Bunkar of Beawar(Jawaja)

BUNKARS OF BEAWAR

BUNKARS OF BEAWAR Authors Chinmayee Kulkarni Gaurav Yadav Manvi Trivedi Rimjhim Bharati Textile Design, Batch 2014-18

Mentor Prof. Manish Bhargawa Associate Professor, Textile Design, NIFT

Guide Prof. Carmina Fernendes (Visiting faculty)

NATIONAL INSTITUTE OF FASHION TECHNOLOGY, GANDHINAGAR

ABOUT NIFT

Published in the year 2016 NATIONAL INSTITUTE OF FASHION TECHNOLOGY (NIFT) (Ministry of Textiles, Government of India) GH-0 Circle, Gandhinagar-382007 Gujarat, INDIA Tel: 079-23240832, 23240834, 23265000 Fax: 079-23240772 Website: www.nift.ac.in/gandhinagar © Text and images NIFT Gandhinagar

This research is originally submitted as a part of academic learning to National Institute of Fashion Technology (NIFT), Gandhinagar and is for academic only. The opinions expressed in this document are solely those of the authors and NIFT does not bear any responsibility for the nature of its content. Reproduction of any part of this document must acknowledge the authors and NIFT, Gandhinagar

National Institute of Fashion Technology (NIFT) was set up in 1986 under the aegis of Ministry of Textiles, Government of India.

NIFT has emerged as a leader in fashion education with the ability to integrate knowledge, academic freedom, critical independence, creative thinking. A history of being in existence for more than 25 years stands as a testimony to our fundamentals where academic excellence lies at the core. The institute has stood as a beacon of serious critical engagement a key enabler in developing competent professionals.

Academic inclusiveness has been a catalyst in the expansion plans of the institute. Today, NIFT has spread wings across the length and breadth of the country.

Through its 15 professionally managed centre’s, NIFT provides a framework to ensure that prospective students from different parts of the country achieve their highest potential through the programmes offered.

Since the early years of its

inception, the institute has provided a firm grounding in fashion education in the domain of design, management and technology. From then until now, NIFT has scaled high academic standards. Through its journey, NIFT has achieved a strong academic strategy. Invigorating thought leadership, research stimulus, industry focus, creative enterprise and peer learning have reinforced the institute’s academic bedrock.

Fostering a new generation of creative thinkers, today, the institute is empowered to award degrees in undergraduate, post graduate and doctoWral studies.

Articulating the ideology of world-class learning practices, the institute has entered into strategic alliances with leading international schools.

ACKNOWLEDGEMENT This book had a life of its own and we merely trailed. One person led us to another; one story can’t be told without the next. We owe a great many thanks to a great many people who facilitated and supported us during the writing of this book; to all those who discussed things over, read, wrote, offered explanations, allowed us to quote their remarks and assisted in editing and design.

We would like to thank our college [National Institute of Fashion Technology, Gandhinagar] for enabling us to publish this book. Our deepest thanks to Mrs Vishu Arora [Course Coordinator, Textile Department] to provide us with this opportunity, and extending her support. We express our gratitude to Mr Manish Bhargava [Mentor] for supervision and correction of our various documents with attention and care. We would also like to thank Mrs Carmin Fernandes for guiding us and helping us in the secondary research.

Our deep sense of gratefulness to the members of Jawaja Association Alliance, Beawar, Rajasthan. Special thanks to Mr Onkar Representative of Jawaja Durrie Weaving, Mr Rampal, Cashier of Jawaja Durrie weaving.

We would also like to thank all the people of Jawaja without whom the project would have been a distant reality We extend our heartfelt thanks to all the family members and well-wishers for the care and understanding.

Content PREFACE Introduction...............................................10 • Craft History..........................................................14 • Map.......................................................................15 • City of Beawar........................................................18 • Festivals & Food.................................................20 • Flora & Fauna....................................................25 • Traditional Attire...............................................26

The Craft....................................................32 • Craft Introduction.................................................34 • Raw material..........................................................36 • Designs and Colour................................................42 • Dyeing...................................................................44 • Winding/Spinning.................................................51 • Warping................................................................56 • Loom set up...........................................................63 • Weaving.................................................................68 • Weaving Techniques...........................................70

The Craftmen...........................................................78 • Wever’s Tree............................................................................80 • About Craftmen......................................................................82 • Community Practitioners........................................................85 • Artisans Talk...........................................................................89

Marketing................................................................90 • About AAJ..............................................................................92 • Market Area ...........................................................................95 • Jawaja weaver Association........................................................98 • Dhurrie Costing .....................................................................100

Previous Research Done......................................................103 Our Experience.......................................................................106 Conclusion...............................................................................108 • Our profile................................................................................114 • Weavers profile..........................................................................115 • Annexure .................................................................................116 • Bibliography..............................................................................118 • Glossary....................................................................................120 • Photo credits.............................................................................123

PREFACE Craft in India has been endlessly practiced over the years expressing the diversity and becoming a part of integrity, heritage and culture. Keeping the craft alive and spreading it, so that the future generation is able to see the legendary work of the past is important.

We often see the artisan thriving hard to keep the craft alive but during the project of Craft Research and Development Programme in Beawar, Jawaja Rajasthan we explored “The dhurrie making�. This craft had a story of its own.

Unlike any other craft which is followed up as a tradition or have cultural value of past, this art of dhurrie weaving was adopted to eradicate poverty for future.

People were taught to be united and fight together against poverty. Design and techniques were taught to make numerous saleable products. Traces of desert land, animals are soon expressed via colors in the process. Thus creating an endless story of such impeccable craft.

The document thus is intended to provide all the relative information about the craft along with visual for better understanding and not just reading but learning the importance of craft and craftmen.

I

ntroduction

A

boriginal to the Indian

of floor covering and can

art form. The ethos lies in

subcontinent, dhurries

be described as one. The

its wonderful use of colors,

(also dhurriess or durry) is

rich variety of designs in

designs, weave bestowing the

a thick flat-woven rug or

dhurries varies from its

muted charm.

carpet. Although dhurries;

exquisite beauty of look to

Dhurries reached its zenith

rugs; carpets vary in the

the sophisticated simplicity

in the nineteenth and early

degrees of abstraction, they

of weave thus becoming

twentieth centuries. Animal

serve the same purpose

the quintessential Indian

and ritualistic designs were

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seen floor painting and

vocabulary without losing its

weather is cold, but generally

mats play significant role

individuality. The charisma

it’s made up of cotton.

in its creation. Like other

of dhurries is in the simple

In most nineteenth century

Indian art forms, dhurries

treatment of the decorative

records dhurrie is also referred as

have also undergone the

details, and the principle

dari or satranji in north of India

route of integration, of

of symmetry and endless

and as jamkhani in the south.

new influence in its already

repetition. Occasionally

widespread decorative

made up of wool where the

Upside left to right: Wall painting of peacocks depicting the heritage of Rajasthan

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The introduction of knotted carpet in India was from Persia, but dhurries were there in India from much older times, which was then, as renowned as its textile production.

The cotton rug fragment now in the British Museum found by Sir Aurel Stein in 1901 at the ancient Niya site in Turkestan is thought to be Indian and the oldest surviving example of Indian dhurrie. The earliest and most impeccable evidence of Indian flat woven rug originally in Amber Palace in Rajasthan is now secured in the Calico Museum of Textiles in Ahmedabad, Gujarat.

Craft History Today dhurries are the heart of luminous collection of floor coverings and so they are piled high in the sprawling basement of Jawaja Association Alliance in Beawar, Rajasthan. Unlike other Indian dhurriess which are famous due to its historical origin, deities pictorial designs, or holding

mythical past stories;

self-reliance, through

Bunkar, or weaver, to use,

dhurries of Jawaja has

a democratic system of

barter or sell.

its own different story.

governance that is linked Earlier Jawaja dhurries

It originated no longer

with its history with a

were solely in terms of

but in 1970’s. The

deep respect for Jawaja’s

the standard striped

Government titled

foremost “resource” –

floor covering with

Jawaja a region of high

its people. Although

two or three colour

poverty and no resources

there were few craft

combinations. Since

so The Rural University

traditions known from

stripes are normally

invited the National

this area, several people

the first attempt by an

Institute of Design,

were knowledgeable of

inexpert weaver. Today

NID, Ahmedabad to

spinning and weaving,

they have expanded

start a new experiment

and there were a few

their forms to explicit

in education and rural

looms. Some people used geometrical, beautiful

development initiated by

to weave cotton saris and

colour combinations and

the late Ravi J. Matthai,

had pit looms at home.

balanced, unobtrusive

former director of IIMA,

These looms were used

composition. Striped

the Indian Institute

by some to make woollen imbedded dhurrie with

of Management,

shawls, odhnis, and other

stepped diamonds,

Ahmedabad. It came

locally worn textiles

combs and crenellated

up with a motive of

woven by the village

borders are recently seen.

Opposite The typical wooden door style of Rajassthan

15

Map

Rajasthan

India 16

Beawar

Rampura

Delwara

17

B

eawar is a city situated in

and used to have cotton presses Jawaja is a very backward block

Rajasthan state of India.

and the Krishna cotton mills.

in Rajasthan. Over 85,000

It is administered by Municipal In the present scenario it is

people live in approximately

Corporation which comes

the largest producer of cement

200 villages in an area with

under Beawar Metropolitan

in northern India. Beawar is

little arable land and water.

Region. It is located 184

located at 26.1° N 74.32° E. It

Colonel Charles George

kilometres southwest of the

has an average elevation of 439 Dixon was the founder of

state capital Jaipur at the

metres (1440 feet). Climatic

Beawar in 1836. The original

convergence of 2 ridges of the

condition of Beawar counts

name of the city was “Be

Aravali ranges. The city used

33.8 0C average high; 19.9

Aware” which later converted

to be the foremost centre of

0

C average low and average

in Beawar. This region was

trade, especially in raw cotton,

precipitation cm 24.48 cm.

ruled by ferocious tribes

Behind Jwala Devi Mandir on hilltop is one of the attractive places at Beawar khas.Every festivals and mela is held here.

18

City of Beawar such as the kathat (Chouhan

while Harijans are the lowest

While 15% of the population

Rajput, the descendants

social hierarchy.

is under 6 years of age.

of Prathviraj Chouhan) and

According to the 2011

Beawar city comprises of

Rawat Rajputs. Rawats, Rajputs India census, Beawar had a

85.82 % Hinduism followers.

Mehrats, Jats constitute of

population of 342,935. 51%

Islam is second most popular

higher castes whereas the

of the which comprises of

religion with 7.86 % following

Kumbhars (potters); Lohars

males and 49% females. 60%

it. Christianity is followed

(blacksmith); Kahars ( former

of the males and 40% of

by 0.75 %, Jainism by 4.90

palequin carriers); Raigar (

females are literate creating

%, Sikhism by 0.35 % and

cobbler); Bhambis (weaver)

64% literacy rate of Beawar.

Buddhism by 0.35 %.

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Festivals & Food Dushera and Holi are the

color has very significant role

Rajasthani women; in which

two famous eve celebrated

in Rajasthan. They celebrate

they keep fast for their

annually by the people

this festival with Gulal and

husbands’ long, safe and

of Beawar. During the

celebrate with festivals with

healthy life, sing traditional

celebration of Holi, the festive

sweets like Ghewar, Gulab

songs and offer prayer to lord

colours are sprayed all over

Jamun and Gujjiya , singing

Shiva and Goddess Parvati

the locals by “Badshah” means and dancing on folk songs.

whom they believe ideal

“King” who travels across the

After 15th day of Holi i.e.

married couples.

town as per tradition and

On 16th day they celebrate

Veer Tejaji Maharaja Beawar

reach Mayor’s office. Holi has

Ganghor; a very important

Fair is one of the most vital

very different importance as

festival for every married

fairs of town. They follow

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Ramdevji as their community

once in a year in winter time.

lady finger etc. Besan (gram

god (Kuldevta).They practice

Beawar is a drought prone

flour) has important role

prayer by lighting diyas in the

area. As these areas are quite

in Rajasthani thali one can

morning and evening and

arid, the soil is also very

find Besan Ke Ladoo, Besan

always cover Mandir (prayer

less alluvial, they have black

ke Pakode, kadhi, Besan Ka

place) with white cloth after

soil in their area, so they

Gatta, etc. Daal Batti holds

prayers.

have Cotton, Jowar, Bajara,

space in thali, with Gewar,

Main vegetation grown are

Makki, Hariya, Mung ki daal,

Chikki, Gulab Jamun, are the

tomatoes, chillies. Grain

and wheat. They do have

traditional sweets which they

crops are Bajra, Maize, Millet

other crops and vegetables

make during festivals.

(Jowar,) Wheat which grow

like cabbage chilli, tomato

21

22

23

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Flora & Fauna Animals like sheep goats are their sources of income in animal husbandry while women of village help in farming , making spindles and taking care of animals with their household chores.

Profession of the people of this village are animal husbandry, vegetable cultivation, horticulture, weaving of wool and cotton dhurrie making, spinning, leather tanning and fabrication of leather products and even rope-making.

Page 20-21.

Chillies and Besan are two most important ingredient of Rajasthani Thali.

Page22-23.

Women gathering during ceremonies.

Opposite Sheep and goat herding in another biggest source of income at Beawar khas.

25

Traditional clothing

Opposite The traditional attire of Rajasthani where men is always spotted in Dhoti kurta and Saffa while women is draped in Ghagra, choli and odhani with nath, borla and kamarband complimenting the attire

26

Textile and clothing is

highly flared. They are

adapted as the second skin

mostly made of cotton

of soul. The second skin

with lehariya prints, and are

and attire of Rajasthan is

usually found in diverse

as eye-catching as the first

styles and colours. The

one. The attire shows the

upper garment or blouse

urge of cheerfulness in the

locally called Choli or Kurti.

desert with a great degree

It is sometimes printed or

of realism. Everything

embroidered with vibrant

from tip to toe including

and colourful threads.

turban, jewels, footwear

Both Hindu and Muslim

and clothing reflect not

community wear the same

only the religion but also

clothing. The turban called

socioeconomic status and

Pagri, Pyjamas, Angarkha,

identity.

Dhoti, Waistband (Patka)

Clothing The narrow waisted and above ankle length skirt locally called Ghangra is

and Kamarbandh are integral clothing of men in Rajasthan

27

28

Accessories Rajasthani jewelries have their own distinct identity.

They are uniquely stylized and embellished with diamonds, emeralds and expensive stones.

Silver jewelries are mostly worn by people and use enamel colours which are derived from minerals. Women wear a head jewel locally called Bor/ borla or Rakdi. The long nosepin worn is called Nath. Jewellery worn around the waist is called Kandora. The designs are nature inspired.

Footwears Local names for footwear are Mojri and Jootis. They are designed from sheep, goat, camel.

Opposite Kundan nose-ring with pink emerald in center Overleaf Clockwise: The Kamarbandh; traditional choker;small earring worn by men in Rajasthani; Pagdi is like a prestige of the person every caste have their own style of wearing it; The heavy anklet worn by women; The borla Pages31-32 A Vertical stripe dhurrie in the shades of neutrals.

29

30

31

32

The Craft 33

The Craft T

he unbroken, vibrant tradition of craft occasions, customary beliefs, would all in has prevailed in India for so many

some way or the other becomes part of the

years. Agriculture being the first field to

culture of crafts.

employ maximum people, craft stands the

The Jawaja craft project was one research

second position and sustain over 20 million which assimilated many phases of craft: practitioners. The wide geographic spread

tradition, ethos, heritage, social structure,

embraces all of India and covers a huge

design vocabulary and NID’s design

gamut of widely differing work structure

inheritance. Jawaja indulged in the making

and cultures. Crafts communities, using

of dhurries and Leather products. Both

similar materials that range from clay to

the crafts have their own essence and

precious metals, work with widely differing

importance but above all both the crafts

techniques and technologies to create a

were essential for the human survival.

rich variety of forms. It has indulged as

Jawaja craft project set an example that

an integral part of the daily life of villages,

the craft is not only about the culture,

courts, towns, and religious establishments.

tradition and heritage responsibility but

The links between living practices and

also means of living. People of Jawaja are

temples or hunting traditions, nomadic

able to survive today because of they knew

journeys, ritualistic practices, ceremonial

the craft.

34

35

Raw material The raw materials used for weaving are sut(cotton) • Costing and uun( wool). These yarns have a different

The price of wool usually fluctuate between

specification and are chosen according to the

5000 rupees /quintal to 7000 rupees/ quintal

requirement of Design. For warp, they use single

when the yarn producer buys directly from the

cotton threads of 2/20s count and then making

sheep herder. The best time to buy it is during

a ply of six cotton threads to make one of count

the winter season.

6/10s passing through a single eye and for weft

The unbleached cotton yarn is procured from

they use cotton or wool according to the product.

the market near Ajmeri gate . Cotton yarn is

Often jute was also used as weft-filling. All the raw available at the rate of Rs. 65 per kg. And then materials were available in Beawar city.

Uun or wool is extracted from sheep by the process of rearing and shearing. The sheep wool is then sold in Beawar city where a trader buys the raw material and refine the wool and turn them into yarns which is again sold in Beawar market (Ajmeri gate). The wool is trimmed four times in a year with a span of four months. The tool used for this purpose is scissor known as badi kacchi made by lohar community of that village.

36

can be dyed accordingly.

Pages.34-35 Making of tassels from the warps present in dhurrie Opposite left page Raw Material : cotton;:�Sut ka gatta� bobbins filled with cotton yarn which is used for making warp.

Opposite right page Bundle of cotton hank brought from market from which cotton bobbins are filled

37

Opposite Right Woollen yarn is used as raw material for making dhurrie in form of bobbin and hank.

Overleaf The wool is procured from sheeps who are reared by sheep herders of Beawarkhas

38

39

40

41

Designs and Colour Designs

Colours

Designs which is one of the

There is no particular colour scheme or

important element among

religious significance in terms of designs

aesthetic values add in this

and colour for Jawaja dhurries. Initially,

product. Lots of exploration of

they started with black and white which

colours ,stripes and checks have

has now transformed to a wide range of

been tried out by Jawaja weavers

colours. Weavers usually mix and match

. The motifs are very simple and

colours to try to create new combinations

geometrical shapes like triangles

with design by making small sample

,squares, rectangles, vertical

swatches. Sometimes when they need

stripes and horizontal stripes and mid-tone colours from what they have, Opposite right The motifs used are very geometric and colours are always like chosen by the customers. Clockwise: • Leher: Cheveron • Horizontal stripe • Machali design :Arrow design • Bada Magga: Diamond • Magga:Pyramid of triangles • Vertical Stripe

42

border variations; there are no

they just twist the two extreme colours to

curvaceous motifs instead they

make a mid tone of those colours. Dhurrie’s

use more of angular motifs .

colour and design are woven according

• Magga, Pyramid of triangles

to the demand of the consumers and

• Bada magga Diamond

organisations. and sometimes brands have

• Chaukar Square

their own colour palette according to the

• Leher Chevron

demand of the market and this decides

• Machali design Arrow

how designs are to be weaved.

43

Dyeing The wools available in

There is no significance

market are of neutral

behind any colour. Colours

colours like beige, offwhite

are chosen according to

,light yellow, and brown.

the design selected and

Weavers buy wool in bulk

ordered. The local name

amount after they get orders of colour are gulabi (pink); and dye them according

beige, grewa (red/maroon),

to their selected design’s

narangi (orange), babul

colour at their godown. The

peela (greenish yellow) hara

dyes used are direct dyes and (green), slati (black/grey) acid dyes which are easily

The process of dye is carried

resourced and fit in the

out at their godown .They

budget. They have always

have two large containers

use acid and direct dye since and a furnace to dye their they started in between

yarns They use wood as fuel

they tried too incorporate

for burning.

vegetable /natural dyes but that remained limited till sample swatches five to six years back.

44

Opposite The two vessels used for dyeing at godown

45

Opposite Right The Furnace where coal and wood are used as fuel.

Below The wooden log used in furnace for fuel.

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Dyeing Process The process of dying of yarn starts with scouring where the hanks are dipped for half an hour in boiling water mixed with turkey red oil to remove dirt .

Hanks of yarns are dipped into the solution by hanging it on the metal rod and rotated at every five minutes so that dye penetrates equally Later these hanks are removed and the process repeated three more times.

Acetic acid or salt is added while dying this helps in better soaking of colour.

As they make in large quantity so they don’t easily throw any Coloured water instead they mix any other colour and create new colour out of it.

The colour will be one shade darker with each immersion. They dry these hanks in open area where proper sunlight is available.

Opposite Right Drying open space is required with proper sunlight and therefore they arrange bamboo in open area.

49

50

Winding/Spinning • Charkha Old charkhas had a wooden frame which is now replaced by cycle wheel as they are faster than old charkhas .The hank of yarns are untangled. They are used for making reels or bundles of yarn and filling of bobbins.

The dyed woollen threads are in tangled form and they need to be stretched and reeled to make it free from tangles which is done on Charkha. The hanks are set over the large wooden cylindrical frame which is placed on parita then the other end of the thread is tied to a small reel called gatta which works like as small wheel of charkha.

The gatta is then wheeled so the yarn is pulled from the larger wheel to the gatta.

This form is tangled free, uniform and tighter. This whole process of filling reels is locally known as gatta bharna.

Opposite Image of Charkha while perfroming spinning

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Opposite The woman doing her daily task of spinning with Charkha fitted between two vertical frames Parita Overleaf Clockwise: • The wheel of Charkha made with bamboo frame • The prin are made up of wood • One end of the warp is tied with the prin.

• Process of bobbin of three ply • Woman joining two threads which oftenly break while spinning • The process of filling yarn in pirn with the help of metal rod fitted between two frames of Parita

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Warping Warping is done when warp

horizontal cylinder locally

The whole set up of warping

threads are to be set on

known as ghera that rotates

consists of keriyal frame, two

loom and. to calculate the

on its axis and a vertical

kanghi; one reed and ghera

amount of warp required

frame on which a number of The 36 reels are put on

for weaving, weavers do

thread rolls can be attached

vertical frame of the warping

warping. For warping tana or locally known as Keriyal. As

machine Keriyal which is a

warping machine is required. it requires lot of space this

movable frame that resembles

or warping machine consists of a big octagonal

56

process is carried out in

an abacus. The end of thread

open space.

are taken from these reels,

passed through another,

theses two kanghis this is

smaller, grid-like frame

done to stop tangling of

called baybe I.e., heald shaft

threads From here threads

through which six threads

are guided and wound on the

passes through alternate

big octagonal cylinder locally

eyes.. There are two kanghi

known as Ghera Once the

through which these threads

process starts it goes on till

are passed.so after heald

the entire cylinder is covered

shafts they pass through

with yarn.

Below The warp tied with iron rod on warper beam

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Warping Calculation This calculation is done to decide the length of the wrap in terms of dhurries of standard size 3ft x 5ft The warping is done with the cotton yarns of 2/20s count over the Ghera machine.of circumference 9ft.

• If 1 eye of heald shaft =6 thread • Then, 6eyes = 36 threads =1 inch.

• For 5ft. dhurrie 18 revolutions of Ghera machine needs to be done.

• 1 revolution = 9ft.

• 18 revolutions =162 ft.

• For 5ft. length dhurrie=162/5=32 dhurries.

Page 58 Left to Right Page 59 Left to Right • Keriyal an abacus look alike stand on which pirn of 36 cotton yarns are arranges.

• Six cotton yarns passing through one eye • Two frame of heald • Through heald frame it passes to reed • Ghera • Cotton yarns are knotted with nails inside the ghera • The winding of 36 threads is equal to one inch • The completely wrapped Tana machine with cotton • After completion of the warping all threads are wounded on warp beam • Gerari (metal leaf) are inserted while wrapping warp on warper beam which later work as handles to rotate the cloth beam.

• The ready warp on warper beam Page 60 Left to Right • A spring is connected with Ghera from which number of rounds are known.

• The new warped yarns • The warp connected with previous dhurrie is kept loose • The new warp is also kept loose • They do not re-draft or re-dent the new warp instead they connect by knotting with old warp

61

Fly shuttle Loom

1.

Seat for weaver( lakdi ka taktha) 2.

Warp beam- let off (girari) 3.

Warp threads (tana) 4.

Back beam or platen 5.

Rods – used to make a shed 6.

Heald frame / harness 7.

Heald - the eye(baybe) 8.

Shuttle with weft yarn 9. Shed 10.

Completed fabric 11.

Breast beam 12. Batten(shlok) with reed comb (kanghi) 13.

Batten adjustment 14. Lathe 15. Treadles(Pawdi) 16.

Cloth roll- takeup (toor) 17 Mutha 18 Chidiya The labeled diagram of Flying shuttle loom Overleaf • Top Row: From Left to Right:Pirn(Gatta); Shed; Muttha and shuttle box • Mid Row: From Left to Right:The two beams Warp beam and cloth beam; Reed(Kanghi); Batten adjustment and Race beam • Bottom Row: From Left to Right:Chidiya ; Eye(Baybe);Seat(lakdi katakhta); Breast beam

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Loom set up 1. Loom • Flying ShuttleLoom The looms used now for

but in flying shuttle loom

maximum, four pedals

weaving are Fly shuttle looms

there is heavy wooden board

are required .The only

instead of pit looms Fly

called race in front of the

disadvantage it cannot

shuttle loom are patented by

beater on which the shuttle

weave curvaceous or

John Kay in 1733, turned to

is passed from one side to

intricate patterns.

be a key development in the

another side .On each side

industrialization of weaving.

of this race, the board is a

As it was easy and faster then

box to catch the shuttle.

the typical frame looms and

It has foot pedals which are

wider fabrics were weaved

like shafts /harness. The

easily on it. In the typical

harness is a combination

frame loom when the weaver

of pulleys and heddles,

used to weave they had to

which helps in moving

bend over the fabric while

the warp up and down.

passing of shuttle from One

For plain weave, two

side to another with hands

pedals are sufficient and

which disturbed the fabric

for complicated weave

• Frame The size of the frame depends on the size of the beam .Grooves are provided on both side bars of the frame so as to adjust the slay up or down a required, the frame is made of wool and it is kept in position with a wooden batten fixed on its tops and bottoms.

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• Beam

healds are placed before

• Reed

There are two beams

reed. The warp passes

Locally known as Kanghi

in each loom weaver’s

through heald and reed

is an essential part of the

beam and warper’s

when motion given to

loom. It separates the warp

beam. The cloth roller

healds by alternative

threads at the equal and

locally known as toor is

pressure and release of

desired distance from one

fixed in front of weaver’s

the treadles they move

another. When the cotton

seat and the warper

up and down and create

fabric is weaved count of

beam is in the extreme

a passage known as a

36 reed is used and for a

of the loom. They are

shed.

wool count of 12 reed is

hexagonal or round. The length is equal to the

used.

There are four wooden

• Muttha

pedals under the frame

It is a rope which makes

• Heald

of the loom, connected

the shuttle fly from one

A heald has a series of

by the healds frame with

box to another.

eye fastened to a wooden

strings. When pressure

frame. The eye is made

is applied on pawdi it

of Iron with a small

lifts the healds frame up

gap in it through which

and down and separates

warp is passed. The

warps into two pieces.

width of the frame.

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• Treadles(Pawdi)

• Flying shuttle Flying shuttle are made up of seasoned timber wood. A long oval hollow is scooped in

the middle of a piece of wood. They are metal capped ends and a pirn/ bobbin of weft threads At one end of this shuttle, there is an opening called the eye through which weft yarn passes.

When shuttle races across the slay the weft yarn passes and interlace with warp shed.

Pirn is made up of softwood The weft yarn is wound on a pirn which is put in a shuttle

• Chidiya These are the two sets wooden frames in three pair each on both the sides of the loom frame to maintain the movement of heald shaft as well as paddles. Since chidiya, heald shaft, and paddle all are connected in such a way which support the movement of the heald shaft and paddle.

Right Edge Spinning wheel

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Weaving The weavers usually never do denting and drafting as they tie knot between old and new warp threads which reduce the wastage of warp and save time.

Drafting The warp threads are drawn through the eyes of strings of the heald with the help of a needle or a wire hook specially made for the purpose

Denting This is a process of drawing warp-ends through the dents of the reed.(loose of warp and tightening of warp)

Weaving Process The weaving process comprises of three primary motion :Shedding; Picking; Beating

• Shedding A passage created by the movement of warps when heald shafts move up and down separating the warp yarns into two.

• Picking After shed is created weft is inserted with the help of flying shuttle this process is known as picking

• Beating A process after picking in which the newly inserted weft is beated to the fell of the cloth.

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The labelled diagram of primary motion of weaving: Shedding, Picking, Beating

• Let off The warp yarns are unwound from the warp beam during the above three processes.

• Take up The woven fabric is wound on the cloth beam during the above three processes

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Weaving Techniques There are different methods of weaving but mostly dhurries are woven in weft faced plain weave. Other methods; pile weaving/knotted weaving for adding texture to the surface on the surface of dhurrie; and slit weaving is most used method to weave geometrical weave and. double interlocking weaving also used for making motifs.

Opposite Left page Illustration of weft-Faced Plain weave.

Opposite Right Jawaja Dhurrie in WeftFaced Plain weave.

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Pile Weaving/knotted weaving In this weaving shuttle is

desired stiffness. There are

and then the other end is

used very less. Instead of weft

two types of knotting style

loosely wrapped around the

insertion weavers cut palm

symmetrical and asymmetrical adjacent warp. Once the pile

length weft yarn and knot

The method used here is

dhurries are out of loom they

them on warps. After each

asymmetrical knotting in

surface is trimmed by scissor

row of knotting, wefts are

which one end of wefts are

or blade.

inserted and packed to the

wrapped around a single warp

Opposite Left Jawaja pile weave Dhurrie

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Single Interlock Weaving It is a process of insertion of two different color weft thread from two opposite direction and interlocking them after changing the heald shaft and then goes in the opposite directions. This repeating process of inserting and locking defines the technique of single interlocking weaving. Only geometrical designs are possible in this method. When designs are simple one weaver is enough but when designs are intricate and complicated inlay work two weavers are required.

Opposite Left page Illustration of Single Interlocking technique Opposite Right The technique of Single interlocking technique performed by the weaver.

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Soumak/Sumak This is the common name for weft wrapping technique used to create complex and varied designs. Colored yarns are wrapped around the warps following mathematical patterns that allow the weavers to create free flowing intricate designs that form reliefs on the surface of the work. Because it is a time consuming technique, it is commonly alternated with thin plainweave ground wefts and often used for smaller works such as bags, prayer sheets and mats.

Opposite Left page Illustration of Sumak technique Opposite Right The technique of Sumak performed by the weaver.

Overleaf Shree Poosharamji; one of the weaves of Jawaja Alliances

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The Craftmen 79

Weaver’s Tree

Villages Weavers Weaver’s wife Weaver’s son Weaver’s Daughter

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The Craftman India adding more than

that development activities

200 million people involved

must be a vehicle for

in crafts becomes the only

learning. Where Jawaja was

country in the world with

dealing with life and death

largest and most diverse

situation, craft became the

crafts. It adds a heavy

artisan’s soul for survival.

amount in the Indian

The project started with

economy but often people

two local craft communities

lack the sensitivity towards

and their skills emerged as

the dying craft. Artisans

key resources - weaving and

here play the vital role in the

leather-work - both sinking

survival of the craft for the

due to competition from

future but with the people

mass production and new

of Jawaja the other face of

materials.

the coin emerged as a crucial During 1975 when this

82

act. When craft became the

initiative of Jawaja dhurrie

means of human survival.

weaving started there were

The Jawaja project was an

total 40 members.

educational experiment-in-

Opposite Right Weaver performing single interlocking weaning technique

action based on the idea

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84

Community Practioners In the block of Jawaja

Beawar Khas, Kabra

or Banjaras. But now

Earlier the weavers

there are few towns

and Delwara. There

all weavers belong to

were divided as the

where the art of the

were about 15 weavers

different castes.

Independent i.e. Those

dhurrie weaving is

practicing craft in Beawar

After Gandhi ji’s

who have own looms;

practiced. JWA or Jawaja

Khas; 16 in Kabra and

untouchable movement

own capital investment

Weavers Association is

10 in Delwara. In the

people belonging to

and cater to the

a major segment of AAJ

present scenario the

Bhambhi family were

demands of villagers, the

(Association Alliance of

number has decreased

recalled as “Harijans”

Master weaver producing

Jawaja) which comprises

due to many reasons.

with the result of that

cloth for local market and

of Jawaja Weavers. The

Today there are only

they are now termed

the other one was those

most essential thing

5 weavers in Beawar

as schedule castes. It

who have collaborated

about the weaving is

Khas: 4 in Saradhna;

was their traditional

and joined with Jawaja

that it is hand woven

and only 1 weaver left

occupation of weaving

Association Alliance.

and hand spun with

in Delwara. Earlier only cotton and wool.

Now there are no

zero wastage of yarns.

some backward caste

A vast change that

independent and Master

They even use the bits of

people used to practice

has come up among

weaver prevailing as such.

yarns for the interlocking the art of weaving for

the weavers is with the

process.

their daily meal. These

category of independent/

Earlier weaving was

included Bhambhi;

master weaver and

practiced mainly in

Nai or barber; Natraj

weavers of AAJ.

Opposite The lohar community busy with their daily chores Overleaf The interaction with Jawaja weavers and understanding the process of Dhurries weaving

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Artisans Talk Every craft has a background

ancestors used to weave to

of the wages and have engaged

which is identical and can be

make khes which were used as

themselves in other occupation.

recognized just by looking.

the quilts. As the time passed

Discussing this fact with Shri

The identity is never created

by they encountered the need

Ramlal Ji (weaver of Beawar)

within splash of seconds but

of garments and thus indulged

we found that the younger

it gradually evolves with the

in the weaving clothes opening

generation is not interested in

passage of time. As change is

doors for new market to fulfil

pursuing the art of weaving.

constant likewise craft also changes

their needs. Since from the

Reason being the uncertainty of

with time but holds the essence

past, the craft of dhurriess

the job, less recognition and low

of integrity forever. History of the

making has taken a new turn

wages. A bit concerned about

craft put a significant impact in the

altogether. According to the

the craft, they agree upon the

formation of its present and future. artisans, the craft has changed

fact of educating their children

While interviewing the

tremendously in terms of the

about the skill but there is

artisan, his perspective of

designs, patterns, and colors.

no security of their complete

looking at the craft and

When they were asked about the involvement in future.

how it has changed over the

future of the craft the answer

course of time is important.

was quite disappointing. Since

Therefore via discussion

few years it was detailed that

the local weavers told us

people are no longer pursuing

about their past, when their

weaving due to an instability

Opposite: Right to Left Family of Shree Ramlalji Dameer with his wife Smt. Laxshmi Damer and three son Sanjeev; Surendra(12); and Akash(8).

Overleaf Dhurries ready to sell in the market

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Marketing 91

About AAJ T

Opposite ThePresident of Jawaja Weaver Alliance Shri Onkarlal Mehra Ji with his wife Smt. Bhavri Mehra Overleaf The horizontal stripe dhurrie

92

he Artisans Alliance of

different companies are giving

Jawaja (AAJ) represents an

them orders with their own colors

association of leather workers

and design and some of them

(Jawaja Leather Association, or

choose their interest of dhurries

JLA) and weavers (Jawaja Weaver’s

from AAJ catalog. These have

Association, or JWA) located in

given them a new shape to their

the Jawaja block of Ajmer District

market and also enhance their

in Rajasthan. AAJ has a history

designing abilities in order to

of 40 years, and a national and

make more designs which look

international market for the

aesthetically beautiful. In previous

quality of its hand-made products

time they were getting the designs

as well as for the experiment in

from NID Paldi and through

self-reliance.

different organizations, it ran

Every Jawaja dhurries is entirely

successfully for a period of time

‘handmade in India’ using natural

but then their buyers were bored

materials. The dhurriess of Jawaja are

with the old designs and colours.

not only famous in India but also

New collections created in an artisan

has international market.

designer partnership that is the

Shri Onkarlal Mehra Ji told

hallmark of AAJ.

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NID sent their students

their dhurriess to The ‘One

exhibitions like Dastkari Haat

and experts to give them

Village’, ‘Maiwa’and ‘Kilol’.

Samiti Chennai, Kolkata,

training on weaving to build

The One Village is a retailer

Delhi, and they also put their

the aesthetic abilities in the

and wholesaler of craft made

stalls in IIM, NID occasionally.

artisans. Fab India holds

functional articles for the

New collections created in an

an important role, its been

home supplying independent

artisan designer partnership

40years, fab india is taking

shops all over Britain (about

that is the hallmark of AAJ.

orders from AAJ and sell their

200 shops).The Maiwa is a

Though AAJ works as a

products across the globe.

commercial enterprise which

marketing agency, building

Mr. John Bissell ( Founder of

makes these craft products

entrepreneurship capacities

Fab India) and Mr. Ravi John

available at online market as

that can give artisans greater

Matthai (1927–1984, He was

well as through exhibitions and control over the marketing

the first full-time Director

‘Kilol’ is a retail chain from

process: they have very less

of the Indian Institute of

Jaipur currently comprises 10

promotional activities which

Management, Ahmedabad)

stores all across India. Jawaja

restricts their market only

took the initiative to help

weavers also have permanent

to the particular brands and

AAJ weavers to setup their

collection of dhurries for sale in

exhibitions. They have their

market. The Jawaja dhurriess are

Nidus designer store located

own website which provide

demanded specifically by some

in NID campus Ahmedabad.

product information and also

particular brand or such as

They have direct sell of

tell us about Artisans Alliance

Fab India. They also provide

the Jawaja dhurriess through

of Jawaja.

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Opposite Right A diagonal stripe hand woven dhurrie of Jawaja Overleaf The group of all the weavers of Jawaja From Left to Right- Jagdish JI, Shivraj Ji, Hapulal Ji, Onkarlal Mehra Ji, Gopilal Ji, Ramlal Ji

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Jawaja Weavers Association The segment of AAJ that makes the textile products comprises of the weavers calling themselves Jawaja Weavers Association or JWA. The weavers are from the town of Beawar Khas, Delwara and Saradhna in the block of Jawaja. They share a workshop and godown with the Jawaja Leather Association - the other part of AAJ. The weavers are a small group of people weaving beautiful dhurries, all from scratch. They procure very crude form of raw materials and then do all the processes to produce beautiful woven dhurries.

The products the weavers make are mainly Floor Mats or Carpets, Yoga Mats, Prayer Mats, Bed Covers, Cushion Covers. The beauty of the weaves they make are from the very fact that they are all hand woven and hand spun and they do not waste any of their raw materials instead they reuse the waste materials left after weaving for producing a new Dhurrie or for decorating dhurriess by adding tassels to it.

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Dhurrie Costing The Jawaja dhurries are purely hand woven and hand spun there is no consumption of electricity included in the whole process of weaving. Size, design, labor cost, wastage, maintenance, spinning and transport are the factors which affects the cost of each Dhurrie.

The cost of Dhurrie is calculated in the unit rupees per square feet.

Costing of Dhurrie: • Size: 3feetx 5feet •

Rate of raw materials:

Warp (Cotton): Rs.1200/- per 4.5kg Weft (Wool): Rs.220/- per kg (previous) Rs.300/- per kg (latest)

•

Per day weaving charges =Rs.500/(Number of days required for weaving any particular design of dhurrie is decided according to the number of days calculated by considering average time taken by all the members of Jawaja Weavers Association)

•

Spinning + Knotting Charges =Rs300/-

•

Amount of raw materials required for 3feetx5feet Dhurrie: Warp (Cotton): 150gm Weft (Wool) : 1.5kg Total Wight : 1.65kg

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1. Cost of Raw materials: Cotton of amount 150gm Wool of amount 1.5kg Total price

=Rs.90/=Rs.450/=Rs.540/-

2. Cost of 5% Wastage i.e. including 5%

= Rs.567/-

3. 15% Maintenance charges i.e. including 15%

=Rs.652/-

4. Spinning +Knotting Charges i.e. including Rs.300/-

=Rs.952/-

5. Assuming that 2 days are required for weaving this particular dhurrie at the rate of Rs. 500/- per day i.e.including Rs.1000/- (500x2) =Rs.1952/6. 15%Transport + Watchman + Electricity +Water Charges i.e including 15% =Rs.2244/For Cost of Dhurrie per Square feet 2244/15= 149.6 Total cost of Dhurrie: Rs.190/- per square feet

The intricate jaali windows of Rajasthan houses.

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Previous Research Done Jawaja craft originated with

design education was brought

it was seen that they have

the idea that development

with rural context. During

managed to become a unit

activities must be a vehicle

this journey it was noticed

of their own and critical

for learning. Over the years

that people of Jawaja who

conditions which were

it has marked success and

were once scared to deal with

before have now improved.

established itself well on

external market and had no

Education to them is

the desert grounds. Around

knowledge of understanding

important. Women now

twenty years ago Jawaja was

buyer’s need have developed

help in the family and even

designated as a region of high

street smart to cope. Crossing

create yarns in the process of

poverty and no resources,

all the hurdles they now deal

weaving. They have their own

certain hostility was seen

with brands like fabindia;

social website to refer and

towards the establishment of

Miawa; Oxfam etc. Barriers

deal nicely with orders from

schools and education was

of caste and social problems

the company.

knee bend.

were dealt so that maximum

Earlier they had limited

In those days establishing a

people can indulge in craft.

designs and there was

craft for the survival of people The initial point was to make

a need to modify the

was crucial but educating

them self-reliant with what

design for the changing

them about the craft was

they have and develop their

market. Lately design

very difficult. With the

own problem solving skills.

diversification happened

collaboration of NID and IIM As a result of all these motive 102

within the constraint

because design process has

helped them to get better

doing for them today and

to be understandable and

returns for their efforts. NID

they should be released of

manageable for the weavers.

retailed the products through

that dependence? Ultimately,

Recently it is seen that they

its showroom at Ahmedabad.

Jawaja taught us that the

have been trying hard on

Later couple of weavers were

whole is about people and

their own to come up with

invited to search for new

you have to attend to people

new designs and patterns.

avenues and outlets with

first and last or else nothing

The process of Outlet

already independent weavers.

you do will be sustained.�

channels have also changed

After few years the weavers

time. Earlier some of them

were sent alone and the daily

use to have outlet shops near-

expenses and wages were

by or used to roam from door

managed by the association

to door or go to village fairs

funds itself.

with heavy bulk. Sometimes

The craft project was defined

merchants used to come

as self-reliance where Late Sir

and buy cloth in bulk. All

Ravi Matthai first director of

these led them to no fixed

IIM, Ahmedabad explained

wages and not in time. A few

self-reliance as: “Can people

years later Jawaja Association

do something for themselves

joined with the weavers which tomorrow that others are 103

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Our Experience Jawaja craft was the most

integrity, heritage, custom

“Management” collaborated

influential experience in

and culture. The motive of

together and turned

terms of craft education

saving the dying craft was

another stone to success. In

and human survival. It

usually to save the culture

our visit we found People

transformed our approach

and heritage of our country. of Jawaja especially Beawar

of looking at the craft,

But after the experience we

very hospitable and warm

creating it more integral

gained from the weavers

hearted. Simple living

and holistic. The making of

of Jawaja, we found that

and hardworking were the

Jawaja dhurries started not

vice-versa can be true. Craft

tools of their daily routine.

with the idea to keep the

has the ability to help in

Weavers were united and

culture and tradition safe

human survival, and that

healthy working spirit

but with the idea to make

skilled and educated people

was their core essence.

development activities a

are the real resource of

It was good to see how

vehicle for learning and

a country. Weaving and

women in the family

help in the eradication

leather work became the

helped in the weaving

of the poverty. We found

core source of the AAJ

process. The ambience

ourselves amidst the

project since few people

created was so positive

affluent knowledge and

had weaving skills and even

and homely that soon

creativity. We have always

had looms. We were amazed we connected a healthy

seen craft as a part of

to see how “Design” and

106

bond with the weavers.

Every enquiry about the

The entire concept of Jawaja

craft was answered with

for us soon became much

so much humbleness and

more than mere study. The

patience. Even after asking

sensibility towards the society

the same questions several

and helping with whatever

times never irritated them

resources of knowledge one

but the approach of their

has is the real education one

answers were so different

can possess for life long.

Below Us while weaving

and exact. They valued our presence and also our work. The support provided was remarkable.

Right from the water and fo od till the arrangement of vehicle for nearby visit study, everything was taken care of. The sense of responsibility people feel there is something that will stay with us forever.

107

Conclusion Craft in India has been endlessly advanced over thousands of years. It has been practised in diverse forms and styles throughout the country. Crafts is not a homogenous area, it majorly includes the hand skills which are contradictory and diversified. Where in one end it plays crucial part in representing the village culture, tradition and heritage of a country on the secondary note it also displays the strength in-built in the people. But from a long time, the importance of craft is continuously challenged. It all started in the 19th century when industrialisation came up; craft suffered the exploitation of colonial overloads. Today people are attracted to cheap mass produced goods and craftsmen face difficulty to compete.

Artisans practising the craft carry the legacy of the land, myth and culture from generation to generation. But craft of Jawaja created a whole new meaning keeping the integrity safe.

We usually saw the way these craft caters the pride of its practitioner but Jawaja is an example where it also caters for the survival. A lot has changed over the years Jawaja being a place with no resource created its people as a resource. Today they deal with the big market and even foreign companies. They talk about the design, colour and variations.

Jawaja created a benchmark in the field. It concludes to brainstorm on the fact that any project must be initiated with the knowledge of the people, their earning and aspirations.

Before preaching them about the craft and tradition, we must ensure what makes them stick with the craft and tradition. With this the question arises that do they really want to take this

108

craft for future generations or not. Few answers were in the scene of better future where their child is either computer operator or accountant, and few see even the offspring following the same tradition of weaving. At this moment it is necessary to make them understand the art of learning anything is never a waste. Learning a craft within family is not exploitation of future but a rich experience.

Earlier people of Jawaja were found to be narrow minded, women used to have purdah and were not allowed to take part in any of the decisions. They were not even allowed to speak in front of everyone. A glimpse of it still prevails in the society but with time a shift in the mentality of younger generations is seen. Women now help in the craft process and are acknowledged about the association and its working. But do the accountant keeps a mark of her initiative in the making? And do they get their funds? The question often makes them speechless.

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Jawaja Products

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Our Creation

Jawaja Dhurrie Machli Design

112

Swatch 1: Pile Dhurrie sample swatch

Swatch 2: Motif Development Sample swatch

All the samples are designed as well made by us.

Swatch 3: Assymetric Sample swatch

113

Specification Sheet and Design

114

Swatch 1: Pile Dhurrie sample swatch

Swatch 2: Motif development sample swatch

Type: Weft Faced plain Weave, Single Interlocking, Piling Warp count and colour (Cotton): 2/20’s off white Weft count and colour (Wool): 60’s off white, 60’s stone Ochre, 60’s Merigold, 60’s Brown Reed count: 12’s Ends/Dent: Body: 6 ends/dent Selvedge: 12 ends/dent EPI*PPI: On loom: 12*36 Of loom: 14*42 Total Ends: 528(Body (80*6) + Selvedge (4*12)) Denting Pattern: (1.2.3.4.5.6.7.8.9.10.11.12)*4 + (1.2.3.4.5.6)*80 Drafting Pattern: 1.2.3.4 Type of Draft: Straight Draft (4 shafts) Warping Pattern- 12”Off White Cotton yarn Weft Pattern: As indicated in Design Size of sample: 1ft*1.5ft Weight of Yarns: Cotton: 20gm Wool: 130gm Weight of Sample Swatch:140gm Fabric Width- On loom: 12” Off loom: 12”

Type: Weft Faced plain Weave, Single Interlocking Warp count and colour (Cotton): 2/20’s off white Weft count and colour (Wool): 60’s off white, 60’s Maroon Reed count: 12’s Ends/Dent: Body: 6 ends/dent Selvedge: 12 ends/dent EPI*PPI: Onloom: 12*36 Offloom: 14*42 Total Ends: 528(Body (80*6) + Selvedge (4*12)) Denting Pattern: (1.2.3.4.5.6.7.8.9.10.11.12)*4 + (1.2.3.4.5.6)*80 Drafting Pattern: 1.2.3.4 Type of Draft: Straight Draft (4 shafts) Warping Pattern- 12”Off White Cotton yarn Weft Pattern: As indicated in Design Size of sample: 1ft*1.5ft Weight of Yarns: Cotton: 20gm Wool: 110gm Weight of Sample Swatch:130gm Fabric Width- On loom: 12” Off loom: 12”

Swatch 3: Asymmetric sample swatch Type: Weft Faced plain Weave, Single Interlocking, Piling Warp count and colour (Cotton): 2/20’s off white Weft count and colour (Wool): 60’s off white, 60’s stone Ochre, 60’ Cream, 60’s Brown, 60’sDark Brown, 60’s Burnt Sienna Reed count: 12’s Ends/Dent: Body: 6 ends/dent Selvedge: 12 ends/dent EPI*PPI: Onloom: 12*36 Offloom:14*42 Total Ends: 528(Body (80*6) + Selvedge (4*12)) Denting Pattern: (1.2.3.4.5.6.7.8.9.10.11.12)*4 + (1.2.3.4.5.6)*80 Drafting Pattern: 1.2.3.4 Type of Draft: Straight Draft (4 shafts) Warping Pattern- 12”Off White Cotton yarn Weft Pattern: As indicated in Design Size of sample: 1ft*1.5* Weight of Yarns: Cotton: 20gm.

Wool:115gm Weight of Sample Swatch: 1.5 Kgs. Weight of woven of Sample Swatch:135gm.

Fabric Width: On loom: 12” Off loom: 12”

Design

115

Our Profile

Chinmayee Kulkarni

116

Gaurav Yadav

Textile Design, Batch 2014-18

Textile Design, Batch 2014-18

Manvi Trivedi

Rimjhim Bharati

Textile Design, Batch 2014-18

Textile Design, Batch 2014-18

Weaver’s Profile

Onkarlal Mehra

Ramlal Damer

President of JWA

Rreasurer of JWA

Gopiram Gandhi One of the oldest member of JWA

Pushram

Jagdish Samhariya

Member of JWA

Member of JWA

Hapulal Gandhi Member of JWA

Shivraj Gandhi Member of JWA

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Annexure Questionnaire • What is the need of Dhurrie making?

• From how many years the craft has been practiced?

• From where and how your craft originated?

• Who brought craft in Beawar?

• Who all are practicing this craft from when and how?

• Name the place where Jawaja dhurries are made majorily?

• Who all are the major group members of Jawaja Association Alliances • How many weavers are currently working with the association and has the number increased or decreased?

• What do you think the cause are for increment or decrement in number of worker • When did the association alliances of Jawaja started ? Who started it and why was it started?

• What are the major raw materials used for making Jawaja dhurries? Where do they get it from?

• How much input investment they do per month or year on raw materials?

• Where do they get it from and how the procedure is followed?

• What is the rate of men in women in Beawar and Jawaja?

• How much influence/work women put in the making process of Jawaja?

118

• How NID and Fab India helped them in upbringing and flourishing the craft.?

• What do they do if the market doesn’t flourish well or if they are not able to complete the production on time?Where is the major supply of Jawaja dhurries made? (Reason if you know)) • How many workers work for the association and for how many hours?

• How many dhurries a worker can make approximately in one day?

• How many innovation and improvisation has happened in Jawaja dhurries since time?

• How was Jawaja dhurries were started? What is the historical perspective of the Jawaja dhurries?

• How much environment affect the making of Jawaja?

• What are the basic colours used and why?

• What is the speciality of Jawaja dhurries?

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Bibliography • Goswami, R., & Perheentupa, H. (1992). Weavers of Jawaja. Paldi, Ahmedabad: National Institute of Design.

• Mohan, T. T. (2011). Brick by red brick: Ravi Matthai and the making of IIM Ahmedabad. New Delhi: Rupa &.

• Bheda, C., & Ranjan, A. (1992). Navalgund dhurriess of Karnataka. Ahmedabad, India: National Institute of Design.

• Chaldecott, N. (2003). dhurries: History, technique, pattern, identification. London: Thames & Hudson.

• Chandler, D. (1995). Learning to weave. Loveland, CO, USA: Interweave Press.

• Lundell, L., & Windesjö, E. (2008). The big book of weaving: Handweaving in the Swedish tradition: Techniques, patterns, designs, and materials. North Pomfret, VT: Trafalgar Square.

• Dixon, A., & Wilkins, P. (2007). The handweaver’s pattern directory: Over 600 weaves for fourshaft looms. Loveland, CO: Interweave Press.

• Gillow, J., & Sentance, B. (2009). World textiles a visual guide to traditional techniques. London: Thames & Hudson.

• Glasbrook, K. (2002). Tapestry weaving. Tunbridge Wells.

Web Sources • (n.d.). Retrieved August 17, 2016, from https://en.wikipedia.org/wiki/Loom#/media/ File:Warsztat.svg(image of labeledloom) • Rajasthan Textiles - Article on Panja and Jawaja Durries. (n.d.). Retrieved August 17, 2016, from http://www.rajasthantextiles.com/literature/dhurriess.html • Fly Shuttle Durrie. (n.d.). Retrieved August 09, 2016, from http://www.craftmark.org/sites/ default/files/Fly shuttle dhurries weaving.pdf • Home. (n.d.). Retrieved August 17, 2016, from http://glimakrausa.com/ • Textile Learner. (n.d.). Retrieved August 19, 2016, from http://textilelearner.blogspot.in/2011/08/ important-parts-of-loom-heald-shaft.html • Pattern weaving. (n.d.). Retrieved August 19, 2016, from http://www.cs.arizona.edu/ • Durries. (n.d.). Retrieved August 19, 2016, from http://crafts.indianetzone.com/dhurriess.htm • Weaving Techniques. (n.d.). Retrieved August 19, 2016, from https://www.kilim.com/kilim-wiki/ 120

• • • • • • • • • • •

weaving-techniques Weaving process | Weaving | Technology | Knowledge | Huddersfield Textiles. (n.d.). Retrieved August 19, 2016, from http://www.tikp.co.uk/knowledge/technology/warping-and-weaving/weavingprocess/ Aajweavers. (n.d.). Retrieved August 19, 2016, from http://aajweavers.com/index.php?option=com_ content Interview with Ashoke Chatterjee. (n.d.). Retrieved August 19, 2016, from http://www.india-seminar. com/2003/523/523 interview with ashoke chatterjee.htm Bellevue Arts Museum: What Is Craft? (n.d.). Retrieved August 19, 2016, from http://www. bellevuearts.org/exhibitions/whatiscraft.html Culture of Rajasthan. (n.d.). Retrieved August 19, 2016, from https://en.wikipedia.org/wiki/ Culture_of_Rajasthan Gangaur. (n.d.). Retrieved August 19, 2016, from https://en.wikipedia.org/wiki/Gangaur Ravi J. Matthai. (n.d.). Retrieved August 19, 2016, from https://en.wikipedia.org/wiki/Ravi_J._ Matthai Onevillage.com | For your home and for You. (n.d.). Retrieved August 19, 2016, from http:// onevillage.com/ Shop Online for Handwoven Garments for Men, Women and Home Furnishings - Fabindia.com. (n.d.). Retrieved August 19, 2016, from http://www.fabindia.com/ Maiwa - Artisans: Banjara Surya’s Garden. (n.d.). Retrieved August 19, 2016, from http://www. maiwa.com/artisans/banjara.html Textile Learner. (n.d.). Retrieved August 19, 2016, from http://textilelearner.blogspot.in/2011/08/ important-parts-of-loom-heald-shaft.html

• Jawaja Durries. (n.d.). Retrieved August 19, 2016, from http://gaatha.com/Jawaja-dhurriess/ • Indian craft. (n.d.). Retrieved April 06, 2016, from http://www.ncert.nic.in/ • Primary motion of weaving [Digital image]. (n.d.). Retrieved August 02, 2016, from https://media1. britannica.com/eb-media/84/1684-004-38042573.jpg

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Glossary A

shaped motif

• Angarkha- Traditional

• Bay be- The eye of heald

upper garment worn and

• Dhoti- A garment worn by

Shaft

males as lower garment

are tied to the left or right

• Bana- Weft

G

shoulder

C

• Ghagra- A long full skirt,

• Aravali- A range of

• Chidiya- The wooden logs

often decorated with

mountains in western

which are connected with

embroidery, mirrors or

India

heald shaft

bells

B

• Charkha- The domestic

• Bunkar- Local term for Weaver

near warper beam

• Chunari- Long length scarf

• Ghewar- A traditional

practising weaving • Bor/Borla- The head

• Girari- A metal leaf placed

spinning wheel used for

• Bhambis- Lower caste

like fabric used by women

Rajasthani sweet associated

of village

with Teej festival

• Chaukar- The square

• Gulab Jamun- An Indian

jewellery worn by married

D

sweet consisting of a ball of

women of Rajasthan.

• Dhurries- A heavy cotton

deep fried paneer boiled in

• Badi Kacchi- The scissor used for removing sheep hair • Bada Magga- The diamond 122

covering

or woollen rug for floor covering

a syrup of sugar • Gujjiya- is a sweet

• Dari- A heavy cotton or

dumpling made with suji

woollen rug for floor

or maida and wheat flour

• Ganghor- a most important

or a dobby mechanism to

• Kamarbandh- a silver or

festivals of people of

form a shed and to create

gold waistband worn by

Rajasthan

different weave patterns.

women of Rajasthan

• Gatta- The wooden bobbins

J

• Kathat- Tribes of

• Jats- a member of a

H

people widely scattered

• Harijan- A member of a

throughout the north-west

hereditary Hindu group of

of India and Pakistan

descendants of Chouhan • Kumbhar- Potter caste of village • Kahars- former palanquin

the lowest social and ritual • Jootis- a leather footwear status

worn by men and women

• Heald Shaft- A frame in which a large number

carriers • Kuldevta- The community

of Rajasthan • Jamkhani-dhurries of South

of heals are mounted.

India

Typically a loom contains

K

two or more heald shafts,

• Kanghi- the reed

depending upon the

• Kandor- The silver or

god

L • Lohars- The iron smith community • Lehariya- The tie dye style of rajasthan

complexity of the weave

gold waist band worn by

• Leher- Zigzag pattern

pattern required. The

Rajasthani women

• Lakdi ka taktha- wooden

heald shaft is raised or lowered by means of cams

• Kundan- The emerald set between gold jewellery

seat 123

M • Muttha- the rope through which the shaft moves from one direction to another • Mojri- the leather footwear • Magga- triangular motif

O • Odhani- the long scarf which is worn by women for modesty

P • Pawdi- The paddle the paddle used for lifting heald shafts • Pirn- The bobbin like pin made up of wood • Pagri- The turban made

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men

• Rajput- a member of a Hindu military caste

worn by men

Q

claiming Kshatriyas descent • Rawat- a sub caste of

• Quintessentialrepresenting the most

Rajput community • Rajput Mehrats a sub caste

perfect or typical example

motifs of dhurrie • Nath- the nose ring

• Rakdi- a head ornament

• Pyjamas- the lower garment

• Machali design- the arrow

N

from long cloth worn by

of a quality or class

of Rajput • Rajgar- A community in

R

Rajasthan

• Reed- A reed is part of

S

a loom, and resembles a

• Shiva- A Hindu deity

comb. It is used to push

• Satranji- Dhurrie of North

the weft yarn securely into place as it is woven, it also separates the warp threads

India • Shudras- The merchant community

and holds them in their

• Shed- The passage created

positions, keeping them

by separation of warp into

untangled, and guides the

two parts

shuttle as it moves across

• Sut- cotton yarn

the loom.

• Shlok- the beater baton of

loom

T • Tejaji Maharaj- a community god • Treadles- the paddles in a loom • Toor- the cloth beam • Tana- warp

U • Uun- wool

W • Weaver’s beam- the take off loom • Warper’s beam- the take in loom

Photo Credits • With exception of the images mentioned below all photographs were taken by Gaurav Yadav • Other credits are: • Chinmayee Kulkarni: Pg. 55, 77, 81 • Rimjhim Bharati: Pg.24, 38, 39, 64, 65, 75, 84, 85

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