MUQUISH- The embroidered stories of kutch

‫يرگنڪ‬

muqish Embroidered Stories of Kutch

MUQUIS 2019 National Institute of Fashion Technology, New Delhi.

All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior information in writing from the publishers.

Contributors: Akshita Wadhwa, Dolly Singh, Muskan Gupta, Ritu Sahu, Sambit Kumar Nayak, Snigdha Barua Department of Fashion Design Faculty Guide/Mentor: Prof. Dr. Purva Khurana Printed in New Delhi, India

Acknowlegement We take this opportunity to thank the National Institute of Fashion Technology to have given us the opportunity of undertaking a craft documentation project as part of our curriculum.

This project of craft documentation has given us a platform to broaden our horizons not only in the field of traditional embroideries but also the immense knowledge of the culture and traditions followed by the people involved in these rich traditions and unwinding the beautiful threads of their heritage.

We portray our deepest appreciation for all those people who have been stimulating recommendations, encouragement and a well guided helping hand in the entire process of this journey of documenting the embroideries of Kutch, Gujarat.

We would like to thank Mr. Raviveer Singh and Mr. Daduji Sodha for giving us their valuable contacts in the field that made the project an easier task.

We thank the artisans and their family for inviting us into their humble abode and showing generosity by answering our questionnaires and sharing the knowledge of their beautiful age-old traditions.

When we returned from Kutch, we had so much information, relevant and irrelevant, in the form of notes,recordings, sketches, pictures and videos. Our mentor, Prof. Dr. Purva Khurana helped us organise and make sense of the material we had put together, reading and rereading our text over and over again with suggestions on how the document could be better. We thank her immensely. Also, we are grateful to Ms. Shresha Rai for her inputs with respect to the layout and typeface helping this document come together comprehensively.

It goes without saying that the support of our parents was invaluable, especially for being patient with us through our ever changing deadlines.

1

Preface The Indian subcontinent is a treasure trove full of culture, traditions and handicrafts. They mark the true wealth of the nation.

These handicrafts, passed on from generations to generations, perfected and evolved are a reservoir of traditional knowledge and design sensibilities. Traditions are omnipresent in India. One such land, overflowing with culture, is Kutch.

Textiles have always been deeply connected with the lives of Kutchi women. It’s their canvas, their livelihood, and a road that leads to their empowerment.

This craft document is an attempt to understand and document the various crafts of the region, especially focusing on the various embroideries practiced by the different communities of Kutch. We extensively studied the embroideries of the Jat community. They are a conglomeration of people who live in parts of Pakistan and northwestern India .Traditionally they made their living by herding or farming. The Kutch Jats are known for their embroidery work, which comes in diverse forms. The areas that were covered as a part of the field study are Sumrasar Jatwali, Bittarwan Village in Banni Grasslands, Sumrasar Sheikhwali, Hodka, Zura camp and Nirona. It was an extensive field work which included conversing, observing, learning about the craft, studying the lifestyle and immerse in the community to get a truly holistic experience.

The book mainly revolves around the women - the designer and creator of not only the textiles and embroidery, but also the aesthetic sensibilities which is inspired from their day to day life.

It begins with an introduction to the region, it’s communities and moves on to talk about the people, their craft, culture and the interdependence of all of these aspects.

In this modern age no village remains untouched by the technologies and the urban ideologies. The influence of city life may eventually wash away their unique identity and along with it, their traditional handicrafts. This book is compiled with the hope of keeping a part of the tradition alive.

‫يرگنڪ‬

muqish Embroidered Stories of Kutch

A

abha: tunic like dress worn by Muslim unmarried women. abla: mirror pieces used in embroidery. abla bharat: mirror work embroidery. aina: mirror. ajrakh: a resist and mordant-dyed cotton textile that is block-printed on both sides of the cloth and features the use of indigo and madder. The term is possibly derived from azrak, the Arabic for blue. akhiyo: veil worn by the bride. alekh: stepped embroidered outline done usually in black. ankh: outline usually in black done for pakko.

B

babul: acacia nilotica, gum arabic tree. bajra: pearl millet. bandh: circle made using tie and dye technique. bandhini: tie-dyeing. A resist-dyeing technique whereby a pattern is created by tying small areas of cloth to create a barrier from the dye. batwa: cloth wallet. bavaliyo: thorny acacia. bel: creeper plant. bhat: a group of people ,who keep a record of the people in terms of gender ,marriage etc. bidai: bidding farewell to the bride by her family before she goes to her husband’s house.

Brahmin: a term used to designate a member of one of the four varnas (castes) in the traditional Hindu societies. buchki: A tiny pouch for keeping coins. butti: small floral motif.

C

chakda: a hybrid between an old Royal Enfield Bullet motorbike and a cart which is used for everything from transporting people to harvested crops. chaupad: ancient board game .The board, usually made of cloth, is cruciform and each ‘arm’ has eight squares.

chela: a religious student or disciple. chhaas: a buttermilk preparation. It contains raw milk, cream or yoghurt which is blended manually in a pot. chowkdi: the boxed motif on the shouder and the chest around the tanu in a kanjiri lierally meaning ‘square chulha: cooking stove which uses burning wood or charcoal. churma: popular delicacy usually served with baatis and dal. jowar: also known as Sorghum is a grass which is raised for grain and many of which are used as fodder.

D

dandiya raas: a dance performed during Navratri in Gujarat using long sticks. darki: quilt. dataro: a small wooden comb. dharaniyo: appliqué textile hanging that covers stores quilts. dhoti: traditional men’s garment. It is a rectangular piece of unstitched cloth, usually around wrapped around the waist and the legs and knotted at the waist, resembling a long skirt. dupatta: a long, multi-purpose scarf that is essential to many women to protect her laaj literally shame.

F

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

G

G gadlo: mattress. gana: thick outline given to the tannu by couching strands of wool. ganesh sthapana: installation of the Ganesha idol before a marriage to make sure everything goes smoothly. gawar: cluster beans. ghaghro: long skirt worn by Meghwal women. godadi: quilt in Guajarati.

Gram panchayat: local self-government at the village or small town level in India, headed by a sarpanch.

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

H

hakoba: a type of chikankari work (shadow work). haleputra: clan of Muslim cattle herders who live in the Banni area of north Kutch . harijan: literally ‘children of god; a term used by Mahatma Gandhi to describe communities formerly known as `untouchables. havan: any ritual in which making offerings into a consecrated fire is the primary action. hoj: waterhole.

I

indhoni: a cushiony ring which is used to balance pots filled with water on the head. jal: a continuous surface almost like a mesh. jamanwar: a luncheon severed to a large number of people. jat: embroidered filling in the motifs jootis: handcrafted footwear.

K

kabool hai: These works are said during a Indian Muslim wedding which means `I agree to marry this person’.

Kalaraksha: an NGO in Sumrasar. kanjiri: a long tunic like blouse worn over a skirt by the women. kantha: a quilting technique used in West Bengal. kanyadaan: literally ‘gift of a virgin/ bride: to the brides in laws after marriage. karma: the concept of “action” or “deed”, which causes the entire cycle of cause and effect. katap: appliqué work. khatlo: bed. kothli: a small pouch.

Kotimba: a desert gourd. kungri: derived from the toran ,it is a popular motif in quilts ,especially as a border. kutchhi: a dialect of Sindi.

MUQUIS 2019 National Institute of Fashion Technology, New Delhi.

All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior information in writing from the publishers.

Contributors: Akshita Wadhwa, Dolly Singh, Muskan Gupta, Ritu Sahu, Sambit Kumar Nayak, Snigdha Barua Department of Fashion Design Faculty Guide/Mentor: Prof. Dr. Purva Khurana Printed in New Delhi, India

Acknowlegement We take this opportunity to thank the National Institute of Fashion Technology to have given us the opportunity of undertaking a craft documentation project as part of our curriculum.

This project of craft documentation has given us a platform to broaden our horizons not only in the field of traditional embroideries but also the immense knowledge of the culture and traditions followed by the people involved in these rich traditions and unwinding the beautiful threads of their heritage.

We portray our deepest appreciation for all those people who have been stimulating recommendations, encouragement and a well guided helping hand in the entire process of this journey of documenting the embroideries of Kutch, Gujarat.

We would like to thank Mr. Raviveer Singh and Mr. Daduji Sodha for giving us their valuable contacts in the field that made the project an easier task.

We thank the artisans and their family for inviting us into their humble abode and showing generosity by answering our questionnaires and sharing the knowledge of their beautiful age-old traditions.

When we returned from Kutch, we had so much information, relevant and irrelevant, in the form of notes,recordings, sketches, pictures and videos. Our mentor, Prof. Dr. Purva Khurana helped us organise and make sense of the material we had put together, reading and rereading our text over and over again with suggestions on how the document could be better. We thank her immensely. Also, we are grateful to Ms. Shresha Rai for her inputs with respect to the layout and typeface helping this document come together comprehensively.

It goes without saying that the support of our parents was invaluable, especially for being patient with us through our ever changing deadlines.

1

Preface The Indian subcontinent is a treasure trove full of culture, traditions and handicrafts. They mark the true wealth of the nation.

These handicrafts, passed on from generations to generations, perfected and evolved are a reservoir of traditional knowledge and design sensibilities. Traditions are omnipresent in India. One such land, overflowing with culture, is Kutch.

Textiles have always been deeply connected with the lives of Kutchi women. It’s their canvas, their livelihood, and a road that leads to their empowerment.

This craft document is an attempt to understand and document the various crafts of the region, especially focusing on the various embroideries practiced by the different communities of Kutch. We extensively studied the embroideries of the Jat community. They are a conglomeration of people who live in parts of Pakistan and northwestern India .Traditionally they made their living by herding or farming. The Kutch Jats are known for their embroidery work, which comes in diverse forms. The areas that were covered as a part of the field study are Sumrasar Jatwali, Bittarwan Village in Banni Grasslands, Sumrasar Sheikhwali, Hodka, Zura camp and Nirona. It was an extensive field work which included conversing, observing, learning about the craft, studying the lifestyle and immerse in the community to get a truly holistic experience.

The book mainly revolves around the women - the designer and creator of not only the textiles and embroidery, but also the aesthetic sensibilities which is inspired from their day to day life.

It begins with an introduction to the region, it’s communities and moves on to talk about the people, their craft, culture and the interdependence of all of these aspects.

In this modern age no village remains untouched by the technologies and the urban ideologies. The influence of city life may eventually wash away their unique identity and along with it, their traditional handicrafts. This book is compiled with the hope of keeping a part of the tradition alive.

Craft cluster brief The National Institute of Fashion Technology, with the active support from the Ministry of Textiles, implemented a new Craft Cluster Initiative Program which aims to provide the students with exposure to the handloom and handicraft clusters, thus providing an opportunity for creative innovation and experimentation.

Students get a unique opportunity in fourth semester to study the craft sector by visiting a craft region to study the socio-economic and cultural context , interact with the craftsmen & follow up action with appropriate design & technology upgradation.

We were assigned the district of Kutch in Gujarat to study the different handicrafts of the region. We have studied the craft, cultural and social environment and opportunities in its handicraft sector. We worked closely with the artisans in clusters of Kutch and undertook activities like observation, interviews, photography and videography.

The Craft Cluster initiative at NIFT is designed with the objectives to sensitize NIFT students to the realities of the craft sector and give insight into regional sensibilities and diversities, resources and environment. Through this initiative, NIFT has been successful in creating a widespread awareness and sensitivity in assimilating crafts into fashion and vice-versa.

Contents Publisher’s Page Acknowledgment Preface Craft Cluster Brief Glossary Introduction: Gujarat History Introduction: Kutch Earthquake of 2001 Topography Language Lifestyle & Culture Farming Community Cuisine Architecture Houses Partition Communities Handicrafts of Kutch Intro : Embroidery Women : The Embroiderers Marriage and Dowry Jat : Embroidery Intro Jat community origin The Legend Sumrasar Jatwali People, culture and costume Garasia Jat Embroidery About the Embroiderers Raw materials Stitches Motifs and Designs

Bittarwan Village, Banni Folklores People, culture and costume Dhaneti embroidery The Embroiderers Raw materials Stitches Motifs and Designs Difference in Jat Embroideries Swot Analysis Current Scenario Other Embroideries Pakko Neran Suf Kharek Other Crafts Rogan Art Bell Making Bead Work Applique Organisations promoting handloom Shrujan and LLDC Kala Raksha References Annexure

GUJARAT The land of legends

A glimpse of camel cart in Rann of Kutch Gujarat.

A

avo Padharo, hands folded, and face lit up with a big smile.

That’s how they welcome you to Gujarat. In the Westland of India, lies its spectacular state, Gujarat, filled with lush forests, magnificent monuments, exuberant festivities, and blissful solitude. It is the land of various communities, an amalgamation of different cultures and religions.

The diversity is not limited to just the people, but also in its land. It is a unique blend of hot desserts, magnificent rivers, deep-green forests, golden beaches and rugged hills.

The austere beauty of Gujarat is colourfully contrasted by the people, by the vivid colours of their handicrafts and the sweet melodies of their folk music.

In this land of wonder, they lend a touch of mystique, a charm unique to Gujarat.

Bantai ben with Dolly Singh in traditional costume.

HISTORY

T

he past of Gujarat is an illustrious one and has an important significance in the history of India.

Many ancient historical artefacts have Gujarat in its texts. This magnificent state is a treasure of the mementos and associated artefacts of the ancient Indus Valley civilization. About 50 Harappan sites were discovered here.

The original dwellers of this land were the Dravidian tribes. They enriched the ancient history of Gujarat by their commercial pursuits.

There is a trail of historical evidence that hint at the existence of trade and commerce ties with the Persian Gulf during the time period of 1000 to 750 BC. Soon after, Gujarat was invaded by the Aryans followed by a brief period of Greek rule. It was succeeded

by Hindu kingdoms which included the Guptas and the Solankis.

In the 9th century, Muslims surfaced in the political arena of the state. Mohammad of Ghazni was the first Muslim ruler of Gujarat.

He conquered Somnath, effectively ending the rule of the Solankis. The Mughals also secured their rule from Delhi. Their rule lasted for two hundred years before the Marathas took over in the 18th century.

KUTCH

R

esembling the silhouette of a tortoise, a former princely state, Kutch holds onto its grandeur past. It is considered one of the most exquisite and surreal places on earth.

Kutch is a one of the largest district in the western state of Gujarat. It covers an enormous area of 45,652 km.

A shallow wetland, which forms a considerable part of the district, known as the Rann of Kutch immerses in water during the course of monsoon and remains dry at other times.

Known for its rugged salt flat land that shines white after the water washes away welcoming the rains.

For the most part, the people speak Kutchi language. It evolved from Sindhi dialect and also has some influence from Hindi and Gujrati. A number of groups and communities have settled here, majorly from the neighbouring regions of Rajasthan, Sindh, Afghanistan and more. Known for its rugged salt flat land that shines white after the water washes away welcoming the rains.

For the most part, the people speak Kutchi language. It evolved from Sindhi dialect and also has some influence from Hindi and Gujrati. A number of groups and communities have settled here, majorly from the neighbouring regions of Rajasthan, Sindh, Afghanistan and more.

2001 EARTHQUAKE

T

he 1819 earthquake changed the flow of the Indus River and this turned the fertile land of Kutch into an arid desert. Since then the region has suffered more than 90 earthquakes of varying intensity. The earthquake in 2001 has changed the face of Kutch, On 26 January 2001, at 8:46 a.m., as the nation was preparing to celebrate India’s 51st Republic Day, a powerful earthquake of a magnitude on the Richter scale hit Gujarat. The epicentre was 20 km from Bhuj.

Within hours of the disaster, help poured in and the response was universal. Most outsiders who came to help the people were impressed by the Kutchi spirit and their determination to rebuild their lives, The earthquake killed more than 26,000 people, destroyed 3.48,000 houses and damaged 844,000 more. An overwhelming 600.000 people were left homeless. The earthquake affected 15.9 million people in a population of 37.8 million.

Due to its isolation, Kutch has been able to retain its strong cultural identity and rich tradition.

This is changing rapidly because of the new industries and influx of outsiders who have come to settle here to work for these industries. The new infrastructure and a cosmopolitan mix of people have affected the lives of the local communities. There is a dichotomy, as life in rural Kutch continues to be governed by tradition and a need to survive, but the exposure to the outside world is creating many new aspirations that are difficult to fulfil. Due to a lack of education and other vocational skills, as the local population have been either pastoralists or agriculturists, they are ill-equipped to get jobs at the new industries, while the recent settlers are prospering, creating many conflicts. Life for local communities is changing very rapidly and they will soon have to learn to adapt to the current attitudes and way of life.

An arid region in Rann of Kutch.

TOPOGRAPHY

T

opography of Gujarat shows a wide range of physical features ranging from physiology, drainage, soil to coastal and marine environment. Gujarat is located between 20°01’ to 24°07’ north latitudes and 68°04’ to 74°04’ east longitude, and covers an area of 195,984 square kilometers.

Thus spread over a vast area, the topography of Gujarat is divided into 3 major regions.

The Peninsular region, which is also known as Saurashtra, is essentially hills. The barren and rocky area containing the great Rann.The mainland that extends from the Rann of Kutch and the Aravalli hills to the river Damanganga.

Meet Akhtar .He is a eight years old kid who is expert in cricket.

LANGUAGE

G

ujarati - the mother tongue of the people of Gujarat is the most commonly spoken language in the region. Kutchi language’s original script is now extinct so most of the spoken and written Kutchi language is derived from the Gujrati script. Gujrati is also used to teach at schools and is being spoken by majority of the people of Kutch now.

Different dialects are spoken is different parts of Gujarat like Charotari in central Gujarat, Kathiawadi in Saurashtra, Surti in South Gujarat and Kutchi in Kutch.

LIFESTYLE & CULTURE

G

ujarat, the jewel of western India is home for people coming from a variety of different cultures and religious backgrounds.

It is vibrant with rich heritage and traditions.

The state has evolved to become an secular amalgamation of many religions – Hinduism, Islam, Jainism and Buddhism.

People of Gujarat are very hospitable and make everyone feel at home.

‘‘ Hinduism, Islam,Jainism and Buddhism.’’ ‘‘

It is vibrant with rich heritage and traditions.

The state has evolved to become an secular amalgamation of many religions – Hinduism, Islam, Jainism and Buddhism.

People of Gujarat are very hospitable and make everyone feel at home.

Coming from such a glorious culture, they are very proud to share and make outsiders also a part of it.

Earlier known as Gurjars, Gujaratis are still strongly tied to their roots of art, culture and traditions. The socio-economic-political history of Gujarat has a strong influence on the people. Being the birthplace of Mahatma Gandhi, people there worship his teachings and preach non-violence.

The customs and beliefs make the culture more homely and truly blended with values and moral characteristics.

The state celebrates more than 3000 fairs and festivals, which always brings in cheer and joy.

Not only locals, but scores of tourists indulge insinging,dancingandenjoyingspecialdelicacies.

One of the major festivals celebrated is Navarathari. It is a nine day celebration where people dress up in traditional clothes and take part in Garba dance.

Uttarayan or Makar Sankranti is another picturesque celebration. On this day, the entire sky is filled with vibrant kites.

The Modhera Dance festival in Mehsana district and Trinetreshwar Mahadev fair at Tarnetar are among other popular festivities of Gujarat.

Meet adnam.He is a teenager who runs a shop nearby.

FARMING COMMUNTIES

T

here is a plethora of communities, castes and subcastes in Kutch. The Hindu farming communities form a major part of the population, and they fall broadly into four jatis: Ahir, Bhanushali, Kanbi Patel and Rajput or Darbar.

They have settled in most parts of Kutch except the desert belt of Banni and Pachchham, inhabited mostly by the Muslim Maldhari communities. The Ahirs form the largest group among farming communities and they live in Bhuj.

Anjar,Mandvi and Rapar talukas.

They have many fairs and festivals woven into their calendar, a time for the extended family to meet and celebrate together. Such collective participation lends these gatherings a unique vibrancy and energy. For all jatis, Mekandada is a revered saint and every year on the day of Mahashivratri they have a mela in the memory of Mekandada.

G

Gujarat has a multi-flavor cuisine arising from the state’s cultural diversity.However the cuisine varies from region to region. It is strongly influenced by topography, weather, location and vegetation. Though Gujarat is along the west coast ,yet most of the community are vegetarians.

Most of the dishes in Gujarat have a sweet taste to it . The use of different kind of spices adds a different flavour to the typical gujrati dishes. The common ingredients used in cooking throughout Gujarat include sugar, curry leaves, gram flour, ghee, yoghurt. Meals are mostly accompanied by chaas / buttermilk and pickles.

The classic Gujarati thali is a mixture of several authentic Gujarati delicacies served on a large silver plate; i.e.’thali’.

The food presented on the plate depicts an assortment of colors and textures and also includes a vast range of tastes and flavors.

Some of the famous dishes in Gujarat are Gujarati Kadhi is yoghurt based curry with a hint of sweetness. This dish is a staple in almost every Gujarati household.

Handvo is a crispy tea cake with a soft inner filling and a crusty exterior.

Dhokla is a spongy, soft cake. They are one of the most famous delicacies of this cuisine.

CUISINE

A still from Aina mahal.

ARCHITECTURE The tradition of different communities influence the construction of houses.

The basic design of a Kucchi’s house is a traditional cylindrical shape with a conical roof utch of Gujarat is on the top which is known as the biggest district in India Bhonga. Due to extreme heat consisting of several types of conditions, houses are made architectural designs.

One of the popular historical of mud and straws in the vilsites is the Aina Mahal which lages. is an 18th century palace that Kucchi people love to decorate reflects the European architec- their houses with mirrors and 3D wall art known as lippan tural style with mirrors.

Prag Mahal is a rare gem de- kaam, done by their own signed in Italian Gothic Style hands reflecting their tradiin the 19th century by an East tions, community and emotions all painted in white.

India General Henry Saint Clair Wilkins. The palace has one of the biggest halls with beautiful high ceilings and grand door openings decorated with tinted glasses.

Houses

K

HOUSES

PARTITION

T

he tradition of different communities influence the construction of houses.

The basic design of a Kucchi’s house is a traditional cylindrical shape with a conical roof on the top which is known as Bhonga.

Due to extreme heat conditions, houses are made of mud and straws in the villages.

Kucchi people love to decorate their houses with mirrors and 3D wall art known as lippan kaam, done by their own hands reflecting their traditions, community and emotions all painted in white.

Regions like Banni and Rann of kutch are still one of the most isolated parts of india.Though Modernization has taken over ,People of these regions are happy on their own terms.

HAN D I C R A FT S O F KU TC H

INTRODUCTION Hand embroidery has been practised by women in Kutch as a form of personal expression and used as a symbol of community identity for centuries. Embroidery in Kutch is not just a technique of surface ornamentation. It is also a way of recording stories and anecdotes onto every inch of the fabric, visible to only those who observe.

There are a number of communities who practice the intricate craft of needlework.

Each community has its own traditions and styles. Inspired by the legends and their daily life, motifs have a deep importance for their contemporary makers and users.

Each individual community expresses its own identity through a sense of aesthetics—color, layout and motif preferences— that evolved out of specific aspects of their history, including migration patterns, and contact with surrounding people. Within a community, members immediately recognize clothing details of a woman’s skirt, blouse, head cloth and jewelry, as extolling her skills, identifying her marital and child-bearing status, her specific position within the community. A woman announces her ethnic membership by the color choice of her dress, the design layout of the embroidery, jewelry details and her manner of comportment.

WOMEN : THE EMBROIDERERS

T

he men and women of Kutch have different roles to play in society.

Certain errands are supposed to be done exclusively by the women of the house.

The mothers and daughters woke up as soon as the sun rises and go to collect water from the nearby tap or tank.

It is with this water that they drink, cook and clean with. Their grace might mislead one to think of the task to be easy. But walking with these pots when is full, for a kilometer or sometimes even more is no play. After returning, they sweep the yard, milk the cows and soon it’s time for the morning chai. All of the ladies gather in the freshly swept courtyard, sipping hot tea in saucers.

By 11 am they are done with bathing their kids and the cattle. Older women feed their grandchildren while the daughters-in- laws cook the food. The cooking is usually done by the married woman of the house. In their joint family system there usually are more than one married women. They take turns to cook for the entire family on the chulha- very few people had a gas stove.

The remaining members of the family, daughters included, go to the field to help the men out. In the afternoons, they work on their embroidery. in which you find the women out on their verandas, seated with their embroidery work.The needle goes in and out rapidly as conversation flows and gossip is exchanged. Embroidery is a part of their daily lives. Every woman has to learn it as a kid and continue doing it as long as her eye sight permits. .

Women are mostly limited to their own vand and talking to strangers and leaving their head uncovered is not considered right. Most of these women had not seen a life outside their village, and hence did not learn to communicate in any other language other than Kutchi.

T

MARRIAGE & DOWRY

he girls of the Hindu families generally get married by the age of twenty. The bride’s family has to do a lot of preparations. Every girl, ever since she is a child, works towards collecting her trousseau for this major event of their lives. So as girl’s daily wear is now going to change, she makes them all by herself. The mother too contributes by making quilts as a gift from her to her daughter. The idea of the dowry is that the girl is equipped with all the things she may need for the first few months of her new life with her husband, which includes clothes, utensils, household items, etc.

Meet ahila .She is a single mother of two .She is a worker in shrujan.

COMMUNITIES

community Ahir

style of embroidery Ahir

Rabari

Dehbariya Rabari Vaagadiya Rabari Bakhiyawaaru Bharat

Sodha

Sodha-Pakko Neran

Jadeja

Pakko Neran

Meghwaad Maaru Mochi Jat

Pathan Raysipotra Raau Node

Meghwal Mutva

Soof

Kharek Aari

Jat-Dhaneti Jat-Fakirani Jat-Garasiya Jat-Hajiyani Mukko Mukko Pakko Soof Kacho Soof Kacho Kacho Pakko Phooladi Pakko Pakko Kacho Neran Kharek Khambira Pakko Kacho Mutva-Pakko Gotaav Meghwaad Maarwaada, Haleputra Khudi Tebha Khambira

A Glimpse of white Rann of Kutch.

SUMRASAR JAT WA L I

This is khaleel ahmed,a resident of sumrasar jatwali.He is very friendly in nature and also very aesthetically good in terms of colors.He does buisnees of embroidered goods.

Free from the hustle and bustle of the city life, 24 kms away from Bhuj lies the little-known village of Sumrasar Jatwali. Acc to the 2011 census, it is home to 805 people, which includes 48.7 % females. It consists of 167 pakka houses. The community there is known as garasiya jat.

We were warmly welcomed inside the small village. Sipping over a cup of tea they began the tale of their vivid past. They migrated from Baluchistan during partition in search for a better livelihood. It is a hidden gem in the heart of Kutch. Not many know of this place and even fewer come to experience the beauty it offers.

‘‘toWomen like beautify the walls of their houses using mud and mirrors which is known as lippan kaam.’’

Like all other villages, Sumrasar Jatwali also had its own customs and traditions.

Women and men are supposed to handle certain responsibilities which is exclusive to their gender. Men are the breadwinners and practise farming and cattle rearing. On the other hand, the women take up the role of nurturing along side seeing to the more emotional and aesthetic needs of the family. She allocates time for every errand and follows an identical routine everyday. After completing her routine tasks, she finally sits to embroider beautiful pieces in her spare time. Women like to beautify the walls of their houses using mud and mirrors which is known as lippan kaam.

Nausheen Khan Meet nuashen . She is Thirteen. She studies in a nearby school and loves to embroider her clothes in her free time.

PEOPLE & CULTURE

‘‘embroidered The women

the wedding dress and dowry articles for their daughters’’

Warm hearted, good natured and genuine. Such are the people of the charming village of Sumrasar Jat. Customs and laws of the locals are similar to those of any Muslim society. In terms of livelihood, animal husbandry and farming are the major occupations here, which is practiced by the men in the village. The children went to school only till class 10 because they didn’t have a school for higher studies near the village.

As the men go out to work, women complete her daily chores and sit down to do needlework in their leisure time. For them, the craft is a medium of telling their stories, they embroidered their lives and times onto fabrics passed them down to their children, explaining the relevance of it. Over a period of time this craft gained importance and it became imperative for a girl to know ‘kahi, bunai and silai” to a groom. The women embroidered the wedding dress and dowry articles for their daughters and by the end of the decade the mother could ready the dowry for her daughters.

CO S T U M E

Traditional dress for women of Sumrasar Jatwali.

People of Sumrasar Jatwali are migrants of Baloochistahan.

B

y the kind of clothes a person wears, one can tell a lot . Cultural norms and social structures to a great extent influence and restrict an individual’s choice. They show their creativity when they explore even within these rigid boundaries.

The women wear a long, flowy tunic like blouse called churri which is tied by a belt called patti, at the waist. They mostly do embroidery on the yoke of the churri which is called the gore. They cover their head with a dupatta which is called khwambi. Traditionally, they used to wear only red or black dupattas. It has a net border. They adorn themselves with jewelry like the necklace which is called Cherma and the anklet known as Jeer.

The men dress in all white. They wear a simple knee length kurta and pants known as Ijjar. They wear Madh, a type of a hat on their heads on special occasions. It is also completely embroidered.

Meet Jhakaas Bhai wearing traditional dress of Sumrssar Jatvali Kurta and Salwar.

Meet Amir.He loves to play football and cricket.He is little shy but is excellent with photos.

Meet Amir.He loves to play football and cricket.He is little shy but is excellent with photos.

GA R A S I A JAT E M B R O I D E RY Garasia embroidery resembles the mosaics found in the Islamic tile work.

This embroidery is rendered only on the yolk only one stitch the cross is used to create a fixed number of geometric designs. Colours are used in a v specific manner. Jat garasia is a counted thread embroidery style ; there is no outline or drawing done on the fabric to guide the craftswomen. Instead the geometric forms are mentally conceptualised and plotted by counting the threads of the fabric. The embroidery is rendered on thick coarse cotton fabric using a very tiny and fine cross stitch rendered in double thread the craftswomen plots the squares and rectangles that constitutes the grid of the geometric forms. The grid is of the same size throughout the composition. The spaces within the grid are filled in with bold colours and small round mirrors. The thick coarse cotton fabric, the small round mirrors the tiny and fine cross stitch rendered densely in bold colours : all these aspects make Jat embroidery vibrant and weighty at the same time. Embroidery is an integral part of the lives of the craftswomen and the pursuit of excellence is a strong motivator. The indicators of technical excellence in jat embroidery as set by the craftswomen are 1.Grid is of the same size throughout the design and uniformly balanced.

2.Small round mirrors are used 3.The base fabric underneath the embroidery does not show through

A RT I S A N PROFILE

salma Salma is a 22 year old girl who lives in the village of Sumrasar Jat in Kutch.She’s married and has 2 kids. Her husband is a farmer and she looks after the kids and does all the household work. In her free time she likes to do embroidery.

She started doing embroidery when she was 16 years old.

It was taught to her by her mother who learnt it from her mother.

Embroidery is more like a secondary occupation and not their primary priority.

Initially she used to embroider on their clothes that they wear on special clothes but now she also takes orders. Organisations such as Kala Raksha and Shrujan are amongst those who give them employment. Her brother Abdul Jat is the one who manages all the orders in the village, including hers.

KAREEMA

K

areema Ben

Aged 60, she is the oldest praclearned Jat embroidery from aunt when she was 6 years old

and two daughters, and sixteen grandkids, with whom she shares her knowledge of the

been a hobby and she did it two years back she as trained to do it professionally by Viza Ben who is an entrepreneur and she has started embroidering and design that she uses in her embroideries are inspired by her of hand embroidery has reduced radically and that makes her

CHENA BEN

A

master of embroidery, Che-

with her husband, daughters, sons ,

is not the main source of income for them, her family depends on other As she grows older she complains eye sight due to intricate needle

upon herself to teach young girls the the clarity of designs which is clearly

JANA

I

n the quaint village of Sumrasar Jatwali we found a warm and friendly lady named Jana. She was married off at a very young age. Marriage brought many responsibilities on her shoulders so she sought to learn the traditional art of Jat embroidery to add some colours in her life. She lives with her mother-in law, father-in law, husband, and two kids.

Like most of the others, she also makes products on order. Her favourite colours are pink and yellow and she likes to keep her designs simple and true to herself.She likes to incorporate her own creative designs in her work but also keeps in mind the market demands. Sometimes she is saddened by the thought that returns she gets for her hard work is not enough for the quality of work and the amount of time she puts in. She loves to practice embroidery and dreams of acquiring digital skills to create designs on computer.

A A S I YA

A

asiya is one of the innumerable gifted artisans of Sumrasar Jatwali, she is a young woman of 17. Aasiya has completed her education only till the 8th grade but is well versed in Hindi and Kutchi. By the age of 11, she learned the craft of embroidery.

She lives in a big family of 17 which includes her grandmother, father, mother, sisters, brothers, uncles and aunts. She helps her mother in everyday chores and does embroidery only in her free time. She enjoys doing it not only for orders but also for herself.

She feels that embroidery isn’t a big source of income to sustain their family so she also works as a labourer.

RAW MATERIAL : A cotton cloth, Threads, and needles.

R AW M AT E R I A L

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. Ribbons machine stitched replacing the embroidered outlines for the sake of ease. In most cases the women gave just a vague vailability of materidescription of the material she al plays a key role in any craft development. This is because any needs, and then it’s up to her husband to buy it. Thus, when material that can be procured with the maximum ease without the woman says blue it’s kind of up to the husband to pick up the burning a hole in the pocket, most probably used for any em- shade of blue. Likewise, the mabellishment or decorative crafts. terial and the colour also depend on the availability of the things.

In this particular case, threads, mirrors, sequence, buttons, shells Mostly it because of this reason the kind of thread used has conand fabrics are being used. The materials that are presently been siderably changed. used differ used in the past. This change may be brought on by two, three reasons. Firstly the markets where the materials are sourced from have started stocking new materials namely rayon threads, ribbons, buttons etc.

Secondly, materials have brighter colours thanks the synthetic dyes, and the brighter the better is usually the case.

S T I TC H E S 1.

CROSS STITCH : 2.

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This stitch is an embroidery technique in which a series of diagonal stitches form a cross. This stitch is worked by passing the needle in and out of the fabric, one stitch over the other. Cross stitches give an appearance of a geometric design.

STEPS : Begin the process by poking the needle thread up through the fabric from point ‘a’. Poke the needle back at an angle of 45 degrees up. Next, make a similar stitch of the same length crossing over the first one.

MOTI FS AN D DESIGN

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ot knowing how to read and write has not stopped the people of Jat community from recording their experiences. They have effortlessly managed to translate their culture and visual stimuli into a tradition of glorious needle work. These experiences vary from every community in Kutch, hence the development of a unique style.

As embroidery was done with ample time at hand and as an on-going process, there is a sense of detail and self expression. The women keep honing their skills enabling them to pay more attention to the nuances, and ways of doing the same in an easier manner.

As a particular motif was repeatedly done, it was abstracted at every level and to such a stage that they did not remember anymore why a particular motif was called so. Since the craftswomen didn’t know what the motifs really mean, we researched and have tried to interpret them to the best of our understanding.

The motifs used by the community did not have a specific inspiration, rather their motifs were known by the geometric design they created by placement of mirrors and crosses.

POPTI BANDHi - Artisans ended their yoke with the horizontal row of triangles facing downwards and on the lower tip a diamond shape was placed. It was known as Popati inspired from the earrings.

JAT TAK - Jaat means diamond shapes with zigzag outline placed to form a square shape and mirror was placed in the inner portion of square.

ADHARIYA - A series of rhombuses with mirrors highlighted in the centre and the triangles between 2 rhombuses are completely covered with single coloured cross stitches.

RAILDHI - It is a continuous chain of concentric rhombuses with white highlights.

GAGHA MANTH - Zig zag cross stitches with symmetric colour placements.

NAVI CHATAK - Series of rhombuses divided in 4 sections with alternating squares and mirrors.

Chambh tak - Placement of mirrors in diagonal checkered format.

AURI CHAKI - Similar to Ganga Manth this motif is a broader zig zag with white highlights between each colour change.

RUSHANI .

UMAR KOT - A grid of squares with 4 colours used in a predetermined pattern. It also has mirrors at equal intervals.

LASI PATI - Continuous row of 8 pointed stars forming a diamond between them. The diamond has a mirror attached .The star has squares in its middle.

MADHURA JAT.

KHAKAS OF THE MOTIFS : Jat khakhas and their different variations.

J AT TA K

J AT TA K

M A D H U R A J AT

RAILDHI

L A S I PAT I

J AT TA K

C H A M B A TA K

POPTI BANDHI

L A S I PAT I

A D H A R I YA

N AV I C H ATA K : M I R R O R ( TA K ) . : CROSS STITCH.

BANNI

FO L K LO R E S

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hasar Bura was sitting on a quilt spread on the ground outside his house waiting for his wife to serve him dinner As he loved conversing, he began telling us a tale about the formation of the Banni grassland. About 50 kilometers away from the Meghwal tuas, there is a hill or a tapu, where according to his story, about 1300 years ago, there was a saint, who was doing continuous penance for twelve years. He would not eat or drink anything for all those years. At the end of his Samadhi, he instructed his devotee or chela to make sure that when he opened his eyes; he would set his eyes upon a deserted area, without any life.

The area which is now Banni, was initially a sea with deserted land around it. When he opened his eyes, he threw his glance at the water body and it dried up into grassland.

The devotee was worried about the sin committed by killing the marine life. The saint When the grassland was formed the saint said ‘ban gaya’ - meaning ‘it is made’ hence the name Banni. The land in this region is under the ownership of the government. They do not allow any agricultural activities to make sure it remains a pasture land for cattle breeding. This is why he explained to him that the good karma of the grassland will absolve the sin. This grassland will provide food for cows, which will eventually wash away all the sin. The main occupation of majority of the people here is cattle rearing.

PEOPLE AND C U LT U R E

Meet saif ahmed.He lives in a village in banni .he is seventeen years old and a amzing sphered.

Women get married at a young age and are soon expected to bear a child. They don’t feel the need to send their children to school for higher education he people of Bittarwan as it is not close to the village. have a unique lifestyle. They are The don’t have easy access to a patriarchal society, where men basic amenities like water and have an upper hand. They are electricity. For an outsider, very disconnected from the city their world may seem bizarre, and have their own rules and cusbut for them it’s how things toms.They still follow the same are supposed to be. ideas and lead their life the same way as their ancestors did and find it difficult to adjust to the modern way of life.Their main occupation is cattle rearing and coal making. The men are expected to have more than one wife as having numerous wives signify a higher status of the man.

T

Unmarried girls wear a small one, while the married women wear a big nath, which is so heavy that it needs to be supported by the dupatta. On their necks, we can see a kedla-patti, ike any other community in Kutch, they also have their own, which is a multi purpose necklace, that includes a metal ear cleaner. unique clothes.

The women wear a chola on the top Along with this, they wear heavy which is an open back blouse with a earrings known as bala. All this string to tie at the back. The Cholas jewellery was made of brass, which are heavily embroidered. Since it has is not happening now. ties at the back, it makes it possible Where on one hand, women wear to wear the same blouse even when such elaborate dresses and accessories, men wear just a plain white they are pregnant. With that they wear pathani which is a ghaghra up kameez. On their necks, we can see till the ankles. They cover their head a kedla-patti, which is a multi purwith fattar, which is a dupatta. The pose necklace, that includes a metal ear cleaner. Along with this, they women like to adorn themselves wear heavy earrings known as bala. with a lot of jewellery. The most All this jewellery was made of brass, prominent feature of their entire which is not happening now. look is a nath. Unmarried girls wear a small one, while the married Where on one hand, women wear women wear a big nath, which is so such elaborate dresses and accesheavy that it needs to be supported sories, men wear just a plain white kameez. by the dupatta.

L

co s t u m e

Traditional dress for Dhaneti Jat community.

It is a suit where Garasia Jat embroidery is done on the Yoke of the suit.

A Girl wearing traditional jewellery of community.

A neckpiece which is worn by the women of Garasia Jat community.

It is used for cleaning their ears, nails and their private areas.

Dhaneti E m b r o i d e ry

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old and dense embroidery created by both this communities form an integral part of their attire of daily wear. The distinctive identity of their embellishing style can be seen in the form of tight padded chain stitch along with an array of other stitches creating geometric patterns used all over the yoke of their garment. Tiny blocks of stitches forming squares and triangles along with vivid circles created by couched stitches and inlaid with glittering mirrors define the exclusive design sensibility of the creators. The color palette used by the communities is akin to the hues and shades used in Paako bharat confirming their native alliance with Sindh.

the embroideries Since the people of Bittarawan are conservative and live in a patriarchal society, men there made it clear in the very beginning that the women were not permitted to talk to us. Here’s what we found out about the craftswomen of the village by talking to the men.

The life of women here is very similar yet different to that of the villages of Kutch. Taking care of the household is the major part of her routine. Her morning starts early and she gets to work as soon as she wakes up. She gets water from the nearby well, goes to pray, feeds the animals, cooks food, cleans the house. Then , in the afternoons, she finally gets time to herself and sits back to do embroidery.

The women are not allowed to go far from their homes, and none of them have ever experienced life in the city. The women embroider clothes for herself and her family. They not only embroider clothes, but also yokes,pillow covers, torans, bags, etc. They do not sell it commercially because they have no knowledge or means to do so, as they are very disconnected from the rest of the world. Embroidery has been a part of their culture for as long as they can remember.

They continue to pass on their skills to the generations to come.

From a very early age the girls start helping their mothers by embroidering small motifs and practicing basic stitches. They believe that it is very important for women to learn embroidery because according to their traditions, they need to make a certain number of clothes for herself and her husband as a part of her dowry. The women depend on the men of the village for all the raw materials that are needed to embroider. Since most of the women never went to school, they cannot understand any other language except their native, a dialect of Kutchi.

The women of Bittarwan live their life under the shadow of the men.

Since they have never experienced life outside the village, they don’t know any better and continue to happily live in ignorance.

A

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

Embroidery thread or know as dhaga in kutchi.

Mirrors or know as taek in kutch

r aw m at e r i a l s

sT Tches

CHAIN STITCH Chain stitch is an embroidery technique in which a series of looped stitches form a chain-like pattern. Chain stitches can form flowing and curved lines which make the surface embellishment more enhancing.

STEPS: Begin the stitch by poking the threaded needle up through the fabric from point ‘a’. Poke the needle back at a very close point near Pull the thread at point ‘b’ so it forms a loop. Holding the loop with the finger, poke the needle from the back of the fabric at point ‘c’. Again place the needle close to point ‘c’ and insert the needle in the fabric at point ‘d’ to form a loop again as the initial step.

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Running Stitch This stitch is simple needle stitch consisting of a line of small even stitches which run back and forth without overlapping. The stitch is worked by passing the needle in and out of the fabric. Running stitches may be of varying length.

STEPS: Begin the running stitch by poking the threaded needle up through the fabric from point ‘a’. Poke the needle hack clown through the fabric next to where you just came up at point ‘b’, and pull the thread down into your first stitch. Now poke your needle back up through the fabric at point ‘c’, leaving a space from the previous stitch. Then poke the needle back down through the fabric again malting your second stitch.

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Backstitch

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It is the kind of embroidery wherein individual stitches are made backward to the general direction of sewing. In embroidery, these stitches form lines and are most often used to outline shapes. It’s smaller, stronger, and easier to keep straight than a running stitch.

STEPS: Poke the needle from the back of the fabric at point ‘a’. Poke the needle back down through the fabric next to where you just came up at point and pull the thread down into your first stitch. From the back of the fabric, bring the needle up at point ‘c’ at a distance equal to that of ‘ab’. Poke the needle again at point ‘a’ so as to see a continuous line.

4.

FEATHER STITCH This is a hand-embroidery decorative stitch which creates a vine or branch looking line. This looped stitch is worked evenly with stitches akernating to the right and the left. It Looks like a series of interconnected ‘V’s. It is very cautiously done stitch lines to avoid any asymmetry.

STEPS: With the help of four parallel lines a, b, c and d, poke a threaded needle from the back of the fabric at point T and poke back at point ‘2’ keeping the thread loop towards your and and again bringing the needle from the back of the fabric at point ‘3 making sure that the needle comes over the thread and not passing under it.

Insert the needle down again at point ‘4’ and bringing Cap at point ‘5’ again making sure that the needle passes over the thread. Repeat the same on lines ‘e and ‘d’.

SATIN STITCH

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The Satin stitch is a series of flat stitches. The difficulty underlying in this stitch is to maintain the neatness, especially on the sides of the pattern that is being filled. The expertise of these women lie in their well-defined consistency and attention to every detail that makes the embroidery appear in sheer elegance.

STEPS: Draw the motif that needs to be filled with this embroidery.

As seen in the illustration bring the needle from point ‘a’ to point ‘ b’ again from point ‘c’ to ‘d’. Make sure these points are close enough so that the motif gets evenly filled.

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MOTIFS AND DESIGN

As embroidery was done with ample time at hand and as an on-going process, there is a sense of detail and self expression. The women keep honing their skills enabling them to pay more attention to the nuances, and ways of doing the same in an easier manner. They mainly took inspiration from their surroundings.

Limbodi aanko - It is inspired from the fruit of Neem tree.It is a diamond shaped unit repeated to form a square.Centre of the square was embroidered with mirror around which circular periphery was created with lines. The remaining empty space within the square was tilled with similar lines in circular format Adh Butti - A floral motif which is in the shape of half a flower.

Gheta Sing - It was the motif inspired by the horns of sheep.In their religion, it was a taboo to depict living objects, so they were inspired from the horns of the sheep.

Fuladi - It is a floral motif. They practice 2 types of Fuladi - Saachi Fuladi which means the real fuladi, had narrow petals and Khoti Fuladi which translates to artificial Fuladi was created with four wide and four narrow triangles placed in an alternate pattern.

hodi - It was the motif inspired from the ladder used in farms.

Butto - This motif was inspired from the stack of dry grass.

Chopad - Chopad means four sides. As the name indicated, the motif was formed by small petal shaped units in all four sides from the centre. The empty spaces in between the four petal shaped units were filled in with tiny mirrors. The square formed in the centre by the four petal shaped units was filled with white colour. The entire arrangement was known as Tak Chopad.

Khilful - It was an arrangement of various squares embroidered in such a way that it was creating an image of a flower.

Ful - It is a circular repeats of the petals worked in white around the mirror.

Embroidery was ended with number of horizontal rows made up of zigzag lines. This portion was known as Chher, which means infinite or never ending.

DIFFERENCE IN JAT EMBROIDEREY Even though the embroidery is done by the subgroups of the same community, Garasia and Dhaneti embroideries are aesthetically very different.

Where on one hand Dhaneti embroidery is done using a variety of stitches like chain stitch, running stitch, backstitch and feather, Garasia embroidery is done using only a combination of cross stitches.

Dhaneti Jat has definite forms and figures inspired by their surroundings. On the other hand Garasia Jat is created using geometric patterns with no obvious inspiration.

Garasia embroidery uses only threads of primary and secondary colours in their designs, whereas Dhaneti Jats have started using contemporary colours like shades of neon.

Garasia Jat embroidery is uniformly balanced, which is not visible in the Dhaneti style of needlework.

Unlike Garasia Jats , who embroider for commercial purposes, Dhaneti Jats are uncomfortable selling their creations and only embroider for personal use.

Even though both subgroups have the same origin, Dhaneti and Garasia are the perfect example of how their aesthetics have evolved into something so contrasting due to undergoing different experiences and settling into different lifestyles.

STREGNTH

Strong age old legacy Highly skilled Tenacity to learn Cost effective Resources available locally Easy to source raw materials Products are high quality and unadulterated Artisans supported by organisations like Kala Raksha

WEAKNESS

Unstable Source of Income Have no government support Lack market awareness Don’t have the means to sell their work directly to the consumers Limited production capacity Very little awareness about their work among people Don’t know how to stitch the garment on which they embroider Not realizing their full potential

swot analysis

O PPURTUNITY Product Innovation Potential as mainstream occupation Exposure to a wider market

THREAT

Competition with machine embroidery New generation is not inclined to continue the legacy Competition with other embroideries in the market

CURRENT SCENARIO

In a time when most of the rural crafts seem to be facing a setback, it is some kind of consolation to see the survival of such a rich needle work tradition. Well of course it has seen its ups and downs and does not exist in exactly the same way it used to before. Nevertheless, the craft has managed to maintain its charm, and continues to tell the tales of its people.

Youngsters are fast losing interest in this painstaking and time consuming work. Nowa-days, girls need to make embroidered products only for their wedding, and later on can wear the abha (which is tailor made) as daily wear. Interestingly, commercial activity has managed to play a role in preserving the practice, especially in Meghwals, as it has immensely improved their economic condition. Women and men equally take pride in their work as it is exclusive and people from all around the world come to see it. Commercialisation also has other issues associated with it. Earlier, each piece was unique as the design was never replicated, and as it was a means of self-expression, while the emphasis currently, is on what sells more. Production of those commodities are encouraged which are preferred by the clients.

We can surely say there is hope for the beautiful craft; even if it might not be restored to its original glory, it is definitely on the path of being transformed into a commercially successful and inherent art-form, which derives its roots from the lives of the embroiderers.

This trend has converted the only avocation of women into their vocation. Their lives show us a possibility of a different lifestyle; a lifestyle where uniqueness is appreciated, but only if it belongs to a group, where television has reached way before education and where gender decides the work. There are many other facets These things lack a personal touch or of their lifestyle, which might actually teach everyone any sentimental value and are purely a thing or two. It really baffled us when we realised there was nothing called a dust bin, no garbage whatcommercial in nature. For example, the time and thought put into a koth- soever. Due to the lack of resources like water and li’s embroidery, creating new patterns, food, people subconsciously use energy efficiently and minimise wastage of every commodity available mulling over the next colour to use, to them. For example, they eat before sunset and after and letting the weeks give it its own spending some quality time with the family, they sleep character is now not possible. They early, and rise with the sun. have a deadline to achieve and only then will the remuneration come. The Their community is a collection of people who follow a certain way of life, and for them, products are for a client and not for the home, and given the menial wage religion is just an undercurrent. The people are not divided, but instead are designated a means of livelipaid for it, why put in the thought hood, based on skill. This distribution of occupations and effort? But at the same time, maintains equilibrium in the community. Looking there is a feeling of pride for their back at their lifestyle, we felt a sense of reassurance heirloom and the skill handed down that despite communal, societal and economic disparto them over generations. They are realising the need to protect and save ities that exist within their surroundings, the people thrive on the basic essence of peaceful living and their old pieces as they have a lot of above all, of being human. value.

OTHER EMBROIDERIES

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he word pakko literally means solid- an apt name for the tight square chain and double buttonhole stitch embroidery. According to the book Mud Mirror and Thread, by Nora Fisher, pakko known to be historically practised in Samroti, the region east of the Indus river, including Diplo and parts of Mithi sub districts. The style extended into Garada, the far western region of Kutch which is culturally linked to Samroti. Being a regional style, Paako is widely practised by almost all the communities in the Banni, and used generously on kanjiris. Outlines are mostly done in black slanted satin stitch or square chain stitch called ankh. Firstly, the motifs are sketched using mud with needles, or with a pen using stencils. They are primarily organic shapes, quite often depicting flora, arranged generally in symmetrical patterns.. Sometimes the outline/border can be in different colours as well, for example we came across one Meghwal kanjiri in red border in Hodka. The filling is done with square chain stitch called jot. It is in varied colors like parrot green, cerulean blue. brick red, white. bright pink and also deep violet.

Young girls learning pakko start off with the outlines, as straight lines are simpler than the filling. But these days, with the increasing use of the sewing machine, a thin woven, wavy black ribbon is attached as the outline for straight borders instead of hand done stitches. This ribbon is also used as the ankh for the other motifs which are fixed by running stitches by hand.

Pakko is often outlined with a black slanted satin stitch and lots of mirrors punctuating the motifs. The most common motif is tak lmvariyo, which is used as a border motif in the kanjiri There is a circle which is framed on both sides by an hourglass symbol.

PAAKO

The circle is known as tak which generally has a mirror piece, abla. The hourglass symbol resembles the branches of the bavaliyo tree and therefore is called bavariyo. The tak and the bavariyo alternate to form the border. There are many versions of the tak bavariya, using similar looking motifs. One kanjiri had kharek triangles to make the bavariyo. Flowers motifs which are quite stylised, fill the remaining area in the form of a bet, a flowering creeper; or a single large flower.

Heart-shaped motif akko, peacock motif morlo and concentric circles around the abin, dot the less filled in area of the kanjiri Mukka, neran and kurmich are also used in combination with pakko_ The jat part of mukko is actually the pakko stitch with similar colours. There is a difference between pakko and kacho, though not very apparent. Among all the embroidery styles, Pakko lasts the longest period of time as a result of the packed dense stitches used unlike kacho. That is the reason why it has a raised appearance. When we asked the women to show us a few samples of the kind of gaj or kanjiri they generally wear, they would bring out the recently embroidered kanjiris specially made for an upcoming festival or marriage. These had a lot of pakko and mukko work. But when we asked for the older kanjiris, sometimes they brought out cut pieces of the neck area of worn out kanjiris. They save up these parts for future reference of the design and for selling it to textile collectors. Most of these pieces had either pakko or kharek Mukko, neran and hurmich are also used in combination with pakko.

NERAN

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his is a very simple stitch, one of the firsts the kids learn to do. Just like the other stitches, this one has a border in black and a colourful filling with open chain stitch. It was originally a stitch used in conjunction with kharek and pakko embroideries. It is called neran meaning eyebrow as the smaller diamond resembles the eye, and the remaining coloured area in the shape of the curve looks like the brow.

First the outlines of the lower triangles of the entire row are made. Then each diamond is completed, by making the top triangle first. Then going right down to the centre of the left lower triangle from the back, a fly stitch is made to make the small diamond. The same process is continued, over the alternate gaps between each diamond. Generally there are three layers, if not one. After the outlines, color is filled in to make a solid motif. The bright happy colours are a characteristic of the neran stitch. The little diamond is done in white, while the remaining area is filled in bright colours like green, yellow, orange. We saw some women embroidering with neran on tracings for the front of a jooti, to be stuck on once complete in interesting combinations of colors with the customary white centres with black outline. The stitch is fast, lasting and looks complex, which increases its commercial popularity.

SOOF

S

oof, an embroidery style historically used in Thar Parkar, is worked from the reverse in surface satin stitch forming fine geometric motifs. Soof is stitched predominantly in green on red or red on white, with plied cotton or, in some cases, silk floss thread. The basic motif of soof is the triangle, from which all other motifs are said to emanate, and to which the name “soof ” refers. In both soof and kharek styles, the geometric motifs and patterns usually do not refer to elements of life, the kharek or date motif excluded. Rather, they refer to geometric relationships, such as a square arrangement, or half or double a certain motif. Soof is not always geometric. It is not uncommon to find single figures such as camels or humans or peacocks of various types portrayed in a pictorial manner. Soof motifs are neither drawn first nor sketched with thread, unlike those of pakka and kharek styles; they emerge from the artisans’ minds in mathematical formulas. Nor do the oldest examples of soof use mirrors.

Soof is somewhat an anomaly among neighboring styles, and this presents intriguing questions as to its origins. The style may relate to phulkari, although the creation of geometric patterns by pattern darning stitch in phulkari, and by surface satin stitch in soof may arise from different concepts. Embroidery very similar to soofis made in Afghan Hazara and Kandahar, suggesting that a soof style brought from the north subsequently evolved into the distinct Thar tradition. I am currently conducting further research on this topic.

SECONDARY CRAFTS

R O GA N A RT

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he Rogan art of painting is an ancient art over three hundred years Old. The traditional Rogan flower motifs and designs speak of a Persian influence and the word Rogan itself means oil-based in Persian.

There is a belief that the art came to India from Africa. Another theory is that it originated in Syria and travelled to India through Persia, Afghanistan and Pakistan. Today, Nirona in Kutch is the only place where this work is created.

When castor Oil is heated over fire for more than twelve hours and cast into cold water, it produces a thick residue called ro-gan, which is mixed with natural colors obtained from the earth. With a six-inch wooden stick or pen, the craftspersons then draws out from this a fine thread which is painted to the cloth. Rogan painting is delicately and precisely painted from one’s own creative imagination and is done with total concentration sitting on the floor without using a table-frame or any outline. .Rogan art is a rare craft that is not well known even in India. Because of its rare qualities, its practiced by only one family in India and they reside in Nirona village in Gujarat. Most of the other artisans have lost their art as it was not passed on during partition or lost from generation to generation.

Rogan art is currently the bread earner for a family of Khatris. Gafoorbhai Khatri is the head of this family and he has kept the art alive by ensuring his entire family learns and practices his life’s work. He is a National award winner and is currently in the process of opening a school that teaches Rogan art to children from different families. In Gujarat, Nirona, Khavada and Chaubari were the hubs of Rogan art and bustling with its practitioners till a few years ago but not any more. They produce eclectic items like wall-hangings, pillow covers, table cloths imagery which combines influences of Persian miniatures and local folk art for the international market.

A lot of tourists who visit the village also pick up stuff from them. The exposure tourism brought gradually led to an increase in demand. And the family now even runs a unit employing outsiders, with a hope to make their products available in the market.

CO P P E R B E L L S

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ike any other craft, the craft of copper coated bells evolved from the need of the time and region. Before partition, there used to be constant movement of people between these regions. Live-stock was a major occupation in Kachchh. The Lohar community from Sindh saw the potential and brought the craft to the land of Kachchh. Ancestors of copper bell makers sold their products to the local communities. Maldharis Bharvads and Rabaris (pastoral communities) were their major clientele and shared a very close relationship with the bell artisans. The Bharvads and Rabaris would sit with the bell makers describing the sound that their cattle recognize. The bell makers set the sound and tone till his client felt convinced of the sound.

If there is any change in sound or the shining fades, then the copper bell artisans refurbish it free of cost.

Almost all the live-stock was adorned with their bells thus providing a very good market. A bell was then tied to one of the cows in the herd. The bell was tuned to the liking of the Maldhari customer. The cows would soon learn to follow this sound and move in a group, when left to graze in the grassland. Later, he would go out and call the cow with the bell tied to her neck. Each cow has a name and she would recognize her master’s voice and head back home, and the herd would follow the sound of the bell and return with her. The sound of each bell is unique and differs with the size and tuning. It also differs when tied to a cow or a buffalo.

Metal bells are made from the collective work and skill Of a family. First, men shape each bell.

They hammer rectangular strips Of recycled metal into a cylindrical hollow and weld a dome-like metal crown to the bell’s cylindrical body. Next, artisans bend and attach a metal strip to the crown so the bell can be hung. Once the bell is shaped, women dip it in a solution Of earth and water. They cover the wet bell with a mixture Of powdered brass and copper. The bell, with its powdered coat, is wrapped in a pancake Of local clay and cotton and placed in a kiln to bake.

After it is properly baked, the cotton is peeled away and any excess clay is rubbed Off. Each bell is buffed and polished to accentuate its unique metallic sheen.

A ringer, made Of a dense wood called sheesham is attached inside the bell, converting the hollow metal Object into a music maker.

Old timers often refer to the bells by their original names such as chota paila, pail* dingla, do dingla rather than the sizes.

Nowadays, they make a cluster of bells and sell it as windchimes. This new market has given a fresh lease of life. The bell makers also sell their products through exhibitions organized in urban centres by the government and NGOs, or through lifestyle stores.

bead work

Phoola Ben. Head of bead workers.

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ead work is made throughout Kutch and Saurashtra. One of the early documented samples can be found at the Junagadh museum in Saurashtra - a bullock cloth made by the Mochi embroiderers, dated late nineteenth century. Venetian glass seed beads were used then from Murano which reached India via East Africa and the Arabian Peninsula. After they stopped being manufactured, glass beads made in Varanasi have been available since 1981. But still in some places plastic beads were also used as it is cheaper.

The craft of moti work started with the Mochis and by the twentieth century it was taken up by the women who made toran, chakla and dandiya. More recently the craft spread over most of the communities in Kutch, including the Banni region, like the Rabaris, Ahirs and the Meghwals. Apart from the ornamentation by the way of metal jewellery and embroidered clothes, women wore beadwork necklaces and ribbons in their hair with a bead jewelled end.

The beads are sewn by themselves and interlaced such that a flat surface could be made. The beads are placed very close to each other and look like a continuous fabric This can be attached to any cloth or used by itself in the form of choker. The patterns and motifs are simple, and very similar to those used in embroidery. They are a bit geometrical as the beads make a grid, in which the coloured beads make patterns on a generally white bead background.

Red, ultramarine blue. peacock blue, viridian green and orange are the colours used and most probably easily available in the market. There is another way of attaching the beads in a beautiful criss cross manner, mostly used for the necklace. These end in a teardrop bead or a tassle.

The sera, worn by the groom, has lengths of beads hanging from its longer side. These are sometimes made with plastic or glass beads, accompanied with a few pompoms, and other sparkly sequins.

R AW M at e r i a l

Coloured Beads used in Beadwork to make different products.

Woolen colourful threads to make products.

Continuos chain of golden beads.

A pen with beadwork on it.

A waistband made of Kodhis.

A keyring with beadwork on it.

A quilt of applique work by Meghiben representing Rann of Kutch and other villages.

It is a 30 years old piece.

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he art of decorating a textile product by applying fabric on fabric with the edges sewn down by stitching can be termed as Appliqué. A colored piece of fabric cut into various snowflakes like forms or abstract rendition of birds and animals or simple linear pattern is sewed on the surface of a different colored fabric. The composing of forms on fabric surfaces adds in a quality of dimensionality while providing visual depth and surface richness to the negative and positive design background. Appliqué is created by two different techniques and its origin can be identified by the style of fabrication, color usage, composition and the kind of forms of patterns used.

These days, applique is sometimes confused with patchwork. Though both techniques derive from the recycling of old fabrics by sewing different fabrics to create one piece, they are quite distinguishable. Patchwork refers to a variety of fabrics sewn together to create a single textile pattern. On the other hand, applique refers to a variety of colored fabrics and ornaments, such as small round mirrors, layered on top of one another in order to create elaborate designs by means of various forms of stitching. There is no restriction to the type of fabrics used in the creation of applique items, and may even be of varying textures.

Rabari community of Kutch is famous for the applique work they do.

Sumrasar sheikhwali is another place where the Harijan community does the patchwork. They do it extensively on domestic and dowry items such as quilts. Camel and scenes of the desert inspire vivid multi coloured motifs

ORGANIZATIONS PROMOTING HANDLOOMS

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niquely committed to documenting existing traditions, the Trust maintains a collection Of heirloom textiles. This local Museum embodies a simple but revolutionary concept: involve people in presenting their own cultures The Museum was founded in 1996. In 2010, with support from Seagate, Kala Raksha was able to make the collections accessible to the world through the world wide web. We proudly invite you to browse our collections through this website. Seagate commits to leverage the exponentially growing digital ecosystem to ensure that the rich historical, cultural and artistic traditions Of indigenous people are preserved and shared. Seagate’s involvement in this digitization project aims to enable this unique heritage to be shared across borders for future generations.

Kala Raksha’s museum intends to make excellent examples Of crafts available to artisans, so that traditions can be perpetuated in a contemporary way. The museum focuses on textiles from the communities with which Kala Raksha works and is located at the Community Center in Sumrasar Sheikh village. Each Object in the collection is accessioned with thorough documentation. In 2005 , with funding from the Government Of India, all Of the collections were digitized Onto a collections management database, introduced for the first time in India at Kala Raksha. Object housing was also upgraded. These improvements increased access to collections, with decrease in handling the Objects. With the collections on a database, virtually unlimited research is possible.

Increased access has increased artisan participation in developing new designs, while providing computer education ! Kala Raksha artisans use the Museum as a resource base for creating contemporary products through regular design workshops. With digitisation of collections Kala Raksha proudly introduced our Heritage Collection, contemporary textile art based directly on Museum pieces. Today, artisan students of Kala Raksha Vidhyalaya also regularly study the Kala Raksha Museum objects and books in their year long course.

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handaben Shroff in 1969 journeyed to Kutch to aid drought reliefs. There she discovered all the different embroideries Kutch has to offer.

She gave 30 women from different communities 30 sarees to use it as their canvas and adorn them with embroideries. All these pieces were sold at an exhibition in Mumbai, where it was a huge hit. This gave birth to Shrujan trust.

Shrujan Trust is an NGO based in Bhuj. It has been the driving force behind the empowerment of women in Kutch. For the past 50 years, the trust has worked hard towards reviving, preserving and understanding the authenticity and uniqueness of the hand embroideries of Kutch.

Embroideries has been passed down from generation to generation in different communities of Kutch but Shrujan has made those embroideries now a viable source of income for them.

Shrujan was the first NGO in the region to recognise the communities’ skills and gave them a global platform to showcase it.

The Living and Learning Design Centre or LLDC was founded by Shrujan in 2016. It is a unique museum to promote the crafts of Kutch. While Shrujan is a platform for the artisans to earn a livelihood, LLDC has a bigger motive that is to ‘ Preserve and revive the craft culture and tradition of the Kutch region. It’s one of a kind artisan dedicated multiple crafts education and resource centre.

Inside of LLDC museum where all the costumes from different communities are showcased.

REFERENCES Fisher N, 1993, Mud, Mirror and Thread : Folk Traditions of Rural India, Mapin Publishing Shah A, 2013, Shifting Sands : Kutch:Textiles, Traditions, Transformation, Bandhej Books

Frater J, 1997, Threads of Identity: Embroidery and Adornment of the Nomadic Rabaris, Mapin Publishing

Dholakia K, Prevailing Statue of Kutch Embroideries and Artisans: Scope of its Sustainability and Promotion ‘The Living and Learning Design Centre - LLDC’ http://shrujanlldc.org Shrujan - Threads of Life http://shrujan.org

Morell A, 2011,Under The Embroidered Sky: Embroidery Of The Ahirs Of Kutch, Shrujan Trust - Gujarat Picture of LLDC mueseum from gujrat tourism. cuisine pictures from outlook india.

National Institute of Fashion Technology ………………… (NIFT center) CRAFT DEVELOPMENT INITIATIVE GENERAL INFORMATION 1. Artisan’s Name2. Contact Number3. Artisan’s Address4. Artisan’s Age5. Artisan’s Sex 6. Education level of artisan

1)Male( ) 2) Female ( ) 1) Illiterate ( ) 2) Primary( ) 3) Secondary ( ) 4) College ( )

7. Languages known- Comprehend ______Read_______Write______ 8. Size of the family unit – Male ( ), Female ( ), Children (below 13 yrs) (

).

annexure

9. What craft are you associated with?

10. For how many years the craft has been practiced by family?

0-5yrs ( ) 5-10yrs ( ) 10-25yrs ( ) 25-50yrs( ) beyond 50 yrs( ) 11. Family members participating in craft - Male ( ), Female ( ) 12. Average number of hours devoted to the craft per week – Male ( ), Female ( ) 13. No. of months for which artisan is involved in craft related activity: 1) 3 – 6 months ( ) 2) 6 – 9 months ( ) 3) Throughout the year ( ) 14. Are you engaged in any other activity apart from the handicrafts?

1) Yes ( ) 2) No ( ) If yes, specify the occupation _________ 15. Any month /months in the year that is high in demand for craft 16. Has there been a change in the location or area of the craft?

If yes, specify original ___________ 17. Are you a member of any of the following organizations?

1) SHGs ( ) 2) Cooperative ( ) 3) Society ( ) 4) any other ( ) 5) None ( ) 18. Are you planning to train your children in your traditional craft practices?

1) Yes ( ) 2) No ( ) Give reasons for your choice _______________________________

INCOME RELATED QUESTIONS 19

. Current monthly income of the artisan: 1) Rs. 2500 – 5000 ( ) 2) Rs. 5000 – 7500

(

)

3) Rs. 7500 – 10,000 ( ) 4) More than Rs. 10000 ( From other source _______________

)

20. Do you have a saving account in the: 1) Bank ( ) 3) Any Other (

2) Post Office ( ) ) 4) No ( )

ASSETS 21.

Dwelling 1) Own House ( 22. Type of House

) 2) Rented House (

1) Kachha ( ) 2) Pucca ( 23. If own house, did you

)

)

3) Semi-Pucca (

)

1) Purchase ( ) 2) Constructed ( ) 3) Inherited ( ) 24.

If rented house, what is the monthly rent _______________________ 25. In the last two years, have you purchased/changed or added any of the following: Land ( ) Cattle ( ) Two-wheeler ( ) Four-wheeler ( ) Electronics (TV/Radio/Mixer/Grinder/Music System/etc) ( ) Mobile ( ) Gas Connection ( ) Computer ( ) Any other item ( ) None MEDICAL FACILITY 26.

Are there any occupational health hazard/diseases, linked with your craft practice?

1) Yes ( ) 2) No ( )

If yes, please specify ________________________________ 27.

Do you have health/ life insurance policy?

1)

Yes ( )

2) No ( )

DESIGN & TECHNOLOGY 28.

Are you working ona) Traditional Design ( ) d). Market Demand Design ( 29.

b) Latest Design (

)

)

Who gives the design?

1) Own ( ) 2). Trader/Agent (

) 3) Old Patterns (

) 4) Designers

I 30. Has there been an adoption of new techniques in development of craft because of any change of location?

If yes, specify_____________ 31. Have you developed any new products in last two years? a. b.

_______________________ _______________________

c. _______________________ 32. Have you explored new raw materials other than traditional?

Yes ( ) No ( ) If yes specify reason – 1) Better pricing ( ) 2) Non availability ( ) 3) Creative persuasion 4) Market Demand ( ) 5) Any other __________ 33. If yes, are the new products more profitable than the old products?

1) Yes ( ) 2) No ( ) 34. Identify the skill level of the artisans (as per the artisan’s perception), with respect to the handicraft only: 1) Unskilled ( ) 3) Skilled ( )

2) Semi-skilled ( ) 4) Master craftsmen (

)

35. Are you self employed - Yes ( ) No ( ) If no, specify place ______________ 36. Which are would you like to strengthen for your growth 1) Production ( ) 2) Design ( ) 3) Packaging ( 4) Marketing (

)

) 5) Any other __________________________

TRAINING 37. Have you received any training recently for upgrading your skills?

1) Yes ( ) 2) No ( ) If yes, specify the kind ___________ 38. Are these kind of training good for your work opportunities?

1) Yes ( ) 2) No ( ) 39. Do you need further training?

1) Yes ( ) 2) No ( ) 40. In which of the following areas would you want to be trained?

1) Skill Development 2) Capacity Building 3) Design Innovation 4) Better Quality 5) Marketing 6) Any other _______________ 41. Do you know how to use Computer?

1) Yes ( ) 2) No ( ) 42. Do you use Internet?

I

1) Yes ( )

2) No ( )

If yes, what do you use it for?

1) Personal ( ) 2) Business Purpose ( ) 3) Both ( ) 43. Have you benefited in any way by the use of Internet?

1) Yes ( )

2) No ( )

If yes, specify _____________

PRICING 44. Who or what decides the pricing of your products?

1) Self ( ) 2) Trader/Agent ( ) 3) Raw Materials ( ) 4) Local Market Demand ( ) 5) Labour Cost ( ) 6) Any other _____________ 45. Are you satisfied with the present system of pricing?

1) Yes ( )

2) No ( )

If no, then give suggestions ___________________________________________ 46. Where do you procure raw material from?

1) Local Market ( ) 2) Agents ( ) 3) Nearby Markets ( ) 4) Far away markets ( ) 47. Do you have any problem in buying of raw materials Yes ( ) No ( ) If yes then specify – 1) Often ( ), 2) Sometimes ( ), 3) Rarely ( ) 48. How can this problem be eliminated? (Give suggestions). ________________________________________________________ 49. Do you get any subsidy from the Govt. while procuring raw materials?

1) Yes ( ) 2) No ( ) If yes, specify _____________ MARKETING 50. How do you sell your products?

1) Directly to customers ( ) 2) melas & Festivals ( ) 3) Dealers/Agent Network ( ) 4) Exports ( ) 5) Local Markets ( ) 6) Trade fairs ( )

7)

any other

__________

51. Are you facing any difficulty in marketing your products?

1) Yes ( ) 2) No ( ) 52. If yes, what are the main reasons?

1) Distance from your unit to market ( ) 2) Transportation ( ) 3) Middlemen/Agent ( ) 4) Lack of domestic/local market ( ) Any other ( ) ___________

STUDENT’S NAME : ______________________________ COURSE & SEMESTER : __________________________ CLUSTER

: ______________ DATE __________________

kutch embroidery kutch culture kutch tradition kutch costumes kutch languages kutch people kutch food kutch state kutch craft kutch religion

That’s how they welcome you to Gujarat. In the Westland of India, lies its spectacular state, Gujarat, filled with lush forests, magnificent monuments, exuberant festivities, and blissful solitude. It is the land of various communities, an amalgamation of different cultures and religions.