Embroidered tales of Banni by rajvi mehta

Embroidered tales of Banni Saranya & Rajvi Guide: Swasti Singh Ghai

Digital publication of student document For private circulation only GDPD Textile Design 2008 -2012 ÂŠNational Institute Of Design, Paldi, Ahmedabad, India ÂŠText, Photographs and Sketches by Rajvi Mehta and Saranya S Photographs listed otherwise in Bibliography Guided by : Swasti Singh Ghai All rights reserved under international copyright conventions. No part of the book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the students. Digitally printed at Kadam Printers, Pune.

Embroidered Tales of Banni Rajvi & Saranya Guide: Swasti Singh Ghai

Acknowledgements As part of the course we were supposed to choose a particular craft, and document it. The two of us were called by our course faculty, Swasti Singh Ghai and were told about a project where we would need to go to Banni, Kutch and document the embroidery there under the sponsorship of Archana Shah. Thrilled, we began to find out as much as we could about Banni and the embroidery practiced there. Archana Shah was a wonderful guide, outlining the project for us very clearly and giving us her valuable contacts in field that made the project an easier task. We also sincerely thank Aditi Ranjan for giving us important pointers as to how to proceed.

Us in the chakda mirror. left :Rajvi, right: Saranya

At Hodka, the stay was made comfortable with a separate room given to the two of us during the period of five days, even though there was a death in the village on the day of our arrival. Bhasar Bura and his family gave us a warm welcome and let us stay with utmost hospitability, that humbled us. The nights livened up with long interesting conversations about the village, an insight no one but the ex-Panchayat Head, Bhasar Buraji, could provide to us. Jagdish, our guide and translator at times, was a great mediator and understood our aim quite well. He took us to quite a few vands despite the heat and often negative response. Each day, he smilingly put up with our demand to see one more vand before we called it a day. After our day long journey when we returned at about five in the evening, Manbai, Bhasar Buraâ&#x20AC;&#x2122;s daughter-in-law, used to be ready

with some food and cold chhaas for us. It revived our lost energy and while discussing our trip she would patiently answer all our questions. We thank her and her extended family who entertained us with gossip and conversation while they were at their needlework.

saying that the support from our parents was invaluable, especially for being patient with us through our ever changing deadlines.

Soon, when we realised the need to compare the two styles, we went to the Bhirendiara village to where Manbaiâ&#x20AC;&#x2122;s parents lived. Her father Hirabhai and other family members treated us as one of the family members and invited to the singing rituals at night for the soon-to-be wed daughter of the vand. We also thank Mr. Vazir who gave us an overview of the area and put us in touch with Shaimat Sajan Pathan from Jararwadi. He gave us a wonderful insight into their community. We thank Judy Frater and the Kalaraksha trust at Sumrasar for letting us access their library. When we returned from Kutch, there was so much material with us, relevant and irrelevant information in the form of notes, sketches, recordings, photos and videos. Our guide, Swasti helped us organize, chapterise and make sense of the material we had put together, reading and rereading our text over and over again with suggestions on how the document could be better. We both thank her immensely, and apologise for any trouble we might have caused. Also, we are grateful to Mr. Rupesh Vyas for his inputs with respect to the layout and typeface,helping this document come together comprehensively. We thank Shyamolee, Samyak and Anjali for proof reading,Vivek Vram, Pooja K, Brinda, other batchmates for their useful inputs. It goes without

Preface Indian subcontinent is blessed with diversity in terms of climate, topography, languages and cultures. Thanks to these varying cultures, plentiful innate craft based traditions have evolved. These craft forms have survived the test of time and state of affairs, which is indeed commendable. Textile department of National institute of design has taken initiative, to educate its students about the Indian handicraft sector which is intensive, sustainable and ever evolving. The course called craft documentation was introduced to serve this purpose. As a part of this course, the students are expected to select a traditional Indian craft of their choice and study it deeply in its own environment for at least two weeks. Then the experience gained shall be recorded with written and visual medium supported by secondary research from various books and websites. We were lucky enough to get the opportunity to work with Ms. Archana Shah of Bandhej who sponsored us for this document. It was her deep concern for preserving the rich heritage, which is fast vanishing, that motivated us to do a project in Kutch. Besides, the embroidery work here in the Banni region had not been documented in detail before. In this age of communication, no village remains a virgin to technology and urban ideologies. Slowly, the influence of metropolitan life will eventually seep in, washing away the existing practises including its artistic expression in the form of crafts. The documents made at the end of the course are with the hope of keeping a part of the tradition alive in form of our document.

We, Rajvi Mehta and Saranya S, zeroed in on documenting the needle work tradition of three communities the Maldharis, Meghwals and the Pathans, in the region of Banni, Kutch. We planned on studying these communities in the village of Hodka where Maldharis and Meghwals co-exist. To study the Pathans we planned to go to a village called Jararwadi which is inhabited by the Pathans exclusively. While in the field we felt the need to study one more village, hence we visited Bhirendiara. It helped us cross check the information and see if there were any kind of disparities existing in the relevance, practise and status of the craft amongst the villages. Once back from the field, we went through all the notes sifting the more relevant information from the rest and categorised it under suitable topics. A sincere attempt was made to paint a picture of the state of craft as accurately as possible. A fortnight of field work is too little to imbibe their whole lifestyle, which in turn has taken many decades to take this shape. We express our apology to the people of Banni if we have misinterpreted any of their activities in any which way. The document begins with a brief description of the Banni region, its environment and people to set the stage for the craftsmanship here. Then we take a plunge into the intricacies associated with the craft and how it has affected their lives as craft is not a separate entity from the craftsperson. We have also tried to adress the question of how trade, tourists and external influences must have contributed to the evolution of the craft.

Contents

2. The

1. Banni,

embroideres

the region

1.1 1.2 1.3 1.4

location folklores about Banni the people environment

3. Bharatkaam

16 20 22 28

2.1 2.2

the women marriage and dowry

32 38

3.1 3.2 3.3 3.4 3.5 3.6 3.7 3.8 3.9

mukko pakko kharekh kaccho neran hurmichi khudi seba kambhiri beadwork

48 54 62 68 72 76 80 84 90

4. Cultural

manifestations

4.1 4.2 4.3 4.4 4.5

costume kanjiri gaj quilt other products

96 111 125 132 148

5. Communities 5.1 5.2 5.3 5.4

Meghwals Haleputras Raysiputras Pathans

162 169 174 177

6. Evolving craft

traditions

6.1 6.2 6.3

6.4 6.5 6.6 6.7

trade tourist change brought about in the lifestyle by commercial activity interaction with the other communities new products raw materials craft development

180 183 187

190 194 196 198

Introduction Situated in the heart of a barren tract of land, is the village of Hodka – the first village we visited and our home for the next few days. This village is a part of a geographical area called Banni. The Banni region is spread across an area of 3,847 square kilometres in the Kutch district within the state of Gujarat. As it is well known for its rich wildlife and biodiversity, it attracts a lot of travellers. But we were visiting to look for something else that has brought tourists, researchers and students alike to Banni for many years. At Meghwalvaas, when we were ushered into their hamlet for the very first time, we were amused by the riot of colours we witnessed. In contrast to the men, all the women and girls were dressed elaborately in a very festive kind of a way. Their ensemble comprised of heavy silver ornaments like neck pieces, bangles and anklets, worn with a long skirt, a long piece of cloth draped over the head called odhani and a very extensively worked upon kanjiri or a blouse which is the most vibrant of all.

A woman’s needlework proficiency is a yard stick to measure how good a daughter, wife or a mother she is. We found this pleasantly surprising for only a bride would be adorned thus in the city. Their vivid garments beautifully punctuated the sanctity and silence of the perennially dry, semiDetail of a kothalo.

desert. Till then we had only heard about their exquisite needle work tradition, but when we did actually see it, we were plain awed. In Kutch a woman’s needlework proficiency is a yard stick to measure how good a daughter, wife or a mother she is. She is expected to find the time and invest effort, and resources to do this activity. As a child she is introduced to this craft by her mother, and later keeps honing her skills, till her eyes are too old to see. The importance of ‘Bhartkaam’ –literally meaning ‘filling work’, is emphasised in the fact that girls after they are 7 -8 years old are refrained from attending to school. It is preferred that they stay back help their mothers and start working on kanjiris and kothlos, which will eventually be a part of the wedding trousseau. Availability of ample time has been a significant factor in nurturing such an intensive embroidery tradition. After the completion of all daily household work there isn’t much which would occupy them. Instead they indulge in their creative energies. The option of going out and socialising outside of their hamlet is not available for women. So, embroidery serves the multiple purpose of killing time, beautifully clothing their family and decorating the house. Besides that, there is an indispensable need for communal distinction in Kutch –perhaps a major reason that has given birth to this needle work tradition. In between the Meghwals and Maldharis of Banni though the embroidery style is fairly similar, the few points of difference helps to figure out which community it belongs to.

Kutch in India, along with Sindh, in Pakistan are both desert areas where the resources are limited and can sustain only limited population hence generations after generations of nomadic ethnic groups have constantly migrated from one place to another. Cultural contact and interaction with ethnic communities have caused relocation and spread of styles, which also resulted in new styles. It must be noted that similarities have been found in the traditional embroideries of south and south west Asia, which includes Sindh and Gujarat, and extends beyond the subcontinent to Afghanistan, Iran and former soviet states.

Bharatkaam is way of recording events and stories into every inch of fabric the woman wears. Embroidery practiced in Banni, for that matter in whole of Kutch, is not just a method of surface ornamentation. It is a way of recording events and stories into every inch of the fabric the woman wears- conspicuous to only those who are observant. The embroidery plays an important role in maintaining a tangible record of the history of the region. Our stay in two Banni villages was scheduled for two weeks. Leaving behind most of our ; we prepared ourselves for an eventful journey, a quest to listen to the undisclosed tales and to witness the wonders of this lesser known grassland.

Chapter 1

Banni, the region Away from the hustle bustle of the towns, this grassland has managed to preserve its tranquil charm. The little hamlets or vands are sanctuaries to the rich traditions that have lasted for decades. In them live people whose simplicity of life makes us question the need for urban amenities. They are an example showing us a possibility of a different way of life.

5 15

PAKISTAN 1.1 Location Bhuj, the capital of Kutch district is a lively place with thriving trade and also a tourist base for many who come to explore the region. It is an overnight journey by bus from Ahmedabad to Bhuj covering a distance of 333km. From the crafts point of view, there are two museums worth mentioning: the Kutch museum and the museum inside Aina Mahal that houses a comprehensive collection of the rich textiles of this region. We loaded our supplies of food, camera rolls and batteries at Bhuj, and left for the Banni region which is towards the north border of Kutch. The district is also famous for this ecologically significant Banni grassland with their seasonal marshy wetlands which form the outer belt of the Rann of Kutch. The land here was formed from the sediments that were deposited by the Indus and other rivers over thousands of years. The state bus took us to our first stop, a village called Bhirandiyara on the expressway. Almost all the buses that follow the expressway, in the general direction of Dhordo, stop at Bhirandiyara for about five to ten minutes at the numerous tea stalls, fruit sellers and grocers. To get into the interiors, we hired a chakda to the village of Hodka, which is further north in Bhuj taluka. Once you get off the highway there are no more concrete roads; more so, an empty vast barren land with a few tyre marks that guide our journey to Meghwalvaas. We were received by the ex-panchayat head, Bhasar Bhura: our host for the week. Map of Gujarat, showing the Kutch area, and the two villages Hodka and Bhirendiara.

great rann of kutch

D Lakpat

Dhordo

LAKPAT TALUKA

banni region Hodka Bhirendiara

NAKATRANA TALUKA

Nirona

Nakatrana

KUTCH ABRASAR TALUKA

Bhuj

MANDVI TALUKA

Mandvi

gulf of kutch

MUNDR TALUKA Mundra

BANASKANTHA RANN OF KUTCH

Dinara Khavda

PATAN

RAPAR TALUKA

MAHESANA

Rapar

BACHAU TALUKA BHUJ TALUKA

ANJAR TALUKA

Bachau

little rann of kutch

Anjar Ahmedabad Kandla port

RA A

GUJARAT

AHMEDABAD Surendranagar

RAJKOT

SURENDRANAGAR

Jamnagar

JAMNAGAR

Rajkot

1.2 Folklores about Banni Bhasar Bura was sitting on a quilt spread on the ground outside his house waiting for his wife to serve him dinner. As he loved conversing, he began telling us a tale about the formation of the Banni grassland. The story About 50 kilometers away from the Meghwal vaas, there is a hill or a tapu, where according to his story, about 1300 years ago, there was a saint, who was doing continuous penance for twelve years. He would not eat or drink anything for all those

years. At the end of his Samadhi, he instructed his devotee or chela to make sure that when he opened his eyes; he would set his eyes upon a deserted area, without any life. The area which is now Banni, was initially a sea with deserted land around it. When he opened his eyes, he threw his glance at the water body and it dried up into grassland. The devotee was worried about the sin committed by killing the marine life. The saint explained to him that the good karma of the grassland will absolve the sin. This grassland will provide food for cows, which will eventually wash away all the sin.

When this grassland was formed the saint said ‘ban gaya’ - meaning ‘it is made’ ‘hence the name Banni.

main occupation of majority of the people here is cattle rearing. Bhasar Bura told us yet another story about how the village Hodka got its name.

When the grassland was formed the saint said ‘ban gaya’ - meaning ‘it is made’ hence the name Banni.

“There used to be a zil (lake)- a hoj (water hole), a low piece of land that would get filled up with rainwater for about one or two months. It was called ‘Hodka’, many years ago. The name stuck and hence the village is still known as Hodka.”

The land in this region is under the ownership of the government. They do not allow any agricultural activities to make sure it remains a pasture land for cattle breeding. This is why the left: Cattle owned by the Maldharis, grazing. top: Mr. Bhasar Bura with his grand daughter.

1.3 The People The Kutch region, till about sixty to seventy years ago, had thriving relations with Sind and other areas; now form a part of Pakistan. Before the partition of India, people could easily travel to these cities and towns. This led to sharing and interaction of cultures. At the Meghwal vaas in Hodka, a boy proudly showed off his new richly embroidered cap, that his grandfather had recently got from Pakistan. Reportedly, he made frequent trips, and bought the family members kanjiris and other clothing done in the famous detailed Sindhi embroidery. In fact even the language spoken here in Banni is a mixture of Kutchi and Sindhi. Many Raysiputra and Haleputra groups speak the Sindhi dialect. The Banni region is rich in cultural diversity. They can be broadly divided into two religious group – The Muslims and the Hindus. Most of the Muslims groups of Banni region belong to the Sunni sect. Maldhari Muslims of Banni consists of 15 endogamous communities – Khasakali, Juneja, Sumara, Bambha, Rayasiputra, Haleputra, Nodhe, Hengorja, Pathan-Nuani, Mutava , Jat, Joja, Mujjavar. Meghwals are the only Hindu community in Banni. We mainly studied four communities- Meghwals, Haleputra, Raysiputra and the Pathans Meghwals who are known for their skills in leather, wood and embroidery work, have graduated to being quintessential traders dealing with craft, while the ‘Muhamedans’ or ‘Maldharis’ are the cattle herders. . Haleputra children amused to see the camera, in Vadgaon.

Chapter 2

The Embroideres Women and men both, are supposed to handle certain responsibilities which is exclusive to their gender. Men are the bread winners ,while the women take up the role of nurturing along side seeing to the more emotional and aesthetic needs of her family. She allots time for every chore and follows similar routine everyday.

2.1 The women During our stay in the Meghwal houses, we had the opportunity to notice the routine, and the chores performed by the women. It turned out that certain errands were supposed to be done exclusively by the women of the house. The mothers and elder daughters woke up as soon as the sun rises and go to collect water from the nearby tap or tank. It is a sight to behold, seeing them colorfully dressed with metal pots at their waist and on the head-,smaller ones on top of the bigger ones. No matter how many times we saw them, their capability to balance those pots on their heads always amazed us. It is with this water that they drink, cook and clean. Their grace might mislead one to think of the task to be easy. But walking with these pots when it’s full, for a kilometer or sometimes even more is no child’s play. Ironically most of the young girls too are seen doing the same.

It is a sight to behold, these women colorfully dressed with metal pots at their waist and on the head. After returning, they sweep the yard, milk the cows and soon it’s time for the morning chai. All of the ladies gather in the freshly swept courtyard, sipping hot tea in saucers while resting their tired bodies for a while. By 11 am they are done with bathing their kids and the cattle. Older women feed their grandchildren while the daughters-inlaws cook the food. The cooking is usually done by the married woman of the house. In their joint

family system there usually are more than one married women. They take turns to cook for the entire family on the chulha- very few people had a gas stove. The food is served in the veranda if it is too hot to sit out in the sun. The remaining members of the family, daughters included, go to the field to help the men out. In the afternoon when we returned after a long walk in the sands to other vands, Basarbura ji’s mother would spread out a dharki on the floor in the shade of the roof. She would sit us down with some chaas- buttermilk, and cold water to wash our hands. Then the plates were laid out and the food was served. Generally in the evenings, when we dined with the entire family, the men were served first, and then the kids. The woman who cooks eats after everyone else is served. After the meal is over, they wash the utensils immediately then and there. First the waste food from the plate is removed and then washed in a tub filled with water which makes sure that they don’t use up more than that. The women know that their resources are limited, water being one of them. Washing clothes and taking a bath is not done on a daily baisis. The clothes they wear are washed only after its worn for about three days. Once in three days we would see a basin in which a set of clothes are kept to wash: a basin with not more than about 4 litres of water. After the washing is done, they work on their embroidery. One o’clock to 3 o’clock is usually the time in which you find the women out on their verandas, seated with their embroidery work on Women sitting inside the house chatting away, taking a break before they go back to doing their chores

their knees with the kids playing around them. The needle goes in and out rapidly as conversation flows and gossip is exchanged. Embroidery is a part of their daily lives. Every woman has to learn it as a kid and continue doing it as long as her eye sight permits. When we visited a Haleputra house in the Nathwani vandh, the women watched us from a

distance while the head of the family â&#x20AC;&#x201C;the oldest man, spoke to us.â&#x20AC;&#x153;They will not understand you, nor will you understand them. Besides they are very busy and have a lot of work to finish.â&#x20AC;? This was the reply, when we asked if we could speak to the women and ask about their embroidery work directly. They could tell us things more in detail considering they are the one who practice it, and not the men. He clearly did not like the idea as

above: Women carring water to their houses. right: A Meghwal woman feeeding her grand children.

2.2 Marriage and dowry Meghwal: The girls of the Hindu families generally get married by the age of twenty. The brideâ&#x20AC;&#x2122;s family has to do a lot of preparations. Every girl, ever since she is a child, works towards collecting her trousseau for this major event of their lives. The mother too contributes by making twenty or more godadis as a gift from her to her daughter. The idea of the dowry is that the girl is equipped with all the things she may need for the first few months of her new life with her husband, which includes clothes, utensils, household items, etc. So as girlâ&#x20AC;&#x2122;s daily wear is now going to change from an abha to a kanjiri, she makes about twenty one kanjiris, and gets ghaghras stitched from the Brahmin tailor. All the small items are put into a cloth bag called the kothli, which forms a part of the dowry. There are always four kothlis that are made- one for things from home, then the second for the inlaws, a third for a comb- dataro and the last one for the mirror- aina. The one for the home is a moti kothli which is filled with the items that her family has to offer, and she carries it to her new home. Preparations for the event of the wedding begin a month in advance. If the son of the family is getting married, they provide the jamanwar meaning a luncheon. The father in law gifts the bride her bridal ghaghra- a black one with red bandh and the odhani as well. It is of the same cloth, but only has an added edging. Brideâ&#x20AC;&#x2122;s family arranges an elaborate dinner for the evening. Wedding celebrations goes on for six days. The first five days are ganesh sthapana, where they A bandhini dupatta, of a Meghwal bride for her wedding, with mukko done in the centre which will adorn the head when worn.

Kutchi silver jewellery is quite well known for the intricacy contrasting beautifully with the large chuknyness. Vadloh, top right, is a silver wire torque worn by the girls once they come of age. a. The nose pin, left top, is main symbol of a married woman. it is supported by a beaded strip that continues into the hair is pinned securely. size: diameter of about 6 cm. b. Earing made of silver. size: diameter appox. 3 cm.

c. The chuda is a cuff bracelet made of sheet metal. Each unit is a two part hinged cuff held together with a long pin. The surface ornamentation is made with rava kaam formulation technique. size: length approx. 16 cm. d, e.The payal, anklet, is worn in the leg and it keep changing every few years as the child grows up into a woman. size: width appprox 3.5 cm. opposite page: A bride in all her finery.

Chapter 3

Bharatkaam Perhaps needlework began as a means to satisfy the human need for self-expression. Eventually this medium of personal expression began to tell tales of the whole community. Here a similar visual language in terms of embroidery is followed throughout, irrespective of the community. Presently it serves an additional function, as the identity marker of any community in Kutch 44

Styles Not knowing how to read and write has not stopped the people of Kutch from recording their experiences. They have effortlessly managed to translate their culture and visual stimuli into a glorious needle work tradition. These experiences vary for every community in Kutch, hence the development of different styles. A style is a medium of expression. There are largely two kinds of styles- ethnic, and regional. Ethnic style is an embroidery style which is practiced by one community in one distinct way only. The Mutava embroidery done by the Mutavas is an example of ethnic style. They are a small culturally unique group of Muslim herders who inhabit Banni, the desert grassland of northern Kutch. The exclusive Mutava style comprises minute renditions of local styles: pakko, kharek, hurmichi and Jat work, though these are known by different names. Specific patterns of each style, such as elongated hooked forms and fine back stitch outlining in pakko, and an allover grid in hurmichi, are also unique to Mutava work. Though technique varies, Mutava style is uniformly fine and geometric.

A style is a medium of expression. In Banni women of all the communities have similar aesthetics and hence it falls into regional style. A region can be defined as a geographical area which has similar climatic and cultural aspects. These aspects are exclusive to a region and not a community and for the embroiderer; the style that she uses is understood as a regionally-

shared medium of communication. This implies, there are a set of needlework norms to follow, but each community in the region adapts them to their own conformities. Styles also greatly depend on the availability of fibres or yarns, skill of the people, pre-existing craft traditions, environment, beliefs, customs and religion. In fact it is the starting point for the development of style. The elements of style in relation to needlework tradition are directed by a set of unwritten rules. These elements are - the shapes made by the stitches, the negative areas, thickness of the stitches, the kind of yarn and fabric used combination of stitches, motifs and overall layout. When we visited them, the women brought out the objects made especially for sale, thinking of us as tourists. We had to insist that we were Chaupad done in the mutva style, counted emroidery.

more interested in seeing what they made for themselves, for their daily use and that was more a part of their life. A certain pattern could be found in all of them â&#x20AC;&#x201C; this shared pattern is their style of embroidery.

Styles also greatly depend on the availability of fibres or yarns, skill of the people, pre-existing craft traditions, environment, beliefs, customs and religion.

of a design .It also determines the density of the final garment. Now, if a Haleputra or a Raysiputra tried to do the same stitch, say pakko, it will be different as the manner in which the cloth is held, the movement of the needle and kind of thread used- all differ. Overall, there are about eight embroidery styles, namely- mukko, pakko, kharek/cheddar, kacho, neran, hurmichi, khudi seba and kambhiri.

As embroidery was done with ample time at hand and as an on-going process, there is a sense of detail and self-expression. The women keep honing their skills enabling them to pay more attention to the nuances, and ways of doing the same in an easier manner. As a particular motif was repeatedly done, it was abstracted at every level and to such a stage that they did not remember anymore why a particular motif was called so. Within the regional style of Banni, there are further more divisions. This sub-division is possible as there are eight very distinct embroidery stitches. These stitches are used both individually and jointly. In either case one stitch dominates. That stitch, like any other, has its own characteristic .It determines the look of the final kanjiri or any other product. Hence they can be each be treated as individual styles and studied accordingly. Based on the construction of the stitch, and its variations, we can decide how to use it in a motif and structure

3.1 Mukko Mukko, the term is used to refer to the metallic yarn used in this embroidery, which is made by winding silver or golden coloured metal around a fibre core and has become synonymous with the couching technique.Mukko is said to be really a Muslim tradition in the city areas and later with the trading community of Sind, the Rajputs and Lohanas. Mukko was originally practiced by the Banni Muslims, followed by Rajputs. It is said that communities like Meghwal and Haleputra adopted it later when synthetic metallic yarns came into the market.

There are two versions of this styleone which is pakko embroidery done with metallic threads. The other is couching of the metallic yarn, using a thin cotton thread. In the Banni region, there are two versions of this styleone practiced by the Marvada Meghwals, which is pakko embroidery done with metallic threads. The other is couching of the metallic silver or golden yarn, using a thin cotton thread, generally done by theMaldharis. Here the metallic thread does not penetrate the cloth, it is just placed in the form required and an orange or yellow ochre cotton thread is used to stitch the golden thread, and fix it in position. In the case of silver yarn, white cotton thread is used. At the back of the cloth, we only see tiny slant cotton stitches that have been used to create the motif out of the metallic thread. These stitches are Part of the kanjiri done in mukko embroidery made by a Haleputra woman, Nathwani vand.

considered quite complex to execute, and only select people in a community are experts. Other colours or threads are rarely used. Only the abla outlines and select areas are filled in cotton orresham thread, where the metallic work serves as a border. The motifs are circular and mostly made of spiral form. Sometimes larger areas are also filled in, using a herringbone stitch or satin stitch, called the jat.The mukko style, worked in combination with pakko embroidery is historically known to be mostly in the Sind and Dhat region, as well as the urban areas of Kutch. Product range: sera, akhiyo, kothlo, dupatta, kanjiri, frock, cap and some kids clothes.

A Raysiputra boy from Karnavali vand wearing clothes embroidered by his mother in mukko.

mukko (maldhari method):

The couching method is used to make these motifs, which give the character of mukko.

motif library:

bavaliyo

nath

bavaliyo

gul

mukko (meghwal method):

A kanjiri from the Karnawali vand. above left: close up of a motif in a kangiri at karnawali below left: detail of a kangiri at karnawali vand.

3.2 Pakko The word pakko literally means solid- an apt name for the tight square chain and double buttonhole stitch embroidery. According to the book Mud Mirror and Thread, by Nora Fisher, pakko was known to be historically practised in Samroti, the region east of the Indus river, including Diplo and parts of Mithi sub districts. The style extended into Garada, the far western region of Kutch which is culturally linked to Samroti. Being a regional style, paako is widely practised by almost all the communities in the Banni, and used generously on kanjiris.

Outlines are mostly done in black slanted satin stitch or square chain stitch called ankh. Firstly, the motifs are sketched using mud with needles, or with a pen using stencils. They are primarily organic shapes, quite often depicting flora, arranged generally in symmetrical patterns. This outline is called ankh and is mostly embroidered in black slanted satin stitch or the square chain stitch. Sometimes the outline/border can be in different colours as well, for example we came across one Meghwal kanjiri in red border in Hodka. The filling is done with square chain stitch called jat. It is in varied colors like parrot green, cerulean blue, brick red, white, bright pink and also deep violet. Young girls learning pakko start off with the outlines, as straight lines are simpler than A vey old pakko kanjiri seen in Harijanvaas, Hodka.

the filling. But these days, with the increasing use of the sewing machine, a thin woven, wavy black ribbon is attached as the outline for straight borders instead of hand done stitches. This ribbon is also used as the â&#x20AC;&#x2DC;ankhâ&#x20AC;&#x2122; for the other motifs which are fixed by running stitches by hand. Pakko is often outlined with a black slanted satin stitch and lots of mirrors punctuating the motifs. The most common motif is tak bavariyo, which is used as a border motif in the kanjiri. There is a circle which is framed on both sides by an hourglass symbol. The circle is known as tak which generally has a mirror piece- abla. The hourglass symbol resembles the branches of the bavaliyo tree, and therefore is called bavariyo. The tak and the bavariyo alternate to form the border. There are many versions of the tak bavariyo, using similar looking motifs. One kanjiri had kharek triangles to make the bavariyo. Flowers motifs which are quite stylised, fill the remaining area in the form of a bel, a flowering creeper; or a gul, a single large flower. Heart-shaped motif akko, peacock motif morlo and concentric circles around the abla, dot the less filled in area of the kanjiri. Mukko, neran and hurmich are also used in combination with pakko. The jat part of mukko is actually the pakko stitch with similar colours. There is a difference between pakko and kacho, though not very apparent. Among all the embroidery styles, Pakko lasts the longest period of time as a result of the packed dense stitches used unlike kaccho. That is the reason why it has a raised appearance. When we asked the women to show us a few samples of the kind of gaj or top: Indoni â&#x20AC;&#x201C; an embroidered product which helps the woman balance water filled pots on the heads. right: Couching being done on a kanjiri using a blue yarn.

kanjiri they generally wear, they would bring out the recently embroidered kanjiris specially made for an upcoming festival or marriage. These had a lot of pakko and mukko work. But when we asked for the older kanjiris, sometimes they brought out cut pieces of the neck area of worn out kanjiris. They save up these parts for future reference of the design and for selling it to textile collectors. Most of these pieces had either pakko or kharek.

Mukko, neran and hurmich are also used in combination with pakko. Product range: Along with kanjiris, pakko is done on almost everything: ghaghra, odhani, kothli and kothlo, indhoni, chattu, pillow cover. Some rare pieces of rallis were spotted in a Pathan house.

Manbai wearing a Pakko kangiri, at Meghwalvaas, in Hodka.

pakko: abla (mirror work)

motif library:

open chain stitch

kanjiri layout

3.9 Bead work Bead work is made throughout Kutch and Saurashtra. One of the early documented samples can be found at the Junagadh museum in Saurashtra- a bullock cloth made by the Mochi embroiderers, dated late nineteenth century. Venetian glass seed beads were used then from Murano which reached India via East Africa and the Arabian Peninsula. After they stopped being manufactured, glass beads made in Varanasi have been available since 1981. But still in some houses we saw the use of plastic beads in place of glass, as it is cheaper. The craft of motiwork started with the Mochis and by the twentieth century it was taken up by the Kathi women who made toran, chakla and dandiya. More recently the craft spread over most of the communities in Kutch, including the Banni region- like the Rabaris, Ahirs and the Meghwals. Apart from the ornamentation by the way of metal jewelery and embroidered clothes, women wore beadwork necklaces and ribbons in their hair with a bead jewelled end.

The beads are placed very close to each other and look like a continuous fabric. The beads were sewn by themselves and interlaced such that a flat surface could be made. The beads are placed very close to each other and look like a continuous fabric. This can be attached to any cloth or used by itself in the form of a choker. The patterns and motifs are simple, and very similar to those used in embroidery. They are a bit Necklaces made out of beads, mostly worn by unmarried girls, at Meghwalvaas.

geometrical as the beads make a grid, in which the coloured beads make patterns on a generally white bead background. Red, ultramarine blue, peacock blue, viridian green and orange are the colours used and most probably easily available in the market. There is another way of attaching the beads in a beautiful crisscross manner, mostly used for the necklace. These end in a tear drop bead or a tassle. The sera, worn by the groom, has lengths of beads hanging from its longer side. These are sometimes made with plastic or glass beads, accompanied with a few pompoms, and other sparkly sequins. At Karanwali, in a Haleputra house, we came across a kothli, bag made entirely of beads, plastic ones. it was a pleasant change after all the cloth kothlis we had seen in so many houses. We came across a kanjiri as well with a tanu and chowkdis made of beads and then attached onto the fabric.

A young Meghwal girl wearing a chocker made using beads. right: brooch made of beads for sale.

a Meghwal girl shoowing us how to tie ribbons into the hair ornamented by beaded ends.

A kanigiri embellished using moti kaam, spotted at a Pathan house

Chapter 4

Cultural manifestations One can tell a lot by the kind of clothes worn by a person. Cultural norms and social structures to a great extend influence and restrict an individualâ&#x20AC;&#x2122;s choice. Their creativity is shown when they explore within these rigid boundaries. Making and usage evolves with time adapting to the changing needs paving way for new products.

Two meghwal women resting after they spread out darkis for sunning

110

4.2. Kanjiri A kanjiri is an important identifying element of the costume that is embroidered elaborately with a lot of detail. The making of the kanjiri is a time consuming process, which can take up to seven to eight months.

Step 1: prepare the base

Step 2: draw and fill embroidery

To begin with, two pieces of cloth, of about one meter each, are layered and stitched together in a rough manner. The bottom layer will form the inside of the kanjiri- generally a used cotton cloth that is soft to touch and inexpensive. The top layer is the part that will show, so it is generally a new cloth bought from the market at Bhuj. The fabric used by them is generally a polyester fabric, as it is not as costly as a good quality cotton fabric would be, plus it is easy to maintain.

The next step is to draw out the design on the kanjiri. There are two ways of doing this â&#x20AC;&#x201C;the traditional technique and new technique. Traditionally women made the pattern, the chap, using mud mixed in a small bowl with jaggery and water, to make a sticky paste. We saw this being done in Vadgaon at a Haleputra house.

111

1 The mixture of mud, jaggery and water is

kept ready in a bowl. When required, water is added to get the consistency of a paste.

112

2 After mixing it thoroughly with her finger, the

lady scooped out a little and smeared it on flat area of the left hand between the thumb and index finger.

3 This makes it easier to smear the needleâ&#x20AC;&#x2122;s full

length with the mixture using the right hand and immediately make impressions on the cloth for pattern, all while holding the cloth in position. Like paint on a palette, the needle as a brush, covered in the paste lenghtwise, patterns are created.

4 As the needle becomes the measure, we can see

mostly geometric patterns, and few organic forms that a needle allows: for example, a peacock motif, an akko- heart.

113

5 But the above mentioned technique is now

scarcely practiced. Now, a pen and ruler are used to make more accurate and faster drawings, sometimes also using paper stencils, to make the job easier and even.

114

6 The general layout is drawn. This structure is

double lined, and the motifs are filled in. Not all the details are drawn on the fabric; some are understood and directly embroidered in, like the tak bavari. This is the border motif used almost everywhere, with a bit of variation.

After this is done, the kanjiri is folded (at times fan folded) from the sides exposing only the area to be embroidered. The folded part is secured by long running stitches. They start doing the embroidery on the outlines made by the mud/pen.

7 The folding of the kanjiri prevents it from getting

dirty because of constant handling; and is easier to embroider as the area to work on is reduced.

115

But as this requires skill, it is done by very few women. Maanbai, a Meghwal woman in the village of Hodka got the motif and layout drawn by her mamaâ&#x20AC;&#x2122;s daughter from Bhirandiara, as she was the only woman she knew, who had the skill. This woman had drawn motifs directly with the pen on the cloth. The designs are made for everyone by one or two members of the family, who are generally believed to be the best. All the outlines using a black thread are done in chain stitch, and then the jat- the filling is done. Once the structure is entirely worked upon, the edges and the buttis, motifs are made on the remaining lower end of the kanjiri. Last to be done is the mirrorwork or tak.

Filling embroidery or jat being done.

116

A Meghwal kanjiri with interesting moifs.

117

Step 3: attach borders Then we begin with the process of converting the piece of cloth to a garment. The kanjiri edges are finished with two or more pattis at the lower three edges, which are at times stitched on by a tailor. Pattis are added to make the kanjiri bigger if the size is of the cloth is very small. Thus the number of the pattis depends upon the size that they want.

Step 4: attach sleeves A very beautiful thing about the kanjiri is that its making involves minimum wastage of cloth. It has no darts, or any excess fabric which has to be removed, unlike our clothes. For the sleeves Detail of the sleeve

118

one slit is made on each side near the tanu, which falls exactly near the armpit. This sleeve and the base fabric are joined at the slit using a rectangular patch to complete it, and make it more comfortable to use. As for the neck, a slit is made where the neck is supposed to be, and the edge is finished with a blanket or Romanian stitch. The sleeves too, may be done by the sewing machine. To keep the blouse in place, there are strings at the back, and a button at the end to loop it into. There are two such attachments, one near the neck, and one at the waist.

Detail of the neck.

119

120

Step 5: additional embellishment After all the stitching is done, the remaining ornamentation is taken care of, which includes tor (pompoms), tassels at the edge, and in some cases, sequins.

121

122

Life cycle of a kanjiri and gaj •

A new kanjiri is made

•

Used very frequently as most of the women have just two or three for daily use. Some wear it every alternate day after washing, while the others keep wearing it for four to five days before they wear the washed one.

•

A Kanjiri gets normally worn-out in a year. It starts to show wear and tear. According to the people pakko stays the longest, while kacho and hurmich vanishes due to the wear and tear.

•

To make a kanjiri it takes a lot of time, and one can’t really throw away something on which one has worked so long. So they cut up small pieces from the kanjiri from the places where the embroidery is intact. With this they a) Make pouches b) Keep them as samples for future reference c) For the tourists who ask for old kanjiris demarcates

127

Kanjiri layouts

horizontal tanu

chowkdi

tanu

kungri

pattis

128

Gaj layouts

haneriyo gaj with pakko

gachchiwala gaj with hurmichi

gaj with a kungri

129

4.4 Ralli/Darki Across the globe for generations, quilting in some form is practised. This is not very surprising as it is one of those indispensable things in every house which has multiple utility. In India, three different states are known for their quilting expertise. Kantha is a kind of quilt made in Bengal. Originally it was made out of old cotton sarees with three layers of cloth. The threads to embroider the quilt were taken from the borders of the sarees. The stitching was either evenly placed or a long stitch was places on one side and a short one on the other. Their motifs are inspired from their art, religion and culture. Sujani in Bihar is quite similar to kantha. The major difference is in construction. Sujani has four layers of fabric which are sewn together using the running stitch. It is the combination of quilting and applique work. In Kutch, the Maldharis say ralli whereas the Meghwals call it darki. For outsiders who come there, it is known as godadi. Ralli/darki forms an important part of their lives. Apart from keepin ghtem warm in the chilly winters of kutch, it says a lot about the way they live. Through the ages people have been re-using the old fabric from the bandhini skirts in the Meghwals and the ajrak dhotis in the Maldharis to make the quilt. A fabric is considered old when they get a new set of clothes, or if the old one is very worn out. If the is not very old and has only a little wear and if it is long enough then the Sujini quilt ,Bihar.

132

Kantha from West Bengal

133

backside of the quilt is done with that cloth. For making the rallis new fabric is being used more and more now as it lasts longer. At times they also use old dupattas to make it. The back usually does not have any kind of embellishments as that side touches the body, and also because it is not seen. The cloth at the back is mostly cotton. The front on the other hand is decorated in an elaborate manner. But this happens only if the quilt is meant for some special occasion. Special dharkis are used for- new borns, in marriages, as the cover for other dharkis, for the new couple or for very special guests. When we asked a middle-aged Haleputra woman, who would be a special guest in her house, she giggled and replied that she brings her best quilts out when her parents come to her in-lawâ&#x20AC;&#x2122;s house or her in laws come to her maternal house. . Not very heavy embroidery is done on the rallis as such. But we saw just one piece at the Pathanâ&#x20AC;&#x2122;s house, where the ralli for a kid had pakko work done in the centre. The rallis for new-borns are well decorated with embroidery work. Usually kambiri is done on it. Even the patchwork is painstakingly done. When asked why only the new-born is given the most beautiful rallis, we were told that, the birth of a new-born is a thing to celebrate; besides one can show off their skill as the ralli will be on display. The most common and popular appliquĂŠ design is the kungari which means toran. A unit of kungari is triangular in shape. The rallii is full of running stitches (seba). Most of them have a border of three to four single colour bands that At the Meghwalvaas, the folks were preparing themselves for the coming winters, starting off with sunning the very vibrant quilts .

134

135

136

form concentric rectangles. A godadi is generally considered incomplete without these pattis. Gadlo, a fatter and simplified version of the godadi, does not have these pattis at the border. It is also made of two pieces of fabric, and is used more as a mattress, without any embellishments. Appliqué and patchwork is very commonly used. The appliqué work is called katap. The cutting of the patch is a rare skill.

Even though the women stitch the patch by themselves the cutting of the appliqué may be done by skilled men.

There is also a tale about how the women came to use mirror in their work. One story saya that, when a girl was embroidering a topi for her fiancé, she saw a piece of mica on the floor, which she added to the cap. The tradition thus began. Another story gives the credit to Mumtaaz, the wife of Shah Jahan. They have a very precise way of folding, and storing their godadis. They stack it up on top of a low wooden table called manji. They place the new godadis between the old ones in that stack. Then this stack is covered with an old cloth. This is to prevent the dust to accumulate on the quilt which sit there for a long time till the winter or the arrival of a special guest.

So, even though the women stitch the patch themselves the cutting of the appliqué is not always done by them. Many times the men of the houses help the women in making the godadis by cutting out the appliqué patch for them. Talking about working together, sometimes when the piece is very big then mother and daughter sit together and work on it. They work on it whenever any one of them is free. Smaller pieces and kanjaris were strictly done by one. Embellishments and decorations namely tassels, cowrie shells, mirrors, sequins, embroideries are added almost exclusively for weddings or for a new born. These little additions have their own stories of origin. Cowrie shells were used as currency for 4000 years in South Asia and Africa .It was brought from the Indian Ocean. It was believed to ward off evil eye, because of its shape. A very intensively worked upon quilt, made as a part of a wedding trousseau, using appliqué or katap.

137

Quilting process It was 2 oâ&#x20AC;&#x2122;clockin the afternoon, Manbaiâ&#x20AC;&#x2122;s mother comes out of her room, rested from her nap. With her she brought out the unfinished dharki and spread it out in her veranda on top of another dhraki .This is all in preparation for her sonâ&#x20AC;&#x2122;s marriage which is to take place on the 25th of November. The dharki that she is making is meant for covering the stack of dharkis piled up on the manji. The quilt has basic three layers- the top, the filling and the cloth on the back.

She has completed the upper layer of the dharki. It is done with patchwork of coloured squares which are arranged in concentric squares. These individual squares are joined together by running stitch which is done by hand. If the patch work consists of multiple units, then all these units are completed first and then joined to each other .

Units of patchwork made by this lady would later be put together to form the upper layer of a darki

138

ritgh top: Houses were painted from the outside with similar motifs used in embroidery .In this case a kungiria popular motif in the quilts.

Some quilts were made using old fabrics .This quilt utilises an old zari work dupatta, probably bought from Bhuj.

139

A ralli measures 80 inches by 50 inches. The locals have their own units of measurements like the arm, and hands. They express the length and breadth of the quilt in terms of nari: from the tip of the finger to the elbow. The quilt that she was making was of 4 nari by 2 and a half nari. When a dharki is used by one adult then it measures three nari by five nari, and for a baby, one nari by two nari.

At Ibrahim vand, showing us thier units of measurements; right: one nari.

146

katap patti

mandida

147

4.5. Other products Some other products that are also intricately embellished are: topi, rumal, akhiyo, sera, kothlo, kothli and chattu. TOPI

A topi something worn by the very young kids, mostly between the age of three to six years .Its worn on special occasions. We never came across kids wearing caps, unless it was the readymade knitted kind which was exclusively worn by the Maldhari kids. The mother who generally makes these topis for her child, never really measures the head. They would keep the cloth on the head of the kid and get an approximate idea of the circumference of the head. Similarly the width is decided. The embroidered topis of the kids always have a slit in forehead area .They do not have any clear reason as to why they did it, the only explanation they could provide us was that, the forehead should not be totally covered as it does not look good. This cap can be worn both by little girls and boys.

148

RUMAL

Rumal is a square piece of fabric with embroidery done on it. It is a multi utility product, which is used in different occasions, and serves a different purpose each time. The square is folded into a triangular shape, and then wrapped around shoulders and one of the arms, and tied under the other arm. The other way of wearing it is like that of a scarf tied around the head. The rumal just like the topi, is worn by the kids of the same age group. It is probably the only embroidered product, in which bharat kaam is done without a backing of another cloth. The rumal is also wrapped around the lunch box by the wives, so that their husbands, who will be having the packed food later, would not complain of having to eat cold food. Here the rumal used is a little different. It is a quilted one, mostly consisting of upper layer and a lower layer. The extra layer helps in keeping the food warm.

A Pathan lady covering her childâ&#x20AC;&#x2122;s head with a rumal.

149

The lunch box is placed at the centre of the rumal. The corners are placed on top of the lunch box one by one. One of the corners has a long string attached to it which in turn is used to secure it around the lunch box.

A quilted rumal is used to cover lunch boxes ,to keep the food warm.

150

A rumal can be embellished using any style of embroidery.From the top left: hurmichi, machine embroidery, khudi seba (quilted), pakko and khudi (quilted).

151

KOTHLI/KOTHLO

For carrying the dowry items, the bride makes bags and pouches. The bigger bags are called kothlos and the smaller ones are called kothlis. They are rectangular in shape, and made in a manner similar to that of a ralli. The quilting technique of khudi seba and kambhiri is used to attach two or more layers together. The quilted fabric is then folded in half and stitched along the longer edge and a base, using blanket stitch. It does not have any closing mechanism, it is only folded in half to arrest the items inside it. Another kind of pouch is made using a square base fabric where three corners are brought together and the edges are closed. The remaining fourth edge has a string attached to it which is used to close the pouch, called a buchki, by winding it around the pouch. There is a third category, which mostly found in smaller sizes .These pouches are not quilted. They rectangular in shape and they have a string which when pulled closes the pouch, like a batwa.

156

top: A kothali made out of an old kharek kanjiri. right: Small kothalis made using scraps of fabric, with kambhiri done later on to add value

A pakko kothali of the size of the palm with a bead work edging and a draw string

An old embroidered kothalo, which seems to be inspired from the suf style.

157

CHATTU

Chattu is a cradle toy for the babies. It is triangular in shape, and is stuffed with cotton. Tassels hang from all edges of simple beads, and it is hung with a help of a string which starts from one tip of the triangle. The toy comes in many sizes. Pakko is generally done on the chattu, in bright colours with lots of mirrors to attract the kidâ&#x20AC;&#x2122;s attention.

A pakko embroidered chuttu hung from the cradle for the new born.

158

right: A Meghwal baby girl standing next to her younger brotherâ&#x20AC;&#x2122;s cradle. A chattu in motikaam is hung on top.

159

Chapter 5

Communities In the meagerly populated Banni, all the communities have close inter communal relationships. Yet every community has maintained a flavour intrinsic to itself, which is tranpired into their way of life. Hence a detailed study was necessary to understand their background , daily activities which would bring us closer to their lives realities.

160

161

Chapter 6

Evolving craft traditions Old traditions give way to new ones. Local crafts need to adapt to ensure their survival. Bharatkaam here in Banni stands as an excellent example. Government, NGOs, and the people themselves have understood this need for change, and are coming up with inspired solutions. Trade has widened their world view, and has persuaded them to perceive their own life .differently.

178

179

6.1 Trade All the communities in Banni have experienced some kind of financial set-back at some point. Meghwals who are now economically betteroff were originally employed as house help at the Maldharis. It has already been mentioned earlier, that it was the Maldharis who invited the Meghwals to come and settle in their village. The wives of the Meghwals worked as a house-help in the Maldharis houses andÂ would do chores

180

like getting water from the well or doing the lepan. The present scenario is pretty different. Meghwals, have become self-sufficient, thanks to their discovery of a new market .Now a Meghwal family has at least one pakka house (made with bricks and cement) sometimes with patterned tiled flooring. Almost all of them owned television sets and bikes. So, what brought about this change? Hirabhai, a bhirendiara Meghwal, sat down to have a dialogue

with us, during which he tried to provide us with an answer. He told us that the Maldharis lost most of their fortune, because the death of their animals due to a famine long ago. Their fall in fortunes could not be helped as animal hubandry was their sole source of income. It was a difficult period even for the Meghwals as the Maldharis were their lone consumers.

Maldharis lost most of their fortune, because the death of their cattle due to a famine long ago. Thus, their downfall could not be stopped as it was their sole source of income. It was during this time that Hirabhaiâ&#x20AC;&#x2122;s father, while on a trip to Rajasthan to buy chood for his wife, came across a trader. The trader too was a Meghwal, and he dealt with antique embroidery products. His father got to know from him that there is a great demand for the embroidered goods in Ahmadabad .The trader took those old pieces to Saurashtra handicrafts where it was sold. It struck his father that it could be an excellent idea, to do something similar, after all his own village has a rich culture in embroidery. Besides his family was facing a severe financial crisis and so a little extra money would only help. In 1977 he started the business of selling embroidered items. He went and bought embroidery pieces form the Rabaris, to sell them at Ahmedabad. For a long time he did not go home, and because there was no mode of communication like a telephone, he was unable to left: Bhungas like this are decorated especially to attract tourists. This is usually where products are displayed and sold

inform his family about his whereabouts. As time passed Hirabai and the other family members lost hope, and started believing that he must have lost his life.Â But their wildest dreams came true when he came back, not just merely alive, but loaded too! He believes that it was because of Hirabaiâ&#x20AC;&#x2122;s father, that the crafts of Banni region came to light. In 1879, BC handicrafts were started. It had its head office in Delhi, and the director was Pupul Jaikar. They had an exhibition, at law garden, in Thakur hall, where the crafts from the Kutch region was displayed. Hira bai had also taken part in this exhibition, which proved to be lucrative for him. At that time the government was pretty supportive of BC handicrafts and the craftspeople, to the extent that the accommodation and the Inside of a bhunga, meant for conducting business, has well decorated interiors with glass work done on the wall along with white mud.

181

6.4 Interaction with other

communities

The women of the communities generally do not meet much, as there is too much work to socialise with others. The Maldharis stay far away from each other and the Meghwal is a close knit community, which does not interact much with the rest. There are no common spaces where the women can interact, except the water tap, or the well. But then they are in such a hurry to get back to their homes and their chore that there is very less chit chat. Therefore there is never a question of them doing embroidery for each other. Generally when they made something they made it only for the family, or the extended family. Only when they have extra time, do they take orders. An old Raysiputra lady in Ibrahim vandh, who is believed to be the expert in making beautiful rallis said, â&#x20AC;&#x153;Being old now I have a lot of time to spare, even though I do my share of work in the houseâ&#x20AC;?. She would make a ralli for anybody who needs it made urgently and hs no time for it. For example, once there was a marriage, and the women of the family did not have enough time to make them, they requested her to make a ralli. The one she was making when we met her was one such ralli, where the family had given her the cloth and the cotton. They do pay her, a nominal amount, but itâ&#x20AC;&#x2122;s more out of neighbourly relations that she took up the task. If the quilt is made, and only the katap work is to be done with the khudi-seba work, she

At Ibrahim vand this lady was making a quilt for another women in the neighbouring vand in exchange for money.

190

Women collecting water at the bore well.

191

192

gets about 1,200 rupees. If she makes the quilt from the beginning, she charges Rs. 3,000 to 2,500. The frequent visits by the urban crowd, is bound to make an impact on the rural society. Here the case was no different. As we walked through the narrow kaccha paths (leading to a house) dodging, the thorny bushes, more often than not we were surrounded by noisy kids, who were asking for something or the other. In the beginning we weren’t able to understand what they were trying to say. Later we figured that when the little girls said ‘sampu’ they meant shampoo and the boys were asking for biscuits and pens. Jagdish our guide had to ask them to leave , so that we could proceed with our work. Shampoos, biscuits etc. are novelty goods for them, given for free by the tourist mostly the foreigners. According to Jagdish, these people used to give away whatever little things they have in the bag . Later we also found out that they paid a lot more to the guides and everybody else who help them even when they do not ask for it, in comparison to us. So wherever we went people expected us to give them something or the other as they have become used to getting money from the visitors. They are also well aware of the fact that our hundred rupees is, like a ten rupee for the people from other countries due to the lower value of the Indian rupee in the international market. Seeing the brighter side, tourists have resulted in a very good source of income for the people. They now have a steady source of income, and can afford mobile phones, vehicles and other luxury products.

A child looking into our room inquisitively at Meghwalvaas.

193

6.5 New products A direct impact of tourism on the crafts was that is resulted in many new and different kinds of products .It has been already mentioned that the Meghwals very easily adapt to different situations. This was mostly because they are a very keen and observant people, who try and seize any opportunity they come across. A mental note is made, of the likes and dislikes of their clients. They keep a track on what product has the maximum demand and try producing more of that. When we disliked something, they asked what we would like it to look like. This helps them to get the idea of what kind of things are preferred and liked by the city crowd – the main clientele. The clothes, gadgets, bags and everything else belonging to the customers goes under the scrutiny of the trader. The idea of making embroidered mobile phones came from a woman who happened to notice a plastic cover being used by an urban customer who had visited them.

colours are changed, from the traditional ones to angrezi or English colours.

The idea of making embroidered mobile phone pouches came from a woman who happened to notice a plastic cover being used by a customer who had visited them. We came across few kangiris which were over dyed making the whole kanjiri in monotones as too many bright colours are not preferred by their customers. The women we talked to about these new colours openly expressed their dislike for them, and thought it looked extremely bland. For embroiders, high contrast plays a primary role in their aesthetics. ‘We use these colours, because that’s what they like now, and hence sells more.’

Hira bassar is a perfect example of an observant person. In one of the exhibitions, he came across many kurtas, which was a part of a display in a BC handicrafts exhibition. That when an idea struck him. He discussed his idea with Jaya Jaitly who loved the idea .His idea was to make only the yokes for kurtas, which would be embellished with embroidery, which the women are an expert at. Jaya jaitly right then and there, drew out a yoke pattern on a piece of paper and asked him to make some pieces. These pieces were sold like hot cakes and were a complete hit amongst the customers. To draw more customers, these crafts people are willing to experiment with new products. Even the right: A ralli made in ‘angrezi’ colours

194

195

6.6 Raw materials Availability of material plays a key role in any craft development. This is because any material that can be procured with the maximum ease without burning a hole in the pocket, most probably used for any embellishment or decorative crafts. In this particular case, threads, mirrors, sequence, buttons, shells and fabrics are being used. The materials that are presently been used differ a used in the past. This change maybe brought on by two, three reasons. Firstly the markets where the materials are sourced from have started stocking new materials namely rayon threads, ribbons, buttons etc. Secondly, materials have brighter colours thanks the synthetic dyes, and brighter the better is usually the case. Ribbons machine stitched replacing the embroidered outlines for the sake of ease. In most cases the women gave just a vague description of the material she needs, and then itâ&#x20AC;&#x2122;s up to her husband to buy it. Thus, when the woman says blue itâ&#x20AC;&#x2122;s kind of up to the husband to pick up the shade of blue. Likewise, the material and the colour also depend on the availability of the things. Mostly it because of this reason the kind of thread used has considerably changed. The florescent coloured threads used in the kanjiris is a direct result of this.

196

top: Rayon threads which are known as resham is very popularly used in bharatkaam. bottom: Materials used for mukko.

right: Buying yarns from a small shop outside Harijanvaas in Bhirendiara.

197

6.7 Craft developement The remarkable range of ethnic communities that live in the Kutch region practice crafts of many sorts, including weaving, dyeing, printing, bandhani (tie-dye), embroidery, leather work, pottery, woodwork, and metalwork. Originally, these crafts existed integrated into local social systems. For example, a Khatri would tie and dye bandhani dots on a woollen shawl made by the weaver community for the Rabaris. The user of the craft was intimately known. Design was an integral part of craft, as the artisan was designer, producer and marketer simultaneously. Designs evolved over the years based on experience and raw materials; innovation is critical to living art. But soon with the incoming of a larger commercial market, things began to change. The communities changed their lifestyles and the fragile ecosystem where one depended on each other for livelihood, lost its equilibrium. People no longer used the bandhani cloth; instead they started using the polyester mill-made and industrially printed cheaper fabric available in the Bhuj market. The stitching machine was introduced and people stopped hand stitching, but rather got them made from the one or two people in their vands who knew how to operate the machine. Handwork was now only in the embroidery bit. But the handwork received a setback in this aspect as well. Due to the severe drought conditions, it became more important to earn some money to fill the stomach than create personal intricately embroidered clothes. At about the same time, researchers began to Kothlis commissioned by Shrujan.

198

document and recognise the embroidery work of this region and a branch of thought that sprang from the experiences in field work was upliftment of women. They did all the managing of the house in an excellent manner but, got no exposure and therefore lesser importance in the family. Also, the men were already realising the importance of this skill by the demand of old pieces in the market. Thus began groups like NGO’s that work in this region- for example Shrujan, KMVS, Kalaraksha and other independent people who gave orders. They were started with different principles and way of working but with the same aim, to bring about a better, healthier and happier life for the people of Banni. 1. Shrujan One non-governmental organisation that works in the crafts sector is the Shrujan Trust which was set up in 1968-69. It is a grassroots organisation that was originally a small project sponsored by Chandaben Shroff ’s extended family. In 1969, Kutch experienced a particularly severe drought. She went there to assist with a famine relief project. During this trip, she realized that the rural women excelled at the local art of embroidery. Chandaben Shroff developed a unique, sustainable means of income generation for the village women. She got the women to produce saris with select motifs and embroideries. The first exhibition of saris was held in October 1969 in Mumbai with considerable success. The profits were re-invested into building the organization. Currently Shrujan works with 16 different styles of embroidery, done by 3,500 women across 100 villages.

Shrujan is seen to be active in the region of Wadli and Nathwani vand in the areas we visited. Here they are given a piece of cloth and the pattern as well as the threads to be used, all they have to do is fill it. This process ensures that the organisation gets exactly what they want, but at the same time leaves no space for the artisans own contribution. This approach by quite a few organisations is debatable. Mukko work and Kambhiri work was being done in two places. It looked very different from the local distinctive style, very contemporary. Especially the colours used were pastel shades that were, quite amusingly referred to as ‘firangi’; with a grimace. To top it all off, their worst complaint was the rejection they faced from the organisation when the embroidery was ’not of good quality’. It generally referred to neatness of the stitches, the evenness, and how accurate it is to the given sketch, or order. The women felt quite offended when that happens, as they’ve no idea what to do with piece, as they personally do not like it. Also the time and effort spent goes useless, which they find quite exasperating. 2. Kutch Mahila Vikas Sangathan (KMVS), Gujarat The 1980s also witnessed a spurt of women’s organizations and the development sector began taking note of the importance of women’s empowerment in Kutch region. Sensitive government officials realized the linkage of women as craft producers in the time of drought and approached NGOs to do something about it. Recalls Sushma Iyengar, vice president, “In the late 1980s, the ethnic look was the rage in urban India.

199

Gurjari outlets were flooded with handicrafts. Ironically this frenetic outburst was an outcome of distress – the third successive year of drought and mass scale migration. Traditionally the women of Kutch did not sell their pieces of embroidery but kept it as part of their dowry.” Sushma Iyengar was fresh out of Cornell University in the US with a degree in development communication, and was keen on working to organize rural women. Incidentally, she happened to visit the office of the NGO, Janvikas, just hours after the Gujarat State Handicraft Development Corporation’s chief had approached it to do something to alleviate the Kutch women’s plight. Thus the Kutch Mahila Vikas Sangathan (KMVS) was set up in 1989. Many of the NGO’s even though they say non profit, end up taking advantage of the artisans. At least that is what the women at the village felt. Yhe elderly at Nathvani said he prefers the women of the vand not taking orders as they are paid very little for hours of work, and there is so much to do in the house anyway, which is more productive. The cattle need to be tended to all day, milking, giving them fodder, bathing them. So it seems like a waste of time to embroider a piece that’s not going to be worth the amount of effort put in. 3. Kalaraksha The Kala Raksha Trust is a grassroots social enterprise, is dedicated to preservation of traditional arts. Kala Raksha was conceived as a new model for development through handicrafts: the interlinking of two parts, preservation of top: Mobile phone pouches made in mukko for the tourists.

200

right: A top done in suf like embroidery style commissioned by an NGO at Karnawali vand.

age-old traditions, and income generation via contemporary work. It is a bit different from the other two organisations discussed here. The KALA RAKSHA project began in 1991 by Judy Frater. It focused on a group of embroiderers in Sumrasar Sheikh, a village 25 km north of Bhuj. These people had migrated from Nagar Parkar in Sindh in 1972, bringing with them some fine traditional embroideries as well as their skills in suf and kharek embroidery styles With generous support from patrons of traditional arts, a permanent collection of traditional embroideries was begun. A group of twenty local artisans was organized and guided in producing suf embroidered items for sale.

Raksha artisans also attend integrated Preventive Health Care and Basic Education Programs. Though this system in kala raksha seemed ideal ,some people like Mr Vazir ,a connoisseur of antique textile and rural crafts is of the opinion that Ngoâ&#x20AC;&#x2122;s like these make the people stray from their authentic textile traditions to make things likeable for foreigners . He also didnâ&#x20AC;&#x2122;t believe that a foreigner running an NGO there is a good idea, as he thought they can never really understand their culture.

Thus the trust was founded on artisan initiative in 1933. The Kalaraksha foundation also maintains a collection of heirloom textiles and documents the existing traditions which would otherwise be sold off to traders at a measly price. Due to this trade, we were not able to see most of the older traditions of clothing. Instead we were confronted with a medley of popular stitches done in bright acrylic threads, the synthetic material that has flooded the market in recent times. But we were fortunate to see a few pieces that the museum had archived, of the Banni region. Artisans were involved in establishing this Museum as it is their history and culture that is presented; and only they can contribute to it in the best possible way. Here the women are referred to as artisans, and they create exquisite contemporary work based in their traditions. A Artisan Pricing Committees establish fair wages. Income generation is the beginning of comprehensive development. Kala

201

Postscript In the time when most of the rural crafts seem to be facing a setback, it is some kind of consolation to see the survival of such a rich needle work tradition. Well of course it has seen its ups and downs and does not exist exactly the same way it used to before. Nevertheless, the craft has managed to maintain its charm, and continues to tell the tales of its people. Youngsters are fast losing interest in this painstaking and time consuming work. Now-adays, girls need to make embroidered products only for their wedding, and later on can wear the abha (which is tailor made) as daily wear. Interestingly, commercial activity has managed to play a role in preserving the practice, especially in Meghwals, as it has immensely improved their economic condition. Women and men equally take pride in their work as it is exclusive and people from all around the world come to see it. Commercialisation also has other issues associated with it. Earlier, each piece was unique as the design was never replicated, and as it was a means of self-expression, while the emphasis currently, is on what sells more. Production of those commodities are encouraged which are preferred by the clients. These things lack a personal touch or any sentimental value and are purely commercial in nature. For example, the time and thought put into a kothliâ&#x20AC;&#x2122;s embroidery, creating new patterns, mulling over the next colour to use, and letting the weeks give it its own character is

202

now not possible. They have a deadline to achieve and only then will the remuneration come. The products are for a client and not for the home, and given the menial wage paid for it, why put in the thought and effort? But at the same time, there is a feeling of pride for their heirloom and the skill handed down to them over generations. They are realising the need to protect and save their old pieces as they have a lot of value. We can surely say there is hope for the beautiful craft; even if it might not be restored to its original glory, it is definitely on the path of being transformed into a commercially successful and inherent art-form, which derives its roots from the lives of the embroiderers.

religion is just an undercurrent. The people are not divided, but instead are designated a means of livelihood, based on skill. This distribution of occupations maintains equilibrium in the community. Looking back at their lifestyle, we felt a sense of reassurance that despite communal, societal and economical disparities that exist within their surroundings, the people of Banni thrive on the basic essence of peaceful living and above all, of being human.

This trend has converted the only avocation of the women into their vocation. Their lives show us a possibility of a different lifestyle; a lifestyle where uniqueness is appreciated, but only if it belongs to a group, where television has reached way before education and where gender decides the work. There are many other facets of their lifestyle, whichÂ might actually teach everyone a thing or two. It really baffled us when we realised there was nothing called a dust bin, no garbage whatsoever. Due to the lack of resources like water and food, the people subconsciously use energy efficiently and minimise wastage of every commodity available to them. For example, they eat before sunset and after spending some quality time with the family, they sleep early, and rise with the sun. Their community is a collection of people who follow a certain way of life, and for them,

203

Glossary

by tying small areas of cloth to create a barrier from the dye.

contains raw milk, cream or yoghurt which is blended manually in a pot.

batwa: cloth wallet.

chowkdi: the boxed motif on the

abha: tunic like dress worn by Muslim unmarried women.

abla: mirror pieces used in embroidery.

bel: creeper plant.

abla bharat: mirror work embroidery.

bhat: a group of people ,who keep a

aina: mirror. ajrakh: a resist and mordant-dyed

cotton textile that is block-printed on both sides of the cloth and features the use of indigo and madder. The term is possibly derived from azrak, the Arabic for blue.

akhiyo: veil worn by the bride. alekh: stepped embroidered outline done usually in black.

ankh: outline usually in black done for

pakko. B

babul: acacia nilotica, gum arabic tree. bajra: pearl millet. bandh: circle made using tie and dye technique.

bandhini: tie-dyeing. A resist-dyeing technique whereby a pattern is created

204

bavaliyo: thorny acacia.

shouder and the chest around the tanu in a kanjiri lierally meaning ‘square’.

chulha: cooking stove which uses burning wood or charcoal.

record of the people in terms of gender ,marriage etc.

churma: popular delicacy usually served with baatis and dal.

bidai: bidding farewell to the bride by her family before she goes to her husband’s house.

brahmin: a term used to designate a

member of one of the four varnas (castes) in the traditional Hindu societies.

dandiya raas: a dance performed during Navaratri in Gujarat using long sticks. darki: quilt.

buchki: A tiny pouch for keeping coins.

dataro: a small wooden comb.

butti: small floral motif.

dharaniyo: appliqué textile hanging that covers stores quilts.

chakda: a hybrid between an old

Royal Enfield Bullet motorbike and a cart which is used for everything from transporting people to harvested crops.

chaupad: ancient board game .The board, usually made of cloth, is cruciform and each ‘arm’ has eight squares.

panchayat System: the elected governing body of a village.

dhoti: traditional men’s garment. It is

a rectangular piece of unstitched cloth, usually around wrapped around the waist and the legs and knotted at the waist, resembling a long skirt.

chela: a religious student or disciple.

dupatta: a long, multi-purpose scarf that is essential to many women to protect her laaj literally shame.

chhaas: a buttermilk preparation. It

fera: bride and groom circling around the sacrificial fire during the wedding ceremony. G

gadlo: mattress.

harijan: literally ‘children of god’, a term used by Mahatma Gandhi to describe communities formerly known as ‘untouchables’. havan: any ritual in which making

kanjiri: a long tunic like blouse worn over a skirt by the women.

kantha: a quilting technique used in West Bengal.

offerings into a consecrated fire is the primary action.

kanyadaan: literally ‘gift of a virgin/ bride,’ to the brides in laws after marriage.

by couching strands of wool.

hoj: waterhole.

karma: the concept of “action” or “deed”,

ganesh sthapana: installation of the

katap: appliqué work.

gawar: cluster beans.

indhoni: a cushiony ring which is used to balance pots filled with water on the head.

ghaghro: long skirt worn by Meghwal

kothli: a small pouch.

godadi: quilt in Guajarati.

jal: a continuous surface almost like a mesh.

Kotimba: a desert gourd.

Gram panchayat: local self-

jamanwar: a luncheon severed to a

large number of people.

popular motif in quilts ,especially as a border.

jat: embroidered filling in the motifs

kutchhi: a dialect of Sindi.

jootis: handcrafted footwear.

jowar: also known as Sorghum is a grass which is raised for grain and many of which are used as fodder.

maldhari: cattle herder from Banni, north Gujarat.

public rituals.

gana: thick outline given to the tannu

Ganesha idol before a marriage to make sure everything goes smoothly.

women.

government at the village or small town level in India, headed by a sarpanch.

gud: jaggery. gul: flower. gulabi: pink colour. H

hakoba: a type of chikankari work

(shadow work).

haleputra: clan of Muslim cattle herders

who live in the Banni area of north Kutch .

which causes the entire cycle of cause and effect.

khatlo: bed.

kungri: derived from the toran ,it is a

mandap: outdoor hall or pavilion for

kabool hai: These works are said during

manji: a piece of furniture used to store

Kalaraksha: an NGO in Sumrasar.

meghwal: Dalit community of leatherworkers.

a Indian Muslim wedding which means ‘I agree to marry this person’.

the piled up rallis

205

muhamedan: Muslim. mushroo: a sateen fabric with coloured stripes. Previously made in silk cotton now in rayon. mutva: clan of Muslims cattle herders

who live in Banni area of north Kutch.

N nari: unit of measurement, from the tip of one’s finger to the elbow is one nari.

O odhani: large veil cloth that covers the

head and warps the body.

P phuladee: fan. pooja: religious ritual, as an offering to

piece of rectangular cloth to cover the head.

salwar: loose pyjama like trousers. samadhi: higher level of concentrated meditation.

sehra: veil worn by the bride groom during wedding ceremony. shrujan: an NGO in Kutch. suf: embroidery style done counting the warp and weft threads in the fabcric.

sujani: quilting technique done in Bihar. sunni sect: the largest branch of Islam. T

various deities.

tak : mirror.

tak bavalio: embroidery design, alternating mirrors (tak) and a motif worked in an interlacing stitch (bavaliyo) based on the thorny acacia (baval).

ralli: quilt. raysiputra: clan of Muslims cattle

herders who live in the Banni area of north Kutch.

resham: preiviously the term was used

only for silk, but now extended to rayon as well.

rumal: square head-covering worn by men.

206

S sadi: generally meaning a sari, a large

taluka: an administrative division. tapu: hill. topi: cap. toran: a decorative door hanging. tun: darning.

V vand: hamlet. veranda:roofed open gallery or porch. Z zil: lake.

Bibliography BOOKS

WEB

Elson, Vickie. Dowries from Kutch: A Women’s Folk Art Tradition in India. University of California At Los Angeles: First edition, 1979.

‘Maritime History’, as accessed on 23.03.2012,

Fisher, Norah. Mud, Mirror and Thread: Folk Traditions of Rural India. Mapin Publishing, 1993. Crill, Rosemary. Indian Embroidery. V&A Publications, 1999 Edwards, Eiluned. Textiles and Dress of Gujarat. Mapin Publishing, 2011. Maiwa and Kutch Mahila Vikas Sanghatan. Through the Eye of the Needle: Stories from Indian Desert. Maiwa Handprints LTD, 2003. Image credits

http://www.gmbports.org/showpage.aspx?contentid=1253

‘Craft and Current Situation’, as accessed on 28.03.2012, http://www.kala-raksha.org/craft.htm

‘Neran Embroidery’, as accessed on 19.07.2012, http://shrujan.org/embroidery_types_neran.html

‘Hodko’, Sujata’s Blog, as accessed on 16.08.2012, http://sujatavaradarajan.blogspot.in/2010/11/hodko.html

‘Shrujan Story’, as accessed on 19.07.2012, http://shrujan.org/about,shrujan.html

‘Shaam-e-Sarhad Rural Resort, Hodka,’ as accessed on 10.03.2012, www.travelanotherindia.com/hodka.html

‘Initiatives of NGOs in Kutch Region’, as accessed on 19.07.2012, www.esocialsciences.org

pg 180 Krupali Warade pg 179 Hodka resort pictures www.travelanotherindia.com/hodka.html

Contact numbers Bhasar bura (Hodka): 9427289801 Hirabhai (Bhirendiara): 9428750346 Jagdish (guide, Hodka): 9429341409

207

Embroidery in Kutch, is more than a surface ornamentation technique. It is a way of recording events and stories onto every inch of the fabric- conspicuous to only those who are observant. Here the embroidery plays an important role in maintaining a tangible record of the history of the region. Our stay in two Banni villages -Hodka and Bhirendiara, was scheduled for a period of two weeks. Leaving behind most of our urban tools, we prepared ourselves for an eventful journey, a quest to listen to the undisclosed tales and to witness the wonders of this lesser known grassland.

National Institute of Design 2012

208