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
12
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
13
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 %.
19
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
20
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
24
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.
46
47
48
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
51
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
52
53
54
55
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
57
58
59
60
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
62
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. 63
64
65
• 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.
66
• 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
67
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.
68
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
69
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.
70
71
72
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
73
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.
74
75
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
76
77
78
The Craftmen 79
Weaver’s Tree
Villages Weavers Weaver’s wife Weaver’s son Weaver’s Daughter
80
81
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
83
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
85
86
87
88
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
89
90
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.
93
94
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. 95
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
96
97
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.
98
99
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
100
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.
101
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
104
105
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.
109
Jawaja Products
110
111
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
117
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?
119
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
121
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
124
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
125