Craft documentation (unnao)

FIVE VILLAGE CRAFTS OF UNNAO Uttar Pradesh

• DOCUMENTED BY: Varsha Kumari GUIDES: Aditi Ranjan Swasti Singh Ghai ADVISOR: Prof. Savyasaachi

Dedicated to the people of Unnao

•

Published at National Institute of Design (NID) Paldi, Ahmedabad – 380007 India www.nid.edu Documentation of the

Five Village Crafts of Unnao Uttar Pradesh Varsha Kumari Under Graduate Diploma Programme in Design Guide – Aditi Ranjan Cover details: Close up of a kathari used as a quilt Published in February 2014

FIVE VILLAGE CRAFTS OF UNNAO Uttar Pradesh

• DOCUMENTED BY: Varsha Kumari GUIDES: Aditi Ranjan Swasti Singh Ghai ADVISOR: Prof. Savyasaachi

Fig.1 Mango orchard in Ashakheda village, Unnao District.

ACKNOWLEDGEMENTS

The process of documenting the crafts of Unnao, Uttar Pradesh has been a unique experience and I feel privileged to have this opportunity. My focus has been on presenting the different crafts of the village rather than concentrating just on one craft.

Meeting the villagers, studying the varied crafts, understanding the domestic and cultural context and how they fit within the traditions and customs of the village has been an enriching experience. I would like to express my gratitude to all those who are involved in this field directly or indirectly as this document would not have been successful without their help and efforts.

First and foremost I would like to thank the people of Kushari village and the staff of Prathamik Vidhyalaya, Asha Kheda who were kind enough to endure with me amidst their busy work schedule. They patiently guided me while I collected all the information without which I would have been possible to understand the craft.

A heartfelt thanks to Mr Shiv Karan, Mrs Nirmala Devi, Mr Keshan, Mrs Chandawati, Mrs Sarju Devi, Mr Sukh Ram, Mr Chabbey Lal and Mr Badari Ram who helped

me and introduced me to the villagers. A special thanks to Shailendra, Narendra and everyone else who made me feel comfortable and arranged the necessary meetings with the village.

I would also like to thank everyone who gave me all the technical details and knowledge about the crafts. My sincere gratitude to my guide Mrs. Aditi Ranjan who patiently supported and guided me. Our special thanks to Prof. Savyasaachi from Jamia Millia Islamia, Central University and Ms Swasti Singh Ghai for their direction and guidance.

I am also grateful to my family especially my sister Manisha who accompanied me during the field visits and my batchmates Sarita Ekka and Subarna Sengupta for helping me in drafting the document.

Finally I would like to thank National Institute of Design, for giving me this opportunity to study the crafts and document the same and providing me with the necessary support and resources that were required in the process.

Fig.2 Open grass field at Ashakheda for grazing animals.

PREFACE

The craft documentation is one of the most important textile design project conducted at the National Institute of Design. India has a vast range of crafts.

Village crafts in India remain robust as long as their actual and social function is alive which is why it is very important to document the process.

Indian villages are famous for their judicious and indigenous use of the locally available raw materials, fibre, wood, clay and discarded materials. The village is full of intricate and time intensive processes of arts and crafts. The most endearing quality of the villages, is the simplicity and the down to earth perspective of the people with a keen eye for beautifying objects. Using locally available material and working without earning any kind of profit reflects their devotion of working on the various crafts.

CONTENTS

Acknowledgments

Fairs and festivals ..................................... 16

Preface

Chapter -I

Introduction

.................................... 1

Kathari, Bedding ........................................... 21

Geographical Background ............... 3

Chapter -II

History of the District ....................... 8

Paidaan, Door Mat ....................................... 39

Lifestyle

Chapter -III

................................................ 10

Social set-up

....................................... 11

Dalawa, Basket

............................................ 51

Chapter -IV Bena, Handfan

Indigenous Product ........................ 87 ................................................ 63

Reflections ................................... 90

Chapter -V

Glossary ........................................ 91

Jaal, Net

Bibliography ................................ 97

.......................................................... 77

Chapter -VI The People ......................................................... 83 GlimPses of the Village ..................................... 86

INTRODUCTION

Indian crafts are known for their outstanding history, range, diversity and beauty. For centuries, India handicrafts have been distinguished for their great aesthetic and functional value.

This village in particular is embedded with indigenous crafts. The people of Kushahari believed that the origin of the name of the village is derived from Lord Rama’s son Kush from the epic of Ramayan. This view has been held from generation to generation and story has it that Kush used to daily visit the Kushahari temple to worship goddess Kushahari Devi, who is again named after Kush.

Kushahari village falls in the Nawabganj block of Unnao district of Uttar Pradesh. Nawabganj is famous for its Bird Sanctuary, which is home to more than 250 species of migratroy and water birds. It also has other wildlife attraction as deer, reptiles and fish. It is located 24 km towards east from district headquater Unnao. In 1872 Unnao known as “oonao” some years later it was called “onao”. During post independencethe nation was divided in two parts—Hindustan & Pakistan. This period, a lot of state divisions happened in India. In 1951, finally the Fig.3 Mr. Shiv Karan is a respected person of the village. His occupation is farming. He narrates stories of the village.

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district was called Unnao. The town of Unnao (Hindi: Unnao) is the headquarters of Unnao district in Uttar Pradesh. Unnao town lies between Kanpur and Lucknow.

It is approximately 18 km from Kanpur and 60 km from Lucknow. It is connected to these two cities by roadway as well as by railway. The nearest airport is at Amausi about 50 km from Unnao.

I also visited the village Ashakheda, which is just 1km far away from kushahari. Ashakheda village has a middle school, Kushahari village students study there after completing their primary school.

Kushahari has ten different communities (Harijan, Pasi, Dhobi, Thakur, Yadav, Loadh, Kumhaar, Godhiya, Meena and Teli) out of which mostly Harijans are the only community that use the available local raw materials and reuse the waste material for creating some of the magnificent pieces of arts and crafts. The community people are not trained artisans they have their own natural talent, skills and characteristics in respect of pattern, colour, schemes, shapes and techniques. Craft specimens mainly include utilitarian and traditional objects as quilt, basket, hand fan, fishing net, door

mat and so on. Community earn their livelihood by occupations as agriculture, animal husbandry and fishing. These crafts are mainly in use for their daily basic needs also find use as a gift given on auspicious occasions and in dowry as a traditional item in the marriages. With these artifacts the Harijan men and women express their emotions and talents. The community has a tradition of passing on the skill and knowledge of crafts of their community to the next generation. Each generation adds something new toward what they have received. This process has helped in sustaining the craft tradition.

In this project the main objective was to study the craft in its actual environment and understanding the process of making, the skill, the tools and the available materials. The study tries to understand the craft by situating it in the larger context of their lifestyle, symbolism, cultural and traditional values, occupation of the people and the utility and range of products.

About Unnao and belongings are taken from http://en.wikipedia.org/wiki/ Unnao, http://en.wikipedia.org/wiki/Nawabganj_Bird_Sanctuary and Gazetteer of Uttar Pradesh.

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MAPS SHOWING THE GEOGRAPHICAL LOCATION OF UNNAO AND NEAR BY DISTRICTS

Index

UTTARAKHAND

HARYANA

NEPAL DELHI

RAJSTHAN

1.

2.

3.

4.

5.

6.

7.

Unnao Lucknow Kanpur (Urban) Kanpur (Rural) Fatehpur Rae Bareilly Hardoi

7

4

2

1 3

6 5

BIHAR

MADHYA PRADESH

JHARKHAND CHATTISGARH

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GEOGRAPHICAL BACKGROUND

The District is roughly a parallelogram in shape and lies between Latitude 26°8’ N & 27°2’ N and Longitude 80°3’ E & 81°3’ E. It is bounded on the North by District Hardoi, on the East by District Lucknow, on the South by District Rae Bareli and on the West by the Ganga which separates it from districts of Kanpur & Fatehpur.

irrigate crops grown in lowlying alluvial lands.

Otherwise, cultivated lands lie at great distances and cannot be irrigated from the river.The main channel of the river is subject to constant variation and the cultivation in its immediate neighbourhood is, therefore of a shifting kind.

The Ganga and the Sai are the main rivers of the district.

The only great river of the district is the Ganga which first touches the district near the village of Purwa Gahir, in Pargana Bangarmau and flows south-eastward, separating this district from districts Kanpur and Fatehpur.

There is unusually large number of swamps and lakes of great size and value, particularly in the southern and eastern parts of the district. The larger lakes, which hold water all the year round, are the Kundra Samundar near Jhalotar, the lake near Nawabganj, the wide expanse of water near Kantha and the long chain of lakes in Pargana Mauranwan. In the western part of the Tehsil are the Katgari lake near Asiwan and the stretches of water at Amarpur, Sambha, Sheothana, Marenda and Asakhera, but in its northern and eastern parts, there are only small and very shallow tanks which dry up when rainfall is deficient. (Refer to Unnao District map, pg 3)

The river is not, however, put to much use either as a waterway or as a source of irrigation. There are several ferries for pedestrians and pilgrims but none of them approaches what may be termed a trade route. The river cannot, as a rule be utilised for irrigation owing to the height of the bank but certain of its small drainage channels or sotas, which run island for a considerable distance in some Parganas, are sometimes used to

http://en.wikipedia.org/wiki/Unnao, 4

UNNAO DISTRICT

HARDOI

GANJ MURADABAD AURAS

BANGARAMAU

RA IL W AY

ASIWAN

LUCKNOW

MOHAN HASANGANJ

SAFIPUR

Ga

LUCKNOW ROAD

a

ng

KUSHAHARI

Ri

N

r

ve

NAWABGANJ AJGAIN

UNNAO

KANTHA

SONIK

KANPUR ROAD

PURWA MAURAWAN

a

ng Ga

KANPUR

25 H-

r ve

Ri

BIGHAPUR

RAE BARELI

In Tehsil Unnao there are no important lakes, but a number of very shallow depressions, which get filled up with water during the rains and yield excellent crop of rice.

In Tehsil Purwa there are many lakes, situated in a well defined belt stretching along the whole length of the tehsil. The main among them are the lakes at Kantha, Bhadain, Unchagaon, Qila, Akhori, Miri, Zorawarganj and Sarwan.

The Barhna tank near Sagauli, the Mohan and Sukrar lakes near Mauranwan, and several others, like the Bharda lake, skirting district Rae Bareli. Besides these, there are the tanks at Sahrawan, the Bhundi tan k at Gulariha, and the Kumbha tank at Bhagwantnagar. The lakes at Kantha, Sagauli, and Barela contain water all the year round, while the others generally provide irrigation for the Rabi crops only, drying up in the years of drought.These lakes and tanks abound in fish, and singhara or water chestnut is very extensively grown in them.

FATEHPUR

Fig.4 The map is for representative purpose only and not drawn to scale .

http://en.wikipedia.org/wiki/Unnao, 5

The main occupation of the village is agriculture and almost everyone is involved in it. Men and women both work in farms. They mainly cultivate wheat, rice, gram, corn, sugarcane, mustard and pulses (Tur, urad, moong, lentils and peas). In OctoberNovember they start sowing wheat. After sowing they irrigate the field every 15 days, this continues till the crops become yellow and they open up. They harvest in march- April. Gram, mustard, moong, lentils and urad are also cultivated in the same season, sowing in the month of November and harvesting in April.

They do paddy sowing in May-June. After one month in july paddy grows and they start plantation during the monsoon which is good for paddy. Paddy harvesting happens in October before Diwali. Cane cultivation is also a major cultivation.They plant the cane in January and harvest in SeptemberOctober. Sowing of tur pulse starts in july during the monsoon and is harvested in april. Also they cultivate seasonal vegetables such as in summer, Lady Finger, gourd, pumpkin, seasonal greens Troi, Tinda, bitter gourd, beans, eggplant and lobhiya and in winter, cauliflower, cabbage, methi, potato, tomato, onion garlic and chili.

DIAGRAM DEPICTING WORK ACTIVITIES ACCORDING TO LUNAR CALENDER 6

The farming happens smoothly if the monsoon is in time and good. Other than farming they also make products which aid in farming. They make bamboo basket to carry farm produce, petariya bedding made with rice straw to sleep in the field and tools with grub hook ( hasiya,khurpi and kudal).

The festivals are related to the farming are satuan and asadhi. Satuan - they celebrate this festival on baishakh amawasya by having sattu and raw mango sauce. Early morning women clean their house and paint the floor with cow dung and geru. On this day they wear clean clothes and have sattu with sauce.

Sattu and raw mango are very good for digestion and protection from the heat in summer. Asadhi - this festival is celebrated in july. On this day women make gram pulse ‘chane dal ki puri’ and which is eaten with mango. They make puri to celebrate the beginning of monsoon and now they can eat fried foods after a long and hot summer. Also all major Hindu festivals come after this festival.

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Fig.5 Separating rice grain from crops after harvesting in the month of november

HISTORY OF THE DISTRICT

In ancient times the area covered by the present district of Unnao formed part of the region known as Kosala and was later included in the Subha of Awadh or simply Awadh. This tract appears to have seen civilized and settled life since very early times. Finds from and traces of ancient remains at several places in the district are however, fairly interesting and testify to the antiquity of those sites. The Gazetteer of Oudh (vol 4) published in 1878, reveals that Unnao has a history of coin hoards being discovered besides suggesting that the district could have been under the rule of Buddhist kings.

Hiuen Tsang, the Chinese pilgrim to India, stayed at Kannauj for 3 months in 636 AD. From here he journeyed a distance of about 26 km and reached the city of Na-fo-ti-po-ku-lo (Navadevakula) which stood on the eastern banks of the Ganga. The city was about 5 km in circumference and had a Deva Temple, several Buddhist monasteries and Stupas.

The freedom struggle of 1857-1858 was followed by the transfer of power from the East India Company to the British Crown. As soon as order had been restored, the civil administration was re-established in the district which was named district Unnao, with headquarters at Unnao. The size of the district was however small till 1869, when it assumed its present form. The same year the town of Unnao was constituted a Municipality.

After the annexation of Awadh by the British in February 1856, the district, then called district Purwa came into existence.In 1951 the headquarter was shifted from Purwa to Unnao and then the existing district was formed UNNAO. The district contain 13 Parganas namely Bangarmau, Fatehpur Chaurasi, Safipur, Pariar, Sikandarpur, Unnao, Harha, AsiwanRasulabad, Jhalotar-Ajgain,Gorinda Parsandan, Purwa, Asoha and Mauranwan.

http://en.wikipedia.org/wiki/Unnao, 8

Fig.6 People of Ashakheda and Kushahari

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LIFESTYLE

The Unnao district lifestyle has a mixture of both urban and rural with some cosmopolitan elements.

Like any typical Indian district, the majority of the population is from middle class and lower-middleclass families. With decent cost of living and most basic amenities readily available, Unnao has a balanced lifestyle. Locals wear both Indian style and Western style clothing. The common clothing for women is a Saree, salwar- kamees and for men it is shirt, trousers and dhoti-kurta.

In the villages people dress in a variety of traditional and western style clothing. Traditional clothing include colourful draped garments such as sari for women and dhoti or lungi for men and tailored clothes such as salwar kameez for women and kurta pyjama for men. Men often sport head gear like topi or pagari. Sherwani is a more formal attire for men and is frequently worn along with chooridar on festive occasions. European style trousers and shirt are also common among the men.

Fig.7 Chabbe lal and his wife at Kushahari

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SOCIAL SET-UP The village social life has its own peculiar characteristics.

The norms strengthen the authoritarian and hierarchical nature of administration. It is based on the hierarchical exchange of relations greatly influence the behavior of civil servants in public organizations. Sociologists think that for defining an Indian village, its population, physical structure, and modes of production are definitely important. Usually, a village has less than five thousand individuals.

It is rightly said ‘India is a country of villages’. Agriculture is the main occupation of the Indians and majority of people in India live in the villages. Our villages help in strengthening our social bonds and bringing stability to our society in many ways. Our villages also help our society in another way namely that of preserving our culture.

The Indian rural society has undergone considerable change in the recent past, particularly since the Independence as a result of a series of the land reform legislations that have accelerated the pace of this change.

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India has a rich cultural heritage and is a land of diversities. The diversity in social life is reflected in multi-social, multi-lingual, multi- religious and multi-caste nature of the society. The important feature of the social structure is the predominant rural habitation in small villages; multi-religious and multi-caste social identities and the importance of the role family plays in the social life.

In recent years, the communal organisations have become very active in social life resulting in communal clashes in different parts of the country.

The villages form the units of the Rural Society. These rural societies have their own structure. The structure is formed out of the following units:- 1) Family 2) Caste System 3) Internal Organisation 4) Religion 5) Economic System.

Marriage In Indian villages, the wedding is planned by the family members of the bride and the groom. The expenses of wedding are generally borne by the bride’s parents.

The system of joint families is still prevalent in the villages so the arrangements for the wedding are conducted very smoothly. It is a joint effort on part of the family members, relatives and close friends, when it comes to organizing a wedding. All the people involved in the preparations for the wedding ensure that everything is conducted smoothly, before, during and after the ceremony.

Similar to Indian weddings in other parts of the country the bridegroom’s family, relatives and friends reach the bride’s house in a procession, accompanied by a band, with the groom in car or riding a mare, dressed like a prince, wearing a garland of rupees.

Fig.8 Pao Pujan after marriage ceremony

The friends, relatives and villager dance in front of the procession. Firecrackers are also burst, in frequent succession, adding to the festivities and announcing

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the arrival of the groom. When the procession reaches the bride’s house, the bride’s family comes forward to welcome the procession with folk songs and Tilak. Usually the folk songs are sung by the village women. The bride is then brought forward, surrounded by her friends and village women for exchanging garlands with the groom. After this, all the guests come forward to bless them.The most important part of the wedding is the taking of vows by the bride and the groom, who go around the fire seven times (ritual known as SaatPhera), amidst chanting of mantras by one of the villager.

The villagers do not invite any priest for wedding.

The actual wedding ceremony is performed in the mandap. In the Bidaai ceremony bride’s mother gives her all those things which she has made with her own hands, dalwa, kathari, bena etc. and tells her to keep your home beautiful and peaceful.

Types of folk songs: Haldi song - Maddawa Procession welcoming song - Devi Geet Wedding song - Bihawo Geet Bidaai song - Pua Pujan Child birth song - Sohar

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Chattiyara The ceremony chatiyara is celebrated after the sixth day or after the first six months or the sixth year after the child’s birth. In this ceremony child’s mother and father invite relatives and villagers to come and bless the child.

Fig.9 Blessing the child in Chhatiyara

Folk Songs Bihawo Geet: Raat sapan ek dekhu mori amma, more bute kahi na jaaye.

Kaun sapan tum dekhu meri beti, tore bute kahi nahi jaye.

Yahi sapan hum deekh mori amma, kanauj rache viwah Kanauj. kanauj janu karu beti, kanauj hai badi dur.

In this folk song the daughter dreams that there is a marriage proposal for her from Kannauj (a small town in state of Uttar Pradesh). She goes on to narrate the dream to her mother. Teary eyed her mother asks her if she knows how far away from home. The daughter goes on to say that the groom’s side has asked for dowry. Genda flower, a lahariya saari and a golden bird is the dowry.

Her mother says that the genda flowers and lahariya saari can be arranged but she has only golden bird, which is her daughter so see will give her away too. Saddened by the fact that she has to leave her parent’s home the daughter asks to take back all the dowry including the golden bird.

Wahi kanauj ke dahej bhala, maange humare dahej Dai na jaye kaun magan, wai maange tore bute.

Dai na jay ek maange, genda ji ke phulwa, Duje lahara patol, teeje mango sone ki chiraiya.

Humare bute dai na jaye.

Maliya ke ghar milahe, genda phulawa. bajajiya ghar, Lahar patol sona. ghar milhai amma, Sone ki chiraiya.

Amma sab dahej lai daro mori amma sab dahej lai daro.

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Devi Geet: Devi lahariya le rahi angina, Sone ki thali me jeuna banavo Neem tare tau je gai more angina Devi lahariya le rhi angina, Ganga gehuwa jal bhar lai Neem tere ghunte more angina Devi lahariya le rhi angina, Laung elaichi ke bira lagayo Rach ke nimbu tere, rach gayi more angina Devi lahariya le rhi angina, Phulon ki sej sang jhalar ki takiya, So ve ke sej tere, soi gai more angina Devi lahariya le rhi angina, In this folk song Goddess Durga’s devotees sing of her many virtues and of all the things that she likes. But Devi Durga (Goddess Durga) doesn’t need much and is easily won over by her devotees love and faith in her. So instead she comes down and resides in a neem tree that grows in her devotee’s courtyard as neem tree is her most favourite.

That is the humility and generosity of ‘Devi Durga’.

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Fig.10 Women singing folk songs to the tube of dholak.

FAIRS AND FESTIVALS

The people of Unnao celebrate all north Indian festival such as Diwali, Holi, Makar Sankranti, Maha Shivaratri, Kartik Purnima, Mahavir Jayanti, Buddha Purnima, Navaratri, Vasant Panchami, Ganga Mohatsava, Ravidas Jayanti, Dussehra, Ram Navami, Eid, Bakri Eid, Moharram and Christmas.

Villagers celebrate some festivals which are are regarded more special such as the festival of light Diwali, festival of colours Holi and nine days of fasting during the period of Navaratri (Durga puja). They also celebrate Vasant panchami and the birth of Guru Ravidas.

village fair villagers collect the money (chanda) from all nearest villages. In the fair, people come together to sell their various articles. Temporarily shops are erected and generally, shops of one kind are arranged in one row. On one side there are shops of confectioners and on the other, there are shops of iron utensils. Then there are shops of toys, utensils, bangles etc. Besides shops, there are hawkers who move about up and down the fair and sell their own little products. They sell flutes, paper-umbrellas and various other kinds of toys which especially attractive to the children.

Ravidas Jayanti Guru Ravidas preached social harmony and stood against caste discrimination and social injustice. It is celebrated on Magh Purnima, the full moon day in the month of Magh month. On day of Ravidas jayati, villagers arrange the big fair at village. This fair starts from morning, after taking holy bath villagers arrange a big Hawan Puja and the Prasad Vitrana and ending with Nautanki. In Nautanki they play the stories of Guru Ravidas, Harishchandra and Laxmibai. For the

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Diwali Diwali is one the most important festival of Hindus It is celebrated with great enthusiasm throughout the length and breadth of India. It is the festival of lights. It is a major festival for the people of unnao and its villages. It falls on the Amavasya of the month of Kartik every year

by Hindu calendar and in the last week of October or in the starting days of November by English calendar.

Many legends are associated with this festival. It marks

the victory of Ram over Ravana. As a matter of fact, Diwali is the symbol of the victory of the forces of good over evil.

According to some on this day Lord Ram reached Ayodhya along with Sita and Lakshman. The villagers of Ayodhya welcomed Ram, Lakshman and Sita by decorating and illuminating their village with diyas.

The Hindus worship Lakshmi, the Goddess of wealth and Ganesh, the God of wisdom, puja held on this day.

They say prayers, so that Goddess Lakshmi may visit their houses. Lakshmi-Ganesha Puja is performed on the night of Diwali. Since Diwali is celebrated in every nook and corner of our country this festival also creates a sense of oneness among the people, a symbol of unity. India has been celebrating this festival for thousands of years and continues to do so even today and thus has both historical and religious relevance.

Fig.11 Laxmi Ganesh Puja on Diwali

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Holi

Vasant panchami

Holi, a Hindu festival, is celebrated with great enthusiasm across the country. This festival is celebrated on the very first day of the Hindu Calender that is on the first day of the month Chaitra. A day prior to it firewood is burnt which is symbolic of the pyre of Holika. As per the legend, Holika was the sister of Hiranyakashyap. She took Prahlad in her lap with a view to kill him and sat in a burning pyre. She had a blessing that she cannot be burnt. But contrary to this, the fire could not harm Prahlad by the grace of God and Holika rather got burnt. Since then Holika pyre is burnt every year, followed by the festival of Holi the next day. On this day several dishes are prepared at home which are first offered to God and then to others.

Holi colours are also smeared on one another. This festival marks brotherhood and love as neither caste nor class barriers remain among the people.

As ‘Diwali’ – the festival of light – is celebrated to worship Lakshmi, goddess of wealth and prosperity, Vasant Panchami is celebrated to worship Saraswati, the goddess of knowledge and arts. This festival is celebrated every year on the 5th day or Panchami of the bright fortnight of the lunar month of Magha, which falls during January-February. Vasant comes from the word spring as this festival heralds the beginning of the spring season.

It is believed that on this day goddess Saraswati was born. Hindus celebrate Vasant Panchami with great fervor in temples, homes and even schools and colleges.

Saraswati’s favorite color yellow assumes special significance on this day. Statues of the goddess are dressed in yellow clothes and are worshiped by devotees adorning yellow garments. Saraswati is offered sweets which are given away as prasad to all people attending the ritual worship.

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CHAPTER I :

KATHARI OR BEDDING

CRAFT DOCUMENTATION SITE: Product : Kathari,Quilt Village : Kushahari, Ashakhera : Nawabganj Block District : Unnao DIFFERENT USES OF KATHARI, TRADITIONAL QUILT Bedding material (Mattress) Blanket to cover one self Baby quilt Floor mats

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INTRODUCTION

Kathari is a product used for sleeping, sitting, and covering ourselves. Women of Kushahari and Ashakheda make this beautiful product with so much patience. This product is done with old discarded.

The old and discarded fabrics are called katran which means old fabric and fabric pieces. The product is known as kathari, derived from the word katran. It is part of the traditional culture and their livelihood.

Kathari is an example of recycled and reused cloths, made from old, worn out and left over cloths (mainly sari, dhoti, shirt, pant, baniyan, pajama, blouse, frock, skirt-top, chaddar etc). It also involves a lot of skill, patience and intricacy. To create embroidery pattern where stitches run parallel is very difficult. The stitches are so compact and perfectly done on the surface of the fabric that it gives the impression of woven design.

Running stitch with white cotton threads is most commonly used to embroider geometrical pattern.

This kathari takes around ten to fifteen days for the completion. This quilt could be used either to sleep

on or as a blanket to cover one self. It is mainly done by housewives, grandparents, young girls and children.

Kushahari women gather on the shady verandas of their house in the afternoon and begin kathari.

During marriage it is customary to send new mattress, pillow and kathari along with the bride. A girl’s accomplishment in quilting influences her matrimonial negotiations hence this was one of the reasons for its popularity. Kathari is a sewing method done either by hand or by sewing machine. The process uses a needle and thread to join two or more layers of fabrics together to make a kathari. Typical kathari is done with six layers: the top fabric, batting or insulating material and backing material. the thread is passed through all the layers and then the needle is brought back up. The process is repeated across the entire piece where kathari is needed. Running stitch is commonly used and these stitches are purely decorative and elaborate.

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Fig.12: Close up of a kathari used as a quilt.

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The only stitch used in making kathari is the running stitch but the technique is more important. The women make the pattern by using equal sized running stitches.

These stitches are very close to each other. The spaces between two stitches are around 5 to 10mm. The number of stitches gives strength to the structure. First they make a grid with running stitch to cover the entire surface. This helps them to construct the pattern. Then they start filling inside the grid one by one. Sometimes other women participate in the process so the kathari is finished quickly. When the stitching is done as a group activity they also sing folk songs.

Usually kathari is made using their own family’s clothes thus it becomes a part of their memories. The kathari lasts 12-15 years or more, depending on how they use it. When they see the old kathari it brings back memories of the person of that time so it makes them nostalgic.

in contrast to one other. These katharis are very light, around 4kgs so they can be washed easily and used while travelling. They are hand washed and washed more often in summers and exposed to sunlight in winter, so they are always hygienic to use.

They usually spread the kathari before sleep or when the guests come. They feel proud of their work because it involves their patience, time, emotions to make one.

They fold the kathari in their free time.

After making the kathari they keep them safely in the trunk because they value their work, so they keep them safe. These katharis are made without any imposed restrictions so it enhances their creativity.

After the kathari gets worn out it is used to keep the domesticated animals warm in winter.

These katharis are colourful, lightweight and easy to wash. They generally used two saris of different colours. One colour is used in the border and the other is used on the body. The two colours are usually

22

SIMILAR CRAFTS IN INDIA

KAUDI - Dharwad district in North Karnataka,

Gondhali community

Women of Gondhali community earn livelihood by recycling of worn out household textiles and clothing. Raw material for traditional quilt, kaudi making include fabric and thread. Kaudi quilters believe in Sati Sakkubai a innocent, mythological devotee of Lord Panduranga who was harassed by her in-laws, and wasn’t even provided a blanket during winters. She stitched a quilt, kaudi using her own old torn out saris and blouses while singing devotional songs of Lord Panduranga.

Fig.13 Colourful Rectangular pieces Kaudi

KANTHA - West Bengal

Fig.14 Human figure and animal motifs pattern Kantha

Kantha work originated in Bengal. Kantha means embroidered quilt in Bengali. Bengalis used to arrange pieces of fabric in layers and stitch them together into a quilt using a running stitch(fig.14), which later began to be known as Kantha work. This quilt would be used either to sleep on or as a blanket to cover oneself. Bengali women used to make use of old silk and muslin saris for making quilts instead of throwing them away. References in literature indicate that kantha embroidery has been in vogue for over five centuries. Mention about kantha has been made in the book ‘Sri Chaitanya Charitamrita’ by Krishnadas Kaviraj. It is also believed that Lord Buddha and his dis-

Ref.

Renaissance Of Quilt (Kaudi) Making And Value Addition- By Sujata

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ciples used to patch rags together in a similar fashion and make a quilt to cover themselves.

SUJANI- Craft of Bihar Sujani is most popular form of conventional art and craft prevailing in Bihar. It is a traditional quilt made in the rural areas of the state. The work is created with the simplest of stitches, with readily avilable fabrics and at times with well-worn pieces of clothes. The Sujani works are also crafted by women in their free time at home. They stitch their experiences, sorrows and their realities on the Sujani. Thus transforming dull quilt into a testimony of their lives. Patches of different coloured cloth were sewn together to make small quilts for new born babies. A fine running stitch all over the background is sewn with same colour as the base cloth.

Fig.15 Mythological depictions used in embroidery craft of Sujani

RAZAI- Jaipur in Rajsthan ‘Jaipuri Razai’ (fig.15) are the quilts characterized by their feather light weight and warmth. They are made of hand block printed cotton voil fabric, filled with finely combed cotton and hand quilted in a close running stitch. Bedspread with patchwork and applique embroidery is a decorative work in which one piece of cloth is sewn onto another.

Fig.16 Embroidered & block printed Razai

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KATHARI: RAW MATERIALS Kathari is a traditional embroidered quilt. The old fabric pieces are arranged in layers and stitched using running stitch. It is very similar to kantha work from West Bengal. The women of Kushahari and Ashakheda make this in their rest time. The materials used in the process of quilting are old saris of cotton, georgette chiffon, satin and old cloths as kurta, pyjama, shirt etc.are also used. For the upper fabric good condition sari or a new sari is used. Type of fabric pieces which are filled inside are obtained from old kurta, pyjama, shirt, frock etc.

Fig.17 Old discarded fabrics

The fabrics chosen for the quilt are very strong and durable, because they use their time and labour to develop the quilt so that it would last for a long time.

For stitching generally they prefer crochet thread. They still like to make quilts in the old fashion way. But nowadays some use coloured cotton and coloured wool threads also but people prefer using chrochet threads instead of coloured threads.

Fig.18 Crochet thread

Tools: Scissor - (in local language known as kainchi) Needle - (in the local language needle is called suwa and suja)

Fig.19 Scissor 25

Fig.20 Kathari making 26

PROCESS OF KATHARI MAKING Collection of materials

Alignment

For quilt they use old sari and other old cloths to create a unique look and then they use this quilt for different purposes.

For a good kathari, one has to be very careful about the alignment. Each layer has to sit evenly without any folds in the inner layers.

Cutting

Stitching

Before making the pattern they first need to cut old cloths like pant-shirt (because the pant waist and pocket are double layered and are so cut out) then unseam the cloth and arrange them evenly. Sari is not cut unless it is lenghty.

Working from right to left, the thread is brouht up at one point then down through the fabric at other point again up at other point and again down and continue.

The space between the stitch is kept equal. When the craftsmanship is good the stitches are of the same length. Also keeping an even tension and avoiding pulling the thread or the stitches is necessary otherwise the thread will pucker.

Organising principal of every layer After cutting the cloths they can also iron it. Taking a good layer for base fabric and then they arranging the other cloths for batting. After arranging the cloths they take needle and thread and join the pieces by running stitch which can be done by using either sewing machine or hand stitching. If they do running stitch by hand, using the same technique they make 7-8 layers.

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Stitching

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3

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Base Pattern

Stitching

Filled base pattern

The fabric showing the base and filled in pattern.

Fig.21 Half done Kathari

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Progressing pattern of kathari

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Progressing pattern of kathari

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UTILITARIAN PRODUCTS: KATHARI

Fig.22 For Self Use

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Fig.23 For Guests

Fig.24 Utility Product

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Fig.25 Kathari with blue border 35

Fig.26 Mrs. Nirmala devi stiching kathari 36

CHANGES Design - In terms of design not much has changed, layout is same only the gap between the stitches and the thread which they use has been changed. Earlier they were using 2/10 unbleached cotton or a thicker thread. Nowadays they usually use cotton, polyester and acrylic threads and coloured thread too. the fabric is also changed now, the synthetic fabric is more popular because of its strenth.

Technological Change – The village technology has evolved slightly. Nowadays they are using stitching machine to stitch small pieces and borders of the kathari. The sewing machine is hand operated or an electric machine.

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Fig.27 Kathari with red border 38

CHAPTER II :

PAIDAAN, DOORMAT

CRAFT DOCUMENTATION SITE: Product : Paidaan,Doormat : Kushahari Village : Nawabganj Block District : Unnao USES Cleaning feat(Doormat) Floor Seating (Baithaka) Floor decoration

39

INTRODUCTION

Paidaan is a knitted piece of rug. This utility piece of art is most commonly used product in their day to day life. Kushahari villagers use paidaan for many purposes.

They use paidaan to rub their feet, for sitting and also as a decorative piece. These paidaan are made by village women. This utilitarian craft has been made from generation to generation to fulfill their needs and give comfort. there is no such record or proof of this technique or craft evolved in the village. Women of this village are very hard working because they do all work including outdoor work like feeding animals, help in agriculture activities and other household work. For making of paidaan women of Kushahari village use the same material which they used in kathari.

Fig. 28 Kushahari village woman doing household work.

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RAW MATERIALS The materials for knitting are old saris of cotton, georgette chiffon, satin and old cloths as kurta, pyjama, shirt etc. The fabric chosen for knitting are of two types: a big piece of fabric and small pieces, katran.

These fabrics are split by the scissor and then all strips are joined with stitches and sewing thread. The fabrics chosen are colourful and soft.

Fig.29 Old discarded fabrics

Fig.30 Fabrics split into strips of equal width.

Tools Scissor - Kainchi Needle - sui Knitting Needle

Fig.31 Scissor

Fig.32 Sewing thread and needle

Fig.33 Knitting needle

Sewing thread

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PROCESS OF PAIDAAN MAKING: KNITTING Collection of materials The process is same, to collect used old sari and other discarded cloths and katran from tailor’s place.

Cutting The fabric is cut in a spiral or long strip so as to have it long and continuous and then these are joined together by stitching. After this the strips are rolled so that they do not get entangled.

Knitting Knitting technique: this is done using a continuous single thread. Knitting needs patience and accuracy— qualities which Kushahari village women have. For making paidaan, they start with casting on the desired number of stitches on the knitting needle.

They are most likely to cast 32 loops in the needle to begin knitting. They knit one full row and turn back to knit the backside. When they come to the second

43

row on the face side they reduce one stitch. The reduction of stitches always happens at starting and ending points of a row. For making the basic unit they continue the same till there is one stitch remaining on the needle. When they complete one kali, one triangular unit, they again start adding 31 stitches to the tapering side of the unit. They continue the same process and make 12 kalis. For finishing the structure they stitch the last and the first kali using needle and thread.

The process of knitting the basic unit

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Fig. 34 Ms Meera Devi demonstrates the process of knitting a doormat.

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Stages of construction

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PAIDAAN

Fig.35 For Decorative Purpose

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Fig.36 For wiping feet

Fig.37 Paidaan with 12 kali and 2 colours.

Fig.38 Paidaan with 12 kali and alternate multi-colour pattern.

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Fig.39 Paidaan of 6 kali with multi-colours.

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Fig.40 Paidaan of 12 kali with defferent colour pattern.

Fig.41 Paidaan of 12 kali with defferent colour pattern.

Fig.42 Paidaan of 11 kali with two colour & pattern.

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CHAPTER IV :

DALAWA, BASKET

CRAFT DOCUMENTATION SITE: Product : Dalawa, Basket Village : Kushahari Block : Nawabganj District : Unnao PRODUCTS PREPARED BY TRADITIONAL DALAWA Dalawa (Big size basket) Daliya (small basket) Mauni (storing flour) Dehri (big container storing food grain)

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INTRODUCTION

The women of Kushahari and Ashakheda village make beautiful baskets. This basketry technique is used by rural women in eastern region of Uttar Pradesh. Munj is a wild grass found in the wastelands of Uttar Pradesh.

It is made into baskets to be used in the kitchen for daily work in the form of vessels, storing flour and food grains. The tight coils make them waterproof and longlasting. The grass is harvested in winter. A mother also makes these baskets for her daughter’s marriage and is passed down from mother to daughter. In Unnao, this is a domestic craft made by the women.

The baskets made are distinguished by their bold forms and stylized bird, flower and geometric motifs. Special baskets are made by coiling large beautifully patterned maunis. Circular baskets are made with large mouths and convex bottoms. The bride takes some with her, laden with grain, sweets and other gifts.

Uttar Pradesh has a tradition of making baskets out of this monsoon grass Munj. Bahraich, Gorakhpur, Azamgarh, Allahabad and the surrounding villages are famous for these baskets.

In Kushahari and Ashakheda village Mrs. Chandawati and Nirmala Devi were identified as persons who are very fond of doing this traditional craft work in their leisure time. Mrs. Nirmala Devi is 48 years of age and a housewife while Ms. Chandawati is the Pradhan of the village. Both women have different responsibilities and work—Mrs.Nirmala Devi helps in farming and makes time for her household tasks for her creative art work.

Mrs. Chandawati has many official responsibilities to fulfill for the development of the school and progress of the village. However she still makes time for basket making.

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SIMILAR CRAFTS IN INDIA PUNJAB - Punjab is famous for its sturdy spirally built baskets

Fig.43 Straw baskets of Punjab

Punjab is famous for its sturdy spirally built baskets.

Sarkanda, a wild grass which grows in swamps, is used for the basic form which is stitched together with the use of the date-palm leaf. Dyed date-palm leaves are worked in intricate patterns, similar to the geometric patterns of the phulkar. These baskets were predominantly used for household purposes. However, with the passage of time, they came to be adorned as a work of art and were used in homes as showpieces and decorative items.

BIHAR- Sikki Grass Craft North Bihar has a special tradition of basketry. The coiled baskets are made with the marshy area rough monsoon grass, which is covered with golden coloured sikki grass, dyed locally in different colours.

Besides baskets, women of the area make a number of toys, birds and human figures out of the same raw material.

According to local traditions, these are presented to the bride at the time of marriage. Probably poor peasants of the area,

Fig.44 The colourful Sikki Grass Baskets

Ref.

Ranjan, Aditi and Ranjan M.P. Handmade in India: Crafts of India Series; COHANDS, 2007, file:///C:/Users/User/Desktop/all%20pdf’s%20of%20crafts

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wishing to imitate the zamindars, rich landowners, who gave fabulous dowries to their daughters in the form of elephants and horses, got some satisfaction out of this custom. The peasant women lovingly created these forms in the grass, seeking to compensate their daughter’s dowry. Today these women, with the encouragement given by the handicrafts board have developed this craft still further, by making exquisite sculpturesque forms based on the Geeta Govinda, recreating scenes of Krishna engaged in love play with gopis.

Kashmir- Willow Baskets

Fig.45 Mauni of Bihar

The willow baskets of Kashmir are known for their intricate designs. The young fresh twigs of the willow tree are woven into intricate designs to make a variety of baskets which are used in homes, sold to tourists as picnic baskets and large presentation hampers. One of the finest objects made there, are however, for local use. This is the covering made for the Kangri - an earthen pot in which burning coals are kept on a bed of ashes. Small pliable twigs of willows are dyed with indigenous dyes. A coloured foil is pasted to the outer side of the clay bowl and an intricate lace pattern is worked out of the twigs, which allows the shining foil to be seen through.

Fig.46 Willow Basket of Kashmir Ref.

file:///C:/Users/User/Desktop/all%20pdf’s%20of%20crafts

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SIMILAR CRAFTS IN INDIA

TAMIL NADU- Tradition Baskets Tamil Nadu is famous for the Chettinad baskets. They have intricate patterns made with the help of date-palm leaves. These patterns are as fine as embroidery and are the specialty of the Chettiar community of the area.

Fig.47 Traditonal Baskets of Tamil Nadu

NORTHEAST- Baskets The north-eastern region of India, which comprises of the sates of Assam, Manipur, Nagaland, Mizoram, Meghalaya, Arunachal Pradesh and Tripura has the finest example of cane and bamboo work.

Fig.48 Wide range of Baskets from North Eastern India.

Fig.49 Cane Baskets of Northeast Ref.

file:///C:/Users/User/Desktop/all%20pdf’s%20of%20crafts

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BASKETRY: RAW MATERIALS

Munj is a wild grass found in the wastelands in Unnao. It grows in monsoon. This grass is usually collected by Harijans in the rainy season.The Munj and Patawar are very important raw materials for the making of Munj grass products. Patawar is much cheaper and more abundant, so it is used to give basic shape and strength to Munj baskets. At first Patawar is gathered and then it is coiled with Munj grass. Nowadays they also use plastic strips and tinsel for covering.Other raw materials are colours used for dyeing of Munj grass. These colours are easily available in the local market.The last and most valuable raw material is water, which is used to wet the Munj grass and make it more pliable as it is coiled around the Munj.

Fig.50 Munj

Fig.51 Patawar grass

Fig.52 Coloured Munj Balla

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PROCESS OF MAKING DALWA 1. Raw Material & Processing i. Collection ii. Cleaning iii. Drying iv. Dipping in water v. Spliting vi. Cutting vii.splicing length of dry grass To make the munj usable, it is first cut from near its base and then dried for some days. Since the flowering part of the stem of munj is not used for making, it is discarded and the remaining portion of the munj is sliced and shaved with the help of a knife or by teeth.

It is also coloured into different shades of colours e.g. red, green, deep blue, purple, and pink, etc. with the locally available dyes to combine it with the natural golden colour to make the final product more attractive.

Before use, munj is wet lightly to make it more pliable as it is coiled around the patawar. The colouring is achieved by boiling the munj in different colours.

Now the main form is shaped with patawar to provide the basic shape and additional strength to the munj basket.

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Then the patawar is completely coiled over and covered with munj so neatly that it is not visible through the encasing. Then the main tool suja(a iron needle almost 2mm thick and 6 inch long) is used carefully because it can also cut munj. The product being made is held firmly with the left hand while the right hand is completely free to wield the suja. Unnao women make different designs and patterns in the munj baskets by combining dyed munj which give the basket an attractive look. It requires skill, lots of creativity, concentration and patience.

Fig.53 Mrs. Chandawati, demonstrating the process of basketry.

THE PROCESS

Coiling in

Coiling out

Base of basket

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UTILITY AND RANGE OF PRODUCTS

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Fig.54 Range of baskets 60

Phulera

Laheriya

Mora

Panpatta

Motifs And Pattern Some motifs which Unnao women used in baskets making are phulera (Flower), Mora (Peacock), Panpatta (Leaf), Laheriya (Spiral) etc.

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MARKET AND CHANGES All over India, many NGOs and organizations are doing work to promote the traditional craft. But for the women of Unnao district, they make these products for their household, ritual and for their daughter’s marriage only.There is no market for these products, because women of this region are not aware that they can sell these products.

Since the women use only 1-2 simple tools for their work, they do not need any change in the technology or process. Nowadays the women of Unnao recycle the waste plastic bags and packets, these baskets are more durable than munj baskets.But for the other parts of Uttar Pradesh mainly Aazamgarh, Allahabad, Gorakhpur, Bahraich etc. the craftsmen are raising this craft to a whole new level by introducing the products to people for economical and cultural purposes through trade fairs.

Fig.56 Basket techniques using different forms and patterns

Fig.55 Basket made using recycled plastic

Fig.57 Holder in basket 62

CHAPTER V :

BENA, HAND FAN

CRAFT DOCUMENTATION SITE: Product : Bena,Hand Fan Village : Kushahari, Ashakheda Block : Nawabganj District : Unnao PRODUCTS PREPARE BY TRADITIONAL BENA Bena by munj, acryllic, terricot fabric plastic and plastic bag.

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INTRODUCTION

The women of Kushahari and Ashakheda make beautiful bena. Bena is only sustenance in summer, and it is also have other uses, Bena use for the blowing air to the natural fuel coal or wooden ,it use to ignites the chulha very quickly. also to reduce the heat of warm food and as the decorative product to sowing their creativity. Sangeeta is a 20 year old young girl, she usually makes revolving bena’s, and these are very much comfortable in use.

The fan as described in Purnell’s New English Encyclopedia is an instrument held in hand used to create a current of cool air. The complicated explanation of a hand fan given in the ‘Reader’s Digest’ dictionary, is: a hand-weaved implement for creating a current of air or breeze, especially one in the form of flat, fixed or collapsible devise, usually round or approximately semi-circular and made of a light material such as silk, paper or fine ivory. The fan is a miniature compendium of art and love. The use of the fan dates from the dawn of time and is known around the world, cooling people down. Hand fans offer us an insight into these small objects that are as beautiful in form, design, and detail as these are functional. The

Fig.58 Sangeeta talking about bena

bird in the cage would beat their wings and provide a cool breeze, so what could be more natural than for the owner to pluck out a few nice feathers and make his very own ‘bird’s wing’, the first real fan? In our own country, the word for fan in hindi is punkha, which stems from pankh, meaning wings of a bird. In china the archaic symbol for a fan looks like, and means, a bird’s wing. The same basically applies to japan. Surely all of this is no mere coincidence? The word fan is derived from the latin word vannus, that means an instrument for winnowing grain’’.

Pankha: Traditional Crafted Hand Fans of The Indian Subcontinent-From The Collection of Jatin Das

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SIMILAR CRAFTS IN INDIA

Gujarat and Rajasthan- Beadwork, Embroidery fan The states Gujarat and Rajasthan have fans with beadwork, and embroidery, the later incorporating mirrors in the needlework that incorporate folk motifs. From Gujarat, leather rigid fans are still available with an axe or round shape handle, embroidered or patchworked with motifs of elephant etc. Ax-shaped fan is attached with a small wooden stick, which is linked to the original timber with the help of two thin wires. And wires help in revolving the fan.

Fig.59 Embroidered fan of gujarat

Ref.

Pankha: Traditional Crafted Hand Fans of The Indian Subcontinent-From The Collection of Jatin Das

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Odisha- Applique fan Odisha is famous for different crafts like golden grass and cane work, pattachitra, applique work, palm leaf carving, bamboo craft from Pipli etc. Odisha is very famous for its applique work on bright and colourful materials for products such as lamps, umbrella, fans etc. The cloth fans use bright colours and hence are very attractive. Typically the fans are of rigid type and the material used is cloth and is stitched on to a wooden handle. A small wooden cylinder about 5’’ in length, which is also covered with the same material is placed at bottom of the handle to be used as the holder. This revolving hand fan is half fixed. The applique motifs are varied and are mostly that of flowers, birds and animals. The ground cloth is of different colours both dark and bright and it bears embroidery, applique as well as mirrors, which make the fans very attractive.

Fig.60 The famous applique patterned Bena

Ref.

Pankha: Traditional Crafted Hand Fans of The Indian Subcontinent-From The Collection of Jatin Das

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BENA: RAW MATERIALS The materials used in the process of bena making are munj, discarged fabrics pieces, bamboo sticks and bamboo pipes. Munj grass is also used for lattice making.

The munj is coloured and made into different patterns.

The munj is then dipped in water without which it cannot be split. When it feels smooth you can split with the help of suja and take out the munj and start pattern making.

The wet munj becomes soft after dipping in the water so you split smoothly with the desired length and width.

Tools Fig.61 Coloured Munj Balla

Fig.62 Bamboo in local area

Fig.63 Phunda-Small piece of fabric for decorating the bena

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Fig.64 Cylindrical pipes made from Bamboo

Suja is a tool for splitting the munj. Needle is used to stitch the two lattices to form the finished bena.

Fig.65 Many colours and patterns of Bena

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PROCESS OF BENA MAKING

1. Raw Material & Processing i. Collection- They Collect munj from the field. ii. Cleaning-It is clean with water and made into balla’s,a folded form of munj.

iii. For colouring & drying they mix the dye in hot water and put all balla’s in it. iv. Dipping- they dip the balla’s in water, before split it is keep in water for a night. v. Splitting- They split the balla’s with suja according to the plan need. vi. Splicing the length of dry grass.

2. Organizing Principle Of Structure i. First they organise the horizontal alignment of one set of sticks ii. With the vertical stick making alternate rounds over and under and covering the entire set of horizontal stick. iii. They first overlap at the corner of the horizontal and vertical sticks which is then neatly tied with a piece of sewing thread. After the knot is made firm, the extra bit is cut off. iv. Once the entire square is created with horizontal and vertical sticks, the grid is further reinforced with diagonal sticks.

Fig.66 Pattern processing of this bena

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3. Bena Making i. They sandwich cloth between two lattices. ii. Preparation of handle: They take a bamboo stick longer than the lattice height and make a cut vertically according to its height. Then they insert another bamboo pipe for gripping the handle into bamboo cylinder which is fixed by bamboo knot. After that they split the longer bamboo stick into two halves up to the second bamboo handle. Then the prepared sandwiched lattices are placed between the gap and stitched very tightly by thread so that the lattices do not loosen off.

4. Finishing i. For edge finishing, they take a long fabric strip of 3-4 inch width to make a border for covering all sides of the lattice. ii. A red fabric gathered to form a rosette is attached as a decoration.

Fig.67 Mrs. Nirmala Devi narrating the process of bena making.

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ORGANIZING PRINCIPLE OF THE LATTICE

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DIFFERENT PATTERNS OF BENA

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CHANGES The women of Kushahari village also make bena using recycled woven plastic sack, waste plastic bags and plastic packaging. They use these waste and colourful material to make the decorative handfan.

Some handfans are made using plastic packaging material as a base for the handfan and the packets are folded into small triangular shape then stitched on the plastic sack base. Number of triangular plastic forms are created and attached to the base. This is done on both sides of the fan.

The plastic sack handfan is embroidered with acrylic yarn. The surface of the plastic sack is a slightly open weave which enables the women to embroider it with acrylic thread. Also the other type of plain plastic handfan includes gelatine paper flowers fas decoration. Beneath the decorative items the thick plastic base is placed to give strength. To make it attractive they attach metallic stars and tassels.The handle is made of bamboo but the cylindrical pipe is a rubber pipe. The fan is light in weight because of plastic.

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Fig.68 Made using triangular plastic packet-shaped forms.

Fig.69 Bena made from plastic bags, decorated with gelatin paper and metalic stars

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Fig.70 Bena made from plastic woven sack & acrylic yarn.

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Fig.70 Bena made from plastic woven sacks & acrylic yarn.

Fig.71

Fig.72

The pillow covers woven with reused plastic sack and embroidered with acrylic yarn. The embroidery technique used is the same which is used in making the flat surface of the bena.

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CHAPTER V :

JAAL, FISHING NET

CRAFT DOCUMENTATION SITE: Product : Jaal, Fishing Net Village : Kushahari, Ashakheda Block : Nawabganj District : Unnao PRODUCTS MADE BY TRADITIONAL JAAL TECHNIQUE . Net of small loops, Jaal . Net of big loops, Jaala

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INTRODUCTION

Net making is also traditional hand work. Used for fishing, these nets are generally used in rivers and ponds. Earlier villagers used to make their own fishing nets, which were of two types. The one with small loops are used for fishing in the pond so you can catch small fish and the other with bigger loops to catch bigger fish from the river. The method is shown step by step as used

by Chabbay Lal of the Malhaar family. Earlier the family used to make the net but nowadays many machine made fishing nets are available in the market for professional use, so they just make nets only for their own use. The family works in the agriculture fields of their own as well as that of others which is their only source of income.

Fishing and aquaculture in India has a long history.

Kautilya’s Arthashastra (321–300 B.C.) and King Someswara’s Manasottara (1127 A.D.) each refer to fish culture. Freshwater activity is prominent in the eastern part of the country, particularly the states of West Bengal, Orissa and Andhra Pradesh with new areas coming under the states of Punjab, Haryana, Assam and Tripura. Brackishwater aquaculture is mainly concentrated on the coasts of Andhra Pradesh, Tamil Nadu, Orissa and West Bengal.

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SIMILAR CRAFTS IN INDIA

Fisheries is an important sector in India-it provides employment to millions of people and contributes to food security of the country.

Kerala

Fig.73 Chinese fishing net in Kochi, Kerala

Chinese fishing nets, in use for the last 500 years and one of the tourist attractions in Kerala, are fast vanishing from the Kochi coastline as huge maintenance costs and poor catch is forcing fishermen to look for other alternatives. Called ‘Cheena Vala’ in local parlance, the huge cantilevered fishing nets are believed to have been brought by Portuguese from Macau, once a Portuguese colony.

Odisha Fish occupies a special place in the cuisine of Odisha.

Featured here is a group of local fisher folks in Odisha who are engaged in the process of fish net making. In Odisha, both inland fishing and marine fishing are common.

Fig.74 Fisherman with fishing net in Sundergarh, Odisha 79

Ref & Photo Credits http://www.thehindu.com/news/cities/Kochi/chinese-fishing-nets-disappearing-from-kochi-coastline/article493361.ece. Fig.65 Vivek Rawat and Fig.66 Sarita N. Ekka batch 2099, product design Nid

Fig.75 Typical jaal hung after use 80

RAW MATERIALS AND PROCESS OF NET MAKING

Fisher use varieties of net. Men of Kushahari village make fishing net out of polyester and crochet thread which are similar to silk. Net are devices made from fibers woven in grid like structure, it is usually meshes fromed by knotting relativelly thinn thread.

Net does not lose its shape. Good knot firmness depends partly on the material, the fibre type and the twisting technique. earlier the village men weave the net from grasses and other fivrous plant material but know they use artificial threads.

Fig.76 Full length net 81

Step 1 the two strands are set next to each other, one on the right and one on the left, so that they overlap slightly forming a loop in the right strand.

Step 2 the left strand is placed through the loop in the right strand. Then the two strands are now in contact and completely overlaped.

Step 3 The left strand is run over the top of the loop in the right strand, then it is wrapped completely around the loop.

This forms a loop in the left strand.

Step 4 The thread moves from the left strand under itself and back through the almost-loop formed in step 3. The result is a knot with the left strand through and around the loop formed in the right strand. The ends of both strands are now secured in loops and pointing away from each other.

Step 5 the ends of both strands are tugged until the bend of the thread is tight.

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THE PEOPLE

Mrs. Chandawati Pradhan, head of the village, is 37 years old. She wants to develop the prevailing educational system of the village and to provide more opportunities for the students. Currently the neighboring village Ashakheda has a middle school and Nawabganj has high school grade education. The village is on highway so the villagers are sceptic about leaving their children there, especially more so with the girls.

The Pradhan is trying to open a high school in the village, so that the girls can go to school and study. I advised her to organize a community for women so that they can develop their creativity and use the products to serve an economical propose. No doubt the women of the village have good sense and knowledge of the beautiful crafts that have originated there.

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Mr.Narendra, is 28 years old from Kushahari village. He has shown a lot of enthusiasm to change the villagers perspective. He is also trying to do something new to raise their economic condition and educational status.

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Fig.78 Mrs. Chandrakala picking out mustard leaves in Ashakheda for making Sarso ka Saag mustard leaf preparation.

Fig.77 Mr. Badari Ram introducing Patawar,Rice straw mat making in Ashakheda.

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GLIMPSES OF THE VILLAGE

A villager collecting firewood for cooking.

The houses of the village are made from mud and pitahariya.

The manual process of removing grains from harvested crops.

A U shaped typical traditional Indian cooking stove, chulha used for indoor cooking.

Using cowdung, women of the village make kanda (dry cowdung cakes) as fuel for cooking.

Grains kept for being sold to the buyer who comes to the house and purchases grains in wholesale.

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INDIGENOUS PRODUCT

Dudahan Dudahan is an indigenous product for preserving milk.

The name of the product Dudahan is derived from the word Dudh ,in Hindi dudh means milk and Adahan refers to the process of warming water or liquid slowly.

The product is made from mud. Dudahan is a chulha of a different kind. It is cylindrical and immovable.

The process of preserving milk involves putting fuel (coal) inside the dudahan and burning the coal. After sometime when it reaches the right temperature, dry cowdung cakes are placed over the coal. Cowdung creates a controlled environment so the temperature does not increase much. Then the container with the milk is kept inside the dudahan. Daily milk from morning till evening is collected for preserving and it is important to close the lid of the container every time.

The container is also made by using mud and dry grass.

Circular lid has 6-7 holes, so that the smoke goes out.

The active fuels slowly provide heat to the milk and this process continues till 4-5 days. It then transforms into curd that is fit to be eaten in 5-6 days.

Fig.79 Dudahan in the kitchen area

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Fig.80 Lid with holes

Fig.81 Inside view of dudahan with the milk container.

Fig.82 Smoke makes lid black.

Fig.83 Inside the container.

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Sunset at Kushahari 89

REFLECTIONS

The craft documentation process has been a great learning experience that introduced me to the cultural activities, lifestyle, skills and techniques of the people of Unnao. I will forever be thankful to them for sharing their indigenous knowledge and for teaching me the value of a simple lifestyle.

India is famous for its rich culture, art and craft. I came to realize the traditional values of each & every activity, folk songs and dances. I felt really connected to their activities. The recycled cloth product kathari is being improvised to earn a better living. The people there are hardworking and with some innovation in design and colour they can create a flourishing business out of their products. The munj products (the Bena and baskets) are also very attractive, useful and durable. I found that all the products have some religious significance and yet are very unique in terms of design.

they still find the time to enhance their creativity.

They were not pressured into craftwork which have professional compulsions such as time, design and material specifications. Kathari is begun as a means of entertainment and has a social function.. After doing repetitive and tedious chores like cooking, cleaning, taking care of children, feeding animals and help in the farm etc. women want to relax by doing something creative.

I found their daily activities, festivals and religious ceremonies helped in creating a peaceful and harmonious environment. Women remain busy with household chores and other activities and yet

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GLOSSARY

Amavasya- New moon day is known as Amavasya.

This day is also called as No moon day and Moon less night. New moon day indicates the end of the dark fortnight. Amavasya (amavas) word is common in almost all Indian Languages.

Ayodhya- Ayodhya is an ancient city of India, birthplace of Lord Rama[1] and setting of the epic Ramayana. It is adjacent to Faizabad city at south end in the Indian state of Uttar Pradesh.

Baithaka- Object use for sitting.

Bakreed- Bakri Eid is a Muslim festival and it is celebrated with great dedication. Bakri Eid is a time for great celebrations for Muslims.

Baniyan- loose fitted undergarment worn by men.

Bena- hand revolving fan Bidaai- In India, Vidaai is a post wedding ceremony, which takes place after the wedding rituals are completed. This means that after the seven pheras and kanyadaan this is the major ritual that takes place.

Bihawo geet- A folk song sung during wedding

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ceremony.

Buddha purnimaChaddar- Bed sheeta rectangular piece of fabric to cover the bed.

Chaitra- Chaithra ( Chithirai ) is a Sanskrit word meaning a sanctuary. In the Hindu vernacular calendar, it refers to the months of March – April.

The month of Chaithra marks the beginning of the spring season.

Chamba RumalChanda- Chanda is the process of soliciting and gathering voluntary contributions of money, by requesting donations from individuals, businesses, charitable foundations, or governmental agencies.

ChattiyaraChooridaar- (Clothing & Fashion) long tight-fitting trousers, worn by Indian men and women. Also called: churidar pyjamas.

Dalawa-Big size basket Daliya- small basket Dehri- Big container for storing food grain

Devi Geet- Geet is a hindi name of song and the meaning of Devi Geet is a ritual song for Indian goddess Dhobi- Dhobi (English: washerman) is a caste group primary belong to India and are said to specialized in washing clothes.

Dhoti- The dhoti is a traditional men’s garment worn in India. It is a rectangular piece of unstitched cloth, usually around 4.5 metres (15 ft) long, wrapped around the waist and the legs and knotted at the waist, resembling a long skirt.

Diwali- Diwali is one the most important festival of Hindus It is celebrated with great enthusiasm throughout the length and breadth of India. It is the festival of lights.

Diyas- A diya is an oil lamp, usually made from clay, with a cotton wick dipped in ghee or vegetable oils.

Durga puja- the ceremonial worship of the mother goddess, is one of the most important festivals of India.

Apart from being a religious festival for the Hindus, it is also an occasion for reunion and rejuvenation, and a celebration of traditional culture and customs.

Dussehra- Dussehra is a Hindu festival that celebrates the victory of good over evil. It is a gazetted holiday in India.

Eid- Eid, meaning “festival” or “holiday” in Arabic, can refer to a number of Muslim holidays, but without a full name is most likely to refer to Eid alFitr marks the end of the month of Ramadan.

Ganga MohatsavaGodhiya- A Indian caste community.

Harijan- a schedule caste community name Hawan- Hawan is pooja and chanting of mantra for a particular deity to please the deity by invoking Agni the fire God, and to get the blessings from them.

Holi- Holi, a Hindu festival of colours, is celebrated with great enthusiasm across the country.

Jaal- Net is a used for fishing.

Jaala- jaala is also a fishing net.

Kainchi-Scissors are hand-operated shearing instruments. They consist of a pair of metal blades

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pivoted so that the sharpened edges slide against each other when the handles (bows) opposite to the pivot are closed.

Kartik purnima- Kartika Poornima (Kartika purnima) is a Hindu, Jain and Sikh holy festival, celebrated on the Purnima (full moon) day or the fifteenth lunar day of Kartika (November–December).

Kartik-In the reformed Indian national civil calendar, Kartika is the eighth month of the year. It corresponds with the months of October/November.

Kathari- Bedding Material Kaudi- Quilt of karnatka Kumhar-Kumhar is a caste or community of India.

Kumhar literally means potter in Indian languages, and pottery is the traditional occupation of this community.

Kurta- A traditional article of clothing worn in Afghanistan, Bangladesh, India, Pakistan, and Sri Lanka, consisting of a loose, collarless, long-sleeved, knee-length shirt worn by both men and women.

Laheriya- Spiral form motif

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Laxmi-Lakshmi is the Hindu Goddess of wealth, prosperity (both material and spiritual), fortune, and the embodiment of beauty.

Loadh-The Lodh is a community of agriculturalists, found in India.

Maddawa- A folk song sung during wedding ceremonies.

Magh purnima- The full moon day of Magha (January-February) is known as Magh Purnima. It is a great bathing day, and as important as Kartik Purnima for the practice of piety and devotion.

Maha shivaratri- Maha Shivratri (the ‘Great Night of Shiva’) is a Hindu festival celebrated every year in reverence of Lord Shiva. It is also known as the birthday of Lord Shiva.

Mahavir jayanti- In Jainism, is the most important religious holiday. It celebrates the birth of Mahavira.

Makar sankranti- Makara Sankranti is a Hindu festival celebrated in almost all parts of India.

Mauni- A big size container for store flour.

Mandap- A wedding mandap is a mandap (covered structure with pillars) temporarily erected for the purpose of a Hindu or Jain wedding. The main wedding ceremonies take place under the mandap.

Meena- The Meena caste is found mainly in the Rajasthan region of India. Their name is derived from Meen, the Sanskrit word for fish.

Mora (Peacock) – A peacock shaped motif.

Munj- Munj is a wild grass found in the wastelands in Uttar Pradesh and Bihar. It grows in monsoon.

Muharram- Muharram is the first month of the Islamic calendar. It is one of the four sacred months of the year.

Nautanki- Nautanki is a famous folk theater and operatic drama form, popular in northern India especially in Uttar Pradesh.

Navaratri- Navratri is an important major festival and is celebrated with great zeal all over India. The word Navaratri means ‘nine nights’ in Sanskrit, nava meaning nine and ratri meaning nights.

Pagari- A Pagri or turban is usually a long plain

unstitched cloth. A turban, is a headwear based on cloth winding. Featuring many variations, it is worn as customary headwear, usually by men.

Paidaan- Paidaan or doormat is a small rug to cleaning feet.

Pajama- Trouser Panpatta- Betel Leaf Pasi- The Pasi are one of the communities who are classified as a Scheduled Caste under modern India.

Pargana- a group of villages or a subdivision of a district in India.

Pattachitra- Pattachitra is a general term for traditional, cloth-based scroll painting, based in the eastern Indian state of Odisha.

Prasad- It is a material substance of food that is a religious offering in both Hinduism and Sikhism, which is consumed by worshippers.

Prasad vitrana- Vitrana means distribution, food distribution after offering the God Phunda- A small square piece of fabric, which is folded diagonally two times from mid to make a triangle.

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Phulera (Flower)- Phulera is traditional name of flower in village.

Pipli- a village state of Odisha, India.

Pua pujan- pav pujan is a ceremony to wellcoming the groom to wash his feet by bride’s mother’s hand.

Puja- A religious ritual performed by Hindus as an offering to various deities, distinguished persons, or special guests.

Purnima- Purnima is the Indian word for Full Moon.

Razai- It is a type of bedding similar to a duvet or comforter.

Ravidas jayanti- Guru Ravidass Ji was a North Indian Guru mystic of the bhakti movement who was active in the 15th century CE. He was a socioreligious reformer, a thinker, a theosophist, a humanist, a poet, a traveler, a pacifist.

Ram navami- Rama Navami is a Hindu festival, celebrating the birth of the god Rama. Rama is the oldest known God having human form. It is also considered the 7th avatar of Hindu God Vishnu.

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Saari- A sari is an Indian female garment that consists of drape varying from two to nine yards in length and two to four feet in breadth that is typically wrapped around the waist, with one end draped over the shoulder, baring the midriff.

Saat phera- The Saat phere is one of the most important features of the Hindu wedding, involving seven rounds around a pious fire lit for the purpose amidst the Vedic mantras. The bride and groom circumambulate a consecrated fire seven times, reciting specific vows with each circuit .

Saraswati- Saraswati is the Hindu goddess of knowledge, music, arts and nature Salwar-kamees- Shalwar are loose pajama-like trousers. The legs are wide at the top, and narrow at the ankle. The kameez is a long shirt or tunic, for female apparel.

Sherwani- Sherwani is a long coat, It is worn over the Kurta and Churidar.

Sikki grass- a seasonal grass of Bihar Sohar- A folk song which sung on the occasion of the birth of a child

Suja- Needle Sujani- A traditional embroidery is state of Bihar.

Suwa- Needle Thakur- A indian caste and the sirname.

Tilak- The tilak is a mark made on a Hindu’s forehead.

Teli- Teli is a caste traditionally occupied in the pressing of oil in India.

Topi- Cap, Headwear.

Vasant panchami- Vasant Panchami is a famous festival that marks the end of the winter season and ushers in the springtime.

Yadav- Traditionally, Yadav groups were linked to cattle raising and, as such, were outside the formal caste system.

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BIBLIOGRAPHY

Craft Documents Veluri, Vasanthi Chataai : A study on the Chik Makers of Ahmedabad (2010) R-0369 (Guide : Ghai, Swasti Singh) Agarwal, Shikha Katran : A Research on Kanpur Whips (2010) R- 0365 (Guide : Hasija, Neelima) Jindal, Garima Craft Document on Sujuni : The Handwoven Quilt of Bharuch (2006) R-0312 (Guide: Pires, Errol) Patil, Geeta Khowdi : The Quilts of North Karnataka (2006) R.0305 (Guide: Pires, Errol) Narayana, Karthika Basketry of Kerala (1991)

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R.0086 (Guide: Patel, Krishnan) Bahuguna, Dolma Lifestyles of the Lepcha Tribe of the Bhutia Community of Sikkim (1996) R-01431 (Guide: Krishna, Amin) Das, Purnima Recycling of Textile Waste in Ahmedabad (1987) R.0068 (Guide: Ranjan, Aditi) Sen, Sangeeta Saroj: A Documentation (1989) R-0065 (Guide: Pires, Errol) Handa, Mansee Dhadkis: The Quilts of Select Communities of Kutch (2002) R.0226 (Guide Ranjan, Aditi)

Books: Ranjan, Aditi and Ranjan M.P. Handmade in India: Crafts of India Series; COHANDS, 2007 The Craft Tradition of India - Jaya Jaitly Online Sources: Embroidery of West Bengal Sikki-grass-weaving-extended-documentation - Mr. Mahendra Lal Karn Renaissance Of Quilt (Kaudi) Making And Value Addition- By Sujata Pankha: Traditional Crafted Hand Fans of The Indian SubcontinentFrom The Collection of Jatin Das