically rich containing mainly of Archean rock formations. These rock formations contain rich deposits of valuable minerals like coallimestone, uranium and sillimanite
11
Meghalaya is endowed with ample natural beauty including the adjacent Umiam lake. Meghalaya has a sub-tropical climate, which varies with altitude therefore offering a large variety of species and crops, and makes it suitable for rearing Eri silk.
12
Shillong, the capital of Meghalaya is located at an altitude of 1496 metres above sea level. The place being a tourist location, is major market for all kinds of goods including traditional woven textiles.
13
A
bout 70% of the state is mostly primary subtropical forest. The Meghalayan forests are considered to be among the richest botanical habitats of Asia. They are abundant in their resources which are readily available for the dyers and eri spinners of the state. A small portion of the forest area in Meghalaya is under what are known as “sacred groves” These are small pockets of ancient forest that have been preserved by the communities for hundreds of years due to religious and cultural beliefs. These sacred groves harbor many rare plant and animal species. Due to diverse climatic and topographic conditions, Meghalaya is home to a large variety of fruits, vegetables, spices and medicinal plants. Meghalaya also has a large variety of mammals, birds, reptiles and insects. Meghalaya also has a large variety of bats. The fauna and their religious folk tales are highly intertwined with their proximity to the people.
Due to diverse climatic and topographic conditions, Meghalaya is home to a large variety of fruits, vegetables, spices and medicinal plants. Meghalaya also has a large variety of mammals, birds, reptiles and insects. Meghalaya also has a large variety of bats. The fauna and their religious folk tales are highly intertwined with their proximity to the people.
14
M
eghalaya is subject to the extremes of the monsoon. The climate of Khasi and Jaintia Hills is pleasant and bracing. It is neither too warm in summer nor too cold in winter, but over the plains of Garo Hills, the climate is warm and humid, except in winter. The climatic condition makes it favourable for the production of 3 kinds of silk: Eri, Muga and Mulberry. The average annual rainfall is about 2600 mm over western Meghalaya, Between 2500 to 3000 mm over northern Meghalaya 4000 mm over south-eastern Meghalaya.
The weaving tradition is also reflected in the interlacement pattern of root bridges which are places of wonder for the hordes of tourists that come and visit the state. Local people keep guiding, interlacing and intertwining the roots as they grow converting them into usable bridges with base and sidewalls which are strong enough to carry people to cross the rivers. Some of these bridges support over 50 people.
15
Sacred Groves of Mawphlang: Mawphlang is a village in the East Khasi Hills district of Meghalaya state in northeastern India, 25 kilometers from Shillong. Mawphlang is the site of one of the Khasi Hills sacred groves. Khasi heritage village- located in the Mawphlang district -is considered to be the hub of Khasi culture.
Shillong Peak: Situated at an elevation of about 1965 m above sea level, Shillong Peak gives a scenic view to the visitors.
Beautiful landscape, lush greenery and the serene environment attracts large numbers of tourists. Shillong peak is actually one of the highest points of the state and is therefore regarded as a highly famous Shillong attraction. In the evening time, the city appears even more beautiful.
Nohkalikai Falls: Nohkalikai Falls is the tallest plunge waterfall in India. Its height is 1115 feet (340 metres), making it
as the highest waterfall in India. The waterfall is located near Cherrapunji, one of the wettest places on Earth. Nohkalikai Falls are fed by the rainwater collected on the summit of comparatively small plateau and decrease in power during the dry season in December - February. Below the falls there has formed a plunge pool with unusual green colored water.
Mawlynnong: Mawlynnong is a village in the East Khasi Hills district of the Meghalaya state, India. It is famous for its
cleanliness and natural attraction. Mawlynnong was awarded the prestigious tag of ‘Cleanest Village in Asia’ in 2003 by Discover India Magazine. Mawlynnong is located 90 km from Shillong, along the India-Bangladesh border.
Living Root Bridge: Living root bridges are a form of tree shaping common in the southern part of the Northeast Indian
state of Meghalaya. They are handmade from the aerial roots of Rubber Trees by the Khasi and Jaintia peoples of the mountainous terrain along the southern part of the Shillong Plateau.
Meghalaya Tourism is one of the major reasons which has promoted Eri silk Weaving in the recent years. Its scenic beauty, peoples' lifestyle close to nature and their hospitality is what attracts people from around the world.
16
17
M
eghalaya is the homeland of three of India’s ancient hill communities, the Khasi, the Jaintias and the Garos. Dance, music and sports reflect their way of life. Festive sounds of merry making echo from hill to hill revealing the pulsating life of the tribal people. Mindful of their cultural heritage these simple folks are jovial and hospitable.
Culture And Co-existence
While, writing on the Khasi and the Jaintia people, David Roy observed, 'a man is the defender of the woman, but the woman is the keeper of his trust'. No better description of Meghalayan matrilineal society could perhaps be possible.
Meghalaya is the only Indian state to traditionally follow matrilineal system in which lineage and inheritance is traced through women.
18
19
Nepali
Islam Others
Assamese
Animist eghalaya is one of the three states in India to have a Christian majority. English is the official and widely spoken language of the state. The other principal languages spoken by the weavers Hinduism to communicate with each other in Meghalaya are Khasi and Garo. The religion of the people in Meghalaya is closely related to their ethnicity. Their religious symbols are very strongly represented in their textiles through symbolisms like nine and seven bold lines and even the rooster motif. Close to 90% of the Garo tribe and nearly 80% of the Khasi are Christian, while more than 97% of the Hajong, 98.53% of the Koch, and 94.60% of the Rabha tribes are Hindu, according to the statistics.
M
Others Bengali
Khasi
Garo
Languages Islam Others
Religion
Animist
Hinduism
Dances are performed at the level of individual villages (Shnong), a group of villages (Raid) and a conglomeration of Raids (Hima). Local or regional flavours and colours bring variations to the basic dance form, which is universal in Khasi folk culture.
Khasi Hills Garo Hills
Khasi
T
he three major tribes - Garos, Khasis and the Jaintias, all have their own festivals - each celebrated with vigour, dance and merry making. Wangala or the harvest Festival , Behdienkhalm are few other festivals held annually in Meghalaya. Use of textiles play a major role in festival. They show the identity of communities. Costumes are made of indigenous raw materials such as silks, cotton etc.
Jaintia Hills
The central part of the plateau comprising the Khasi Hills has the highest elevations, followed by the eastern section comprising the Jaintia Hills region. The Garo Hills region in the western section of the plateau is nearly plain. The textiles of all the three regions have a distinct flavour to them due to difference in the types of looms and materials used.
Nongkrem Dance Festival of khasi tribe is held annually in November. Dance is at the very heart of Khasi life, rich in repertoire, performed often as a part of the “rites de passage”- the life-cycle of an individual in society or the annual passage of the seasons.
Religion 20
21
T
he tribes of Meghalaya can mainly be classified into three groups - Khasis,Garos and Pnars or Jaintias. The Khasis and Pnars or Jaintias are the descendants of Proto Austroloid Monkhmer race. Garos are believed to be the descendants of Tibeto-Burmar race who came down all the way from Tibet to the north eastern states.
The Standing Tribes
The Khasis are scattered all across the state and are known by different names. Mainly the pure Khasis can be sited at the Khasi hills, the Pnars or Jaintias can be located on Jaintia hills. Garos are located in the Garo hills of Meghalaya. Apart from these, there are many other tribes in Meghalaya. They are Bhois in the north of Meghalaya, Khynriams in the central and Wars in the southern region. They are all a sub tribes of Khasis and live a lifestyle similar to that of the Khasis.Â
22
23
Khasi Tribe
India
The Khasi tribe is the largest tribe of Meghalaya. The people of this tribe weave mats, baskets and chairs out of cane. The Khasi tribes also make domestic knives, utensils and even guns with extracted iron ore.
24
The Jaintia is the sub tribe of Khasi residing in the Jyanti hills. They are involved in making beautiful fishing traps out of bamboo.
The Garo is the second largest tribe of Meghalaya. This tribe weaves materials that are used for making dresses. One of such material is known as Dhakmanda. In addition, the weave bed covers and table covers. They weave a special kind of cane mat called Tlieng which is popular in Meghalaya for its durability.
Myanmar
The Khasi people are an indigenous tribe, the majority of whom live in the State of Meghalaya which is in the north eastern part of India, with a significant population in the border areas of the neighbouring state of Assam, and in certain parts of Bangladesh.Their major occupations include farming, basketry, weaving and carpentry.
Khasi people are said to have migrated from south East Asia, somewhere from Myanmar. They call themselves Ki Khun U Hynñiewtrep, which means “The Children of The Seven Huts” in their language.
25
M Story Of Their Life
ajor food crops of Meghalaya include rice and maize. Other horticulture crops are pineapple, lemon, guava, jackfruit, litchi, banana, orange, plum, pear and peach. Important cash crops and non-traditional crops comprise potato, ginger, turmeric, black pepper, areca nut, tezpatta, betelvine, mustard, tea, tomato, mushroom and wheat. The days major activities of the people thus comprises spending their time in the farms.
An average day in this region begins as early as 4am and ends at around 7pm. The men generally farm and the women stay behind with the children imparting their knowledge of weaving along with taking care of them.
26
27
Livelihood Weaving is one their major livelihoods and they are done mostly by the women in the region and is also considered to be a craft that should be learnt by every girl in the family.
Meghalaya is basically an agrarian state, in which about 80 per cent of the population depend primarily on agriculture for their livelihood.
Traditional pottery technology of Meghalaya, North Eastern State of India, is practiced by women potters only, which is unique in the World.
Basket weaving, as a means of living, was born out of the idea of using their natural resources to the fullest. They use bamboo and cane mostly as the raw material.
Myths and Monoliths
P
eople of Meghalaya put monoliths in their forest on occasion of death, land ownership, festivals and rituals. Meghalaya is predominantly covered by forests and it is the major source of raw material for Eri silk dyeing and weaving. Be it the natural dyes they use or the inspirations they take for their textiles, their creativity lies in the fact that they are extremely rooted in their culture and traditions in every aspect of their life and customs. The Standing Stones (also called Menhirs or Monoliths) are for male spirits, while the Table-Stones (also called Dolmens) are for female spirits. The local monoliths are erected in honour of heroes who died in battles and in remembrance of clan members.
28
29
The Taste of Meghlaya
M
eghalayan cuisine is the local cuisine of the Indian state of Meghalaya. Meghalaya is home to three Mongoloid tribes; it has a unique cuisine, different from the other Seven Sister States of northeast India. The staple food of the people is rice with spicy meat and fish preparations. They rear goats, pigs, fowl, ducks and cows and relish their meat. Since the native people rear goats,pigs , fowl and duck and relish their meat.The popular dishes of Khasis and Jaintia are Jadoh, Ki Kpu, Tung-rymbai, and pickled bamboo shoots.Garos favourite dish is Bamboo shoot. Other dishes preferred are Minil (sticky rice prepared by steaming), Sakkin gata, Dumplings( momos), Nakam (dried fish), Garos eat most non domesticated animals. Rice with Kapa made with a special ingredient called Karchi which is made up of filtered ash water.
1
2
3
1. Pu-syep is a rice cake which is made of paddy which is specially planted for making it. 2.Jim Bam is a bun eaten Meghalaya made of wheat and milk. 3. Dried apple slice is very useful for digestion. The Khasi people hand It on their balcony sheds with a string. 4.Putharo is again plain powdered rice cakes which are made of rice for which rice is first soaked, dried and pounded. 5. Momos or dumplings are chicken/pork wraps and serves as great snacks. 6.Fried larva or silkworms are eaten and considered as an exotic snack item in Meghalaya.
Ja-doh is the staple food of Meghalaya which is rice cooked with beef, pork or fish blood.
30
Kiad is Meghalaya’s own take on rice beer. Served in bamboo tumbler, the locals use a piece of charcoal to ensure the tart, sweet drink has the desired balance of alcohol. The amount of distillation varies from one region to another.
4
5
6
31
Static Stilts
K
hasi villages are built in small depressions in the hills to protect against storms and high winds which this place is used to. These houses are built close to one another. Addition to individual houses, family tombs and memorial stones (mawbynna ) are located in the confines or nearby. There is no internal division according to the wealth of the people; rich and poor live side by side. This way people help each other while collecting raw materials and working on the craft. It becomes a social activity of the women.
1
Grass Thatch 2 5
1. Thatched roof houses 2. Beams are used for storage purpose 3. Bamboo wall construction detail in the workshed 4. Poultry tied under stilt of houses 5. Typical Khasi house 6. Separate toilet
Bamboo Interlaced Wall Inlay
3
Bamboo braced Stilt Support
32
4
6
33
R The Weaver’s Hub: Ri Bhoi
34
i Bhoi is the most active weaving region of Meghalaya. It’s a name that every one involved in the Eri business knows. The children; right from their equivalent ABCs, also organically learn the foundations of rearing, spinning, dyeing and weaving. Along with playing with dogs, cats and hens their pets include plump silk worms.In the deep recesses of the spiritual forests, nature has abundantly provided with the resources required to produce such Eri silk fabrics. Along with the sensibilities of the people living there, Ri Bhoi is a woven story which is going to be told for times to come.
35
East Khasi Hills
Umling
East Garo Hills West Khasi Hills West Garo Hills
Nongpoh
Jaintia hills
Wahsynon
Ri-Bhoi Umsning
South Garo Hills Ri-Bhoi
Ri –Bhoi District is one of the districts of Meghalaya where Eri-culture and Handloom Weaving is still practiced by the women in the rural area. Eri-culture and Handloom Weaving is a traditional craft in the area which remains a part of the Culture since decades. Ri-Bhoi District of Meghalaya is very strong in the production of a fine variety of Eri Silk. The Silk yarn which is spun at the Cottage level is done from cocoons that have reared locally.
East Garo Hills West Khasi Hills Jaintia hills
West Garo Hills
East Khasi Hills South Garo Hills
Earlier there were 6 major districts of Meghalaya. The current weaving hub Ri-bhoi district was formed by further division of East khasi hills district on 4th June 1992. In 2012, Meghalaya was again divided into present districts namely :1. South West Garo Hills 2. West Garo Hills 3. North Garo Hills4. East Garo Hills 5. South Garo Hills 6. West Khasi Hills 7. South west Khasi Hills 8. Ri-Bhoi 9. East Khasi Hills 10. West Jaintia hills 11.East Jaintia hills
36
37
Handmade Products
Woven Eri Silk Production
Cocoons
Yarns
Fabrics
Garments
Acrylic Woven Bags
Other Handicrafts Basketry
38
Carpentry
39
R The Femme-Runners
40
ight from the administration level of District Officials of hand loom weaving to the newest members joining the weaving community as trainees, they are all, females. In a matriarchal system that prevails in Ri-Bhoi, it’s the men who move in to the women’s house after being wed. It’s the daughters who inherit the house or property as such and along with it, the fine art and skill of eri silk weaving. In the evenings they are invariably moving their fingers spinning and producing silk yarns along with socialising with other women of the community. Some women are also creatively trying to produce more colors through natural means and more modern motifs according to their choices on the shawls, now that they are being exposed to designs from across the world through television and other such digital media.
41
Deinie Tariang District Handloom Officer, Nongpoh Diploma holder in Handloom Technology (IIHT) Lives in Shillong Oversees production of Eri Silk weaving of Ri Bhoi district “Since 2015, the sale of Eri silk product has gone down mainly because of the affected economy of the state. The mining industry has been hit and people do not have enough disposable income thus there is a decrease in demand. Additionally we tried introducing chemical dyes to keep up with the competition in the market but the weavers are not willing to accept them in their process. Even with these hurdles we are constantly trying out new schemes like the introduction of the FLY-8 loom to keep encouraging Eri weaving.�
42
Mrs. T Tmung Secretary Nongtluh Women Weaving Co-operative Society, Diwon Oversees Eri production, spinning, dying, designing and weaving activities for women under the society The society was founded in 1970 for the training, assistance and empowerment of women in the region through Eri silk weaving She is very sensitive and particular about the spinning, dyeing and weaving processes practised in the Nongtluh Women weaving Centre, Ri Bhoi. Its her experience and expertise in this field for all these years that makes her a strong woman with skills and knowledge. She feels that one cannot dye a yarn hank in different colors by only following measurements, it is the understanding and practise of dyeing that enables one in making the dye with perfection every time. She herself experiments with different natural ingredients to achieve more variety in color. It is under her guidance and that all the women in the co-op society are working and learning new things simultaneously.
43
Ms. Nian Da Matong Mawlong village, Ri Bhoi district Independent Eri producer and weaver She rears Eri silk worms in the house, spins the silk yarns herself and also weaves in the house on the floor loom. She weaves for herself as well as for commercial purposes She has taken part in some textile exhibitions across the country She has also woven samples with religious motifs for the local church (North East India Missionary Association) in the area She really enjoys the craft that she does and likes experimenting with processes and techniques She, at her home tried dying the cocoons before converting into yarns to see the difference in the effect produced She has also tried producing the elusive color blue with the locally available resources
44
Ms. Remember Matong Mawlong village, Ri Bhoi district Student Remember, a girl with an interesting name is a student studying in 11th standard. She is the daughter of the master weaver Nian Da Matong. She can speak and write in English. She knows how to weave, however she doesn’t want to take it up as a career and wants to become a teacher in future.
45
T The Spinning Tale
46
he creative process of Eri Silk Weaving is completely organic, and ryndia is also called as “ahimsa� (nonviolent) silk: extracted from cocoons without killing the larvae inside. Eri-culture and weaving are also important activities for generating supplementary income and providing a much needed opportunity for women to contribute further to the family, especially for the elderly and the young mothers who are not able to go out to the fields. Unlike other parts of India, where much of the spinning and weaving is in the hands of men, in Meghalaya it is the exclusivity of women and their families. This traditional knowledge is passed down through generations.
47
E
ri silk in Meghalaya has always been cultivated domestically, and still is today. The host plants of eriworm are available in a natural state in the plains and hills of this region. Eriworm is polyphagus and feeds on leave of varieties of plants. These plats belong mostly to the family Euphorbiaceae. Castor (Ricinus communis) is the preferred variety of plants. Kessaru (Heteropanax fragrans) is utilized next. Other important host plants are Payam (Evodia flaxinifolia) and Tapioca (Manihot utilissima).
Host Plants
The silk worms feed on the leaves in the shelter of the rearing house - generally a purpose built bamboo shed in the compound of the home.
11
3
3.Payam tree is mainly found in hill slopes and is propagated from seedlings. It can be grown around the homestead. The leaf yield is high. Leaves of Payam can be used specially in winter when other leaves become scarce. The cocoons become creamy and flabby. The yarn however is not very strong
1.There are two types of castor plants – perennial and annual. The perennial green variety lasts for 3-4 years and is liked by some rearers for the quality and quantity of leaves. Castor seeds are sown in early spring or late autumn and the leaves are harvested after about 6 months for eriworm rearing. Planting is done at one meter apart for seeds and slightly less than two meters apart for leaves.
4.Kessaru Leaves are fed from summer to winter. These leaves are not suitable for rearing in other seasons. The worms cannot chew hard leaves. The yield of leaves per unit area of land is higher than castor. It yields about one and a half quintal of leaves annually after four years. The changeover from kessaru to castor leaves in rearing is easier but the reverse process is difficult. Bulk rearing of eriworm is convenient with tender Kessaru leaves at the early stages; this helps to conserve castor leaves which can be used for rearing in the last stage.
2.Tapioca is a small perennial shrub which is pulled down for harvesting and re-cultivated every year. Although tapioca bears seeds, the cultivation is done vegetative by planting cuttings of the stem measuring about 25cm length taken from the lower part. The green variety is utilized for eriworm rearing during spring and summer seasons as the leaves grown from autumn to spring have a high content of cyanogenic substance. The cocoons obtained from feeding tapioca leaves are smaller than castor fed ones and number of eggs laid are much less.
48
12
4
49
Silkworm eggs. The darker ones are about to hatch. The black heads of the emerging silkworms Tiny larvae, less than a day old, they tend to eat in groups
Newly emerged second instar worms. 2-3 days
Third instar with plump white spiky knobs all over. 4 days The translucent fourth instar lasts for about an hour
The spikes on the fifth instar are more pronounced, and the spiracles (black holes) are larger and are the breathing holes. The colour disappears once it has aged
Life Cycle of an Eri Worm
50
Silkworm rearing at homes. Fresh leaves are supplied 3 or 4 times daily in the last stage. During this stage the larvae are reared on hanging bundles of leaves tied in a stalk. A temperature of 24 – 26 C with high relative humidity is essential during the last stage.
51
Cocoons
T
here are four types of cocoons: Eri, Mulberry, Muga and Tassar. The Eri cocoons are divided into male and female cocoons which are either Castor fed or Kesseru fed. The Eri silk worm however is either taken out by breaking open the cocoon, or the worm is allowed to eat its way out through the cocoon to emerge as a moth and continue the cycle. Eri silk is spun from open-ended cocoons leading to a non continuous thread.
Cocoon obtained from Kessaru
4th instar worm feeding on castor leaves. A fresh bundle of leaf is provided to attract the larvae from the eaten up stalks. Tender leaves are not given to the larvae at the last stage ad mature leaves to the young larvae. Copious feeding is essential at last stage.
Pupation from larva after the 5th instar. The larva when rolled between two fingers and held to the ear, it makes a hollow sound. It starts searching for a crevice to spin cocoon. It has a natural tendency to go up in search of a place for cocooning.
Cocoon obtained from Castor
1
The spinning starts with to and fro movements of the head. The larva gets deeply embedded in the thick layers of silk. With slightest disturbance, the extrusion of silk is discontinued.
Cocoons are washed, hand-spun and the yarn is dyed with natural dyes. In villages, most weavers are using natural, mainly vegetal ingredients for dyeing their silk, such as flowers, leaves and bark that they collect in their back yards and nearby forests. Traditionally the colours used here are lac red, turmeric yellow and black from iron ore. Today, with training and support from government and NGO’s, the artisans have greatly increased their repertoire of colours, experimenting with all kinds of leaves, flowers, roots and fruits in and around the forests. This creative process is completely organic.
1.Cocoon obtained from leaves of Kessaru is small and compact . The fibre is stronger than the one obtained from castor fed ones 2.Female eri coccon is elongated while the shape of male cocoon is ovoid. Eri cocoon is open at one end and the silk does not form into a continous filament. The cocoon is spun and cannot be reeled. It is hygroscopic and gives two-thirds of its weight in yarn.
52
2
53
1. The cocoons are loosely tied in cotton cloth and boiled in ash water for 45 minutes to 1 hour
Before cocoon formation, mature worms are transferred to special type of trays known as spinning trays or chandraki. Here they spin the cocoon without any disturbance.
54
Freshly hatched worms are kept in flat trays which are made up of bamboo mattings with their edges turned up, which afford a raised border made by stout stripes of bamboos.
3.The sheets are dried in the sun and collected again to make conical cakes on bamboo sticks
2. After boiling, the cocoon are strained and individual cocoons are stretched or opened up in plain water into thin sheets.
4. 3-4 such sheets are joined to make a cake, which is dried and used for spinning in Takli.
55
Eri silk making is a reflection of the uniqueness of the rural communities it is produced in. The quality of the silk depends on the quality of the leaves the worm feeds on, the texture of the thread is dictated by the hand of the spinner, the natural dyes come from the wild produce of the land, and the weaver working with a floor loom brings her own creativity to the design and construction of the cloth. The traditional floor loom is completely made of bamboo, including the reed used to beat the cloth during weaving. The loom and its components are hand-made by the village women themselves.
Apart from the traditional floor loom, frame loom, and fly shuttle loom is now widely used due to the training programmes organised by the government for the possibility of increased production. There is also an introduction of millspun yarns which they use in the warp. Products made out of coarse hand spun eri silk yarns were mostly of thick / coarse quality whereas the millspun yarns producer a finer / softer feel to the fabric thus reducing the cost as well. Though the handspun fabric is more popular and in demand, the latter is also prevalent.
Millspun
The appliances commonly used for spinning eri cocoons are the drop spindle or ‘Takli’. The takli consists of a spindle with disc like base. The spinner holds the cocoon cake in the left hand, drafts and then feeds the strand with the right hand to the spindle. The spindle is occasionally in order to wind the yarn to the spindle.
56
Handspun yarns of eri dyed with different natural materials like lac, turmeric etc
Mill spun yarns are of various counts. they are bleached or unbleached. they are sold to common weavers on per kg basis.
Yarns
57
The handspun Eri silk yarns are washed in soap water prior to dyeing in order remove the dust particles from it.
58
Sokhu (Baccaunea ramiflora) leaves before and after dyeing. It is one of the primary elements which is used for dyeing. It is sourced locally from the forest.
59
Mordants and Dyes
E
xtracting the mordant first will allow a better color dispersion and homogeneity on the yarn. Even shades and better consistency helps to fix colors.Tannin plants react upon iron or ash water (if liquid/ bath turns grey when iron water is added it proves that there is tannin in plants)
Waitlam pyrthat
Sokhu (Baccaunea ramiflora) leaves are used as mordant for red colour.
Sohtung (Bischofia javanica) leaves are used as A mordant for obtaining black color.
Diengrnong (Berbris wallichiana) Roots are used as mordant for yellow color
Sohmylleng
Nuli
Iron Ore
Bark of Sohmylleng (Amla ), Sohtung (Bischofia javanica) leaves, Nuli (Litsea salicifolia) leaves ,Waitlam pyrthat (Oroxylum Indicum) are grinded in a mortar and boiled in iron water for an hour. The solution is filtered and cooled to 60-70oC. The yarns are then boiled in the filtered solution at 90oC for an hour.
Preparation of Black Color
60
61
Laha [lassifer laca (Lac)] found on Diengjri (Ficus Religiosa)
Preparation of Red Color
62
Preparing lac by grinding into powder form using cyndrae and thlong. The remaining water after pre-mordanting is added to the grinded lac.
Filtering the dye solution through snait layered with muslin cloth.
Yarns are then immersed for an hour in the boiling dye solution in okheo (basket).
Preparing turmeric by cutting into small pieces using Tari (knife)
The cut slices are further grinded using cyndrae (vessel) and thlong (pestle)
Cooking the ingredients for one hour in boiling water (1 ltr water per 100gm ingredient) in okheo.
The temperature is maintained at 90oC and the water is added during cooking to keep the level
Preparation of Yellow Color
63
The prepared dye solutions for colors black, red and yellow respectively
64
The evolution of colors by experimenting with various combinations of Sau (red) , stem (yellow) and black which are the primary traditional colors.
65
Lemon water and Ash water are used for post mordanting process. Ash is obtained from burning wood. For acidic dyes , ash water (Umpdei )and for alkaline dyes lemon water (Umpsojew) is used. Yarns are dipped in each of these solutions for ten minutes after dyeing. This image shows Ridonia, trainer at the Nongtluh Women Weaving Society, washing the dyed yarns in soap water after the post mordanting process.
66
67
Spinning and Warping
A composition of various tools and parts of the floor loom in the sequence of its use during the process of weaving.
Yarns for weft are wound on Latai (thread winder) from the hanks on Kla (warping tool) land then to bobbins.It keeps the yarns from entangled while being drawn to the loom. It is a tool to help the sorting of the yarn.
68
69
Kachiyar – Lease rod
Kachiyar – Lease rod Warping tool
Kawai – used for beat up and opening of shed
Kla- Warping Machine
Sarphong – used for shed formation
Charkha- Cycle Wheel
Jaithlubi- used for warping
Latai- Winder
Dingluwi – used for shed formation
70
Kasnat – Reed
Khalng – Shuttle
71
The wound yarns are put up on the stand according to the colors of the warp
The sequence of tool which are used in the warping process
The sorting of the warp yarns with the leasing is done manually is done manually by separation by fingers
Drawing in the warp threads using reed hook through the reed dents
A view of the top view of the traditional floor loom, madan thain used by the khasi community in Umden, Rhi-bhoi. Seen here is the last stage in the process of weaving the Jaintlem (eri stole)
72
73
A young khasi woman from umden village weaving a traditional eri shawl used as a wrap in the traditional floor loom . The knowledge and skill of weaving is passed on from generations among women and is part of their lifestyle.
74
Weaving is done as a hobby by most of the people. Once they are back from their fields in the morning, the women, after completing their housechores, weave for sometime before it gets dark. Due to the awareness and education from NGO about the perks of weaving, they have started taking it professionally as well.
75
Fabrics
Plain Jaintlem (Plain)
Checks Jainthoba (Bigger Checks)
Forms and Patterns Geometric Motif
Sword and Shield Jainthorustam (Smaller Checks
Rooster Motif
The image shows Kawai which is used for beat up and opening of shed
76
77
The shawls are usually either plains or checks or geometric patterned. Some shawls do have motifs which are contemporised now. Earlier the motifs of rooster, sword etc were used which had spiritual significance.
78
From left to right: first and second are Contemporised Jainthoba (bigger chequered Eri silk shawl), third is traditional Jainthoba, Forth is traditional Jaintoraustam (smaller chequered shawl).
79
Garments
Traditional
Jainsem (women’s traditional dress)
Jymphong (Waistcoat
Jainpho (Dhoti
Spong (Turban)
Shawl
Modern
Stole
80
Home Textiles
Neck Ties
Skirt and Top
The design pattern of the fabric is mostly in checks and stripes using a combination of these vegetables dyed colours, to get a wide range of designs. Traditional motifs signifying the different clans and sub tribes are used by weavers of these various clans. Geometrical patterns, Floral and Animals motifs which are prevalent in the area and which form part of the culture are often used.
81
Symbolism
A
ccording to the Khasis, God created 16 families of human beings who were staying in heaven with him. They used to visit earth from time to time via a Golden Ladder and then go back to heaven; their home. It was situated on top of Lumsohpetbneng where Lum means hill, Sohpet means Navel and Bneng means Heaven. This hill is situated 25kms from Shillong. One day some of them asked God to let them settle down on earth to take care of it. So God permitted 7 families to do so. They are called Khasis; the first inhabitants of earth. Thus their generations are all the children of the seven families or seven huts. One day the evil one tempted them to cut down the Golden Ladder which was symbolized by a mighty tree, because he said its branches were growing so large that it would soon block out the rays of the sun. So the Khasis cut the tree all day long and went to sleep at night. The next day, the tree had become whole again. This went on for a few days and when everyone was wondering a bird named phreif, in return of paddy and corn, told them the secret that a tiger was coming and licking the tree back to its cured full-grown stage. So the people kept the blade of the axe upturned on the tree the next time to prevent the tiger from licking. The tiger’s tongue was hurt and the tree was successfully cut down. But instead of more Sunshine, the earth became covered with darkness. The people approached God again to allow the Sun to rise again. God agreed to it provided someone would sacrifice himself. Only the rooster came forward for this sacrifice. God accepted the offer wand the Sun shone again bringing joy to the world. God also gave the cock the gift of rejoicing every time the Sun rose. The cutting down of the tree is a symbol of sin just like cutting oneself from the roots that is God. Cock is the eternal symbol of Savior Jesus Christ in Khasi Christian religion; the one who saved Khasis from darkness.
82
Rooster is the sacred symbol of the Khasi Origin. It is said to have sacrificed its life for the people. It takes forward the mythological tale of “seven huts”.
Modern day rendition of the sword and shield which is inspired from the War Khasis.
83
Actual Image 001
Art work 001
Specifications
Traditional Jainthoba is bigger chequered Eri silk shawl. Only red and yellow. The yarns are dyed in lac and turmeric to achieve the colors. People strictly follow the same dimensionsfor the checks. 4”
4” Weave EPI PPI Dimension
Weft Rhythm 84
: Plain Weave : 32 : 32 : 21” X 68”
Warp Rhythm 85
Actual Image 002
Art work 002
4”
Actual Image 003
Contemporised Jainthoba is made of bigger checks. The colors and proportions have variations in modern Jainthobas.The rhythm is mostly kept around three inches wide and long.
Art work 003
0.5”
Traditional Jaintoraustam is made of small checks of two colors Only red and yellow. The yarns are dyed in lac and turmeric to achieve the colors. People strictly follow the same dimensionsfor the checks.
3”
Weft Rhythm
86
Warp Rhythm
Weave : Plain Weave EPI : 32 PPI : 32 Dimension : 29” X 56”
0.5” Weft Rhythm
Warp Rhythm
Weave : Plain Weave EPI : 36 PPI : 36 Dimension : 21” X 68”
87
Actual Image 004
Art work 004
Actual Image 005
Art work 005
Contemprorised Jainthoba is made of bigger checks. The colors and proportions have variations in modern Jainthobas.The rhythm is mostly kept around three inches to seven inches wide and long. 4”
Weft Rhythm
88
4”
4”
Warp Rhythm
4” Weave : Plain Weave EPI : 32 PPI : 34 Dimension : 21” X 68”
Weft Rhythm
Warp Rhythm
Weave : Plain Weave EPI : 34 PPI : 32 Dimension : 21” X 68”
89
Actual Image 006
Actual Image 007
Art work 006
Art work 007
1”
Extra weft threads are inserted to make diamond shaped patterns by repeating single motif all over or as border design. The material used for extra weft is mainly silk floss.The average width of a border varies from 3 inches to 6 inches.Plain weave is used in the ground for a sturdy fabric.
0.75”
12”
Weft Rhythm 90
Weave : Plain Weave EPI : 42 PPI : 28 Dimension : 23” X 55”
1”
1.5” Weave : Plain Weave and extra weft patterning EPI : 36 PPI : 30 Dimension : 23” X 55”
91
Art work 008
Actual Image 008
0.5”
Actual Image 009
Extra weft threads are inserted to make diamond shaped patterns by repeating single motif all over or as border design. The material used for extra weft is mainly silk floss.The average width of a border varies from 3 inches to 6 inches.Plain weave is used in the ground for a sturdy fabric.
0.25”
3.5”
Art work 009
3.5”
0.5” 0.25”
92
Weave : Plain Weave and extra weft patterning EPI : 42 PPI : 28 Dimension : 23” X 55”
Weft Rhythm
Warp Rhythm
Weave EPI PPI Dimension
: Plain Weave : 36 : 36 : 21” X 68”
93
Actual Image 010
Art work 010
Actual Image 011 (Ding-Tree motif)
1.2 cm 2” 1.5 cm
2”
Weft Rhythm 94
Weave : Plain Weave EPI : 34 PPI : 34 Dimension : 29” X 56”
Art work 011(Layout)
Weave : Plain Weave EPI : 32 PPI : 34 Dimension : 29” X 56”
Warp Rhythm 95
2 cm
2 cm
Actual Image 012 (Khlur-Star motif)
1 cm
1 cm Actual Image 013 (Syrea teew-Flower motif)
1.5 cm
1.5 cm
Art work 012Layout)
Weave : Plain Weave EPI : 32 PPI : 34 Dimension : 21” X 68”
Weave : Plain Weave EPI : 32 PPI : 34 Dimension : 29” X 56” Art work 013Layout) 96
97
The Loom
Sourcing and costing In the recent years mill-made yarns are readily available at cheaper price in the market, therefore weavers weave their cloths using fine yarns imported from the state of Assam and from the local market of nearby villages. The ICDP (Integrated Co-operative Developement Project) Scheme has greatly leveraged and consolidated the Nongtluh Women Weaving Co-op Society’s business, facilitating their work through provision of a permanent work-shed, looms and a new designing machine. Through the ICDP fund, the co-operative has opened a showroom to sell their products and fabrics. Their most selling products are stoles. Monthly sale accounts to Rs 80,000 to Rs 90,000. They have started repayment of the loan financed by ICDP, and plan to complete repayments within a period of two years. In the Nongtluh Women Weaving Co-op Society, the weavers earn Rs 210 per day for weaving from 9 am to 4.30 pm. 20% -30 % profit is added per material.
Frame loom with a separate mechanism attached to the loom for lifting of particular ends to create designs
98
The above image shows a Khasi woman weaving on a frame loom with the reference of design on graph paper as part of the training programme at Nogthloh Woman Weaving Society
Most of the raw materials used for Eri Silk weaving are either available from nature or from local market. People either collect the materials from forest or buy them from the local market which have been collected from forests or nearby hills by some other person. People prefer collecting things on their own as it reduces the cost of production.
In the Handloom Research and Design Developement Centre Nongpoh, Meghalaya; fly shuttle loom with jacquard mechanisms are used to weave fabrics, shawls, stoles and muffles, both eri and muga. One kg of Muga yarn costs Rs 16000. 10% of the cost of yarn is counted as labour charge for a weaver. The marked price of handwoven Eri shawls and stoles range between Rs 1000 to Rs 3500. There are about 5000 weavers working under them. Commercial weavers are earning Rs 10,000 per month and part-time weavers are earning Rs 3000 to Rs 4000 per month. 99
F
abric Plus is a silk yarn and fabric manufacturing company. It also produces garments. Fabric plus has a major role in the yarn distribution and fabric production in Ri- Bhoi District for Eri silk. They provide machine spun yarn to the villagers through various cooperative societies. They then collect the produced fabric to sell them across the country. They also help with the designing and contemporarisation of the existing craft. Fabric plus is one of the leading companies manufacturing customised fabrics with pure natural silks and silk mixed with natural fibres like linen, wool, ramie, cotton etc.Mill spun silk yarns, hand-reeled silk, woven in handlooms with blends of craftsmanship, handcrafted to give exotic look are our basic strengths. Fabric plus is identified as a company promoting the golden Muga, Eri and Mulberry silk from the Northeast to the international arena. It has earned recognition from central silk board and the government of Assam for their development work on Muga and other silk products in the North-East. The company has a dedicated team for product developement, supported by experienced textile technologists. Fabric Plus manufacture fabrics for fashion and home fashion including make-ups like stoles, shawls, sarees, Mekhla chaddar, ties, curtain panels, cushion covers, corporate gifts etc. Its sericulture network touches more than 5000 people embracing the principles of fair trade, thus provide economic developement with eco friendly product.
100
T
he Nongtluh Women Weaving Cooperative Society is situated at Umden Diwon, Raid Nongtluh, Ri-Bhoi District, and falls under the Umling Development Block. Started in 1970 and the funding is done by the government. The main objective of the co-operative is to take up activities that promote the economic, social and cultural interest of its members in the Handloom sector. The co-operative consists of fifty three women folk artisans and weavers. They are known for their silk weaving tradition and culture, producing fine silk fabric. The co-operative is also particularly known for its fabric made of hand spun Eri – a silk yarn – in traditional colours. Procuring yarns are from the local suppliers for hand spun and Fabric Plus , Guwahati for mill spun yarns. Since its inception, the co-operative has been engaged in Weaving, Spinning , Dyeing and Designing and providing training and assistance for the same to its members. They have around 360 members registered under their society. The weavers price their product and give it to society. The society helps them to sell their products at other stores outside their village . They sell their products at the local markets, their store in shillong -Tomg hi I ( a bit of tradition) , Meghtex and Fabric plus store in Guwahati, besides actively engaging with Departments like Handloom, Sericulture & Weaving. They also participate in exhibitions and fairs in shillong and Pragati maidan , Delhi every year. The products developed by the co-operative society are distributed at local outlets around the place and also in Shillong. Their products are also sold at Fabric Plus, Guwahati as they provide with the mill spun yarns for production. 101
Analysis
T
he Eri silk weaving as we see here, is not just a mechanical hobby of the people of this place. It's not something done just to earn some extra cash by utilising the brackets of free time that they have in the day. It is much more than that. It's a philosophy in itself. The way of Ri-bhoi life is very self sustaining. They live in the houses they make, eat the food they grow and procure all their required raw materials from the surroundings. They are blessed with beautiful flora and fauna and are quite a close knit group of residents. They find meaning in simple things in their lives and are extremely close to nature. Being highly religious, everything around them speaks loud of their connection to their traditional roots and the natural environment. The pieces of woven beauties they make reflects them as a group and also their habitat. They have no compulsion whatsoever to go on weaving on their looms, but they are doing so till date. One wonders then that an activity like dyeing and weaving could hold the kind of importance that it does here. It's not economic needs that is the driving force. It's an age old connection, a story that they want to preserve and continue passing on to their future generations. It speaks of organic, it speaks of nature, it speaks of the silk-worms, the care it needs to convert them into these elegant weaves and it speaks of their beliefs. They pass on the values that their mythology tales tell them; their origin on this earth, humility towards life and their purpose. When traditions such as these keep a community together, they are worth being appreciated and preserved. Not merely for the exceptional physical quality of their products but for the meanings they hold. Even their use of colors, the red, black and yellow; the colors of their tribe, talk of their pride in their ancestors. In a patriarchal world and a matriarchal State, the dyers and weavers are women and its their aesthetics and sensibilities which are interpreted onto the fabrics. The future might lie in contemporarising the craft for monetary gains or maybe even its dilution but let's hope the true essence and purpose of the eri-silk weaving of the Ri-bhoi district is maintained.
102
103
Future Prospects
C
olor diversification being practiced by mixing two or more elements which are used for the three colors. It increases the salability and demand in the market and also personally makes it interesting in experimenting with colors. Daniel Syiem, a young designer from Meghalaya who has showcased ethnic apparel in global fashion hubs like New York, London and Rome is working to empower women weavers of Meghalaya’s Ri Bhoi district, to preserve the dying art of weaving. Daniel says creating a market for ethnic and ethical fashion is about knowing how to recreate traditional designs to have mass appeal, and he hopes more young Indians would rediscover their cultures as much as they embrace others
104
T
he resist dyed yarns in the dye bath for red (lac) color at the Nongtluh Women Weaving Society.
The yarns after being space dyed are hung on to the rod for drying after removing the resisted knots. With the introduction of new dying techniques through different workshops, college student visits and new market demand, the Khasi women learnt yarn tie-dye.
105
A new technique was seen is Mawlong village, Ri Bhoi where a family was practising a method of dying cocoons instead yarn dyeing. These yarns are weaker and colour absorbency is less resulting in a non-uniform colour in the spun yarn.
106
An effect which mirrors what we know as double ikat woven on a floor loom a Diwon village, Ri Bhoi.
107
Bibliography Sen, Sipra. The Tribes of Meghalaya : Mittal Publications, 1985. Rizvi, S. H. M. Khasi Tribe of Meghalaya: BR Publishing Corporation, 2006. Chowdhury, S. N. Eri Silk Industry, Directorate of Sericulture and Weaving, Government of Assam, Gauhati, 1982. Borgohain, B.K. Folk Tales of Meghalaya and Arunachal Pradesh, Sterling, 1974. IGNCA(1999), http://ignca.nic.in/craft254.htm Craft and Artisans(2010), http://www.craftandartisans.com/textiles-of-meghalaya.html Meghalaya Times(2015), http://meghalayatimes.info/index.php/front-page/32016-eri-weaves-at-indigenous-terra-madre
Photographs Cited Page 30 no1-http://www.nelive.in/north-east/food/traditional-beverages-north-east Page 30 no 2-https://in.pinterest.com/pin/300333868875496612/ Page 32-http://www.indiamike.com/india/meghalaya-f160/mawphanlur-mawphlang-mawlyngbna-sohra-mawlynnong-shnongpdeng-shillong-april-2016-a-t245353/4/ Page 33 no 1-http://guyshachar.com/en/2016/garo-hills-traditional-tribal-architecture-meghalaya-india/ no 4-http://guyshachar.com/en/2016/garo-hills-traditional-tribal-architecture-meghalaya-india/ Page 43- file:///C:/Users/hp/Desktop/Craft%20Dcumentation%20MEGHALAYA/Working%20with%20the%20weavers.jpg Page 99-http://www.mid-day.com/articles/new-documentary-takes-you-from-mumbai-to-nagaland-via-10-cities-on-boat-bike-andbullock/17262179 Page 100 top-https://www.facebook.com/fabricplussilk/photos /a.435312599839821.87986.123384281032656/1176044882433252/?type=3&theater Page 100 bottom-https://www.facebook.com/fabricplussilk/photos /a.435312599839821.87986.123384281032656/1061707123867029/?type=3&theater
Tripathi ,Shweta. Nelive(2015), http://www.nelive.in/meghalaya/fashion/traditional-costumes-meghalaya-tribes Craft revival Trust(1999), http://www.craftrevival.org/CraftArt.asp?CountryCode=india&CraftCode=001555 Indian Mirror( 2010), Meghalaya-Culture, http://www.indianmirror.com/culture/states-culture/meghalaya.html Eastern chronicle(2015), weaver to be showcased at london and geneva, http://justshillong.com/News/index.php?id=L000003480 Dr.Ambedkar Mission, Assam(2012), http://www.craftclustersofindia.in/site/index.aspx?Clid=147 Anna-Louise Meynell(2017), http://garammasalachai.blogspot.in/2017/03/exploring-my-textile-obsession-with-eri.html
108
109