Vanker's Vanaat- The weaving of Kachchh

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“Although I’ve seen weaving work before, I am fascinated! Beyond the technical moves that are impressive, the complexity and beauty of the machine leaves me speechless. All these lines, these regular movements, these colors … create an atmosphere that is truly mesmerizing!” -Shruti, Made in Kachchh

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ACKNOWLEDGEMENT Craft research document is an integral part of learning more about the roots and diversity of our country. We the students of Maharaja Ranjitsinh Gaekwad Institute of Design, MSU, Vadodara, would like to acknowledge the active guidance and proficiency of various experts from the wide range of disciplines, without whom, we would have been directionless. We would like to express our sincere gratitude to Maharaja Ranjitsinh Gaekwad Institute of Design, MSU, Vadodara for providing us with the opportunity to conduct this research. We extent our heartfelt gratitude to Mr. Shailendra K. Kushwaha, Founder Director Advisor, Faculty of Fine Arts, for encouraging us towards craft initiative works. We would like to thank, Dr. Jayram Poduval, Associate Director, MRID, MSU, Vadodara for his constant support and guidance. We would like to acknowledge the guidance and support provided by Mrs. Anju Pawar, Course Coordinator. Our heartfelt gratitude and many thanks to Mr. Shatrughan Thakur and Mr. Hitesh Dhamecha for the constant guidance, support and encouragement. We thank them for being our inspiring mentors throughout the journey from research work and field study to compilation and documentation. We would also like to mention the Vankar brothers, Suji Bhai, Dhanji Bhai, Laxmi Ben, Ramila Ben, who warmly accepted us into their homes, and taught us about their beautiful culture and traditions.

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Craft documentation- Vankar’s Vanath: Weaving from Kachchh

Maharaja Ranjitsinh Gaekwad aInstitute of Design (MRID) Sayaji Bhavan, Behind University Head Office, Pratapgunj, Vadodara (Gujarat) This documentation is written, edited, photographed, illustrated, and designed by Students of MRID- MSU, Baroda. All rights reserved under international copyright convention. No part of this documentation maybe reproduced or translated in any form or by any means, electronic or mechanical including photography, recording or any other information storage and retrieval system, without prior permission in writing from the copyright owner. Publication Year | February 2019 Designed and Developed at MRID

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PREFACE India is synonymous with beautiful arts and handicrafts. One of the best textiles come from India and every piece of art produced in this country speaks about its lavish culture. India reflects the exuberance of its tradition and culture in the crafts it has been endowed with. Every craft speaks about its own history and philosophy. The history of Indian crafts comes from one of the established civilizations of the globe. Going back to almost 5000 years from present. The first reference from Indian handicrafts whirled around religious values, confines need of the commoners, as well as special needs of clientele and royalty, along with an eye for the overseas and home trade. Pre-historically Indian handicrafts were basically made for day after day use, the yearning of aesthetic application soon saw application of flooding designs and motifs. The incalculable artistic and ethnic assortment has enabled a fusion of motifs, techniques and crafts to increase on this land. Every state in India is adorned with its own traditional craft. Be it Ajrakh of Gujarat or Kasuti of Karnataka, everything has its own beauty. The Northern Indian states like Jammu and Kashmir, Himachal Pradesh, Punjab, Haryana are renowned for their exquisite crafts involving embroidery, carpet weaving, metal work, leather work, furniture and pottery. Crafts of North Eastern India like Assam, Tripura, Arunachal Pradesh, Nagaland and Meghalaya are the Indian states which specialize in creating numerous beautiful crafts. The craft industry of South India has established itself commercially in the nation, whilst reflecting a long history of foreign rule. Dravadian style, stone carved temples reflect the influence of Hinduism whilst Roman Catholic churches echo the impact of the British rule. Temple carvings are symbolic of the craft skills in the Tamil Nadu region. The crafts of India have been valued throughout time; their existence today proves the efforts put into their preservation. Hence, we know that India is an epitome of creativity. It is the abode of the artisans and reflects true craftsmanship. 7


CONTENTS 1. INTRODUCTION

5. TOOLS AND RAW MATERIALS pg: 46

2. HISTORY OF WEAVING pg: 22

6. PROCESS

3. HANDWOVEN TEXTILES OF GUJARAT pg: 28

7. PRODUCTS

4. HANDICRAFTS OF NIRONA

8. WORKPLACE AND LIFESTYLE

pg: 10

pg: 34 8

pg: 52

pg: 60

pg: 70


9. ARTISAN PROFILE pg: 74

PROBLEM AREA

10. PRESENT SCENARIO pg: 82

CONCLUSION

11. ORGINATION AND GOVERNMENT SUPPORT pg: 86

OUR EXPERIENCE

12. S.W.O.T ANALYSIS

ABOUT THE TEAM pg: 91

pg: 93

pg: 94

pg: 95

pg: 96

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1. INTRODUCTION

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GUJARAT

Gujarat, India’s western most state has varied terrain and numerous sacred sites. It is the sixth largest Indian state by area and the ninth largest state by population. The Gujarati-speaking people of India are indigenous to the state. Its capital city is Gandhinagar, while its largest city is Ahmedabad. Gujarat was one of the main central areas of the Indus Valley Civilisation. It contains ancient metropolitan cities from the Indus Valley such as Lothal, Dholavira, and Gola Dhoro. The ancient city of Dholavira is one of the largest and most prominent archaeological sites in India, belonging to the Indus Valley Civilisation. The most recent discovery was Gola Dhoro. Altogether, about 50 Indus Valley settlement ruins have been discovered in Gujarat. Gujarat is home to the Gujarati people. It was also the home of Mahatma Gandhi, a worldwide figure for peaceful struggle 11


against tyranny, and Vallabhbhai Patel, a founding father of the republic of India. Gujarati literature’s history may be traced to 1000 AD. Well known laureates of Gujarati literature are Hemchandracharya, Narsinh Mehta, Mirabai, Akho, Premanand Bhatt, Shamal Bhatt, Dayaram, Dalpatram, Narmad, Govardhanram Tripathi, Mahatma Gandhi, K.M. Munshi, Umashankar Joshi, Suresh Joshi,

Swaminarayan, Pannalal Patel. Gujarati food is primarily vegetarian. The typical Gujarati regions of Gujarat all bring their own styles to Gujarati food. Many Gujarati dishes are distinctively sweet, salty, and spicy at the same time. In Saurashtra region, chhash (buttermilk) is believed to be a must-have in their daily food.

Photo by - Hiten Ashara

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Photo by - Ronak Rana

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KACHCHH

Kutch district (Kutchi and Gujarati: કચ્છ જિલ્લો; also spelled as Kachchh) is a district of Gujarat state in western India. Covering an area of 45,674 km², it is the largest district of India. The population of Kutch is about 2,092,000. It has 10 Talukas, 939 villages and 6 Municipalities. The Kutch district is home to the Kutchi people who speak the Kutchi language. Kutch literally means something which intermittently becomes wet and dry; a large part of this district is known as Rann of Kutch which is shallow wetland which submerges in water during the rainy season and becomes dry during other seasons. The district is also famous for ecologically important Banni grasslands with their seasonal marshy wetlands which form the outer belt of the Rann of Kutch. The district is well connected by road, rail and air. There are four airports in the district: Naliya, Kandla, Mundra, and Bhuj. Bhuj is well connected with Mumbai airport. Being a 14

border district, Kutch has both an army and an airforce base.Historically Kutch was always considered a backward region due to its location and submerged geography. The situation seemed to have worsened after the disastrous Kutch earthquake. But in the next decade, the economy took an almost miraclous jumpstart due to the intense efforts of the Gujarat government. Kutch today is a growing economic and industrial hub in one of India’s fastest growing states - Gujarat. Its location on the far western edge of India has resulted in the commissioning of two major ports Kandla and Mundra.


Photo by - Hiten Ashara

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HISTORY

DEMOGRAPHICS

The history of Kutch can be traced back to prehistorical times. There are several sites related to Indus valley civilization in region and is mentioned in Hindu mythology. For three centuries, Kutch was divided and ruled by three different branches of Jadeja brothers. In sixteenth century, Kutch was unified under one rule by Rao Khengarji I of these branches and his direct descendants ruled for two centuries and had good relationship with Gujarat Sultanate and Mughals.

According to the 2011 census Kutch District has a population of 2,090,313, roughly equal to the nation of Macedonia or the US state of New Mexico. This gives it a ranking of 217th in India (out of a total of 640). The district has a population density of 46 inhabitants per square kilometre (120/sq mi). Its population growth rate over the decade 2001-2011 was 32.16%. Kutch has a sex ratio of 908 females for every 1000 males, and a literacy rate of 71.58%.

The state accepted suzerainty of British East India Company in 1819 when Kutch was defeated in battle. The state was devastated by an earthquake in 1819. The state stabilized and flourished in business under subsequent rulers. Upon the independence of India in 1947, Kutch acceded unto the dominion of India and was constituted an independent commissionaire. It was created a state within the union of India in 1950. The state witnessed an earthquake in 1956. On 1 November 1956, Kutch State was merged with Bombay state, which in 1960 was divided into the new linguistic states of Gujarat and Maharashtra, with Kutch becoming part of Gujarat state as Kutch district. The district was affected by tropical cyclone in 1998 and the earthquake in 2001. The state saw rapid industrialization and growth in tourism in subsequent years.

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GEOGRAPHY Kutch District, at 45,691.895 square kilometres, is the largest district in India. The administrative headquarters is in Bhujwhich is geographically in the center of district.. Kutch has 969 villages. Kutch is virtually an island, as it is surrounded by the Arabian Sea in the west; the Gulf of Kutch in south and southeast and Rann of Kutch in north and northeast. The border with Pakistan lies along the northern edge of the Rann of Kutch, of the Sir Creek. The Kutch peninsula is an example of active fold and thrust tectonism. In Central Kutch there are four major east-west hill ranges characterized by fault propagation folds with steeply dipping northern limbs and gently dipping southern limbs.


CULTURE

EDUCATION

LANGUAGE The language spoken predominantly in the Kutch district is Kutchi language, Sindhi and Gujarati. The script of the Kutchi language has become extinct. It is now mainly written in the Gujarati script. Samples of Kutch script are available in the Kutch Museum. The increased use of Gujarati language is mainly because of its being a medium of instruction in schools.

Krantiguru Shyamji Krishna VarmaKachchh University, Bhuj Higher education in Kutch is regulated by Kachchh University since 2003. About 43 colleges in total are affiliated to the university, offering courses in Humanities, Science, Commerce, Medicine, Nursing, Education and Computing Science. Professional courses in Engineering, Pharmacy and Management are regulated through the Gujarat Technological University.

PEOPLE Kutch district is inhabited by various groups and communities. One can find various nomadic, semi nomadic and artisan groups living in Kutch. Gujarati Ahirs constitute a comparatively large group in Kutch. FOOD AND DRINK The majority of the population is Hindu and Jain and thus largely vegetarian. Jains also refrain from eating kandmool food grown below the ground such as potatoes, onion, and yam. There are also a sizeable population of Muslims, who eat vegetables, chicken, mutton and occasionally camels.In the villages, staple foods include kadi-khichdi, bajra and milk ; bajara na rotla with curd is very common food for all the Gujarati people. They also extensively drink buttermilk during lunch. Milk is considered to be sacred food and offering it to somebody is considered a gesture of friendship and welcoming. Tea is the most popular drink in this region.

RELIGION

Islam (21.14%)

Jainism (1.21%) Sikhism (0.30%)

Hinduism (76.89%)

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NIRONA

Nirona is a Village in Nakhatrana Taluka in Kachchh District of Gujarat State, India. It is located 33 KM towards North from District head quarters Bhuj. 30 KM from Nakhatrana Nana. 374 KM from State capital Gandhinagar. Nirona Pin code is 370001 and postal head office is Bhuj. Bibar (7KM), Medisar (9KM), Vamrapadar (12KM), Tankanasar (12KM), Kharadiya (13KM) are the nearby Villages to Nirona. Nirona is surrounded by Bhuj Taluka towards South , Mandvi Taluka towards South , Anjar Taluka towards East , Mundra Taluka towards South. Bhuj , Mandvi , Adipur , Gandhidham are the near by Cities to Nirona.

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NIRONA 2011 CENSUS DETAILS Nirona Local Language is Gujarati. Nirona Village Total population is 5710 and number of houses are 1085. Female Population is 48.9%. Village literacy rate is 53.4% and the Female Literacy rate is 21.4%.

COLLEGES NEAR NIRONA Srk Institute Of Social Science


SCHOOLS IN NIRONA Sadhu Vasvani Vidhyamandir Nirona Kumar Shala Nirona Kumarr Shala Government Secondary School Kotda Primery School Tharavada Primery School NIRONA Census Parameter

KACHCHH

GUJARAT

Census Data

Total Population

5710

Total No of Houses

1085

Female Population (%)

48.9% (2794)

Total Literacy rate (%)

53.4% (3050)

Female Literacy rate

21.4% (1224)

Scheduled Tribes Population (%)

0.5% (28)

Scheduled Caste Population (%)

7.8% (447)

Working Population (%)

37.8%

Child (0 -6) Population by 2011

886

Girl Child (0 -6) Population (%)

52.7% (467)

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map

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Photo by - Hari AV

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2. HISTORY OF WEAVING

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WEAVING IN INDIA

India is a vast, diverse country with a rich history of weaving. Weaving is the process of making textiles by interlacing fiber threads. Examples of Indian cotton textiles have been found from 5000 years, ago and ancient texts known as the Vedas mention ‘’hiranya’,’ or cloth made of gold (more on that in a moment). Weaving centers in India are known to have made saris for royalty in the 12th and 13th centuries. Saris are women’s garments made from a single long piece of fabric. By the time trading customs were established along the fabled Silk Road, India was well known for its woven textiles. Regions, villages, and communities throughout India have unique weaving traditions with distinct customs and 23


patterns. Depending on location, textiles may be woven from cotton, wool, or silk. Today, weaving remains important to India’s economy with roughly 4.3 million people involved. The country even has a Ministry of Textiles. Most weaving in India is done on handlooms. A handloom is a loom powered manually rather than by industrial means. Basically, all looms are frames that hold the warp threads, those that run vertically for the length of the intended fabric, in tension. The warp threads are then interlaced with weft threads at a right angle, thus forming a weave. In Indian weaving vocabulary, you sometimes see the warp threads called the tana and the weft threads called the bana. Cotton has always been important to Indian weaving, and there are 23 varieties of this natural fiber found throughout the country. One of India’s oldest fabrics is a traditional cotton weave called khadi. This product of rural areas is tied to the country’s history and politics. Khadi is woven so that the interlaced threads allow for a cooling effect, important in regions that are sometimes subject to stifling heat. Khadi was used for clothing, bed linens, and many other purposes. No one pattern or design 24

dominates, but the Tricolor (India’s national flag) is always supposed to be made of khadi. Mangalagri cottons come from Guntur in Andhra Pradesh. These fabrics have a very tight weave of bright colors and are stiff and durable. Patterns include checks of varying sizes and bold stripes, sometimes in contrasting colors. People from Indian’s northern regions, areas with mountains and high elevations, raise sheep and goats and weave fabrics from wool. Kashmir and Punjab are famous for goods like brightly colored shawls and blankets that feature patterns of large geometric shapes and straight lines. India is perhaps most celebrated for a wide variety of fine silk woven fabrics. Banaras, a famed weaving center, is known for goldsilver brocades, fabrics with raised designs. Craftsmen and women weave thin metal wires into the textile along with silk threads. These fabrics are sometimes embellished with zari, embroidery done in pure gold. Patterns often feature repeated images of leaves, paisleys (shapes that look like raindrops) and flowers.


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WEAVING IN KACHCHH

Up until fifty years ago, weaving was not a year-round activity. Bhujodi’s inhabitants dedicated half of the year to farming, and the other half to weaving. But due to climatic shifts that caused inconsistency of the monsoon and its consequential lack of water, farming became less reliable. In order to sustain a living, the shift to weaving became the community’s main livelihood. The craft is said to have evolved as a need to cover against weather, at the time barter system was practiced as a method of exchange. ‘Rabaris’ being the original nomads and cattle rearers provided wool, milk products and grains to the village and ‘Vankars’ took up to weaving cloth. While rearing cattle pretty much remained the same, the Vankars with an indigenous 26

technique in hand had breakthroughs one after the other. The ‘Vankars’ or the weavers of Kachchh are Meghwal migrants who came from Rajasthan six centuries ago. Among the Meghwals, the Maheshwari and Marwada sub-castes were involved in weaving and leather work. While the Maheshwaris have gradually transitioned to other jobs, Maheshwaris have gradually transitioned to other jobs, the Marwada weave on to this day. The local art of weaving provided for the identity and needs of many communities in the region. Among these, their alliance with the nomadic, sheep herding community of the rabaris is well known. The weavers depended on the rabaris for woolen fleece from sheep and in exchange weaved for them.


Traditionally each weaver was linked to a group of rabari families and was called a ‘Rakhiyo’ to that particular group. Apart from weaving for the families, the Rakhiyo, a revered figure in the community would also perform other tasks such as play music and sing bhajans at celebratory occasions. The weavers also shared a rapport with Ahirs, a Hindu herding clan, for whom they weaved colorful patterned shawls or dhablos in exchange for cotton grown in their fields. It is the Ahir dhablo that was the design inspiration behind Vishram

Valji’s award winning piece, reveals Ramji. In the old days so strong were the turbans the ‘vankars’ weaved for the rabaris and their dhablos that they are known to have lasted for fifty years, says Ramji. The thick weaved fabrics before being used would be adorned by the trademark tie and dye craft of the region practiced by the Khatri community. After which it would be decorated with embroidery by rabari women. Thus the weavers were at the crossroads of linking various communities

Till the 1940s there were about 50 looms in Kachchh that worked exclusively for the local communities and it was in the 70s that the local market for woven fabric diminished and the national market opened up. Today, stoles, carpets, mats, shawls are made for the winter where the demand in North Indian cities like Delhi, Chandigarh and Lucknow is soaring. For the summer, the weavers have begun weaving in cotton, something that was never done before, carving out a yearlong market for them.

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3. HANDWOVEN TEXTILES OF GUJARAT

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KHADI

The handspun and hand-woven khadi textile, made popular by Gandhiji in 1920 to energize the Independence Movement in India, is an important textile of the state. The cotton is spun into yarn on the charkha and then woven on a loom. Its story is intricately connected with the story of India’s colonial past and its subsequent freedom from it. Gandhiji saw in Khadi a powerful symbol of self reliance and advocated it as a means for achieving freedom. After Independence, the central government established the Khadi and Village Industries 29


Commission and began offering a rebate on the sale of the textile. It also encourages experimentation of the charkha (hand spindle). The khadi weaving industry was envisioned to provide employment in post- Independence India. It continues to be a symbol of self reliance and holds an emotional appeal for every Indian. Khadi is a decentralized cottage industry and heavily state-supported activity. In 2003 the Government of Gujarat organized a statewide program ‘Baapu ne Pagle’ to promote khadi as a tool to obtain freedom. The fabric has received international recognition for the use of organic cotton and many designers are now adopting the textile. Denim khadi, a new variant, was presented in fashion shows in Paris recently, where it received acclaim. A wide range of khadi products are available at the Gandhi Ashram in Ahmedabad and across various khadi bhandars in the state.

TANGALIA

The art of Tangalia is centered in Surendranagar and Chotila. The weavers in this region make black and off-white colored shawls in thick coarse wool, for the Rabari and Ahir communities. The characteristic feature of this textile is the beaded look on the surface. The abundantly available sheep wool is spun and plied into weaving yarn for the warp and weft. Motifs are created by inserting thick plied cotton yarn in weft which is wound over the warp leading to the beaded texture. The pattern emerges after dots are created in bright colors like pink, green and white. The popular motifs are those derived from immediate surroundings, such as peacock, trees and houses. Elaborate designs are done on marriage shawls. Traditionally men wear these on special occasions, while women wear them like a sarong. 30


DHABLA, PACHHEDI AND DHURRIE

The weavers of Kachchh and Saurashtra weave Dhabla, a thick plied woolen textile used extensively by Rabari men. They also produce Pachhedi, large shawl which is tied around the waist or draped over the shoulder. The borders of Pachhedi are patterned with dobby weaving technique. These textiles are very functional for the nomadic Rabaris, who live a hard life in the desert. The Dhurries are floor coverings of the same designs, made in cotton and wool. The warp is always cotton, of 2x10 counts, and the patterns are of horizontal stripes. The tassels are made by the Harijan community of the village, who are experts in braiding techniques.

SUJANI

A woven quilt-making craft, Sujani originated in the ports of Bharuch. The surface of the quilt has a unique texture and the patterns are very geometric. Sujani quilting with cotton is directly done on the looms. The process is also laborious and complicated. Two layers of warp and wrapped on the looms. The fabric is woven with the weft, creating interlocking pockets through the two layers. This creates a honeycomb grid which allows the cotton fiber to be filled, producing either square, checkered or rectangle patterns. The warp and weft are made of vibrant colors. Sujani craft was practiced by some families only and the technique was kept a closely guarded secret, hampering the growth of the craft. It is now being revived through government intervention and schemes. 31


MASHROO

The mashroo fabric has been woven in Kachchh and Patan for many centuries. The word ‘mashroo’ means ‘permitted ‘ in Arabic, and the craft has its origins in the prohibition by Islam on the use of pure silk. Mashroo is composed of a silk warp and cotton weft. The ground material, which touches the skin, is therefore cotton. The surface becomes the smooth silk layer. Although mashroo was prevalent in other places, it has survived as a craft even today in Gujarat. Over the last couple of decades, art silk has been replaced by rayon silk. The port town of Mandvi produces mashroo with staple cotton yarn and fine dotted designs and bright colors. As it is woven in a pit loom, the width of the fabric is narrow. Skirts, blouses, tunics for men and women and other items of clothing are made with mashroo.

BROCADE

The ancient city of Ashaval said to be modern day Ahmedabad, was a well known centre of brocade weaving. Under the royal patronage of the Mughals, the brocades from Ahmedabad became famous. The use of zari, gold or silver thread wrapped around a silk core, was very popular and a range of textiles made of gold and silver were created in Gujarat. Ashavali saris and Kinkhab textiles are the most prominent among brocades of the state. The Ashavali saris derive their name from the ancient city of Ashaval and are heavy silks woven in rich plain colors, with brocade borders and pallav – the end panel of sari which is draped

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over the shoulder. These brocaded parts are woven with yarn of cotton, and silk and zari. The plain colored ground is embellished with fine gold patterns such as stripes, checks or small floral motifs. This craft, which was languishing, is now being revived in Ahmedabad, and newer materials like rayon, art silk and plastic zari are in use. The Kinkhab fabric was made with matka silk, and covered entirely by gold or silver (or both) zari. Kinkhab textiles were once prized possessions and popular among royalty, but have almost disappeared now.

Modern day designers use these textiles in a more contemporary manner, exploring endless possiblities. Photo by - TheLoom

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4. HANDICRAFTS OF NIRONA

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The village of Nirona is famously known as Handicrafts village in the world due to its renowned Rogan Art, copper bells and lacquer work, etc. There are more than eight handicrafts in the village, each having its own characteristics and exclusivity. The families have been doing their best to keep the art, that they have been practicing for years, alive and running. The result is worth the efforts. 35


BELL MAKING

The craft is believed to be over a thousand years old, originated in Sindh, (currently in Pakistan). These bells were used to identify cattle. They were tied around the cattle’s neck so the owner would know of their whereabouts.

Photo by - Shubhro Saha

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The makers of these bells are from the Lohar caste and according to some of them; their families have been making bells for as far back as they can trace their ancestry. There are thirteen sizes of bells and they are customized for different animals. Even in the same size, the bells are customized with different sounds, or notes, to differentiate

between cattle belonging to different owners. In each size, up to five or six different notes can be made.system without any kind of welding. The bell is made of iron and coated primarily with copper, along with a few other metals. They are made from scrap iron sheets which are repeatedly beaten to join together and to give them the required shape. The metal parts are neatly joined by expert hands by a locking give them the required shape. The metal parts are neatly joined by expert hands by a locking system without any kind of welding.


PATCHWORK

Applique and patch are two different methods of sewing the pieces of cloth. Habitually women have practiced this art all over the world. The uniqueness of some artisans is they combine both applique and patchworks together to produce the final product made of applique patchwork. Multi-coloured and vivid shaped fabric pieces adorning the geometrical shaped textile base create a visual treat when seen a composed applique patchwork. The speciality of the art is once the applique fabrics bonded with the base of patchwork; it does not sag or wrinkle. These techniques of applique and patchwork were traditionally used for making quilts and became the most favoured process of adorning textiles. The art of sewing the patches of geometrical shaped fabric together to form a textile pattern is called patchwork. The bright coloured patchwork of well-composed arrangement of triangles and squares attracts any individual and retains them being favoured textile product. Gujarat applique is mostly focused on

patchwork in which the various patterned and coloured fabric pieces are cut in different sizes and shapes to sew them together to form a composed piece of artwork. The colour palette of applique and patchwork designed by Gujarat artists varies from cool to warm colors, bright to neutral tones. Rani Ben’s family is one among the artisan’s families that migrated from Pakistan to India during the partition of India-Pakistan. During that period though they brought nothing with them except the ancient craft of applique and patchwork that was taught to them from their forefathers. To make a living Rani Ben’s family moved to Kachchh and continued to work on applique patchwork. Here, these artisans were spotted by a NGO by name Kalaraksha and was supported to enhance the work of making applique patchwork that could meet the contemporary world’s style. Senior artisan Rani Ben who is 80 years old has an experience of 25years in making of applique and patchworks. The uniqueness of this artisan’s family is that they combine the techniques of applique and patchwork and fabricate the products of applique patchworks. 37


LEATHER

Photo by - Aaditiyan

Earlier a collaborative outcome of the Maldhari nomads’ tanning expertise and the Meghwal community’s stitching and embroidering skills, the Kachchh leather craft is now a means of business and livelihood for many villages in Kachchh, Gujarat. The leather craft was traditionally used to make harnesses for camels and horses, musical instruments, storage containers and footwear. The craftsmen either leave the leather in its natural colour, or dye it with stainers in shades or brown or sometimes even bright colours like yellows, blues and reds. Using punches of a range of shapes and sizes; from geometrics like circles, triangles, squares, ovals and rectangles, to shapes like leaf, heart, moon and stars, the craftsmen make holes in the leather for a reverse appliquÊ like technique. With carefully composed, concentric or linear geometrical patterns, they play with colours as they place fabric pieces in bright hues under punched holes in leather. Rubber glue sticks the fabric bits with leather and then a backing is given to the composition, usually with colourful block printed cotton.

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Working with simple punches and hammers, an amazing variety of geometric patterns are created by the craftsmen, giving the surface a playful, vibrant character, not generally associated with the ruggedness of thick leather. While the men are involved in the processes of cutting, punching, shaping and joining of the leather pieces, the women add the necessary colourful embellishment to the leather with embroidery in contrasting coloured threads. Golden and silver thread stitches and mirror work adds a touch of sparkle and multicoloured thread tassels make the piece irresistibly charming. With changing times, many craftsmen are switching to rexine, or artificial leather to practice their craft on. Be it rexine or leather, punched or embossed, the village craft of leather work moulds itself to any purpose, for any place. Just a few tools, some cloth and plenty of imagination, are all that is needed to create new and beautiful things from an age old tradition.


ROGAN ART

Rogan Art, an ancient skill with its origins in Persia, came down to Kachchh around 400 years ago. Traditionally, the craft was pursued to beautify bridal clothing of the regional tribes, beautiful borders and floral patterns on Ghagras, odhni and bead spreads were painstakingly painted. However, it being a dying craft with more people showing interest in it in the form of wall pieces, ‘Rogan kaam’ has gained popularity as Rogan art in today’s time. Photo by - Akash Bhatt

Forbearers of the seven generation old art are Abdul Gafoor Khatri’s family, for they appear to be the only family practicing the little known art in the small village called Nirona in Kachchh. Khatri abandoned school when he was just nine years old, preferring to work with the family as they toiled over the intricacies of preparing the castor oil base (known as Rogan), in which they mixed vegetable pigments and created vibrant organic patterns. He would watch intently as his father dipped a slim metal stick into the colour and used it as the brush.

The biggest problem that the art continues to face is lack of awareness about it, which results in the finished product resembling a printed or embroidered piece of fabric. It is perfection that they try to achieve with every painting, but it is so perfect that it needs to be explained that it is not printed, but painted by hand. While Geometric patterns are perennial favourite, motifs such as ‘The Tree of Life’ and Moghul paisleys that find expression in cushion covers, bedspreads, kurtas, curtains, table cloths, wall hangings, folders, paintings, purses , dress material and saris have also been experimented. It was his intricate work on a sari, completed over a year that won Khatri the National Award. With cutting edge technology defining the pace and the taste of today’s world, our age old tribal crafts are finding it difficult to maintain their identity. Rogan painting is an example of a spell binding yet dying art, with just six people from the same family shouldering this tradition today.

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LACQUER

Photo by - Anjali Darbha

In Kachchh, Gujarat, colour pervades not just the gorgeous clothes of the Kachchhi people but even the small, nondescript items of everyday use. Spoons and ladles, chakla – belan (board and rolling pin), toys, stools, dandiya sticks, everything is covered with psychedelic patterns and merging zig zags of contrasting colours. Most of the process of making lacquer-ware is done on a manual lathe. Babool wood, which is found locally, is mostly used for the products. Once the wood is cut into basic forms, each piece is individually put on the lathe and smoothened using wooden tools. The lathe is manually powered using a stick and rope arrangement. A rope is wound around the object to be worked on and is pulled with the help of a stick attached to it.

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This generates a rotating motion on the object, which can then be manipulated further. Lacquer ware of Kachchh has a characteristic zig zag pattern of mixing colours. This interesting effect is achieved by first transferring stripes of colour from an unpolished lacquered stick and then pushing the colours into each other on the lathe. This creates the peculiar kaleidoscopic design with vivid motley colours. The craftsmen are believed to be practicing lacquer lathe work for seven generations now. The whole family is involved in this craft, with men doing the heavy work of cutting and shaping of the wooden articles and women applying finishing touches to them.


A shop selling all the local crafts of nirona is established for the tourists to buy handicrafts as souvenirs.

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AHIR EMBROIDERY

Ahir embroidery of Gujarat is a rhythmic row of embroidered patterns, circular mirrors encircled with stitches enriching the fabric and material of this kind can be used for home decor, clothing and other utility. The bright colors of the threads and glittering pieces of mirrors embellish fabric and it is a feeling of grandeur appeal to every soul and remains in heart. There is an outline stitch, filling and pattern stitches that go in Ahir embroidery. It is all hand stitched and time taking, yet women folks indulge themselves in this type of embroidery and create striking patterns. There are plenty of stitches that are used to beauty the product. Ahir is the name of the community and they have their set of stitches and techniques hence the embroidery has got its name Ahir embroidery. Basically it is a cow herding and farming community and is called as agricultural tribe. They have a historical background of being warriors, considering

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fearless, they were also named martial race as well. The embroidery is one of the most easily identifiable styles of embroidery from Gujarat and a supported handicraft textile in India. It is characterized by the use of bright colors, mirrors and intricate needlework that embellishes the entire fabric. Embroidery involves the embellishment of fabric with pattern and design with a needle. The embellishment is made on fabric with colourful threads and other accessories such as mirrors and sometimes beads. The design that is needed to be stitched is drawn on the tracing sheet (gateway sheet) and it is given a dotted outline from the tailoring machine, sheet is passed through the machine and dotted outline is created. Fabric of needed length is cut with the help of scissors and the tracing or the gateway is placed on the fabric. Usually cotton and silk are the most preferred fabrics to carry out the embroidery.


BANDHANI

In Kachchh, tie and dye craft is known as “Bandhani.� Bandhani dates back to the Bandhani 12th century, and came to Kachchh when members of the Khatri community migrated from Sindh. Bandhani tie and dye became a staple local source of income with the export of bandhani bandannas to Europe via the English East India Company in the 18th century. Much like the local block printers, bandhani artisans used local, natural resources like madder and pomegranate to dye their cloth in a brilliant range of hues. The technique of tightly winding a thread around a section of cloth, dyeing it, and then removing the thread to reveal a circular resist motif has remained the same since bandhani was first practiced. In a series of dots, Bandhani designs create peacocks, flowers, dancers or rasamandalas across a dyed piece of cloth. The dot designs are mapped onto the fabric by an artisan using butter paper. A simple cotton thread ties the cloth to create a single dot. A small cylindrical piece of plastic or glass is used as a bobbin for the thread. The tied material is dyed with various techniques, depending on the type and shade of the dye.

The dyeing is done as many times as many colours are required in the fabric. Bandhani has long been culturally important to Kachchhi communities. The most revered type of bandhani is the gharcholu, which is the traditional wedding odhani of Gujarati Hindu and Jain brides. The chandrokhani is worn by Muslim brides. Today, the Khatri community is the main producer of Bandhani in Gujarat, maintaining a mastery of the craft that has lasted for generations. Khatris in Kachchh are usually Hindu or Muslim. The demand for intricate designs featuring Bandhani is high, and the newest patterns can feature as many as one lakh ties (dots). Bandhani is used for daily attire and for auspicious occasions, like births, weddings, and goddess temple pilgrimage. Khatris are making new versions of Bandhani to fit the demands of modern and more international clientele. They experiment with the size, shape, and placement of each dot on the cloth to offer a whole new range of products. Their patterns reflect an artistic sentiment to explore and play, creating new motifs with an innovative spirit. 43


Photo by - Hiten Ashara

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WEAVING OF NIRONA

The rich and diverse creative traditions of Nirona live at the intersection of cultures and communities. The arid climate has pushed communities here to evolve an ingenious balance of meeting their needs by converting resources into products for daily living. The strong community linkages which insulated the weaving trade have ceased to exist. Weaving has taken on a drastically new shape in the modern marketplace. Departing from traditional raw materials, weavers now use silks, rayons, and acrylic yarn in their textiles.

Photo by - Tathagat Singh Parihar

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5. TOOLS AND RAW MATERIAL

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Kanji: Made out of boiled water with wheat flour and detergent for the sticky surface. Wool: Is an essential raw material for woolen shawl weaving. Wool yarn: Is spun out of wool used in weaving of the shawl. Sulfuric acid: Is used in chemical dyes to make the appearance of the color bright and strong. Wood ash and mustard oil: Are used in attaching the yarns to the old reeled yarns on loom. Starch: Is applied on the yarn to sustain strength. Tasar silk: Is one of the royal yarns brought from Bhagalpur Bihar. Chemical dyes: Are used in dying the yarn with bright colors. Natural dyes: Are used in dying the yarn. 47


PA RTS O F T H E H A N DLO O M

6. 1. 3.

4.

5. 7.

9.

10. 48

Photo by - Tathagat Singh Parihar


HANDLOOM OR PIT LOOM (FOOT-OVER PEDAL): A mechanized functioning program used in weaving.

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1. Taana: Warp thread

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2. Dhera: Taana that is rolled together for the warp.

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3. Chaad: Wooden wedge which is used to separate the layers of warp according to the design. 4. Achri: Rods that hold the rach.

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5. Rach: Threads of the loom that help in forming a particular design.

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6. Vadhar (Dori): Used for tying taana to the handloom.

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7. Pankho: Spikes that help in tightening the weave. 8. Shuttle (Pirn): A part of the handloom that helps in weaving. 9. Tur: On which the shawl is rolled. 10. Pagoda (paddle): Paddles that help each layer of warp move up and down.

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10

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11

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11. Spinning wheel: Is used in spinning and cabling the yarn. 12. Warp board: Is used in winding and making warp yarns.

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13. Abhla/Kaanch/Sheesha/Tekun: Used for surface ornamentation.

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14. Bobbin: Used in shuttle. 15. Baana: Weft thread.

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16. Cone: Threads that are dyed are rolled on this 17. Yarn 18. Yarn swift (Farkho): For rolling of chagda or zari. 19. Chagda: Thread which is rolled on the farkho.

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18

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Photo by - Tathagat Singh Parihar

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6. PROCESS

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MAKING OF THE YARN

Shearing of the sheep for raw wool is taken place at local villages in and around Kachchh. Then raw wool is dry cleaned and then it is sent to make a yarn. The wool is drafted, roves and spun on the traditional spinning wheel to make a yarn thread. The spinning of the yarn is made with the help of charka were an artisan is turning the spinning wheel in right hand and in left hand he is holding roving wool and twisting it to make a yarn which is rolling to a spinning wheel needle. Once the yarn is made it is segregated into two types one is weft yarn and other is warp yarn. In Nirona, the yarn is directly bought in by most of the weavers from different parts of India according to the need of their work. 53


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STARCHING THE YARN

The taana (warp) is made with the help of warp frame and then all the strands of the yarn is starched with the paste (kanji) made of wheat flour and water with little detergent added for sticky surface. Then it is stretched, separated and brushed in the open ground early morning before the sunrise with the help of shed sticks and stands. The starch is supposed to dry by cool wind breeze only. Hence this process is done early in the morning. Until the starch is not dried the yarns keep breaking. The broken strands are tangled once again. Drying the threads get stronger. It takes more than an hour to two hours for this process to happen.

Photo by - Tathagat Singh Parihar

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2. The warp is starched

1. Women make the warp for the loom.

5. Women embroyder and add border

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4. Fabric is created on the loom.

3. The weft yarn is rolled onto a bobbin.


WEAVING WITH WEFT YARNS

Weft yarns are also starched and dyed with required colors and winded into the pirns and spindles which is loaded to fly shuttle and it becomes a weft process where weaving is obtained. The handloom contains multiple processes for a successful weaving. An artisan should do multiple chores like paddling the shafts, moving the flying shuttle through and fro in one hand, moving the reed beater in tightening the previous weave and eyes are cautiously seeing the process in order to avoid errors. Dyeing is done with either chemical colors in vat dyes method or vegetable dyes. Handlooms contain much internal mechanism equipment like heddles, shafts, shed, reed or beaters. Heddles are the tiny metal cord or wire with an eye opening where every yarn of the warp threads are passed through it individually and shaft (paddles) are interconnected below the heddles where both work simultaneously to produce a warp shift

Photo by - Hiten Ashara

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according to the designs and patterns which results in weft process. Shed is a wooden stick used in bifurcating the two layers of warp upper layer and lower layer. Once the warps are bifurcated the weft yarn is weaved with the help of bobbin of yarn in fly shuttle. Traditional Kachchhi designs and motifs are weaved separately with other colored yarns which is called eccentric wefts. After a complete row of eccentric weft a normal single weft is made in order to lock the previously weaved weft.

(Clockwise from the left) Rubbing ash powder for a better grip; four pedals for the process; weaving process showing hand work

Photos by - Tathagat Singh Parihar

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SURFACE ORNAMENTATION

Once the shawl is completely weaved it is then sent to finishing like making fringes and tassels with the extra warp yarns in it. Usually women of the house take up this work of making beautiful fringes to the shawl. Photo by - Tathagat Singh Parihar

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7. PRODUCTS

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The motifs used in the weaving process of Nirona are used since the time of the forefathers of the weavers here. They do not have to memorize the calculation of the weft or draw the design on paper before the weaving process as the technique has been imbibed in their hearts and souls since they were small children. 61


Photo by - Urja Dwivedi

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PRODUCT #1 MOTIFS 13.5 In

COLOR PALETTE

#86592b

#313e39

#4c4428

SURFACE ORNAMENTATION

89 In

38 In

7.5 In 63


COLOR PALETTE

#86592b Photo by - Urja Dwivedi

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#f5f6f0

Gold thread


PRODUCT #2 SURFACE ORNAMENTATION

8 In

89 In

38 In 65


Photo by - Urja Dwivedi

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PRODUCT #3 MOTIFS

COLOR PALETTE

#5c1c26

#1a1413

SURFACE ORNAMENTATION

7In

89 In

23.5 In 67


Photo by - Urja Dwivedi

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PRODUCT #4 MOTIFS

COLOR PALETTE

#004659

#e1832a

#90d9c8

#e9cacb

SURFACE ORNAMENTATION

8.5 In

89 In

23.5 In 69


8. WORKPLACE & LIFESTYLE

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The vankars in nirona live as a join family where Laxmi Ben and her three sons live and work in the home premises itself. Each of her sons are married and have children. The men of the house weave as many hours a day as per the work load. They work on the handloom machine. Whereas the women join the work after they are done completing house chores. Women help in ornamentation. The children of the house are currently expected to focus in studies. However, they are thought easier tasks in their vacations. After schooling, they let their children decide their future in terms of education. One of the daughters is currently studying nursing. They work in their home premises itself. They have a huge compound with sheds on two sides, under which they store two handlooms. Different process related to weaving happen in different parts of the space. 71


Home of Dhanji bhai and family

Photos by - Tathagat Singh Parihar

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9. ARTISAN PROFILE

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LAXMIBEN

Helps in the ornamentation BEEN WORKING FOR: 30 years WORK TIMINGS: works according to the work load in the family WEAVE BECAUSE: it is their ancestral tradition OTHER FAMILY MEMBER: She has three sons and they run a weaving business EDUCATION: illiterate LEARNT TO WEAVE THROUGH: her parents WORK OTHER THAN WEAVING: none

Photo by - Rahul Venkataraman

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DHANJI BHAI NATHA BHAI VANKAR Works on the handloom AGE: 40 years BEEN WORKING FOR: 20-25 years WORK TIMINGS: 10 hours daily, between 9 a.m.-7 p.m. WEAVE BECAUSE: it is their ancestral tradition OTHER FAMILY MEMBER: his daughter work in the government hospital. His mother and wife helps in the further process EDUCATION: illetrate POSITION: runs his own business LEARNT TO WEAVE THROUGH: his father NO. OF MEMBERS IN THE FAMILY: six WORK OTHER THAN WEAVING: none

Photo by - Rahul Venkataraman

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RAMILABEN

Helps in the ornamentation AGE: 40 years BEEN WORKING FOR: 20-25 years WORK TIMINGS: 6-7 hours daily, between 11 a.m.-7 p.m. WEAVE BECAUSE: helps her husband in the business EDUCATION: illiterate POSITION: husband’s business LEARNT TO WEAVE THROUGH: watching her mother-in-law NO. OF MEMBERS IN THE FAMILY: six WORK OTHER THAN WEAVING: daily chores Photos by - Tathagat Singh Parihar

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Dhanji bhai with is family and kids of the family.

Photo by - Rahul Venkataraman

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VINOD RANJAR

Works on the handloom AGE: 34 years BEEN WORKING FOR: 24 years WORK TIMINGS: 8-10 hours daily, between 9 a.m.- 7 p.m. WEAVE BECAUSE: it is their ancestral tradition OTHER FAMILY MEMBER: his mother and wife also helps in the process EDUCATION: till 8th grade POSITION: labor work (works on the order received) LEARNT TO WEAVE THROUGH: his parents NO. OF MEMBERS IN THE FAMILY: twelve WORK OTHER THAN WEAVING: farming 80

Photos by - Tathagat Singh Parihar


MANJULABEN

Helps in the embroidery (sarees/ shawls) AGE: 29 years BEEN WORKING FOR: 12 years WORK TIMINGS: 3-4 hours daily, between 9 a.m.-12 noon (also works between 3 p.m.- 6 p.m. sometimes) WEAVE BECAUSE: helps her husband EDUCATION: till 7th grade POSITION: labor work LEARNT THE PROCESS THROUGH: her mother-in-law WORK OTHER THAN WEAVING: housewife

Photos by - Tathagat Singh Parihar

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10. PRESENT SCENARIO

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CULTURAL SCENARIO

Nirona has fascinating culture and rich heritage that mesmerizes everyone who gets an opportunity to experience it. The apparels of people of Nirona depict their traditional practices. Nirona boasts itself with different types of communities that include Rabaris, Ahirs, Charan’s and Vankars. People here are warm and very friendly. Nirona is very famous for the hospitality of the locals and also the diversity of the handicrafts and handlooms. Rich cultural heritage of Nirona is also visible through its various festivals that are not only the gathering of locals but also tourists from all corners of India as well as from different parts of the world gather here to enjoy and witness the tradition of Nirona through these festivals and events. The most important festival here is the ‘Desert Festival’ or the Rann festival. 83


The Desert Festival coincides with the Shivratri festival which is celebrated from 29th February – 5th March. Participants get to hear ballads with the traditional songs of desert during Shivratri. During Rann Utsav, stalls are set up with traditional handlooms and handicraft items. The entire desert area gets covered with tents where guests could enjoy some days of wonderful and unique staying. Other festivals that are celebrated with great pomp in Nirona and in the whole of Bhuj are Navratri festival during September-October, Makar Sankranti festival in January and birth of lord Krishna, Janmashtami in the month of August. Furthermore, some families are liberal with their traditions. There are families that believe in educating both boys and girls of their families. They let their children pursue studies and do further as per the child’s wish. However, a married woman isn’t given much freedom to choose what she wishes to do in her free time. She has to engage herself in the family buisness. Women in Nirona wear vails and do not drive vehicles out of respect for elders. 84

SOCIAL SCENARIO The communities residing in the village of Nirona are the Vankars, Rabari, Ahir, Charrans. They all have their own traditional practices. The variegated communities in the village is what makes it brim with different arts and crafts lik weaving, embroidery, Bandhani makers and tie and dye.

POLIOTICAL SCENARIO The people of Nirona are avid supporters of Narendra Modi and have actively participated in the elections which were held off late. They have an immense gratitude towards there former chief minister and have supported him to gain a seat as the Prime Minister. Apart from that, the disputes that take place in the village are settled by the Panchayat of the village.


ECONOMIC SCENARIO Earlier, Nirona’s economy was mainly based on handicrafts and farming, especially the Rogan Art and the leather works, etc. After the devastating earthquake of 2001, there are NGOs like Khamir, Shrujan, etc. which are helping the artists to present their piece of work to the rest of the country as well as to the world and earning a handsome livelihood. The village of Nirona which consists of weavers, leather artisans, Rogan artisan, Bandhani makers, embroidery workers who have helped the village to boost in its economy through various fairs aa well as by exporting their pieces of art.

Children of the family with thier grandfather.

Photos by - Tathagat Singh Parihar

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11. ORGANIZATION & GOVERNMENT SUPPORT

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There have been organizations working for the artisans of the the village of Nirona especially after the earthquake of 2001. These organizations have helped in the propaganda of these artisans and workers and have given them a definite place in the handicrafts market of India and also around the world. These organizations have a great influence on the works of the artisans. Some of these are: KHAMIR Khamir is a platform for the crafts, heritage and cultural ecology of the Kachchh region of Gujarat. Instituted after the earthquake of 2001, it is a space for engagement and development of Kachchh’s rich creative industries. 87


SHRUJAN This organization was started by Chanda Shroff to help the women embroidery workers to earn a living. Shrujan’s craftswomen work from home. Their production team ensures that the fabrics and threads reach them wherever they are, right at their doorstep. The women do not have to pay for the materials. But they receive their fair dues for their skill and their time, as soon as they have completed the embroidery. The embroidered textiles are then fashioned into high – quality apparel, accessories and lifestyle products, and marketed through our shops and Shrujan exhibitions. Shrujan’s work in sustaining embroidery through the present and into the future is ongoing. LIVING AND LEARNING DESIGN CENTRE The Living and Learning Design Centre (LLDC) is a pioneering new effort of the Shrujan Trust to preserve, revitalize and promote the glorious craft heritage of Kutch. Dedicated to the craftspeople of Kutch, LLDC is envisioned as a multi-dimensional crafts education and resource centre. It is situated on a three-building, eight-acre campus in Ajrakhpur, Kutch. 88

Photos by - Khamir


THE KACHCHH WEAVERS’ ASSOCIATION The Kachchh Weavers’ Association was founded in order to apply for the GI, for the Kachchh shawl. Geographical Indication (GI) is an intellectual property right (IPR) that identifies the production or processing is a specific product that has evoked in a specific geographical; region due to community practice.GI is recognized the world over through a resolution passed by United Nations. India is a member of the World Trade Organization (WTO), enacted the geographical indication of goods act, 1999 which came into act in September 2003. This recognized the right of a community as the originator of an authentic product and is defended by law. Kachchh shawls are registered under GI act in 2011, The Kachchh Weavers’ Association is the society that holds the GI of Kachchh Shawls and Stools. Receiving the GI designation has been a step towards protecting a common brand which has been significantly damaged by power loom imitations.

Photos by - Urja Dwivedi

Look for the GI make to make sure you are buying the authentic Kutchh Shawl

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12. S.W.O.T ANALYSIS

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The primary objective of a SWOT analysis is to help organizations develop a full awareness of all the factors involved in a decision. A SWOT analysis focuses on the four elements comprising the acronym, allowing companies to identify the forces influencing a strategy, action or initiative. Knowing these positive and negative elements can help companies more effectively communicate what parts of a plan need to be recognized. 91


STRENGTH •Strong legacy •Clear idea about the market •Dedication towards their craft •Government support

WEAKNESS •No economic backup •Less labor •No product range •Lack of machines •Seasonal procedures •can’t reach out to larger audience because of illiteracy -

OPPORTUNITY •Online selling •Upgrading machines •More labors •Market repositioning •Learn stitching for more product range

THREATS

Photos by - Hiten Ashara

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•Pashmina or other woven shawls •No brand name •Mass production •Increase in western outfits


PROBLEM AREA Inspite of this craft being wonderful, there are some points which hinder the flurishment in the market and society. These artisans do not have ecnomic backup.The ladies of the house who are of significant help in creation have to first complete their household chores like cooking food, cleaning vessel, washing clothes, cleaning house etc and then they work on the craft in their spare time, which slows down the process. Also due to lack of economic background, they cannot hire workers for the job. They do not have machines which can make their work faster with loss of labour and can help them produce more variety in their product range. Their product range is also very limited also as they are not aware of urban tastes, they do not have much ideas of current trends of urbanLikings . Because of this, they are not able to change their products to more saleable prices. They can have various product range from designer kurtas to elegant table mat to table runners and many more . They diversification should now also be to Western outfit which is the need of an hour. Due to lack in literacy they are not able to connect more to larger audience . They lack branding. Branding can help the leave a lasting imagine on their customer. Having a logo and packaging and even a social media account can help them gratly.This craft does not have mass production and as a result they consume more of time with less output . Hence the rates go on to the higher end. Also there is threat of few well known products such as pashmina which are more publicised. So, there should be more literacy level among artisans which will make them more confident to talk to urban people and sell there art at higher end. Literacy will make them think to use different machines and unite to make a brand and sell with good margin and think of diversifying their product.

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CONCLUSION The printed textiles from the region of Gujarat have come a long way from the time that they were first manufactured and exported from India. There has been considerable change and development in the raw materials, processes, tools, ornamentation and motifs, of the textiles. It was indeed a unique experience to have seen, studied and understood the traditional weaving of Kachchh. For the artisans involved in this craft it is their way of life. Through their art they depict our vast culture and tradition. Their shawls speak of the great heritage of India. It is heart warming to note how this art has transcended from generation to generation and inspite of the growing challenges against modern technologies the artisans are struggling to prevent their art. One feels saddened to note their plight and their poor economic conditions as well as the limited means in which the industry is thriving. The present generation feels reluctant to continue in this field as it barely meets the basic requirements. But some die hard pioneers are fighting a battle in keeping this traditional craft alive and thus becomes the moral duty of not only the government, NGOs, other organizations but also the citizens to help in their cause so that this art can survive in tis competitive world of machines.

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OUR EXPERIENCE When we were assigned the module of craft documentation, we were excited to get an opportunity to explore an art which we didn’t know much about. This module has given us an insight into a lot of technicalities that goes that goes into documentation. It not only involved primary but also secondary research work which helped us to know about research methods and how to conduct them. This document helped us in getting to know about method of citation and its importance in craft documentation. We met several artisans, interviewed them, photographed and studied them to understand not only their craft but also their way of life. Our hearts went out to them seeing them struggling hard without much support in keeping this traditional craft surviving. It is no surprise that their children are now opting for other means of livelihood rather than take up this ancestral form of craft. Through this document we hope to throw light on the plight of artisans and appeal to the masses and the government to provide encouragement and elevate the condition of artisans so that they can carry out this tradition with dignity, hope and reassurance that this country will not let them down as they pursue their art diligently.

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ABOUT THE TEAM Clockwise from top left RAHUL VENKATARAMAN Moving Images (3rd year) URJA DWIVEDI Communication Design (3rd year) TATHAGAT SINGH PARIHAR Communication Design (3rd year) POORVA CHOUDHARY Accessory Design (3rd year) RAMITA MEHATA Ceramic Design (3rd year) HITEN ASHARA Moving Images (3rd year) HETASVI BHATT Communication Design (3rd year) 96


BIBLIOGRAPHY study.com madeinkachchh.wordpress.com www.dsource.in issuu.com www.domino.com Bhujodi Shawl Weaving YouTube sewainternational.org vikalpsangam.org timesofindia.indiatimes.com www.bhaane.com en.wikipedia.org

www.craftscouncilofindia.org www. researchgate.net travelsintextiles.com http://www.khamir.org http://www.fashionstudiesjournal.org Handloom and Handicrafts of Gujarat- Villoo Mirza and Vinutha Mallya Textiles and Dress of Gujarat - Eiluned Edwards

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“Vanker’s Vanaat- The Weaving of Kachchh” is a craft documentation on the famous weaving of Nirona. The rich and diverse creative traditions of Nirona live at the intersection of cultures and communities. The arid climate has pushed communities here to evolve an ingenious balance of meeting their needs by converting resources into products for daily living.

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