Unravelling
Stories from Kanchipuram
For the weaver community of Kanchipuram
Acknowledgement We would firstly like to thank the DG NIFT, for giving us this opportunity to do a diagnostic study on the weaving cluster, Kanchipuram. Secondly, our director, Ms. Susan Thomas (IRS) for providing us with the undued spirit and encouragement to take this forward. We thank our CC FC, Associate Professor.Mr. K.C Prashanth, for providing us guidance through the entire project. We would like to thank our mentor, Asst. Professor, Mr. Sanjeev CM for helping us carry out this research with the utmost perseverence. His invaluable feedback has helped us in refining the work to the very best. We thank our parents who have motivated and supported us through our endeavours. Finally we thank our family and friends who have helped us come through the long way. We wish to specially thank Mr. Sakthi, a master weaver for being of utmost help and guidance during the visit to the craft cluster.
Print publication of student document For private circulation only. Fashion Communication Department 2019 National Institute of Fashion Technology Bengaluru, India All rights are reserved. No part of this book, either text or illustration, may be used or reproduced in any form without prior written permission from the publisher. This document is for educational purpose only and is a part of NIFT Curriculum Guided by Sanjeev CM Documentation by Shreya Kannan Shweta Kamal Snigdha Bhowmik Sreya Simlai Swadhiney Lipsa Swarna Manjari C
This is to certify that
Preface
“A weaving cluster again!� we collectively exclaimed with much disinterest. As communication design students we wondered how we could look at textiles and yarns to make something out of it. Nevertheless did we know that this cluster visit to Kanchipuram and Arani, would change our perception and bring the craft in new light for us to see. Before the visit, when the action plans were being made, we were excited to witness the famous Athi Varadhar festival that happened in the town once every 40 years. However we were unsure about the odds of seeing the statue due to the incredible amount of devotees everyday. Much to our surprise, a couple of us ended up seeing the famed statue of the god in less than an hour! Lastly we would like to dedicate this book to the weaving communities in Kanchipuram and Arani who are the living embodiments of the craft. Our special thanks to Mr. Sakthi, an artisan who went beyond his ways to guide us through the city. Hope you enjoy the compilation of facts, stories and insightful coversations; all which we have tried to present with the true essence of the place and its people.
Contents
Introduction Objectives Executive summary The city History Demography Geography
Craft Overview Process Raw materials Tools Techniques Evolution
Elements Influences Motifs Colours Jacquard Quality and use Value chain SWOT Market survey
People A heart full of gold The labour of love A tale of motifs The number story Following a legacy
Culture Temples Athi Varadar Cuisine Houses Attire
Reflections Need for craft documentation in India Relevance to communication design Answering the five ‘W’s Musings Glossary Bibliography
Introduction Breezing through the alley way of South India, 70 km away from Chennai, arrives the sacred land of pilgrimage. It is the ancient city, Kanchipuram, a temple city that traces its history back as an early capital of the Chola, Pallava and Vijaynagar dynasty. Kanchipuram upholds its name with significance as a tourist spot and its ‘pattu’; it’s highly valued silk sarees. To the woman draping six yards saree around herself, it is just the glory of silk on her skin, the smoothness, the shine, the flow, the swishing sound that announces her arrival. To the weavers of Kanchipuram, silk is known to be the way of life and livelihood. Today Kanchipuram is known to be addressed as the “city of weavers” because of its sarees. The weavers come from the Sourashtra, Mudalaiar, Devangar and Saliyar communities who still continue weaving their traditional art. The skill, technique, knowledge is passed on from generation to generation, from father to son. A special feature of the Kanchipuram silk saree is that it is always woven with full bright colours. It comprises of a contrast pallu with petni technique and border with korvai technique that results in a fully colour-blocked silk saree, with great strength in the fabric. The value chain in the process of silk weaving to a fully woven silk saree bonds three characters; the owner who decides the color for the yarns, the designer who designs the border and the weaver who executes it into a richly woven silk sari.
To the woman draping six yards of saree around herself, it is just the glory of silk on her skin, the smoothness, the shine. To the weavers of Kanchipuram, silk is known to be their way of life and livelihood.
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Objectives To document the process of craft-making and the importance of its stakeholders with respect to their environment To promote the importance of craftsmanship in the era of machines through a visual approach To record the efforts behind the process in terms of its accuracy and precision using numbers To correlate various aspects of the city with the patterns associated behind the craft To create a branding strategy for the city with the craft as the primary emphasis
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Summary The cluster trip to Kanchipuram was one of the most enlightening experiences that was a part of the curriculum. The importance of handloom in the country was brought to light, and the need for such skilled hands of master weavers seemed more important than ever. The diagnostic study conducted in the particular clusters Kanchipuram, Anakaputhur and Arani were a cumulative understanding of the craft, its lineage, heritage and the processses in the most integrated way possible. This documentation is an attempt to present an unbiased report of the entire craft and the people behind it.
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The city The city of a
1000
temples
celebrated an occasion once in
40
years.
And we were there to witness it.
The unassuming and small town of Kanchipuram in Tamil Nadu is popular world over for the grand Kanjeevaram silk sarees made here. But Kanchipuram has a lot more to offer than just silk sarees, the place is among the key temple hotspots in the country. Known as the “City of a 1000 temples” , these temples constructed during varying periods, showcase exquisite architecture that is signature Dravidian style. The temples and the culture of the city, attract devotees as well as travellers who seek to step into the past grandeur of Tamil Nadu. Visit Kanchipuram to seek the gods’ blessings or to admire the beauty of the locales or to be simply reborn in this place of tranquility. This year, 2019, was the year Lord Athi Varadar of the fame Sri Vardaraja Perumal Temple emerged from underwater after 40 years which was one of the highlights of the this temple town, opening up the gates for lakhs of pilgrims who throng to get one glimpse of the god. A shopping trip to Kanchipuram usually means just one thing, Kanchipuram silk sarees! Head to Gandhi Road for a variety of stores selling pure silk sarees in a dazzling range of colours and patterns. You can also buy various handicrafts, god figurines and other items in the city. Kanchipuram offers travellers excellent South Indian delicacies ranging from the simple iddli to the ever-popular masala dosa and the elaborate meals. Ensure you also get a taste of the popular ‘kovil iddlis’ that only few restaurants serve.
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The temples and the culture of the city, attract devotees as well as travellers who seek to step into the past grandeur of Tamil Nadu. 05
History The early traces of Kanchipuram are found in the books of Sanskrit grammarian Patanjali, who lived between the 3rd and 2nd century BCE. The city is believed to have been part of the mythical Dravida Kingdom of Mahabharatha, and was described as the “best among cities” by the 4th century Sanskrit poet,Kalidasa. The city was regarded as the “Banaras of the south.”
2nd century CE as an early Chola capital
Kanchipuram grew in importance under the reign of the Pallavas in 6th century. The Pallavas fortified the city with forts, wide moats, well laid out roads and artistic temples. Under the Pallavas, Kanchipuram flourished as a centre for Hindu and Buddhist learning. King Narasimhavarman built the city’s most important hindu temple, the Kanchi Kailasanathar Temple and others such as the Varadharajar Perumal Temple and Iravataneswara Temple. The city is renowned for their bravery, piety, love of justice, and veneration for learning.
10th to the 13th century, it served as the late Chola government headquarters
3rd to the 9th century CE as the Pallava capital
An important Vijayanagar town from the 15th to the 17th century Conquered by Maratha armies in the 17th century Conquered by the British in the 18th century
The district was split into two in 1997 and Kanchipuram made the capital of the newly created Kanchipuram district
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Geography Area With an area of about 4393.37 hectares the district of Kanchipuram is situated on the north-eastern coasts of the state of Tamil Nadu. Being adjacent to Bay of Bengal and Chennai city, the district has its borders in Vellore district and Thiruvannamalai district to the West, Thiruvallur district and Chennai district to the North, Villupuram district to the South and the Bay of Bengal to the East.
Climate The maximum temperature experienced during the summer season in this district is 36.6 degrees Celsius and the minimum temperature is 21.1 degrees Celsius. The maximum temperature during winter is 28.7 Celsius and minimum temperature is 19.8 degrees Celsius. The premonsoon rainfall is almost uniform throughout the district of Kanchipuram in Tamil Nadu. This district is mainly depending on the seasonal rains due to which distress conditions prevail in the event of the failure of rains.
Topography The Palar River is one of the most important rivers running through the district of Kanchipuram. Wells and tanks are the main sources of irrigation in this district. There are only a few hills of considerable elevation in the district. The southern part of Maduranthakam taluk in the Kanchipuram district contains small hills. 07
Demography According to a 2011 census, Kanchipuram had a population of
164,384
The average literacy of the city was 79. 14% The city had a total of There were a total of
41807 households
61, 567 workers
comprising 320 cultivators, 317 main agricultural labourers, 8,865 in house hold industries, 47,608 other workers, 4,457 marginal workers, 61 marginal cultivators, 79 marginal agricultural labourers, 700 marginal workers in household industries and 3,617 other marginal workers. As per the religious census of 2011, 93%
5.24%
0.83%
Kanchipuram had 93.38% Hindus, 5.24% Muslims, 0.83% Christians, 0.01% Sikhs, 0.01% Buddhists, 0.4% Jains, 0.11% following other religions and 0.01% following no religion. Source: www.censusindia.gov.in
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A bunch of school children in an auto. 09
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The craft For years now, Kanchipuram silk sarees have dominated the world of South Indian sarees. They have been attributed with the GI tag by the Government of India that gives the craft a special status as a sign of protection and preservation. Synonymous with the sarees of South India, these are the mark of culture for every south Indian wedding, ceremony or occasion. The shine and durability of the fabric have made these sarees the mostvpopular attire among women across the globe. The rich quality combined with an amazing finish make them last longer. This fabric is an inherent part of several traditional and religious ceremonies. Kanchipuram silks have created the main occupation for several in the city of Kanchipuram. Over decades, Kanchipuram silk has been evolving in terms of design and pattern but hasn’t lost its charm. Initially sold across the world by only merchants, today the real weavers have woken up to their own cooperative societies to sell their woven Kanchipuram silk. A famous king of the Chola dynasty ruled Kanchipuram between the years 985 and 1014, who took an initiative of silk trade. It was during the reign of Krishna-Deva Raya, when the famous weaving communities of Andhra Pradesh, the Devangas and Saligars, migrated to Kanchipuram. Thus, occurred the historical migration of the entire silk industry in the 15th century, to this city.
Source:
Synonymous with the sarees of South India, these are the mark of culture for every south Indian wedding, ceremony or occasion.
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Overview Kanchipuram silk saris are exclusively known for rich gold borders and dense brocades in contrast colours. More than 150 years of traditional weaving of Kanchipuram has been purely hand woven from the processed silk yarn and Zari– the silk thread made of silver and gold. Silk according to mythology is known to be the preferred fabric by Lord Vishnu. The early silk weavers were believed to be the descendents of sage Markanda who was known to be the master weaver of God. The reeling of silk was a secret that Chinese emperors discovered when a silk worm fell into a cup of tea from the mulberry tree above in 2600BC, and this is how Kanchipuram began a trade with China to receive the raw silks. Now, there are more than 45,000 expertise weavers in Kanchipuram mainly from the Padma Saliyar and the Pattu Saliyar community. Almost all the local families are engaged in different production processes such as silk weaving, warping, spinning, twisting and dyeing.
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Process The silk sarees are degummed and the yarn silk is dyed before weaving. The length of raw silk is first divided in to 3 sections for 3 similar sarees in rubber tubes. The borders and the pallu are usually dyed in one colour that are different from each other and the body of the saree in a contrast colour of the two colours used in the borders and the pallu. The most important and creative process in weaving a saree is its designing. The automated design process has now replaced the traditional design process. The image of the motif is first scanned and then it is traced and filled with bitmaps. Finally the image is transferred to the punch cards. Now the punch cards are attached in the form of a chain and loaded into the jacquard machine to start weaving. More intricate the design, greater the number of punch card stencils used in the loom.
In the weaving process, the shuttle passes through the shed that opens when the pedal is operated to interlock the threads of warp and the weft. The warp or the longitudinal threads, are held in tension on the loom and lifted up. A cotton thread is laced into the warp as it helps to trace the entangled silk threads. The wefts or the latitudinal threads, are placed in a shuttle. Weft insertion is always with hands by throwing a medium size shuttle from one end and beating the weft to the fell of the cloth. As the shuttle moves back and forth, the warp and weft threads are interwoven. It takes nearly 5-10 days to complete one sari. The length of 10 saris warp is loaded into the loom at a time.
The coloured yarn is then taken for spinning, first onto a bamboo spool then onto the spindles with the help of the spinning wheel. These spindles are used to insert into fly-shuttle which is used while weaving to weave the weft. The spinning process is done to avoid entangles in the yarn and to ensure the easy weaving.
More intricate the design, greater the number of punch card stencils used in the loom.
Raw materials At present the raw silk is been received from Karnataka and the zari from Surat. The raw silk which is pale and dull in color is covered with a yellowish gum. The yellowish gum has to be removed before the silk is dyed and this process is called de-gumming.
The materials used for manufacturing of silk sarees are mulberry silk yarn and gold zari. Normally 2 ply silk threads in warp and 3 ply silk thread in weft are used in these sarees. The original gold zari is used in the ratio of 40% silver, 24% silk and 0.5% gold. Flattened silver wire is coiled to conceal the core of the silk thread. This silver thread is coated with gold to produce zari used in the production of silk sarees.
Mulberry Silk
Materials and tools
The basic raw material used for the production of saree is silk. Finely processed silk is purchased from Karnataka. The tough silk which comes from Karnataka grants luster and smooth finish to the Kanchi sari.
Zari
Golden thread is imported from Surat. Pure silver and gold is used to make Zari thread. Recently, the artisans of Kanchipuram started zari unit to produce zari thread locally. This thread is especially used for borders and pallu of sari.
Warp Beam Dye Colour
Different colours of dye colour powders purchased from local markets. The coloured powder is mixed in boiling water while dyeing the silk yarn.
Rice Starch
Starch is extracted by boiling rice. The extracted solution is locally called as Kanji. Yarn is dipped in the kanji to obtain stiffness.
Spinning Wheel
The length of yarn is wound on warp beam which is later loaded into the loom.
Jacquard Machine
The improvised equipments such as jala and jacquard are used to produce the designs for borders and Pallu.
Warping machine
This is used to draw the length of the yarn from the spools.
This is a hand cranking spinning wheel which is locally called as ‘Mara Ratinam’. It is used to spin the silk yarn to spools and spindles. These spindles are used in weaving process for weft weaving.
Handloom
Fly-shuttle
Punch Cards
It is mainly used to process the weft. The spools are inserted in fly-shuttle while weaving. These shuttles are made of whole bamboo pole.
Looms of Kanchipuram ranging from traditional to modern. Traditional looms can be operated manually. Modern looms are upgraded with motor pedals.
The design is punched on the punch cards. The cards are loaded into jacquard machine.
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Handloom
Shuttle 17
jacquard
weft yarns
jalladai/ beater
foot pedal
Side view
Spinning wheel
Dyeing The length of raw silk is first divided in to 3 segments using rubber tube to make 3-saris. Hence these silk segments are coloured separately as per the requirements. The border and pallu of a silk saree are dyed in single colour. But the body of the sari is dyed in contrast colour of border and pallu. To start the dyeing process, water is boiled in a huge copper container. Once water is boiled at high temperature, the dye materials–washing soda, soap oil, dye color are added to the boiling water. The off-white silk yarn is dipped into the colored boiling solution. After dyeing, the coloured yarn is immersed in normal water to remove excess colour. The yarn is taken out from the container and it is allowed to dry for 2 to 3 days. Red, green, blue and mustard are the popular colors used in the dyeing process.
Dyed silk left to dry
Dyers involved in the process
Dyeing colours Natural dyes or the colours derived from nature have certain depth and is obviously long-lasting which is not found in synthetic colours. Very few places use synthetic colours (chemicals in it) which is really harmful and have severe toxic effects. Kanchipuram, the weavers use all traditional methods of dyes because natural dyes reflects the soul of our nation and is entirely suited in Indian ethos.
Dyed silk
chemically dyed
naturally dyed
Spinning The coloured silk is brought for spinning process. The yarn bundle is first spun onto a traditional bamboo spool locally called as Parivattam. Then, the yarn from these spools is again spun onto spindles with the help of spinning wheel. Silk strand is reeled to the spindle and the spinning wheel is operated. The yarn from bamboo spool is transferred into spindles. These spindles are used to insert into fly-shuttle which is used while weaving to weave the weft. The spinning process is done to avoid entangles in the yarn and to ensure the easy weaving.
Spinning wheel
Parivattam, the spun silk
A master weaver involved in the traditional spinning process.
Warping The length of silk yarn after dyeing is brought simultaneously winding process. The warping is carried out in streets preferably in the early morning, so that the colour of the silk yarn would not be sun-bleached. The length of the yarn is tied between the two poles and the warp is stretched. Entangles in the yarn are checked and then knotted. Once the warping is completed, the yarn is dipped in rice starch solution -Kanji to obtain more shine and luster. The yarn is loaded to warping machine to prepare warp beam. This is loaded into loom to start weaving process. The length of the warp 18 meters which can make three saris of 6 meters each. Nearly 3 to 5 artisans required to complete warping process. Count of warp threads ranges 5000 to 6000. Each thread of warp is 2 ply and weft is 4 ply.
Warping beam
Warping process, early in the morning
Weaving Weaving is done on the fly shuttle pit looms. The weaver interlaces the silk threads of weft and warp. The shuttle passes through the opens formed when the pedal is operated to interlock the threads of warp and the weft. Once the shuttle is passed, the suspended rope from jacquard is pulled to form the weave. The proton of woven cloth is wounded to the wooden beam which is in front of the weaver. After weaving of 6 meters of weft, the portion of unwoven warp is intentionally left before and after the sari weaving which is later knotted for fringe. Thus the weaving is completed; the unwoven stands are cut out with a small metal blade and sari is folded in traditional manner for the marketing. It takes nearly 8 to 10 saris warp is loaded into the loom at a time. The weaver may need 1 or 2 persons help while working.
Weaving of a traditional saree
Technique Korvai This technique must have 3 shuttles while weaving. The weaver works on his right side and his aide works on left side. A contrast border is woven using three shuttles, side Border with two shuttles and one shuttle for the body of the saree. The borders are thus interlaced with the body of the saree.
Petni After weaving the body of the saree, a separate warp as that of border colour is joined with the ground old warp by weaving both the warp about one inch. The the ground warp is cut off and fringes of new and old warp are neatly trimmed. Solid colour pallu is then woven by using a single shuttle.
Reku The temple borders are woven using this particular technique. It is also used to get two separate colours in the body and the pallu. This technique is also known as the Dharmavaram technique, a cheaper and easier alternative to the petni.
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Evolution Punch cards
Jacquard looms
These cards are used for the design in Kancheepuram silks. Punch cards are a bunch of stiff cards that are loaded into jacquard machines. Earlier in Kancheepuram, punch cards were made without any programming language. There used to be wooden box and a lid with uniform holes in it. The craftsmen used to put a stiff paper inside the wooden box and cover the lid thus making their own designs without binary numbers. Nowadays, computers have replaced this, thus speeding up the process from a day to a few minutes.
Traditionally, there were drawlooms. The figured designs were made on draw looms. The heddles with warp ends to be pulled up were manually selected by another person, not the weaver. The work was labourintensive and slow too. The complexity pattern was also limited, but these days punch cards are used. The stiff cards are joined in a continuous chain and is also capable of complex designs. It is easy and less time consuming.
Flying shuttles Earlier, the shuttle was thrown, or passed, through the threads by hand, there used to be two people sitting side by side and passing the shuttle. These days shuttles are mounted on wheels and paddles are used to shoot the shuttle from one side to another. Using this method, a weaver can weave a saree way faster than two could before. Also the material used for making the shuttle has evolved. In previous looms, they were made up of bamboo and then wood and currently, plastic is used for making these.
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Elements Every sari, with its exquisite elements, has a fascinating story to tell. Its motifs, some of them centuries old, are popular to this day and have typically been inspired by exquisite temple art or drawn from nature. It is true that the weaving tradition of Tamil Nadu is unique, and the reason lies in its designs and motifs which have stood the tests of time. As with much in traditional India, motifs in Kanchipuram sarees echoed the ethos of the land and its people. Many of the motifs were drawn from nature and were recurrent themes in temples, bronze sculptures, paintings and most importantly textiles. The famed annapakshi motif, for instance, is found in brass lamps, kalamkari hand-painted scrolls, Tanjore paintings, jewellery and terracotta ware.
The weaving tradition of Tamil Nadu is unique, and the reason lies in its designs and motifs which have stood the tests of time.
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Influences The entire craft is rooted within the city’s cultural hotspots, namely the temples. However, motifs and various patterns can also be noticed on balconies of houses, iron grilled gates, ceilings and walls. This shows how the motifs in the temples have not only influenced those of the sarees but also the environment around them.
Motifs Most motifs served a few purposes. They were elements of decoration and symbols of fertility and prosperity. They reflected mythical stories with birds and animals. They were rooted in the divine such as the rudraksh beads that were the prayer beads for Lord Shiva. The genius of Kanchipuram weavers was not just in the choice of the motifs, but also in the way that these motifs were put together in the saree. Mayilkann: Peacock’s eye. Does not have a dot in the middle. KuyilKann: Koel’s eye. Has a dot in the middle. Bogudikodi: creeper or Bogudi vine. Arai bogudi: half vine or creeper Vanki: a curved armband worn above the elbow. Cheepureku: Comb like temple Rettainelli: two vine-like creepers Othainelli: one vine-like creeper Annapakshi :Mythical creature like a swan
pogidi
arai manga
film petu
arai pogidi
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button
temple mokku
pombula petu
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Jacquard Punch cards are a perfect example of hands-on algorithm, the significance of a multiple no. of cards strung together to compose designs on the textile cannot be underestimated. The ability to change the pattern of the fabric by simply changing these cards are an important conceptual precursor to the development of computer programming.
Earlier in Kancheepuram, punch cards were made without any programming language. There used to be wooden box and a lid with uniform holes in it. The craftsmen used to put a stiff paper inside the wooden box and cover the lid thus making their own designs without binary numbers. They were used for running a drawloom that implemented a lengthy and labour-intensive process. The machine also had limited capability of generating complex patterns.Thus, Jacquard’s binary punch card system is considered an essential step in the history of computing.
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The Math behind... Standard cards - 2 inches (20x6) cards - 4 inches (30x8) cards - 8 inches (40x12) Explained above is the relationship between the number of cards and the design. More complex the design, more the number of cards and the holes punched. For example, a standard set of 120 cards can produce a 2 inch border from a grid structure of 20x6.
Colours
Araku Pachai, Paasa pachai Neelam Elakkaai Kathiripoo Elumichai Orange Vadamalli
Quality and use
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A silk saree becomes a failure when the quality of material used is sub standard. The quality of the saree can be judged by the strength of the yarn, its weight and colour of the zari. If the zari gets tanned, it is good in quality since silver zari gets oxidized than impure zari. The artisan can easily evaluate the failed product either by the symmetry of the motif or the motifs printed upside down. This happens when the warps and wefts are improperly synchronized for the design. The product failure happens because of the negligence of the labour, like not regularly wetting the threads, abrupt thread cuts because of poor quality and design aberrations reflecting in sarees while changing to new motifs.
Value chain Wholesaler
Retailer Artisan
Customer
SWOT Uniqueness GI tag and awareness about the craft Exclusivity Associated with tradition Long lasting
Less production Expensive
S
W Strong audience Customisation Branding and strategy
O
Mass production Knock offs Cheaper replicas Viscose blend
T
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People The people of Kanchi had the warmest of hearts and the sweetest of smiles. Like how every nook had a century old temple, there also was a person willing to lend a helping hand. Even when wandering around the streets, there was always someone who helped find the way through their guidance. Whether it be the artisans, school teachers, shopkeepers, temple devotees or even a person riding by in a scooter, the moment, a look of confusion appeared on our faces there was a person asking us what the problem was. Given in the upcoming pages are a few stories that are incredible in their own way; each filled with their own thoughts, ideas and anecdotes. So, sit back and prepare to be immersed in conversations filled with passion, love, discipline, responsibility ond ownership.
Like how every nook had a century old temple, there also was a person willing to lend a helping hand.
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A heart of gold
Name: Sakthi Age: 37 years Languages known: Tamil Marital Status: Married w/ 2 children Address: Krishnan Street, Pillayarpalayam. Contact: 9677495902 Designation: Owner of weaving unit/ Weaver Working Hours: 10 AM- 7PM Breakfast (9-10am), Lunch (1-2 pm)
The generous nature of this man and his family, including the co-workers made Kanchi feel like home. Being served the best filter kaapi, and the special payasam made the experience sweeter.
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The city of Kanchipuram had a charm about itself; we wondered if it was the quaint little streets, the welcoming people or the magnificent temples. Though all of these aspects proved to be true, it was the warm heart of this weaver, Sakthi that stood out above the rest. The generous nature of this man and his family, including the co-workers made Kanchi feel like home. They threw open the doors of their houses and welcomed as in as their own relatives and children. We were served the best filter kaapi, and the special payasam whenever we made a visit. During our exhaustive tours around the town we stopped by everyday to greet them every day and felt nothing less than a part of their family of weavers. The 40 year old house had a distinct appeal; it was a two storeyed building, built in the traditional style with vast halls, spacious backyards and extremely narrow stairways. The construction style stood in between the Chettinad style of the southern and the Brahmin style of Northern Tamil Nadu. The balconies were lined with mud pots of aloevera (kattralai), Tulsi (thulasi) and thuthuvalai; all of which were medicinal plants. The entrance was adorned with a beautifully drawn chikku kolam and had rose petals decorating either side of the steps leading to the verandah. The floors were layered with grey cement that had smoothened in quality over the years.
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Once we climbed up the narrow stairway, we stepped into their workplace. There were four looms placed at each corner and a variety of punching cards, left over silk and unspun zari by the shelves. An old radio was playing Tamil songs from the 80s much like the melodious likes of Janaki and M.S.V, and a gentle breeze was coming through the main door painted in turquoise as a long curtain fluttered in tandem with the music. The weaving process was happening in a beautiful synchrony as the weavers hummed to the tune of the song. The periodicity in the foot work, the moving shuttle and the shifting of punching cards resulted in an orchestra in which each of the weavers were the conductors of their own work. As we sat down for a conversation with Sakthi, the head of this unit, a few other interested artisans also pitched in to give us insights about this age old craft and the details behind its making. As the questions poured in, they happily answered them along with anecdotes which lit up the room with laughter.
(Excerpt- P.S. Q/A translated to English from Tamil)
Vanakkanga Anna. (A way of greeting in Tamil Nadu) (He greets us back with folded hands)
What led you to taking up this weaving profession ?
Twenty years ago, when I had just finished schooling, weaving was the most prestigious work to do in Kanchipuram. Weavers were respected and the few who took up engineering or other jobs were dismissed by the community. Also, those who were involved in silk saree weaving were sought after for marriage because of economic well being and the respect we had. This led to my brothers and me taking after my father who was a weaver. However, this idea has changed during recent times and more people are taking up other jobs!
How long have you been involved in this craft? I have been involved in this craft for the past 15 years. My father has been a weaver for the past 40 years and I learned the technique from him. I hope my son takes an interest in it too.
Weavers were respected and the few who took up engineering or other jobs were dismissed by the community.
Where do you get the raw material from? The raw material reaches us through the wholesalers to which the retail companies have partnered with. We go and collect them as per our need; we make sure to test the quality of each before bringing it to the unit. As per my knowledge, the raw silk (kora) comes from Bengaluru, zari from Surat and the jacquard machines from Madurai. All the other tools are made in Kanchipuram itself.
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What are the different techniques of weaving the Kanchipuram saree?
There are three broad techniques; korvai, pitni and reku. Kanchipuram is special for the korvai technique that allows for colour blocking of the borders. Reku technique is an easier and cheaper alternative to the traditional Kanjeevaram and is associated with the Dharmavaram replicas. Pitni is an older technique in which the warp of the saree has to be reloaded almost six times to complete the separate sections of the saree. Nowadays even the korvai technique has been replaced using advanced dyeing methods in which the colour separation is achieved through dyeing.
Can you elaborate more on the korvai technique ? The korvai technique is what makes the Kanjeevaram saree special and highly priced. In this technique, three shuttles are used; one for the body and two for either borders. This allows for colour separation to happen within the saree with no loss of colour. The border and the body are joined by slowly letting the complimentary shuttle through a single yarn of the other warp. For e.g If the body is yellow and the border is red, the shuttle used for the border is let through a single yarn of the yellow warp of the body, thus joining the saree into one.
How have the weaving processes evolved along time? There has been betterment in loom mechanical parts and dyeing techniques which have made the process less time consuming. There are electrical counterparts to foot pedals, electronic jacquards and spot colour dyeing which help save time. Though there have been advancements in technology, the core of the weaving process is still the same and the authenticity of the original Kancheevaram has not been compromised.
Though there have been advancements in technology, the core of the weaving process is still the same and the authenticity of the original Kancheevaram has not been compromised.
What is the difference between working for private organizations vs the society?
When you make sarees for private organizations, there is no dearth for the variety of designs and specifications. There is more design quotient in the private retail chains. However in societies, the artisans are given higher wages and fair bonuses. Also, the society sarees are of better quality.
What are the advantages and disadvantages of both? In the society setup there are strict rules about working hours while working for a private organization provides more flexibility. The recruitment process for the society is also harder, but the benefits are earned through higher wages and festival bonuses.
What is the average cost price of making a saree? How much is it marked up during sale?
How long does it take to weave a single silk saree?
On an average, it takes around ten days to complete weaving a single saree. It is however upto the weaver; he may finish it in just five days or take upto 15 days. It depends on how much time he invests each day. The complexity of the designs and the grandeur of the saree also dictate the duration.
The cost varies on the intricacy of the design and complexity of the saree. The cost price of a simple cotton saree with only puttas is about Rs.2050. The silk saree with medium to average jacquard design is Rs.4000 and the sarees with grandeur start with Rs.5000 and go up to Rs.10000. Whatever the cost price maybe, the saree is marked up by 20-30% during the sale.
How is the salary system within this unit? Do you sell your own sarees or sell it to retailers? We sell it to a saree retailer in Chennai, Sundari silks.
Here, we get paid according to the cost price of one saree. Since the raw materials are already paid for by the retailer to the wholesaler, we earn the full amount for making a saree. Therefore, every artisan here is working on his/her own terms. The more the number of sarees they make, the more they earn.
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The work environment here seems to be different than the society. Any particular reason?
We are all here because we want to stay true to this ancient craft and practice it the way it has been done over the years. We aren’t daily wage labourers but masters of our own craft. Every weaver who works here forms a part of this house, irrespective of wherever they come from. They all have families in the nearby villages. Though they work here because of various economic reasons too, the most important is our interest and respect for the craft. It is not a working place but a family of sorts!
He introduces a nearby weaver, Mr. Nagaraj, who has joined the unit recently and asks him what he likes about this place. Weaver: I am just 24 years old. I preferred weaving over any other job because, instead of working under an organization for a stressful number of hours, I get to be independent and work on my own terms. I also feel that it is my duty to give back to the culture and tradition of the craft. (We acknowledge his answer and turn back to Mr.Sakthi)
Do you know anyone else of a young age who has taken up weaving? I have a couple of nephews who attend college in the morning and weave in the evening. It is heartening to see youngsters also interested in the craft.
Do you see your son taking it up in the future? It is upto him. He can do whatever he is interested in, but if he takes up weaving, I’ll of course be happy.
I preferred weaving over any other job because, instead of working under an organization for a stressful number of hours, I get to be independent and work on my own terms.
The labour of love
Name:Kumar Age:30 Languages known:Tamil Marital Status: Married w/ a daughter Address:Kosapalayam, Arani Contact: 9380872080 Designation: Independent weaver
A conversation with one of the experienced weavers named Kumar who has been weaving since 16 years in Arani unfolds an endearing narrative of silk drapery which he has woven for his beloved wife for their wedding occasion. 47
Arani had a different magic as compared to Kancheepuram. The streets were smaller, the reflections of traditions stronger and the weaver community was knit closer. We were flocked by a group of retail agents as soon as we got down at the Arani bus stand. After contacting a weaver whom we had earlier spoken to, we took a rickety share auto ride to the main weaving cluster within the town called Kosapalayam. In Kanchi, where there were more than 5 looms in a unit; in Arani, there was a single loom in every house in the street. There were more independent weavers with older models of the loom untouched by technology. Within the quiet and tapering streets of Arani we met an artisan called Kumar, who had a very special four pedaled loom. It was a rare machine and we were fortunate enough to speak to him about the techniques specific to this one. He was inviting as ever and answered our questions patiently with no hint of hesitation. He even had some personal stories to unravel which left us listening with apt attention and wonder.
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(We request him for a picture but he shies away and tells us to ask all we need, but not videotape or photographically record the conversation.) (Excerpt- P.S. Q/A translated to English from Tamil)
We greet him befor starting the conversation. (He greets us back with folded hands)
What is the specialty of this particular loom ?
Generally in the two pedaled loom you tend to see the residue of the design on the inward part of the saree too. Since you can alternate between two layers of the warp, the gold zari/design tends to get half hidden, thus showing only 50% of the design while the remainder gets left over inside. However in the four pedaled loom, you can alternate between four layers of the warp,thus very little part of the design gets left inside. Here you can see more than 75% of the design on the top and barely anything inside. Thus the clarity in the design is much better and the grandeur of the saree in hugely multiplied.
What is the foot pedaling pattern in this loom? The pattern is one, three, two and four. Irrespective of the type of design it is the same pattern. In a two peadlled loom, as you might have seen, it is just alternate. We try to understand the mechanics of the loom by observation while he hurries in to bring something. In his hand is a beautiful, parrot green colored saree with various flower patterns. As he shows us the sari, he tells us that this was the saree that he weaved for his wife for their wedding. His wife stands shyly near the kitchen and nods her head in agreement when he shows us her favourite flower and the color. His daughter tugs at the saree impatiently while we stand awestruck at this marvel of love.
Kumar: Since I have used eight colours , I had to
alternate between eight shuttles at certain points. This particular motif here, (he points to a flower shaped motif with his wife’s initial ‘u’ on it) took me three days to complete. Since I had completely designed the saree, the punch cards for the jacquard were not available as it was not a traditional pattern So, I had to sketch and mark the pattern by myself on the warp before inserting the shuttles.
That is simply amazing! How did you go about sketching the patterns ?
This saree took me 35 days to weave. It has my wife's favourite colors in it.
I used a compass and a white chalk for marking the patterns. Firstly, I traced down the sketch on a plastic sheet and drew a grid over it. I then punched holes accordingly to create a reference similar to that of a jacquard. Once I had punched the holes I placed the plastic sheet in alignment with the warp and ran it over with wet chalk, thus imprinting the design in the form of a grid on the warp. This served as a reference and I had to pass through the shuttle carefully by paying heed to the dots.
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He then brings out a peacock blue colour double shaded saree that he weaved for his wife’s engagement.
Kumar This one is a simpler one; it took me 15 days to complete it.
As we pass around the saree for it to be touched and felt, I realize that these sarees are much lighter than the Kanjeevarams. When asked, he replies,”That is precisely why Arani sarees are world famous, and equally renowned as the Kanjeevarams.” As we thank him and prepare to leave, he lets us with a note; that even when many retailers had asked him to weave similar sarees as his wife’s wedding one, he had not agreed, because as he says, “No amount of money can make me weave this saree again. It is a labour of love and the next shall be for my daughter’s wedding.He lifts his daughter, who oblivious to her surroundings shall be the next to be a part of this legacy.
"No amount of money can make me weave this saree again. It is a labour of love and the next shall be for my daughter's wedding.He lifts his daughter, who oblivious to her surroundings shall be the next to be a part of this legacy.
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A tale of motifs
Name: S. Sathish Kumar Age: 45 Languages known: Tamil Designation: Designer/Owner of punching unit
He was a simple middle aged man, who wore a checkered shirt and khaki pants. He took his seat in front of the computer machine and answered our questions with interest.
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Amidst a crowded theatre complex, a mechanical parts shop and a cycle repair shop stood a lone building with no signage whatsoever. Wondering if the auto driver had dropped us at the right place, we went about enquiring, if this was the place that made the punching cards. A few people looked clueless, but finally an old man showed us the way to the punching unit. He led us through a seemingly abandoned stairwell to a corridor. The click clack of the punching machine became audible as we followed the man. At the end of the corridor stood a tiny glass walled office. We left our slippers outside and walked in to meet the designer. His assistant informed us that he was out for lunch and he would be back soon. We waited for about an hour, while his assistant showed us the computer files and the printing process. After a while of documenting, we waited for him to arrive. He was a simple middle aged man, who wore a checkered shirt and khaki pants. He took his seat in front of the computer machine and answered answering our questions with interest.
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(Excerpt- P.S. Q/A translated to English from Tamil)
Where do you think lies the origin of the motifs?
Vanakkanga Anna.
It lies entirely in the temples. Each sculpture, each pillar and each temple is abound with patterns and design elements that are directly represented in the saree borders and pallu. In fact I would go as far as to say that the entire craft of the Kanjeevaram has originated from the temple culture of the town.
How long have you been in this profession ?
I set up this business 15 years ago. There was enough number of artisans in the weaving community but none in the designing area. Thus there was room for development in the punching units. 25 years ago, the process of making the punch cards was very tiresome as it was an entirely manual process. Even the designs had to be marked by hand on the graph sheets and the appropriately punched. The advent of new technology and software has highly sped up the process and allowed for more manipulations within the design elements and boosted creative work.
How have the designs evolved over the years ? The basic units in the design have not changed at all. The motifs have remained the same over the years For e.g the mayilkan, rudhraksham, reku, thazhampoo and vangi patterns have been practiced in the same fashion along the ages. It is, however the way they are being used and the complexity of the patterns that have changed. Nowadays, people want designs throughout the entire saree; thus a combination of many of the elements is experimented with in each saree. As I said, it is the same story; there is only a difference in screenplay and direction.
How do you go about designing a set of punch cards for a saree ?
As I said, it is the same story; there is only a difference in screenplay and direction.
Firstly, we either get an order from the wholesaler, retailer or the weaver himself. We ask for the necessary measurements of the design element/motif in inches. Then I scale it accordingly and construct the pattern on Paintshop. We use two bit colour to then feed it to the punching machine.
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Can we see the process of you designing?
Of course! (He pulls up a notepad and immediately scribbles down a traditional manga pattern) (He then shows us the software and starts sketching it. He constantly zooms in and out to make sure the pattern in accurate. He saves the file to a pen drive and inserts it to the device connected to the punching machine. In an instant, the maching starts punching out cards that seem to a be an array of delicately placed dots that look highly complex.)
“Earlier a day’s work, now it just happens within minutes!” he exclaims. We nod in agreement as we see the boon technology has been for this process of the craft. We thank him for sharing his invaluable time for us. Before leaving, he hands us a couple of cards and a graph sheet for our reference. As we climbed down the stairs, we felt that Kanchi had so much to offer; the highlight being the selflessness of the people who are a part of the town’s culture as well as the craft.
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"Earlier a day's work, now it just happens within minutes!" he exclaims. We nod in agreement as we see the boon technology has been for this process of the craft.
The number story
Name: Nagaraj Age: 30 Languages known: Tamil Designation: Wholesaler
An enthusiastic young man, he volunteered to help us out in styling our flat lay shoots and endured our 'n' number of retakes calmly with a smiling face.
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While we were waiting for the designer to arrive we waited at Mr. Nagaraj’s shop. Meanwhile we asked him a bunch of questions about the chain behind the wholesalers to retailers and vice versa. He gave us a lot of input on specificities about price, weight and sourcing locations. He was also kind enough to show us his account books and order lists. He was helped by his two assistants to lay down the raw materials to carry out our endless photoshoots.
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(Excerpt- P.S. Q/A translated to English from Tamil)
How much does one roll of zari cost?
Vanakkanga Anna.
One roll of the purest first quality zari costs Rs. 7000. The lowest third grade quality zari with added copper costs Rs.2000.
How long have you been in this profession ? I got involved in the business ten years ago.
What is the value chain involved in the craft? It first involves the raw material supplier. They deal with the wholesalers and we in turn with the retailers. A few retailers connect us with weavers while a few other independent weavers get the materials themselves. After the weaver it goes to the customer through the retailer.
What are the constituents in one roll of zari ? I’m not sure about it in terms of one roll, but one kg of pure first quality zari contains 4 g of gold, 30 g of silver and 10 g of copper. The rest are solvents.
Where do you get the raw materials from? We get kora silk from Bangalore, zari from Surat and the punch cards are printed here in Kanchipuram itself. Jacquards are bought from Madurai but we don’t deal with loom parts here.
What is the approximate cost of a set of punch cards?
As the complexity of the design increases, the number of cards increase and is more expensive.
For a standard design i. e a set of 240 punch cards, it costs about Rs. 1200. As the complexity of the design increases, the number of cards increase and is more expensive. He now asks us if we understand why a silk saree is this expensive and valued. He explains to us that the cost price itself adds up a lot but is also the worthiest investment an individual can make. We thank him generously and take leave.
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Following a legacy A family of weavers aged from 60 to 16, enthralled us with their stories and responsibilities. This closely knit family in Arani, try to find contemporary ways to keep the craft alive and relevant to the younger generations.
The eldest in the family and the youngest worked alongside on the same loom, entwining generations of knowledge into a single saree.
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House after house, lane after lane. Every individual weaver directed us to another loom, another story. This is how we stumbled upon this extremely supportive family of weavers in Arani. The women and the men in the family strung together the yarns in the story to make it a well woven legacy of generations. We asked them a few questions and the conversation soon became an engrossing discussion.
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When asked about their rituals and practices regarding starting a new saree, they said that they don’t necessarily practice enything except a simple ‘deepa aradhana’. “We need the support of women in the craft. Without the collaborative efforts of each individual in the family, it is hard to excel at it. Thus we all live the process together”, says the eldest of the family.
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Culture Kanchipuram is known for its famous temples Ekambaranathar, and the Kanchi Kamakshi Amman temple. Kanchipuram was in limelight in Tamil Nadu because of its silk sarees and their religious touch with pious people around. Tourists all over India visit Kanchipuram for worship and for shopping the exclusive sarees for its uniqueness. The Sankara maadam of Adi Sankarar evokes positive vibes by chanting Vedas. The school of Vedas was started by sSnkarar still continues to create pundits from orthodox background.
Whether it be the string of jasmine flowers by the temple or the special kovil idly by the lane, each has a wisp of Kanchipuram and its culture. Each nook stands a century old temple and a local always willing to help.
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Temples
This temple is known to be one among the oldest structures and is dedicated to Lord Shiva. The construction was commenced by Rajasimha Pallava. His son Mahendra Varma Pallava completed the construction. Pallava Kings were known for their love for architechture. The way it has been constructed, makes us understand the importance of art and architecture. They are known to be beyond words for the intricacy in sculpturing and craftsmanship
Kailasanathar Temple
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Kanchipuram is known to be among the Pancha Bootha Sthalas for the element of Prithvi, which means the earth. The temple was built in 7th century. Many famous Shaivite Nayanmars like Appar, Sundarar, Sambandar and Manickavasagar have visited the temple and sung about the Lord. People from all over the country visit the temple throughout the year. The temple is known for its beautiful sculpture works during the pallavas dynasty.
Ekambareshwarar Temple
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Athi Varadhar
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Atthi Varadhar, the spiritual sensation of recent times, was the original Moolavar of Sri Varadarajar Perumal Temple of Kanchipuram. He is placed in Pushkarini of Temple and is taken out every 40 years and will be placed for dharshan of devotees, for 48 days before taken back into the Pushkarini to be placed there for another 40 years. There are various legends associated with why was he placed in Pushkarini and
none of them are verified as authentic.Most of the Vishnu Temples of Vishu Kanchi are associated with the appearance of the diety, according to the Sthala Purana. According to it, Lord Brahma did a Aswamedha yaaga, to get Lord Vishnu out of Aththi (fig tree) and is exactly the idol which was worshipped until early 16th centuary when he is supposed to have been placed Pushkarini, for reasons not recorded. The
last time he was taken out 1979, but this time he has been the sensation with lakhs and lakhs of devotees turning out to have his Dharshan.The devotees pan the entire entire population from rich to poor, from all walks of life and self proclaimed atheists. It is said in Bagavadh Geetha by Sri Krishna that he manifests in whichever way his devotees like him to. This Atthi Varadhar has now been the heart throb of lakhs of
people and hence it is no doubt Sri Krishna has once again visited to bless us this year, in the form of Atthi Varadhar.
Kamakshi Temple The temple was dedicated to Ambal Kamakshi who is the form of Parvathi devi. The temple was built by Pallavas during the 8th century. Adi Shankara established Sri chakra in the temple to consecrate the cosmic powers in the temple. The Goddess poses in sitting posture with Sugarcane and flowers on her hands while blessing the devotees.
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Cuisine Kanchipuram is also famous for it’s traditional food. One of the most enjoyed dish in kanchi is idly. It is made of rice and dhal. Unlike normal idly the rice is ground to smaller grains and is steam cooked like puttu. Idly looks grainy unlike normal idly which will be smooth.The taste is unique and being cherished by thousands even now.Apart from that we get traditional south Indian meal which consist of rice,dhal, sambar, rasam,appalam(pappad),payasam,and buttermilk served with cooked veg curriesaround it. After a heavy meal, people are served with betelvine,lime with supari for easy digestion. Including the famous idli, dosa also seems to be the highlight, lining the streets of the entire town. Alos, the lemon rice served at the Ekambaranathar temple is said to be one of the best.
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Houses A typical example of the agraharam or Brahmin settlement can be found in Rengarajan street of Kanchipuram, near the Varadaraja Perumal temple. In this case, the agraharam was constructed in the year 1765 on land donated by Rengarajan, a Brahmin, for the exclusive use of Brahmin families. These seven houses are constructed in an identical manner. Each house revolves around and open courtyard flanked by several rooms. The builders made full use of the local material available which was brick, chunam and wood. These houses were also designed in such a manner as to minimize the harsh glare of the sun by providing deep verandahs that shielded the rooms. The kalyana koodam or marriage hall, which is typical in agraharam house, is absent from the Rengarajan street houses.
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Attire The attire of Tamil Nadu ranges from dhothis and shirts for men to silk and cotton sarees for women. Here, weavers were seen wearing lungis and coloured dhothis while women wearing georgette and cotton sarees. Silk sarees have been given an esteemed place of being worn only for traditional festivals and events. The young are seen to be wearing western clothes and traditional clothes form part of their special occasion attire.
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Reflections
The trip gave us so many memories and reflections to talk about. Here are our musings, sharings and thoughts.
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Need for craft documentation The art of crafting is being proceeded from generations to generations. The need for documenting these crafts signifies to value the images or artifacts across times and culture. It also helps to understand the context of how they are made. The hands on, hardstriking craftsmanship is being narrated through the aesthetics and beauty in craft. The history of how our ancestors had lead their life is being potrayed. It also makes us understand the role in creative and cultural industries that shape their lives. Craft documenting makes to hone practical skills and learn about machines and tools. The craft documentation helps us to view the timeline of craft over a period and understand the enhanced creativity, usage of resources and technology. This documentation also helps us to analyze the economic growth and contribution to the craft industry. It also expresses the emotion and their literacy level, awareness towards technology can be studied. The recognition of these artisans through documentation makes everybody to respect human values.
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Communication Design Fashion communication as a department promotes the product developed by craftsman. It also helps the artisans to exhibit their talent, hardwork and creative skills through article writing. It helps the people or society to be aware of different types of artisans and develope respect towards nature of job. Communication is one of marketing strategies for the products developed by the artisans. Exploring the craft through travel and recognizing their artistic work can be done only by documentary video.
Answering the five W's
What did we learn? A complete view about the silk weaving craft in Kanchipuram.
Whom did we meet ? A plenty of kind souls whom we learnt a lot from. People, old and young, were extremely helpful in every way.
Where did we go ? We wnt to Kanchipuram, Arani and Anakaputhur. Within those towns, we went to the specific weaving clusters Pillayarpalayam and Kosapalayam respectively.
Why did we go ? To know the importance of craft and craftsmanship, to know about the problems faced by the artisans and level of awareness so that the craft can be valued more. Also to know about its orgin till the present day weaving.
When did we go ? Kanchipuram was visited on 21st july till 28th july. It was a one week stay to know about the entire silk weaving process and the craftsmanship.
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Musings I had never speculated how much I would learn from this trip. Leaving apart the abundance of information we learnt about the craft, living in a small town like Sriperumbudur and learning to travel in a local bus on the daily to far off places while standing for most of the ride was truly a once in a lifetime experience. Being a city girl, I got to empathise with the routine of every person that lives in these towns. The weather was moody and the people were not the friendliest, yet there was something good to take back from this trip. I can’t pin it down to one thing but just to be there with your peers and experience something that we never have had it’s own perks. And to literally see the evolution of a craft like Kanchipuram silks through the eyes of the artisan’s themselves, humbled me and everyone around. A lifetime worth of memories and stories, the good and the bad, this craft cluster was more than just about the craft, it was about us. Snigdha Bhowmik
Having to interact with the master weavers and the craftsmen was incredibly rewarding. Lots of new experiences, thoughts and learning. Since I was one of the few ones who could communicate in the local language, it gave me a deeper connect with the weaver fraternity. Managing a large group of people in a place that was quite new to them was also a great learning experience in terms of leadership skills. Overall, it was a very eye-opening trip. Swarna Manjari
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Glossary
Bibliography