UNSUNG GAATHA OF PATTU CRAFT G omat , R aja sthan
UNSUNG
GAATHA
OF
PATTU
Gomat, Rajasthan
CRAFT
Digital document publication for academic purpose only Under Graduate Degree programme in Textile Design National Institute of Fashion Technology, India This craft documentation is written, edited, illustrated and photographed by student researchers Aayushi Shakya, Akshay Maharkhede, Harshita Gupta, Namami Sharma, Priyal Patel, Raksham Keshri, Srasti Gupta Counselor Mr. Janmay Singh Hada Associate Faculty, TD Dr. Chet Ram Meena Associate Faculty, TD Publication 2020 NIFT, Jodhpur All rights reserved under international copyright convention. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical including photocopy or any other information storage or retrieval system, without prior permission in writing from the publisher Publication 2020 Processed at National Institute of Fashion Technology
UNSUNG
GAATHA
OF
PATTU
craft study: Gomat village, Te h s i l : P o k h r a n , D i s t r i c t : Ja i s a l m e r, R aj a s t h a n
DOCUMENTED BY: Aayushi Shakya Akshay Maharkhede Harshita Gupta Namami Sharma Priyal Patel Raksham Keshri Srasti Gupta
T E X T I L E D E S I G N D E PA R T M E N T GUIDED BY: Mr. Janmay Singh Hada Associate Faculty, TD Dr. Chet Ram Meena Associate Faculty, TD
CRAFT
AKNOWLEDGEMENT We would like to thank our esteemed college, NIFT, for providing us with the opportunity to gain experience with the wonderful artisans at the Craft Cluster Initiative. This considerate plan of action has built a sense of deep understanding and practical knowledge about the craft in us. We are also really very thankful to the Textile Design Department and our CC, Mr. Janmay Singh Hada, from National Institute of Fashion Technology, Jodhpur, for providing us with the continuous opportunities to get practical knowledge through various regular field visits, artisan meets, online sessions and various other ways. We are also thankful to our whole Textile Design Department and the Faculty Members, for guiding us through all the practical, theoretical and technical knowledge throught the journey that still continues.
ABSTRACT The document “THE UNSUNG GAATHA OF PATTU CRAFT” , is a Craft Cluster reasearch document done by the Textile Design students of National Institute of Fashion Technology, Jodhpur, on Pattu Weaving in the Academic year 2018-22, is a deep study of the process, detailed method of working, the framework of the CraftPattu Weaving, and the one to one interplay with the artisans. Via the medium of this Craft Cluster Initiative, each one of us got enormously aware of the sensitivity of the Craft from the perception of the artisan. Knowing things other than the craft, we understood the regular lifestyle and problems faced by the artisans regarding the craft. This made us emotionally connected with the whole environment. And as a result, we understood the things even better. Such crafts, artisans and skills are profoundly a great blessing to the rich culture of India, adding more aroma and hues to our tradition.
P R E FA C E Diving deep into the aesthetic beauty, unbeatable skills and patience hidden behind the the rough scenarios of dusty winds, and unnoticed hardwork, we bring out the unmatched ancestral skills of the Meghwal community, engaged in Pattu Weaving. It is a great privilege for us to be a part of the Craft Cluster Initiative driven by NIFT. Via craft research documentation of this cluster,, we got the opportunity to to interact with the artisans. We learnt, how patience, hardwork, skills and knowledge together can weave themselves into colourful masterpieces. This unmatched skillful art of Pattu is an ancestral inheritance and a signature of proud to the artisans of Meghwal community.
CONTENTS 1. Introduction of cluster 1.1 About the Pokhran 1.2 Visiting places in pokhran 1.3 Local gods of gomat 1.4 Local festivals 1.5 Biodiversity 1.6 Artisans’ profile 1.7 Showcase of pattu 1.8 Urmul 1.9 Cluster overview 1.9.1 About the community 1.9.2 Women’s role 1.9.3 Food
5. Methodology 5.1 Community participation 5.2 Materials, tools and dyes 5.3 Process of pattu weaving 5.4 Kinds of pattu 5.5 Designs, motifs, colours and Products
2. History and origin 2.1 Introduction 2.2 Demographics 2.3 Growth of populace 2.4 Sex ratio 2.5 Literacy 2.6 Workers’ profile
8. Glossary
3. How the work of artisans reaches the people ? 4. Swot Analysis
6. Innovation and changes 6.1 Evolution in pattu 7. Why artisans are declining 7.1 Problems in covid-19
9. Team members
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Gomat,Rajasthan 345021
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1.
I
NTRODUCTION OF CLUSTER
Gomat is a small village located in Pokaran Tehsil of Jaisalmer district in Rajasthan. originally this area was famous for woollen pattu, but now cotton fibre is more used instead of wool.It is surprising as though that thehottest state would be a part of winter wear production. As of now, woollen pattu is declining and more cotton fibers are used. Though some parts of the Gomat still engage in wool pattu weaving. The cost of the wool is a bit high as compared to cotton. The artisans who know this craft are never trained but they engage in this craft through watching their family members working and thus carry on the ancestral pride. Earlier there were more than 200 families working in this craft but now there are barley 20 families who are engaged in pattu. Out of which there are only 2030 pitlooms in the village.
There are mainly two types of pattu available which are Bhojasari and Malani. Mostly geometric motifs are used but now a variety of designs are available. Traditionally, red, yellow and black are the main colours of pattu. Earlier natural colours are used for yarn dyeing, nowadays vat or direct dyes are more used. Till date, pitlooms are used to carry on this traditional craft. The craft is brought out of the village and made known through exports, exhibitions in big events and through engaging in competitions. The market of pattu has been a bit down due to no new strategic ideas and because of pandemic a lot has been affected but nonetheless this craft will bloom again.
“Pattu” word is derived from the word patti which means a narrow strip of cloth. Mainly shawls , durries and blankets were woven traditionally but from approx. 30 years a variety of products like cushion covers and other apparel clothing are available.
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India Rajasthan
Gomat
Pushkar
1.1 A B O U T P O K H R A N
1.5 LOCAL FESTIVALS
The Ministry of External Affairs designated the test "Pokhran-I", but it is also known as "Smiling Buddha". It was India's first successful nuclear bomb test on 18 May 1974. On 11 and 13 May 1998, twenty-four years after Pokhran-I, the Indian Defence Research and Development Organisation (DRDO) and Atomic Energy Commission (AEC) conducted five further nuclear tests, dubbed “Pokhran-II”, at the Pokhran range. Four AEC devices and, under the codename Shakti, a thermonuclear device were tested. Hence, Pokhran developed new sector of employment, new markets and so had growth in its population.
Ramdevra Fair/ Mela Observed as a public holiday in the district of Pokhran, this fair is celebrated on the birth anniversary of the Saint for which the Ramdev Temple has been built. Around thousands of devotees gather here to visit the temple and take part in the fair. So artisan showcase and sell pattu.
1.2 VISITING PLACES IN POKHRAN Pokharan Fort Baba Ramdev Temple Pokaharan Museum Ramdevra Fair
1.3 LOCAL GODS OF GOMAT The people of village Gomath worship lots of different Gods and Goddesses, being Baba Ramdev ji, Chamunda Mata, Ashapurna Mata, Naagdecha Mata, Bhagwan Shiv, Hanumanji. The village is blessed to have temples of all of these dieties, and a Jain Mandir, and a Mosque as well. The villagers worship dieties of their choice.
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Unsung gaatha of pattu craft / NIFT, Jodhpur / 2021
1.6 BIODIVERSIT Y Away from the hustle of city life where Sun gleams bright over deserted roads, Some unmapped lanes take you to a land of beautiful tales. Set in Rajasthan, a state situated at India’s color belt, is a small village Gomat, the homeland of Pattu. Evolved into a vibrant and wonderful personality, Pattu was born and nurtured amidst dried lands and lost lanes of Gomat. Acquired by the Meghwal community, the land is home to people who live here as one big family. Sounds of conversation and giggles cheer up the otherwise dull and dry neighborhood. Bougainvillaea is decorating tiny houses and courtyards engulfed in the sweetest aroma of petrichor. People of Gomat grow crops such as Jowar, Til, Moong, and Bajra for household consumption and selling among fellow weavers, thereby creating a sustainable lifestyle locally within the village. With no map to the time of its origin, the craft of Pattu making is that of fine weaving with alluring geometric patterns, woven with finesse by the time-honed master craftsmen. However, the name of the skill comes from the word ‘Patti,’ which means thin strips of cloth in regional language.
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Unsung gaatha of pattu craft / NIFT, Jodhpur / 2021
Lives today are somber in Gomat; love for skill and care are things of the past! Weavers now are witnessing the downfall of their craft more than ever. Standing in the face of adversity, refusing to abandon Pattu, Isa Ram opposes the idea of city life with its betterpaying jobs even as a construction laborer. People of Gomat take pride in being the caregivers of Pattu in times when only ruthless efficiency, devoid of humanity, is valued ! These tiny mud dwellings house people with hearts of gold in rather stark contrast. The gold shines to you the very moment you are welcomed with big bright smiles that don’t cost a dime. It is in moments when you realize that being happy is one thing and wanting happiness in many others.
1.7 ARTISANS’ PROFILE 1. NAME: Om Prakash Mr.Om prakash has been practicing pattu weaving since 1992. He was born in gomat, pokhran. He was not trained particularly in this craft but he grew up watching his grandfather and father and started practicing pattu weave. He has seen the rise and fall of this craft . He has also made his own design in pattu and named it after his name om. Along with few students of nid he has tried new innovation too. He has practiced almost all types of pattu including malani and bhojasari. He is always very enthusiastic in learning new ways to keep this craft alive.
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Unsung gaatha of pattu craft / NIFT, Jodhpur / 2021
2. NAME: Diaram Mr. Diaram is 60 years old, well known among the artisans in gomath . He started his hand in pattu when he was 16 years old. Thus, giving him an experience of 45 years in pattu weaving. He has not been trained particularly but having lost his father, he learnt this craft from watching his mother and started practicing at an early age. He has a son who sometimes works in labour or helps in the pattu delivery. He has been in few award functions for traditional crafts like Jaipur weaver’s service station but failed to receive anything in return. He works approx. 8 hours a day and is successful in making 2 samples a day.
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3. NAME: Sugna Devi Age: 55yrs Village: Gomath Work: Makes Gatta/ gatti of tana and bana Sugna Devi works from home and majorly makes tana, bana, gatta, gatti and works with her husband as much as possible. She doesn’t do weaving, but does all the side chores of Pattu weaving
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Unsung gaatha of pattu craft / NIFT, Jodhpur / 2021
4. NAME: Phusa Ramji Father or Om prakash ji
Age: 72-73 yrs Village: Gomath Work: Weaver Phusa Ramji is a skilled weaver, who has been working since the age of 10-11 yrs. He has grown old, but still works with depleted speed
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5. NAME: Bhoora Ram Age: 68yrs Village: Gomath Work: Wollen PAttu Weaver Sh. Bhoora Ramji is a skilled weaver of Woolen Pattu. He has been working since the age of 10 years and specially makes masterpieces of woolen Pattu, like shawls.
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Unsung gaatha of pattu craft / NIFT, Jodhpur / 2021
6. NAME: Lakkha Ram Age: 65 yrs Village: Gomath Work: Now, makes gatta, gatti, tana- bana Sh. Lakkha Ram ji was a proficient weaver, but due to the depletion of his eye sight, he has stopped weaving, but now is engaged in side chores of Pattu weaving, like making gatta/ gatti, tana- bana etc.
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7. NAME: Sagan Ram Age: 35 years Village: Gomath Work: Weaver Sagan Ram started working as a weaver with the master weaver Om Prakash Ji in the year 2009. But since last 4 years, due to lack of work, he started working with an NGO as a Pattu weaver.
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Unsung gaatha of pattu craft / NIFT, Jodhpur / 2021
1.8 SHOWCASE OF PATTU The artisan Omprakash ji says he showcases his pattu and other pattu products in – Fair = Ramdevra Fair/ Mela Exhibition = Delhi haat, Dastkar, and in Bombay kala ghoda festival (Mumbai).(needed more detail if we can get) Apart from that the Artisan also participated in Award competitions held in district, state and national level. About which they get notification and Ads through their artisan card (we need to get names of this competition through they say is just award competition). The awards title are following NAME Sant. Kabir National award National merit award State award 1st State award 2nd State award 3rd District award 1st District award 2nd District award 3rd
PRICE (in rupees) 3,00,000/1,50,000/75,000/21,000/11,000/7,000/5,000/2,100/1,100/-
In award competition they make their best single sample with a video verification that they have made the sample, with a bio data of their own and submit it. Then the jury panel judge the samples in according to finishing, aesthetic look, theme the artisan want to showcase, quality of product, and difficulty of motifs used without damaging its original essence. Then they nominate the price winners. And the samples are returned back to weaver after showcase in award ceremony.
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Unsung gaatha of pattu craft / NIFT, Jodhpur / 2021
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1.9 CLUSTER OVERVIEW 1.9.1
ABOUT THE COMMUNITY
Gomat is a small village located in Pokaran Tehsil of Jaisalmer district in Rajasthan. The major community in this village consists of Meghwals. Mostly people are involved in pattu weaving, farming , labour and some or the other government jobs. Major festivals celebrated are Diwali and Rakshabandhan . They also worship the craft by lighting a diya during Diwali. The women make beautiful rangolis during Diwali and draw little footprints believing that Goddess Laxmi would visit their home and bless them. They major community in the village worship Baba Ramdev (locally believed God).
1.9.2
WOMEN’S ROLE
Women in the village generally are housewives. Though the community still has some orthodox beliefs . The contribution of women in the craft is spinning the yarns and collecting bobbins. They also are sometimes employed through NREGA (National Rural Employment Guarantee Act, 2005).
1.9.3
FOOD
The main food of Gomat is Bajra rotla, kesangari ,raita.
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Unsung gaatha of pattu craft / NIFT, Jodhpur / 2021
2.
I
NTRODUCTION TO GOMAT
Gomat village, with people of 4355 is Pokaran sub district’s the fifth most extreme crowded town, set in Pokaran sub locale of Jaisalmer locale withinside the state Rajasthan in India. Add up to geological locale of Gomat town is 64 km2. Populace thickness of the town is 68 people reliable with km2. Nearest railroad station is Gomat that’s within the town. Closest city of the town is Pokaran. The town has its individual yield work environment and the Pincode of Gomat town is 345021. Pokaran is the sub area head region and the space from the town is five km. Locale head area of the town is Jaisalmer that’s a hundred and fifteen km away. Forty nine rectangular kilometer , which is 1% of the complete village’s locale is included by means of forest.
2.1 DEMOGRAPHICS The town is household to 4355 people, among them 2283 (52%) are male and 2072 (48%) are females. 78% of the total people are from trendy caste, 22% are from agenda caste and 0% are agenda tribes. Children (elderly beneath 6 yrs) populace of Gomat town is 20%, out of which, 54% are men and 46% are women. There are 749 families withinside the town and an average of 6 people live in each family.
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Unsung gaatha of pattu craft / NIFT, Jodhpur / 2021
2.2 GROWTH OF POPULACE Populace of the town has progressed by means of way of implies of 11.6% in ultimate 10 years ! In 2001 census in general people right here have been 3903. Female masses boom charge of the town is 20.5% that is 15.9% superior than male people boom charge of 4.6%. Common caste people has made strides through way of implies of 9.9%; Plan caste people has moved forward through way of implies of 16.9%; Plan Tribe people has progressed way of means of 450% and infant people has decreased through way of implies of -5.6% with inside the village considering the ultimate census.
2.3 SEX RATIO As of 2011 census there are 908 girls steady with one thousand male withinside the town. Sex proportion in trendy caste is 907, in agenda caste is 919 and in agenda tribe is 375. There are 857 ladies beneath 6 a long time of age steady with one thousand boys of the indistinguishable age withinside the town.
Generally intercut proportion with inside the town has made strides via way of means of a hundred and twenty girls steady with one thousand male for the length of the years from 2001 to 2011. Child intercut proportion right here has progressed by means of forty one women reliable with one thousand boys for the length of the indistinguishable time.
2.4 LITERACY Total 1810 humans withinside the village are literate, amongst them 1284 are male and 526 are girl. Literacy charge (youngsters beneath 6 are excluded) of Gomat is 52%. 71% of male and 32% of girl populace are literate right here. Overall literacy charge withinside the village has reduced via way of means of -3%. Male literacy has long past down via way of means of -4% and girl literacy charge has long past up via way of means of 2%.
2.5 WORKERS’ PROFILE Gomat has 36% (1567) populace engaged in both predominant or marginal works. 45% male and 26% male populace are running populace. 41% of overall male populace are predominant (complete time) people and 4% are marginal (element time) people. For ladies 6% of overall girl populace are predominant and 20% are marginal people.are predominant and 20% are marginal people.
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3.
H
OW THE WORK OF ARTISANS REACHES PEOPLE ?
The Journey behind the making of that piece of clothing that we cherish the most hanging in our wardrobes reaching to us is the one that is usually most neglected by many of us. Every pair of clothing that we own has its own unique story to tell, which often stays unspoken, but to value something, we sometimes require to know their struggles and all the hard work that has been invested into it. Away from the hustle of city life where Sun gleams bright over deserted roads, Some unmapped lanes take you to a land of beautiful tales. Set in Rajasthan, a state situated at India’s colour belt is a GOMAT, is the homeland of Pattu. Evolved into a vibrant and wonderful personality, Pattu was born and nurtured amidst dried lands and lost lanes of Gomat. Acquired by the Meghwal community, the land is home to people who live here as one big family. Pattu is a unique weaving style used for the fabrication/manufacturing of woolen textiles. It is indeed surprising that one of India’s warmest states is the foremost manufacturer of this winter wear. The most prominent feature of the woolen Pattu of Rajasthan is also the feature that gave the art its name-the narrow striped pattern, which in the local language is called ‘Patti.’ These artisans are connected to people who have the required skills with the willingness to work
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Unsung gaatha of pattu craft / NIFT, Jodhpur / 2021
under their guidance; the artisans often collect the raw materials according to the client’s request. The artisan thoroughly checks these raw materials only to avoid any degradation of quality. The next chapter highlights the product’s design development according to the request of brands or NGOs connected to them. The machine is set up according to the colour theme and design draft. The artisans then pour their heart and soul towards making the perfect product with many details and investing long hours of their dedication before handing it over to the middlemen.
FabIndia aids transportation for the products that artisans make and sells its products worldwide under their brand name. The brand decides the material, design, and development, and the artisans fulfill all these requirements to make their ends meet on time. The products are stored in large warehouses with proper arrangements, and then they are passed over to the factories for packaging and sent to showrooms for marketing these products. These artisans make their everyday needs fulfilled by connecting with a huge brand name like FabIndia, and NGOs supporting them in tough times like pandemic and motivating them to keep it going. One of the most profound handloom sectors for weavers that comes under the Govt. of India, National Institute of fashion technology helps these artisans earn by permitting them an artisan card and handing their knowledge on this craft to designing students through cluster activities. NGO’s help these artisans to connect with smallscale business owners to sell their products in the domestic market, often targeting tourist attraction. The process of making Pattu fabrics is as distinct as the product itself. However, recognizing these artisans is still so negligible that we are on the verge of losing this craft as a long-forgotten memory. In order to keep it alive, spreading its importance in the field of traditional textiles is crucial. Despite having such a rich culture, skill, and talent, the most prominent issue lies in the Indian markets, which do not recognize this craft’s actual value. Craft documentation
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1. 2. 3. 4. 5.
STRENGTH
Traditional weaving Suitable Climate Environment friendly industry Less power consumption Labour incentives.
WEAKNESS
1. No processing facility for the final product 2. High transportation cost for purchasing the raw materials and delivering the final goods 3. Poor and Outdated technology 4. Lack of marketing Strategies 5. Lack of design and innovation .
4. SWOT ANALYSIS OPPORTUNITY
1. High Demand in Upper Society for Handloom crafts 2. Tourist Inflow 3. Export Potential 4. Low cost operation 5. Scope for product and skill 6. Fast growing market supported by large population
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Unsung gaatha of pattu craft / NIFT, Jodhpur / 2021
THREATS
1.Competition from power looms 2.Pandemic struck Obstructions 3.Fluctuating raw material process 4.Lower Education levels across population 5.Challenging customs environment
5.
M ETHODOLOGY 5.1 COMMUNITY PARTICIPATION Meghwal community of Rajasthan, is the practitioner of Pattu weaving. Particularly mentioning about the village Gomath, where we conducted the Cluster Research, there live two communities in the village, Muslims and Meghwal. Due to its location on the migratory routes from Central Asia, Africa, Afghanistan and Pakistan to India, the whole state of Rajasthan has been subject to a variety of cultural influences that have shaped its crafts-notably embroidery, bandhej, (tie and dye), block printing and pottery. Despite the later division of the Thar region through the creation of political boundaries, the crafts of the Thar continue to share a common vocabulary and sensibility, a phenomenon perhaps best exemplified by the artistic skills of the Meghwal, an artisan community who practice Pattu weaving. The Meghwal migrated from Pakistan to Kutch and Rajasthan; a significant number have settled in the different regions of Rajasthan and Gujrat as well. PAttu weaving forms a key component of their visual culture as it is executed on products that were earlier worn or given during marriage and on dowry objects, but now is a contemporary artistic work, worns and given irrespective of the auspicious occasions. Consequently, the embroidery make use of mirrors and is characterized by its refined craftsmanship,
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Unsung gaatha of pattu craft / NIFT, Jodhpur / 2021
dense coverage, rich colors, and elaborated motifs and finished edges. Meghwal embroidery may be broadly classified as pako,or solid and permanent, and kacho,or temporary. The women of this community are not very significantly involved in Pattu weaving. There are other chhores like rope making, mattress making, cooking, vegetable selling etc. in which they involve. Earlier, there were around 120-150 Pattu Weavers in the village but now, only 10-15 are left.
5.2MATERIALS, TOOLS AND DYES To make an evident masterpiece like Pattu, one would traditionally require a Pit Loom. However, now a days, even Frame Looms are used. The material required to make a Pattu masterpiece was traditionally wool. Pattu was a warm apparel earlier which was given in the wedding as dowry or gift. But adapting to the modern world, to achieve more variety of designs, to make its more of use throughout any point of the year, 100% cotton is now used. In woolen Pattu, the texture of the cloth was course and limited the designs’ intricacy. But that is not the case in Cotton Pattu. In Gomath village, this cotton is bought from others and not handspun by them. The people of Meghwal community try their level best to get pure cotton as they are devoted to their traditional skill. The dyes they use in colouring the threads are Natural dyes, Vat dyes and Sulphur dyes. The colours used in the Pattu are very brightThe other small tools and equipments used in the process are tur and feni, vinayakji, angela.
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Unsung gaatha of pattu craft / NIFT, Jodhpur / 2021
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5.3PROCESS OF PATTU WEAVING Pattu Weaving has a very intricate method of weaving. Fabric is used in twill weave on pit loom and numerous methods are produced through the interlocking techniques and additional weft figuring. In warping, different kinds of vertical warp bands in complementary colors are included on both sides of the loom and then the technique of interlocking is employed to obtain the pure color. Bobbin contains a weft in similar color as the separate band, applied of weaving the restricted parts of bands. The Pattu weaving is traditionally done on Pit Looms and a variety of different procedures are created and followed through the interlocking techniques and extra weft figuring. And if we talk about warping, different vertical warp threads, in the contrast shades are added to both the sides of the loom. To get the pure colour which is required, the process of interlocking is employed. There is a Weft in the bobbin as a separate band. An extra calculated weft thread is carried around the embroidered part. That particular additional weft is done on a small sized stick and the stick is passed between minimum 2 and maximum 12 picks. The artisan takes the warp thread and passes it to put in the extra weft thread. If we look at the time required for making a Pattu weave, for a cushion cover of 16X16 inches, a speedy weaver would take one day to make two pieces. That is how the intricacy of work is. And what the weavers get for this nearly negligible
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Unsung gaatha of pattu craft / NIFT, Jodhpur / 2021
5.4 KINDS OF PATTU There are a variety of pattus such as hiravali, kashida, bhojsari, malani pattu, plain pattu, do-paat pattu, lunkar, bardi, khes, chatri-kangsia pattu. Some blankets
are plain with coloured borders; some have motifs and weft rib patterns woven either on width-wise borders or over the entire field of black and white.’ (Nath & Wacziarg, 1987). The motifs have a combination of triangles, diamonds, rectangles and other geometric forms in striking colours that create contrast on a plain background. The base cloth of pattu is either plain or twill woven, and motifs are made by inserting extra weft yarn of contrasting colour with the help of small sticks after every two ground picks whereas bands of pure contrasting colours are woven using interlocking technique. Simple Pattu: Pattus are usually plain with coloured borders that run along the length to meet wider ones at both ends; there is no motif ornamentation in the body. It is one of the earliest pattu designs prevalent in western Rajasthan. These are usually adorning the older men. Hiravali pattu:Hiravali pattu has characteristic sets of triple lines running warp-wise. It has its design evolved from plain pattu; it has borders similar to that of the plain pattu and does not have any motifs woven in its body. Chatri-Kangsia pattus:Chatri-Kangsia pattus are ornamental pattus with motifs in its body. These are also known as kashida pattu for the motifs are like embroidery in weaving. Chatri refers to motif with two pillars with a dome, representative of a temple, and kangsia refers to damru(pellet-drum). Malani Pattu: Malani pattu has total surface ornamentation -the pallus include fish motif and the pallu is followed by strips incorporated with motifs, which form the body of the pattu. These are from Barmer region, formerly called ‘malani’. It predominantly has chattri-kangsia motifs Bhojsari Pattu: the body has formation of motifs in
triangle form and its borders has weft patterning bars running horizontally. These are popularly made in Jaisalmer region Lunkar Pattu: Lunkar is a red-coloured (locally called raata colour) pattu. It is used by women and is smaller in size compared to other traditional pattus. It has traditional weft patterning bars in its borders Bardi Pattu: Bardi has chequered pattern. Traditionally it was in black and white; these days it is available in different colour combinations. It’s warp-wise borders are plain whereas weft-wise borders are decorated with rib stripes in bright colours.
5.5DESIGNS, MOTIFS, COLOURS AND PRODUCTS
The Designs of Pattu are made with extremely bright colours. Talking about the motifs, these motifs seem to be inspired from things in vicinity, such as household articles, birds, animals. The motifs include Ulti Seedhi Chhatri, dhooly, minakda, bindiyaan, phool, komal, suman, manzil, igyarah tara, pahaad, patand, damru etc. Sometimes plain pattus are embroidered to make them ornamental. The colour scheme for Patt is limited to bight colours like, Red, Blue, Yellow, Green, Orange, White, Fusia Pink, and neutral colors, black and white. . Some of the colours in their language have different names; like orange colour is called peela, yellow colour is called turifula, red colour is called raata, white is dana, and blue is gudicolour. The products made with Pattu Weaving are Sarees, blouses, kurtas, salwars, cushion covers, galeeche, decorative rugs etc. Craft documentation
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6.
I NNOVATION AND CHANGES
6.1EVOLUTION IN PATTU Traditionally, pattu were Kambal/Blanket which were gifted to their in laws during their daughter marriage to show respect and bonding in their relationship. Which than transformed into shawls. As per the artisan says. And these 2 products have travelled a long time before new pattu products arrived. Such as now with modern day demands they also started making kurtas, salwar, cushion covers, bags with their traditional motifs. Thanks to designers like Kunjan singh ( NIft delhi ), and Ritu. (we need more info in this).Their plain pattu design changed to more customized and effective design. Traditionally, artisans used locally found sheep and camel wool which they obtain using razors ( ustra ) in their natural cream, white, black, brown and deep brown colours. Which was hand spun in the house by the women of the community. In regions around Jaisalmer and Bikaner wool were in abundant quantity. Wool required more labor and extra work like polishing starch solution on it to stop the quick breakage of thread. Thus the rate for wool pattu were high.(Required more info). But with time the practice, demand and availability of wool reduced and thus they shifted towards the use of cotton fiber. And the natural dye they use to make using harda, rusted iron nail used to fade in their pattu.(Required
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Unsung gaatha of pattu craft / NIFT, Jodhpur / 2021
more info). This problem was solved by Mr. Girish from NID at URMUL Rural Health Research and Development Trust, Bikaner Rajasthan. Mr. Girish taught the use of synthetic dyes (vat dyes, sulphur dyes and napthols) Gomat village artisans(Required more info like dates). This added the variety of colours like orange, red, blue, pink, green and saffron. Traditionally, in Gomat village pit loom were only used but now some frame loom are also being operated for weaving pattu.
7.
W HY ARTISANS ARE DECLINING
No. of weavers used to be in gomat = 100-120. Present no. of active weavers in gomat = 10-15. Artisan Omprakash ji says that many artisan who used to work on pattu, had knowledge, had artisan cards, have now stopped the practice of pattu because they don’t get paid enough for the hard labourous work they do for a finished product and sell it directly. They only get the labor cost, if someone hires them for weaving purpose. Hence they employed themselves in other sectors. And also the younger generation lack in interest, patience and disciple to learn this craft and master it as its takes hours & days to be refined.
7.1 PROBLEMS IN COVID-19 As of today due to COVID-19 the whole world is in crisis trying to survive to their best. A crisis that has never been seen before in history is affecting the normal life of every single individual in every parameter. Same goes for the artisans too. Since, COVID-19 lockdown artisans are out of work. They are facing alot of problems in terms of money. Since they are out of orders and no new orders are being placed to them as their product comes under “non – essential” category in daily life needs. They have been facing a devastating situation for survival and to fulfill the needs of their family. Using up their savings and shifting towards farming. they are all Waiting for the end of this crisis so that they will be able to operate their looms again. Also the work he gets from NGO Urmul are inactive too. Were he use to get 10,000 -12,000/- per month salary for weaving and also teaching and directing new weavers about designs and weave.
And also as no local fairs are also held were he can showcase and sell his stocks. He says before lockdown he used to sit in loom at 9:00 am – 10:00 am in the morning till 6:00 pm in the evening, and only take half an hour break at afternoon for lunch this was his daily routine. And in months from starting Diwali to March he used to sell pattu and do less weaving as many festival, fair, exhibitions were held. And in summers he do more weaving as days are also long and no selling happens. But now the whole cycle is disturbed. They have been facing a devastating situation for survival and needs of their family. Using up their savings and shifting towards farming. Waiting for the end of this crisis to being able to operate their loom again. And in the end he also says that Covid_19 had brought fear in people minds. Where in village they used to shake hands by saying “ram ram” and sit together talk about on topics like political views, village events, cricket, health of each other. Has been changed in distance Namastey!.This effected people psychologically. With our team personal point of view we think that it is good that they are following the guide lines issued by Government of India for Covid-19. Which resulted in Zero case of Covid in Gomat village.
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9.
U RMUL(NGO) Urmul Trust is a decentralized organization which has several family organizations working across the stretch of the Thar desert. They are Urmul Setu, UMBVS, Urmul Seemant, Urmul Jyoti, Urmul Khejadi, Vasundhara and Abhivyakti.
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Unsung gaatha of pattu craft / NIFT, Jodhpur / 2021
8.
G LOSSARY
TOOLS USED REED (external comb used for extra weft) - kangi SHUTTLE - naal (made from iron) SHAFT - rasa dora WARP - tana WEFT - bana REED ATTACHED ONE - hattha BOBBIN - gaddi ANNA TREE - the wood used for making bobbin JHELA - structure at the top to support the shafts DIFFERENT LOCAL NAMES OF MOTIFS: popat bindiya ulti seedhi chatri mina kada fool gatti gatta suman komal manjil ingiyara tara patang damru kongiya kosangiya ooti aari palla - gul kacchi lakir pakki lakir pancho aari
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UNSUNG
GAATHA
OF
Gomat, Rajasthan DOCUMENTED BY: Aayushi Shakya Akshay Maharkhede Harshita Gupta Namami Sharma Priyal Patel Raksham Keshri Srasti Gupta PHOTOGRAPHY BY : Harshita Gupta
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PATTU
Unsung gaatha of pattu craft / NIFT, Jodhpur / 2021
CRAFT