Dabu Block Printing of Pipar City, Rajasthan, India (Cluster documentation)

Mitti se Jude Mitti mein Nikhare Mitti ki Parchai

DABU

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Mitti se Jude Mitti mein Nikhare Mitti ki Parchai

DABU C ontributors: An u ra g Kashyap | Arc hisha Biswas | K h u s h i Fa ru q i |Tanvi C hhakkar | Vritti Malhotra Fac ulty Guide/Mentor: Dr. Neha Singh Year of submission: 2020 A c ademic Department: Tex tile Design, New Delhi

Copyright © 2021 National Institute of Fashion Technology, New Delhi All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior information in writing from the publishers.

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ABSTRACT This research document is focused on the craft of Dabu-Mud Resist Hand Block Printing and Natural Dyeing of Pipar, a place 60 km away from Jodhpur, Rajasthan. It is a project under craft cluster initiative of National Institute of Fashion Technology and is aimed at increasing knowledge of traditional handicrafts among the youth, and sensitizing them towards the artisans and their environment. The methodology adopted to arrive at this document was an initial review of secondary data, followed by online interaction sessions with the master craftsmen.

The document covers the origin of Dabu, raw material requirements, processes, motifs and the present scenario of the craft in depth, while also talking about the traditional Chhipa community. A study was also done to understand the traditional blocks of Dabu, so as to gauge what authentic Dabu looks like. This understanding has added a lot of value to the lives of students by exposing them to the state of handicrafts sector.

The dedication and passion that each artisan demonstrates is admirable. The initiative poses as an opportunity for students to identify the challenges occurring in this field and motivates them to think of innovative solutions.

ACKNOWLEDGEMENTS The craft cluster initiative was an immensely enriching experience and we would like to thank the National Institute of Fashion Technology, New Delhi for this opportunity.

Writing the document would not have been possible without the guidance of our mentor, Dr. Neha Singh. We thank her for her patience and support. We would also like to acknowledge the time and efforts of Dr. Sudha Dhingra who helped in clearing a lot of our doubts when we couldn’t reach out to Yasin bhai.

We would like to extend our heartfelt gratitude to Yasin Shahabuddin, his family and all the artisans at Yasin Block Prints, who took out the time to interact with us and demonstrate the craft process. Initially we were a bit upset at the idea of doing an online cluster due to COVID-19 but the interaction with artisans uplifted our spirits.

We appreciate the artisan’s understanding of materials, combined with mastery of the tools, techniques and processes that have evolved over the centuries through social and cultural interactions that make Dabu a timeless craft.

CONTENTS List of Figures

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Character Introduction

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Chapter one: Padharo sa!

Come and explore the Sun City of India- Jodhpur

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Chapter two: Dastak-e-Dabu Tracing the roots of Dabu

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Chapter three : Aao gaur karein Come lets plunge into the depths of a Dabu printed textile

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Chapter four : Badalti hawa The present scenario

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Chapter five : Bhor The quest for craft revival and diversification

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Chapter six : Parichay Interaction with the artisans

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Chapter seven : Bujho to jaane Riddles

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Chapter eight : Nazariya Dabu a methaphor for our lives

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Glossary

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Bibliography

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LIST OF FIGURES Fig 1.1: A peek through streets of Jodhpur.

( Pg 27)

Fig 1.2: A blue door of a house in Jodhpur

(Pg 28)

Fig 1.3: Ambar dharti par– view of the city from mehrangarh fort (Pg 29) Fig 1.4: Camel trade at Pushkar mela, a centuries old Rajasthani tradition (Pg 30) Fig 1.5 (a,b,c,d) (Pg 31, 32) Fig 1.6: Map of Rajasthan, showing major cities and hand block printing colonies. (Pg 33) Fig 1.7: (a) Woodwork, (b) Dhurrie weaving, (c,d) Matti ro kaam, (e,f) Mother of pearl, (g) Mojari (Pg 34) Fig 1.8: Entrance to Pipar village (Pg 35) Fig 2.1: Two fragments of hand block printed, indigo and resist dyed cotton cloth excavated from the Egyptian port of Al Fostat. (Pg 38) Fig 2.2 (a,b,c,d): Gleeful local people of Jodhpur, in their traditional costumes (Pg 40, 41) Fig 3.1: A set of blocks of tipoli design- rekh, gad and third may be used as a datta (Pg 44) Fig 3.2: Carved block designs, namely, elaicha, katar and jali (Pg 44) Fig 3.3: Yasin bhai’s factory has stored a number of Dabu blocks that are often used from time to time to make different design patterns. (Pg 45)

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Fig 3.4 (a,b): Breathing life into dead wood– intricate process of carving designs on blocks (Pg 47) Fig 3.6: Naturally sourced ingredients for colour extraction (Pg 50) Fig 3.7: A worker checking the consistency of the prepared dabu paste (Pg 50) Fig 3.8: Making paste for dabu printing (Pg 52) Fig 3.9: Ingredients used for creating natural colours are stored with nametags at Yasin bhai’s shop as display. (Pg 52) Fig 3.10: Washing, beating (a) and drying (b) of fabric as a part of preprocessing (Pg 54) Fig 3.11: (a) Phetiya (b) Nandana (c) Genda (d) Gugri (Pg 56) Fig 3.11: (e) Tipoli (Pg 58) ig 3.11: (f) Sada (g) Nimboli (h) Elaicha (i) Katar (j) Singrar (k) Mirchiya (Pg 60,61) Fig 3.11: (l) Boria (m) Raakdi (n) Longboria (o) Methi (Pg 62) Fig 3.12: Information about the traditional motifs and prints of Pipar.

(Pg 63) Fig 3.13: Printing table made of wood with padding on top (Pg 68) Fig 3.14: Pouring paste into the tray that is used to contain dye or mud resist (Pg 68) Fig 3.15: Farouq bhai measuring ingredients for dyes (Pg 68) Fig 3.16: Dabu printed fabric (Pg 70) Fig 3.17: Block with mud resist on it (Pg 70,71) Fig 3.18: Fabric is sprinkled with saw dust (Pg70,71) Fig 3.19: Dyeing of fabric in indigo (Pg 73) Fig 3.20: Dyeing of fabric in indigo vat (Pg 73) Fig 3.21: Excess water being squeezed out of the fabric in a winching machine (Pg 73)

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Fig 3.22: (a,b) Dying the fabric in alizarin and (c) with dhawadi flowers (Pg74) Fig 3.23: Tapan- hot sand and bright sun help in drying the printed fabric (Pg 76) Fig 3.24: A woman carrying the dried fabric (Pg 77) Fig 3.25 An artisan holding up the dyed fabric, admiring the fruit of days of labour (Pg 78) Fig 4.1: A worker carrying the finished Dabu printed product (Pg 82) Fig 5.1 (a,b): Prêt à porter–Garments made out of block printed fabric being sold at Yasin Block Prints (Pg 88) Fig 5.2 (a,b): Blockprinted rezai covers available at Yasin Block Prints (Pg 91) Fig 6.1: Yasin Bhai wearing indigo dyed dabu printed scarf (Pg 95) Fig 6.2: Customers at Yasin Block Prints (Pg 97)

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MEET the characters (it is us, the authors!), who will be guiding you, our readers, through this amazing world of dabu block print.....

vritti

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Tanvi

khushi

anurag

archisha

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Some days are so long, so hard and so draining that you’ve just got to laugh at the new reality of your life in these dystopian times and the absolute insanity of pondering over and juggling between difficult questions.

And then we had a new entry in our list of unanswered questions...

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...but our fate answered with a big NO!

So, the reality of 2020 strikes and here we are, back to our new world of distance learning, virtual classes and ONLINE meetings.

But we’re optimistic! We’re future designers, and problem solvers.

Our world isn’t just limited to #000000 and #FFFFFF; we have HOPES!

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With all the enthusiasm in our hearts, we embarked on a virtual journey, rendered in beautiful, well-crafted demonstration. Even if it was through a screen, we were still very excited to meet the artisans!

...and Our first online interaction with artisans happened, finally!

They were technically well equipped, showed every process and were happy to teach us. Our faculties helped us and soon, the little awkwardness and hesitation was washed away by their kind demeanor.

The interaction with artisans uplifted our spirits and gave us the strength to plunge into the depths of this craft.

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We wanted to be well acquainted with the craft, so we started with our online research. Racking through journals, reports and heavy books gave us a plethora of knowledge that we needed.

and after a number of sessions of group brainstorming, sketching, paraphrasing and editing, we are finally ready to share all the knowledge that we gathered. happy reading!

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CHAPTER 1 :

PADHARO SA

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About Jodhpur Jodhpur was established in AD 1459 by the Rathore ruler of the Marwar kingdom, Rao Jodha Singh, on the eastern edge of the Thar desert. This blue city of India, boasts one of the oldest markets in the world, whether it is tie-dyed fabric, furniture, handicrafts, hand block printed and resist-dyed textiles, or decorative pieces. It has a strong infrastructure with well-connected highways, railways and airways, that makes this urban wonderland a major trade hub.

Jodhpur, despite being a trade hub, is still a parched land with the sole river, Luni, serving as a natural resource of water. The colossus of Mehrangarh fort, the richly carved temples, the splendid architecture and commercial markets like Sardar Clock Tower Market, Baba Art Emporium, Lalji Handicrafts, Spice Paradise, Toorji Ka Jhalra, Portside Café Furniture Studio offers everything from street food to textiles to Jodhpur handicrafts and what not! (Bazaar Travels Season 1 Episode 1: Jodhpur, A Goble Travel Original Series, 2020) Amid all the bling, this city has been able to retain its old elegant charm. The inherent royalty and splendor surround the city lanes, all warmed up with age old traditions polished by hospitality, desert, air and a dash of blue! (Ranjan, 2007).

Fig 1.1: A peek through streets of Jodhpur.

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Climate Jodhpur experiences bright and sunny weather all through the year. For this, the city is also known as “Sun City”. One of the specialties of this metropolitan city is that almost all the houses based around the fort of Mehrangarh are painted in blue color, as it has a cooling effect, and is now known as the Walled City’s aesthetic signature, due to which the city is even known as the “Blue City”.

Demographics Jodhpur city is one of the major cities of Rajasthan. The city encompasses an area of 22,850 sq.km and houses a population of 21,53,483. As per the report of Census, 2011, (Ranjan, 2007) following are some of the basic demographic details about the Rajasthan city: • Total population: 3, 685, 681 • Rate of male population: 52.62 % • Rate of female population: 47.38 % • Rate of child population (Below the age of 6 years): 12.24 % • Urban population: 1, 137, 815 • Urban male population: 5, 99, 332 • Urban female population: 5, 38, 483 • Average rate of literacy: 81.56 % • Rate of male literacy: 88.42 % • Rate of female literacy: 73.93 %

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Fig 1.2: (image on extreme left) A blue door of a house in Jodhpur

Fig 1.3: (image below) Ambar dharti par– view of the city from mehrangarh fort

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Festivals and fair Jodhpur fairs and festivals seem to express the rich culture and traditions of Rajasthan. Several festivals are celebrated in here. However, the most famous Fairs and festivals in Jodhpur, Rajasthan are Pushkar Mela which is a 100 year old tradition, Nagaur Fair, Veerpuri fair at Mandore, Dussehra fair at Massoria hill and many more (Jaitly, 2012)

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Fig 1.4: Camel trade at Pushkar mela, a centuries old Rajasthani tradition

The food we missed One of the most important experiences while visiting any place is the regional delicacies and it’s one of the best ways to get a better understanding of the place, the culture and the people.

Rajas thani Thali

Fig 1.5 (a,b)

A traditional Rajasthani thali depicts a brilliant play of gourmet preparations on a plate of epic proportions. The meticulous arrangements of curries, pickles, special breads and desserts would delight one and all. Rajasthani cuisine depends heavily on millet, grains and pulses. Other than the traditional rotis, pooris, kachauris and parathas made of wheat flour, you have rotis made of bajra, makka and jowar. Besan is one ingredient that is widely used in Rajasthani cuisine.

A typical Rajasthani thali will always have a besan curry, one or two saag-depending on the season, pachmela dal, laal or safed maas, papad, raita or chhaachh or lassi as accompaniments and jalebi or imarti or moong halwa as dessert.

Ga t t e ki Sa b z i Gatte ki sabzi is another famous staple in a traditional Rajasthani thali, where besan nuggets are boiled and cooked in a flavourful gravy which is made out of chhaachh and besan. It is thick, savoury and flavourful.

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Fig 1.5 (c,d)

Dal - Ba at i - Chur ma Dal baati churma is the most loved and endeared food item in Rajasthan. Small, round breads are made of mixed flour, which usually is a mixture of five or more different flours, depending on the occasion, health and digestion of the consumer and season. These baatis are then baked in an earthen oven and then dipped in a container full of ghee. One can go for plain baatis or the ones that are stuffed with onion, peas, lentils or sattu.

Unsalted baatis are crushed and mixed with ghee and sugar to prepare churma which are served with the baked baatis along with dal and dollops of fresh ghee.

It is a complete meal in itself. It requires very little effort and ingredients to cook up this satisfying meal, full of protein, carbs and fats. Baatis can also be made in huge batches and stored for consumption for up to a month. They have longer shelf life and hence the combination is extremely popular among the locals and was traditionally more preferred among the working class.

Ka cho ri Jodhpur is said to be the place where kachoris originated. The home of delectable mawa, magar and pyaaz kachoris produces the most crisp and delicious kachoris, despite having no fresh produce. The deep fried flaky stuffed pastries are usually with kadhi and chutney or on its own.

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N W

E Delhi

Fig 1.6: Map of Rajasthan, showing major cities and hand block printing colonies.

(E. Ronald, 2010)

S

Bikaner

Jaisalmer Nagaur

Jodhpur

Barmer

Pipar

Jahota Bagru

Pali

Jaipur Sanganer

Kota

Udaipur

Craft clusters As a huge center of creative furniture, ethnic art and textiles, Jodhpur, a land of chivalries, tourism and heritage, flourishes.

The city offers the world an exclusive subtle beauty reflecting our priceless heritage, with its wide range of innovative items, with every piece. The city’s craft sector has a strong export potential, which earns the nation a worthwhile estimate of some Rs. 1500 crores per year. (Jodhpur Handicrafts Exporters’ Association (JHEA), n.d.)

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Fig 1.7: (a) Woodwork, (b) Dhurrie weaving, (c,d) Matti ro kaam, (e,f) Mother of pearl, (g) Mojari

a

g f

e

b c

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d

The city provides a great combination of colour accents, textures, antique furnishings in many types, from the classical to the colonial, rural and ethnic styles to the rustic and to the designer.

The craft market includes products like Mojari (leather footwear), Wood work, Dabu (mud resist printing) Bandhej (tie resist-dyeing), Seep ka Kaam (mother-of -pearl work), Bone work, Musical Instruments, wrought iron work, Panja dhurrie weaving, Pattu weaving, Matti ro kaam (terracotta and pottery) and Paatra Kaam (utensil making). (Ranjan, 2007)

Sub-clus ters Jodhpur district :

Phalodi, Pipar, Jodhpur, Salawas

Nagaur district

:

Nagaur, Makrana

Pali district

:

Pali

Fig 1.8: Entrance to Pipar village (Photograph by Amita Ambwani, 2019)

A rea of Research -P ipar Pipar, 60 kms away from Jodhpur, Rajasthan is famous for Dabu mud resist printing. Yasin bhai with his three brothers, Ilyaas and Farouq is the only family left in Pipar who have been involved in dabu, hand block mud resist printing using natural dyes for the last four generations. They belong to Molani clan of traditional Chhipa community.

While we were disappointed at the idea of doing an online cluster and not getting to meet the artisans and not getting the full experience, the fact that it was 560 km away and we were getting the live Pipar experience right at our fingertips was also an exciting opportunity.

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CHAPTER 2 :

DASTAK-E-DABU

Fig 2.1: (image below) Two fragments of hand block printed, indigo and resist dyed cotton cloth excavated from the Egyptian port of Al Fostat.

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History Textiles have always been playing a significant role in sociocultural, economic, political, ceremonial and religious lifestyles of the people throughout the globe and when it is about the block printed textiles, India has always been one of the largest manufacturers and exporters.

The history of craftsmanship can be dated back to Indus Valley civilization, around 3500-1300 BC, where through excavations, researchers have found needles, spindles, and cotton fibres dyed with Madder (a red dye or pigment obtained from the root of the madder plant) and this proves that during this period, artisans were familiar with dyeing and printing (Gandhi, 2019).

Dabu block printing technique, which makes use of mud and water—replenished generously by nature, is believed to have emerged during the 8th century AD. This is indicated by the oldest specimen found in Central Asia.

Also, fragments of Indian resist printed and dyed cotton fabric were excavated from the Egyptian port of Al Fostat dating back to the medieval period, which acts as an evidence that the work of Indian printers and dyers was being traded throughout this historical period. Later in the 17th century, there was an increase in the demand of Hand printed and Handcrafted textiles in Europe which encouraged the production of Hand printed textiles in India (Ronald, 2012). However, hand block printing flourished in India under Mughal era as they were the ones who introduced the intricate floral motifs that are still widely used in the hand block printed textiles from Rajasthan. According to designer Punit Balana, printing and dyeing of fabrics like cotton originated in Rajasthan, and was then adapted by Gujarat.

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Fig 2.2 (a,b,c,d): Gleeful local people of Jodhpur, in their traditional costumes

There are many local stories revolving around the origin of Dabu.

One of them is about how a Rangrez, did not notice the mud that had clung to his dhoti when he was by the riverside. Later when he gathered all the fabrics to be put into the indigo vat, his dhoti went along by mistake. The next day, when he inspected the dyed fabrics left out to dry, he was surprised to find an odd one out.

The parts where the mud rested, did not get dyed. And then on, a new tradition of mud resist dyeing began. (Commissioner Industries & Secretary, Handloom, Government of Rajasthan, 2020)

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b

Significance of dabu It can be observed that the style of clothing within the traditional caste in Rajasthan is very crucial which communicates various aspects like religion, marital status, occupation, economic standing thus, forming a part of wearer’s identity.

c

d

We found that patterning, adornment and embellishment are part of the lifestyle that serves as a visible expression of the underlying convictions of auspiciousness, cultural and economic value and security. Though women make great use of the colours and embellished work in their garments such as ghaghras and odhanis, men too are adorned in bandhani, tiedyed or block printed fabric as multicoloured headwear. We also came to know through our research that these typical block printed designs were believed to provide wearer security and auspiciousnes. (Ronald, 2012) Block printing has also become a source of livelihood for many families now. Yasin Bhai has been giving off his knowledge about the craft very enthusiastically to many people from his village, tourists and also to various students.

This burgeoning knowledge about the printing technique has made Dabu one of the globally known crafts of India.

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CHAPTER 3 :

AAO GAUR KAREIN

Fig 3.1: (image below) A set of blocks of tipoli design- rekh, gad and third may be used as a datta (Craft Revival Trust, 2009)

Fig 3.2: (Image above) Carved block designs, namely, elaicha, katar and jali

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About the blocks Ty pes A set of blocks can be classified into two types: 1. One that comprises of only a single unit of block design.

2. And the other, that is a set of three or more complementary blocks that are used together to form the complete design.

The main three types of blocks required are: rekh (to make the outlines), gad (the filling block) and datta (to apply mud resist) and these can be easily distinguished by their different styles of carving. Different colours would also require different gads.

Fig 3.3: (image below) Yasin bhai’s factory has stored a number of Dabu blocks that are often used from time to time to make different design patterns.

(Ambwani, 2019)

S ize Smallest block can be 1 X 1 inch while the largest size of block can go upto 6 x 6 inches.

Ty pe of Wo od While selecting the wood, one must ensure that the wood must not be very porous and sturdy. Also, it should not shrink in summer or expand in winter. The best quality seasoned wood (wood which has been soaked in oil for 3 to 4 months) is expensive. In Pipar, Roheda tree wood is locally available. It is then sent for carving and the best center for carving is Pethapur in Gujarat.

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R e gis tratio n M ar ks The block makers mark registration points on the block which help them locate the right side to ensure the continuity of a print. The wood at the back of the block is chiseled a bit so that you see the corner of a motif and then you match it and maintain the continuity.

Cos ting The cost of the block depends on workmanship and the kind of wood which is used. The cost of very crude blocks can range from Rs.10 - Rs.125 each. Whereas in the case of a set of three blocks, they are much expensive and can cost from Rs. 3000 to Rs.5000 per block depending upon the intricacy of design, time taken by Purgar (Block maker), how well they have been carved and how well they get registered together.

M aintenance The blocks need to be cleaned and washed regularly after using them for printing. The new blocks should be soaked in oil to strengthen them before they are used for dyeing. One must take proper care and have an adequate space for storing the blocks and maintaining them.

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a

b

Fig 3.4 (a,b): Breathing life into dead wood– intricate process of carving designs on blocks

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Process of hand block dabu printing The process of hand block Dabu printing is very extensive, time consuming and requires lots of expertise. The time taken to reach the final product is approximately 4-5 weeks. There are in all 17 processes involved to prepare a dabu printed yardage. The process is divided into two parts: 1. Preparing the material (by preparing the syahi-begar paste and the mud resist paste).

2. Preparing fabric to get finished yardage (desizing, scouring, mordanting, printing, dyeing, drying, washing, drying).

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Fig 3.5: Description of the steps involved in dabu printing (Resource Usage and Practices in the Hand Printing Industry of Rajasthan, n.d.)

We made a summarised table for the entire dabu process for our readers. Have a look!

S.NO.

P RO CES S

DESCRIPTION

1

Scouring, locally called Hari Sarana

3-day pre-processing process to destarch the fabric and remove other impurities.

2

Harad Treatment, locally called Peela karna

This acts as natural mordant which helps in the fixation of metal salts in the later processes of printing and dyeing. This also gives a yellowish colour to the fabric.

3

Printing is first done using mordants, locally called Chhapai

Black colour: The syahi paste is mordant for iron. When iron comes in contact with fabric treated with harad, the print turns black.

Red colour: Harda helps to retain alum on harda treated fabric in the insoluble form. Alizarin is used to produce red colour. It reacts with alum to form metal complex with the formation of red colour.

Purpose of Dhawadi flowers: During dyeing with alizarin, Dhawadi flowers are added which prevent the staining of unprinted portions of fabric with alizarin.

4

Drying, locally called, Sukhai, where the printed fabric is dried before dyeing

Drying / ageing helps to provide sufficient time for harda to react with metal salt so that it fixes on the fabric and ensures good colour fastness properties.

5

Washing, locally called, dhulai

Helps to remove excess mordant

6

Dyeing, locally called, rangai

This helps to produce a colour shade at the portion printed with mordant.

7

Dabu printing, locally known as, dabu datai, mud resist printing

Dabu produces a printed effect while 2-6 steps would produce black (outline) and colour shade (filled) design

8

Indigo dyeing, locally known as, neel rangai

This turns the background colour blue and white print is produced on the portions with Dabu print

9

Dyeing with yellow dye, locally known as, haldi naspal putai

This turns the background colour yellow by dyeing it with haldi + nasphal (turmeric + pomegranate)

10

Post mordanting, locally called, phitkari rangai

Treating yellow dyed fabric with alum enhances colour fastness properties.

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Final washing

This helps to get rid of excess dye and dabu paste.

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Fig 3.6: (image above) Naturally sourced ingredients for colour extraction (Ambwani, 2019)

Fig 3.7: (image on left) A worker checking the consistency of the prepared dabu paste (Ambwani, 2019)

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Preparing the material Sya h i - Be g a r Pas te The Syahi (black) is the mordant for iron. When an order for print is placed, the workers first start with the process of fermenting together iron rust, gur, water and baajre ka atta. They mix all this together, put it in a matka (earthen pot), cover it, and place it in a corner in a dark place and leave it for 12-15 days (depending upon the climatic conditions) and allow the mixture to get fermented. For Begar (red) paste, they prepare an alum mixture. For this, they dissolve alum in water, add ground tamarind seeds and an indicator colour.

Dabu Pas te The resist paste is called dabu. It is applied on fabric through blocks of various designs. This paste prevents the penetration of dye in the areas of fabric which are covered with it. Also, different types of dabu mixtures are used– 1. Kaligar dabu- is most commonly used and is made with kali mitti (clay)+ chuna (lime)+ gur (wheat flour) + gond (gum).

2. Dolidar dabu- Wheat Flour + Lime + Gum. 3. Gawarbali dabu- is produced with roasted seed of Gwarnbuti (a cacti plant which exudes out sticky juice) + Lime + Kali Mitti.

Here at Yasin Bhai’s workshop they prepare kaligar dabu.

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Did you know that Yasin Bhai’s artisans collect the mixture of

kali mitti from

This resist paste is freshly prepared and they travel a long distance to get the clay. The workers at the factory then clean it to remove the dust, grit and undissolved particles. They then mix this clay with other ingredients including chuna (calcium hydroxide), gur, gond and tel to prepare the mud resist paste.

Gond acts as natural gum (binding agent) which is extracted from acacia or babul seeds. They mix all these ingredients with clay being major material followed by chuna > gond > gur >tel (in terms of proportions added to form paste).

Preparing paste is a tedious and time taking process (approx. 2 hours) and they make it in bulk in a huge vessel/tub. Then it is filtered so that undissolved particles are removed and we get a semi liquid paste.

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lake beds, specially from areas where buffaloes have waded as this clay is well grounded due to their movement and weight.

Preparing the fabric Pre-p rocessing t he fab r ic They work on a variety of fabrics like cotton, silk, tussar, chiffon etc. The cambric cotton is sourced from Bhiwandi region. For the foreign market, they export block printed organic cotton fabric, which they source from Bhuj region. The fabric undergoes pre-processing before getting dyed.

• The grey fabric is soaked in water and soap solution tanks, to remove the extra starch (desizing).

• Then, scouring is done to remove natural waxes and other impurities and it helps in ensuring even colour and good penetration of dye.

• They dip the fabric in castor oil and water solution after the above two processes because it opens up the capillaries of cotton yarn so that fabric becomes more absorbent.

• Then in the morning, fabric is taken out and washed thoroughly to remove soap and extra impurities and a visible softness and brightness is seen in the fabric. This process can take upto three days to achieve the desired quality of print ready fabric.

Fig 3.8: (image on extreme left) Making paste for dabu printing Fig 3.9: (image on left) Ingredients used for creating natural colours are stored with nametags at Yasin bhai’s shop as display.(Hada, 2015)

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a

Mo rdanting In order to have a strong affinity for natural dyes, natural fibers require special treatment. This is called mordanting. Compounds such as phitkari (alum), harad (tannin), and iron are the main natural mordants which are often used for mordanting the fibers.

• Alum is primarily dissolved in hot boiling water in a large vessel and the washed fabric is dipped and soaked in it for some time. Then it is dyed with harad (myrobalan).

• In order to prepare harad solution, they use the peal of the fruit, dry it and crush it and use the powder for mordanting (peela karna). After it is dried, the processed fabric turns yellow and then it is sent for printing. Here at Yasin Bhai’s shop they use Balharada (highest quality of harad) which they get at the cost of Rs. 70 per kg from local market in Jodhpur.

• Red Shade: In order to achieve red colour, fabric is treated with alum (mordant). 5-10% alum powder is mixed with paste and fabric is soaked in that alum solution for a while and then sent for printing. (Hada, 2015) • Yellow shade: In order to achieve shade and tones of yellow, kesula flower powder is mixed with alum mordant. (Hada, 2015)

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b

Fig 3.10: Washing, beating (a) (Kamalan travels, 2017) and drying (b) (Kiran, 2020) of fabric as a part of pre- processing

Too ls re quire d fo r p r in ting 1 . B locks Yasin Bhai’s shop, has over 3000 carved block designs. The motifs are inspired from 17th century Mughal motifs. There are majorly five categories of motifs: 1.

2.

3.

4.

5.

Buta - Surajmukhi, Chakri, Genda, etc.

Trellis patterns- Jalli, Bel Entwined tendrils- Jaal Figurative motifs- animal figures and other symbolic items Geometric- Chaupar, Chatai, Kapa etc.

Yasin Bhai has a great market awareness and knows which community will prefers what kind of designs. The major motifs include: • • • • • • • • • • • • • • • • •

Balka (spear) design Methi (fenugreek) motif- worn by Lohar community Elaicha (cardamom) Rakhdi (rakhi design)- businessmen community (Vyapari) Genda (marigold) Sada (circular design, each circle contains 7 dots representing rural folk deities, seven sisters) - for Bishnoi community Raika katar (dagger for protection)- Jaat community Jali- for nomadic tribe Phetia- Mali community Makoda- For businessmen community Boria (ber fruit)- Mali community Gul buta- for Jain community Panihari- Chaudhary community Nandana (design inspired from the process of tying cow to secure cow milk) Nimboli (neem fruit) Mehendi- Sindhi community Kapa- worn by widows

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Fig 3.11: (a) Phetiya (b) Nandana (c) Genda (d) Gugri

a

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b

c

d

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Fig 3.11: (e) Tipoli

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g

f

h

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i

Fig 3.11: (f) Sada (g) Nimboli (h) Elaicha (i) Katar (j) Singrar (k) Mirchiya

j

k

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l Fig 3.12: (table on right) Information about the traditional motifs and prints of Pipar. As mentioned in Ronald, E., 2012. Patterns of Identity: hand block printed and resist-dyed textiles of rural Rajasthan, s.l.: De Montfort University.

m

n

o

Fig 3.11: (l) Boria (m) Raakdi (n) Longboria (o) Methi

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S. N O.

DES IGN

PLACE

CRAFTSMAN

DESI G N I NFO

1

Sada

Pipar

Yasin Shahabuddin family

Motif size: 2cm Red dyed base, begar mordanted.

Printed as fadats for ghaghras worn by bishnoi women of Pipar district

2

Sada border

Pipar

Yasin Shahabuddin family

Motif size: 8 cm Syahi rekh and begar mordant edge bands. Printed as fadats for the ghaghras worn by bishnoi women of Pipar district.

3

Kumar phetia (potter’s motif )

Pipar

Yasin Shahabuddin family

Motif size: 5cm Mordant and red dyed ground, printed resist and indigo. Printed as fadats for ghaghras worn by Kumhar widows of Pipar district. (Ronald, 2012)

4

Kaapa (green)

Pipar

Yasin Shahabuddin family

Diamond motif: 13 cm repeat Border: 3cm deep Begar printed red dyed, dabu resisted and later dyed with indigo, further dabu printed and overdyed with nasphal. Printed as fadats for Raika widows of Pipar.

5

Bichchu (scorpion)

Pipar

Yasin Shahabuddin family

Motif size: 4cm motifs on 3cm resist stripes, with 1.5 cm border.

The red dyed bichchu motifs are done in begar mordant and to give blue-green ground, the fabric is dabu resisted and indigo dyed with subsequent striped dabu resist and nasphal overdye. Worn as ghaghras by the Raika widows.

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6

Kaapa (blue)

Pipar

Yasin Shahabuddin family

Diamond motif: 13 cm repeat Border: 3 cm deep Begar printed red dyed design with dabu resisted and dyed with indigo.

Printed as fadats for Raika widows of Pipar district.

7

Kuttaar

Pipar

Yasin Shahabuddin family

Motif size: 5 cm wide stripes The red dyed stripes are done in begar mordant. The design is dabu resisted and dyed with indigo and nasphal overdye. Printed for ghaghras of married Raika devasi women in Pipar district.

8

Vaishnav saad

Pipar

Yasin Shahabuddin family

Motif size: 6.5 cm wide stripes Stripes are dyed in dark maroon done in begar, dabu resisted and overdyed first with indigo and then with nasphal. This print is worn by Vaishnav women as ghaghras.

9

Nimboli

Pipar

Yasin Shahabuddin family

Motif size: 1.5cm dots Red dyed square dots are done in begar mordant then dabu resisted as round dots on indigo dyed base.

Pipar

Yasin Shahabuddin family

Motif size: 11cm Begar printed motif red dyed then dabu resisted with indigo and nasphal base.

Pipar

Yasin Shahabuddin family

Motif size: 2cm Begar motif red dyed then dabu resist & dyed in indigo.

This print is worn by Saad Vaishnav married women.

10

11

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Saad

12

Farad

Pipar

Yasin Shahabuddin family

Motif size: 2 cm Red dyed crosses printed in begar mordant, dabu resisted as circles on an indigo ground. Worn as ghaghras

by Meghwal or Bhaibi married women and Jain women in Pipar district.

13

Elaichi (cardamom)

Pipar

Yasin Shahabuddin family

Motif size: 1.5 cm wide stripes Red dyed, begar mordant printed design on Kasumal base, then dabu resisted stripes and later indigo dyed. Worn as ghaghras by Chaudhary women.

14

Gaindi (small marigold)

Pipar

Yasin Shahabuddin family

Motif size: 4.5 cm Motif is red dyed & begar printed then dabu resisted against indigo & nasphal dyed ground. Worn as ghaghras by married Mali women.

15

Rabari jaal

Pipar

Yasin Shahabuddin family

Motif size: 3 cm Red dyed begar printed dots, trellis done in dabu resist and dyed in indigo then washed and overdyed with nasphal to give yellow orange green colours.

16

Methi (fenugreek)

Pipar

Yasin Shahabuddin family

Motif size: 7 cm wide bands Stripes are done in syahi begar with dabu resist and dyed in indigo.

This is worn by married, middleaged Patel women in Pipar district.

17

Bhalka (spear)

Pipar

Yasin Shahabuddin family

Motif size: 13cm Red dyed motif printed in syahi begar mordant, applied dabu resist and indigo dyed, washed and overdyed with nasphal. Worn by young married Baat and Banjara women in Pipar district.

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18

Mirchiya (chilli)

Pipar

Yasin Shahabuddin family

Motif size: 5 cm Red dyed motifs done in begar, dabu resisted and dyed in indigo.

19

Nandana

Pipar

Yasin Shahabuddin family

Motif size: 6 cm Red dyed motifs on indigo ground are begar printed, dabu resisted washed and overdyed in harda or haldi. Worn by tribal women in Pipar district.

20

Harsindi

Pipar

Yasin Shahabuddin family

Motif size: 6 cm wide stripes Syahi and begar printed stripes which are red dyed dabu resisted and indigo dyed then washed and overdyed in haldi-nasphal.

21

Bhai (brother)

Pipar

Yasin Shahabuddin family

Motif size: 6 cm Motifs are begar printed, red dyed and, dabu resisted on indigo base and overdyed in harda.

22

Rezai (quilt)

Pipar

Yasin Shahabuddin family

Motifs done in syahi and begar mordant dyed in madder and printed on Khadi. The design features central jaal (trellis) and parrot in border (Poss. C. 1945)

Pipar

Yasin Shahabuddin family

Motif size: 19 cm repeat Red dyed, rekh in syahi and filled with begar mordant and overdyed with harda. This is Odhani cloth with border printed on all sides.

23

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24

Jaali (trellis)

Pipar

Yasin Shahabuddin family

Motif size: 3.3 cm repeat Red dyed begar printed motifs which are dabu resisted on indigo ground.

25

Chhota phool

Pipar

Yasin Shahabuddin family

Motif size: 2.8 cm Begar printed and red dyed motifs, dabu resisted on indigo ground.

Worn as ghaghras by tribal women in Pipar.

26

Nimboli (neem fruits)

Pipar

Yasin Shahabuddin family

Motif size: 6.5 cm wide repeat Red dyed begar printed motifs, dabu resisted on indigo ground and overdyed with nasphal.

Worn as ghaghras by tribal women in Pipar.

27

Tilak

Pipar

Yasin Shahabuddin family

Motif size: 2.5 cm Motifs printed in Syahi, dabu resisted and overdyed with hira kassis (ferrous sulphate). Worn as ghaghras by tribal women in Pipar.

Pipar

Yasin Shahabuddin family

Motif size: 9.3 cm high motifs Red dyed begar printed motifs, dabu resisted on indigo, washed and overdyed in nasphal. Worn by tribal women in Pipar as ghaghras.

28

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(clockwise, from left to right) Fig 3.13: Printing table made of w Fig 3.14: Pouring paste into the tra Fig 3.15: Farouq bhai measuring in

2 . T a ble The pre-processed print ready fabric is spread on a wooden printing table, traditionally known as Pathiya, sitting low to the ground extending 2-3 feet in length. The fabric is held firmly on the table by using pins. The padding for the table is composed of many layers of coarse cotton, jute and felt cloth, known as ticking material, so that the layers are infiltrated with the excess dye and the desired print is attained.

3 . T a r i a nd Ch ipr i A wooden tray, called Tari along with a bamboo mesh, called Chipri, are used to hold the colour/paste.

4 . P r i n t i ng Pad A printing pad, locally called kambal ki gaddi, is made up of several layers. Felt fabric or woolen cloth from old blankets form the first layer and other thin fabrics (muslin) and loosely woven fabric form further layers for padding. It is used to spread the colour evenly so that when we dip the block in the paste the dye is evenly applied in the design part of the block.

5 . B ru shes Brushes are used to clean the surface of block or fabric for better printing.

6 . Mea su ri ng tool s A thread dipped in neel is held from one place to another and printer just pluck it so that the guiding line is made in blue and that is the reference point. But after doing several times, the design is the printer’s memory as they gradually get the hang of it. But that’s the beauty of handcrafted products. The blocks might be slightly up or down but that’s absolutely acceptable.

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wood with padding on top (Ambwani, 2019) ay that is used to contain dye or mud resist ((Ambwani, 2019) ngredients for dyes (Charu Kandpal, class of 2017)

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A p p licat io n o f da bu o n fa b r ic The fabric is spread on a table and tightly pinned to it. One must make sure there are no creases until printing. It is said that the printing process must begin from left to right. The printer stands infront of the table with a tray, containing the paste, by his side. The block is pressed on the pad and the fabric is imprinted with the pattern. After some time, the print is seen in black impression which is like an indicator for the printer to press the filling blocks in a different colour.

Later, saw dust is sprinkled over it as it absorbs excess water from the dabu paste and acts like a binder. The fabric is then dried in the sun after extra saw dust is brushed off. (Resource Support Agency, Textiles Committee (Ministry of Textiles, Government of India), n.d.)

The use of dabu in designs is explained below– 1. Tor datai: dabu is used to print the outlines by dipping the rekh block (design) in syahi paste.

2. Podh datai: by using different vegetable colours, Podh Datai (chappai) is done in dabu by using filling blocks on different parts of design.

3. Rata datai: Here, dabu printing is done after printing with syahi or begar on some designs.

(Kaur, 2012)

(clockwise, from left to right) Fig 3.16: Dabu printed fabric (Ambwani, 2019) Fig 3.17: Block with mud resist on it Fig 3.18: Fabric is sprinkled with saw dust

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D yeing the fab r ic They make their own natural dye stuff. The natural dyes from the vegetable origin are biodegradable and environment friendly. Hence, they help to maintain the ecological balance and are sustainable. The dyestuff ranges from– dhawadi phool, indigo, manjistha (madder), haldi (turmeric), nasphal ka chilka (dried pomegranate), heena, alizarin etc.

1 . I nd igo d yeing They buy indigo in the form of slurry. Earlier they used to buy indigo cakes but for this they needed to soak the cakes in water for at least two days which made this step very time consuming. So they shifted to Indigo slurry which is sourced from Pondicherry.

They carry out indigo dyeing in tanks whose water has not been changed in the last 30 years which ensures colour fastness and a unique colour development over this long period of time. But they make sure to maintain the pH level of the dyebath. They mix the Indigo slurry with water and leave it overnight to be used the next day for dying.This method is cold vat dyeing.

The printed cloth is gently lowered into the indigo tank and the dyer stirs and spreads it into the indigo dye hence fully submerging the cloth in the dye bath. One must ensure that the dye is absorbed uniformly over the surface.

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zzzz...... first prepare... zzz... paste.... prepare fabric....zzzz... desize, scour, mordant... zzzz... then print and dye, dry... zzz... then wash and dry again...zzzzzz......

(clockwise, from left to right) Fig 3.19: Dyeing of fabric in indigo (Dabu Block Print Pipar City, 2018) Fig 3.20: Dyeing of fabric in indigo vat (Kamalan travels, 2017) Fig 3.21: Excess water being squeezed out of the fabric in a winching machine (Ambwani, 2019)

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a

b

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c

The fabric is then taken out of tank and gently squeezed to remove the excess liquid and dye out. When the fabric is spread out and is exposed to the atmospheric oxygen, the greenish indigo turns into a rich blue colour. They dye the fabric for at least 2-3 times in order to get a darker indigo blue hence the fabric is again dipped for a few minutes and then taken out and oxidized.

The fabric is finally dried and laid flat on the ground in the presence of sunlight. The fabric is then washed with water to remove all mud and excess colour from the fabric and squeezed in a winching machine to remove the excess water and dye.

(Dabu Block Print, n.d.)

2. A l i z a r i n dye ing Here, the dye reacts with alum to give red colour. Dying is carried out in a large copper vessel, called tambri. The solution is heated at 120 degrees Centigrade of temperature and they mix dhawadi phool along with sakur and alizarin. The fabric is then washed many times till the excess dye and water is removed.

Then it is laid on the ground and it dries in the presence of sunlight. (Dabu Block Print, n.d.)

Fig 3.22: (a,b) Dying the fabric in alizarin (Ambwani, 2019) and (c) with dhawadi flowers (Dabu Block Print Pipar City, 2018)

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Fig 3.23: (image below) Tapan- hot sand and bright sun help in drying the printed fabric (Ambwani, 2019)

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Fig 3.24: (image below) A woman carrying the dried fabric (Ambwani, 2019)

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Final washing & dry ing Locally called dhulai, final washing helps to remove unfixed dye, excess colour or the dabu paste. This also improves colour fastness and increases the luster. Earlier they used to squeeze the excess water and dyes by hand which was a painstaking process and was time consuming, but now they use a winching machine to remove excess water and dye.

Impact of weather Summer is the preferred season for practicing the art of hand block printing because the fabric gets adequate sunlight and warmth to absorb the dye completely and also gets dried easily. So, suppose if 10000 meter of fabric is prepared in summers in a month, 5000 will be prepared in winter.

Also, the working hours change as per the season. In summers they start their work at around 9 am and finish it up till 5-6 in the evening but in winters they have to wind everything up by 2 in the afternoon because after that there is no adequate sunlight and the temperature is not apt for working.

Ensuring the authenticity One can ensure the authenticity of dabu by looking at both sides of fabric. The front side has a clear print whereas the back will be hazy, because the mud resist is only applied in the front and hence, we get a clear print only on that side.

Fig 3.25 (image o left) An artisan holding up the dyed fabric, admiring the fruit of days of labour (Hole and Corner, 2017)

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CHAPTER 4 :

BADALTI HAWA

84

While interacting with Yasin bhai, we came to know that earlier, around 105 families were involved in this craft practice. But now only Yasin bhai’s family is practicing Dabu for four generations.

We realized that with the advent of screen and digital printing, many artisans do not get enough work due to industrialization.

Impact of corona Yasin bhai’s factory remained closed for 4 months but then slowly they started working by taking permission from the local governing body in the Pipar City. But, during lockdown Yasin bhai ensured that each worker get their salaries on time to sustain their livelihood. Though some of the orders got cancelled they got business from American markets and brands like iTokri. Yaseen bhai also supplied around 2,500 food packets on a daily basis for a while in order to help people amid corona.

What happens to the rejected lot?

Their biggest advantage is that they have a vertical chain of manufacturing-they do dyeing, printing, fabric processing, washing, cleaning and quality checking in their factory itself so if something is rejected then they rework, overprint on it to enhance the looks and sell it again.

Fig 4.1: (image on left) A worker carrying the finished Dabu printed product (Ambwani, 2019)

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S

O

W T

ANALYSIS

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Strengt h s 1. Unique Craftsmanship 2. Availability of human resource (trained artisans), local resources and raw materials.

3. Usage of naturally obtained materials and natural dyes.

4. Adaptability and flexibility in terms of designs and motifs which can cater to both traditional and contemporary markets.

5. Well-developed infrastructure and manufacturing units which attracts tourists.

6. Renowned history of craft and traditional way of printing process which has been passed on through generations, develops good credibility among buyers.

Weaknesses 1. The lack of understanding about the fact that imperfections are a part of block printing.

2. Lack of a proper distribution channel which benefits the artisan.

3. Craft is greatly affected by environmental conditions, as the production process slows down in unfavorable climatic conditions.

Op po r tuni t ies

Threat s

1. Rise in e-commerce and wider target markets.

1. The advent of new printing processes like screen printing and digital printing, availability of synthetically dyed products at cheaper cost creates a competition and affects the demand of authentic Dabu printed products.

2. Government initiatives to provide both state and center support, organising artisan training programs and promoting the handicraft.

3. Increase in demand of sustainable products.

2. Due to modernization, the communities (Muslin sindhis, Jaats, Rabari etc.) who wore traditional Dabu printed attires are adopting different styles of dressing having other modes of printing rather than Dabu.

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CHAPTER 5 :

ASHA KI KIRAN

Fig 5.1 (a,b): Prêt à porter–Garments made out of block printed fabric being sold at Yasin Block Prints (Dabu Block Print Pipar City, 2018)

a

b

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A sustainable philosophy Dabu is a sustainable craft involving everything sourced from nature. Each product is handcrafted and it’s a zero-waste production process. Yasin bhai has also trained people in his factory to make their own natural colours for dyeing and printing. Almost every commodity is used judiciously. For example, the water used in washing is later used for dissolving mud while preparing Dabu paste.

Also, the coarse cotton fabric used in layers for preparing padding is washed and used again or maybe laid on floor and used as rags. A noted Indian designer, scenographer and art curator, Rajeev Sethi, often buys this ticking material having mix match colour print to create artworks.

Market Research There is a gamut of brands which are connected with craft clusters, thus promoting handicrafts in both Indian and foreign markets. In this tech driven era, where mass production is widespread, there are people and brands that value hand crafted sustainable techniques. Moreover, the artisans are also adapting modern silhouettes, independent of traditional influence, yet distinctly Indian in order to ensure the revival of the craft and maintaining its authenticity.

It is heartening to see the growing awareness and mass support to various campaigns like ‘Cotton is cool’, ‘I wear Handloom’ initiated by Union Minister Smt. Smriti Irani to celebrate the Indian textiles.Also, Lakmé Fashion Week started a great initiative to promote Indian Textiles and Handicrafts by collaborating with artisans and giving them the opportunity to directly showcase their work.

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Here’s a list of brands/Market that practice and sell Dabu: 1. Fabindia

8. Eleven-Eleven

2. Cottage Emporium

9. Seamsfriendly

3. Rajasthali (Rajasthan Government Initiative)

11. Ichcha 12. Aavran 13. Jaypore

4. Anokhi

14. Ajio

5. itokri

15. Okhai

6. Good Earth 7. Dastkar (Non-profit Organisation)

Customer base of Yasin Block Prints Yasin bhai realizes that in order to sustain the craft they need to revive the customer interest by diversifying the market and the products they sell. hence, they have a huge variety of products ranging from cushion covers, quilt covers, bed covers, fabric for sarees, dupattas etc. Also, they have experimented the craft on different kinds of fabrics for which they got great results and it was eagerly accepted by people both at National and global level. Hence brands like Fabindia, Anokhi, iTokri, Ichha and many huge retailers and buyers from all over the country as well as from abroad, form their customer base.

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10. Chhipaprints

Survey analysis The consumer survey had a sample size of 60 people, ranging from lower middle class to lower upper class people belonging to the age group of 20-50 years and residing in tier 1 to tier 3 cities. The professions covered a vast majority, covering people who were well acquainted with crafts and there were those too who were not that acquainted with it.

A majority of people stated that they would prefer a local craftsperson than big corporations as it offers a better and more personal consumer experience, is more ethical and helps the crafts survive better in a climate of mass production. People showed equal preference towards home furnishings and apparel products. Consumers also showed an almost equal affinity towards website and app shopping experience, with WhatsApp and text shopping leading right behind.

a

Fig 5.2 (a,b): Blockprinted rezai covers available at Yasin Block Prints (Dabu Block Print Pipar City, 2018)

b

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CHAPTER 6 :

PARICHAY

Yasin Shahabuddin Fig 6.1

Yasin Shahabuddin and his two brothers are the 3rd generation who are practicing the craft of Dabu block print. Their sons have also learnt this craft and they all work together to promote it. They belong to the Chhipa community, a name given to the community of artisans who practice the art of printing (chhapai ka kaam); hence they were called chhipas. The chippa community is divided into a number of clans — their being the Molani clan of Chippa community.

Yasin Bhai’s grandfather used to practice this craft while his father used to work in Haryana, near a village in Palwal and made quilt covers to sell them in surrounding regions but after his marriage the family shifted to Jodhpur. Yasin Bhai’s father was a master craftsman and he handed down the knowledge of their family tradition of hand block printing to him.

Around 1983, the work of hand block printing had declined.

People stopped purchasing the craft and artisans shifted to other small businesses. At that time, Yasin Bhai’s father asked him to join some other work and he got a job in municipality. But his passion and respect for his craft brought him back and he decided to leave the job and work with complete dedication to revive the craft. He loved listening to radio and there he heard the interview of Vikram Joshi, one of the core members of the brand Anokhi. It was then that Yasin bhai decided to contact him; he wrote a telegram to him, describing his craft and how his family used to practice it for generations and his desire to revive the craft. After that, there was no looking back. The owner at Anokhi highly appreciated the craft and Yasin Bhai started getting orders. Later in 1987, he met William Bissell and he gave him a small order and the rest is history! It’s been since 1987 that Yasin Bhai has been involved with Fabindia and is still working with them.

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Yasin B hai Naushad (son)

I l ya a s B ha i Saddam (son)

Azruddin (son)

Ramzan (son)

Toufiq (son)

Azhar (son)

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Fa rouq B ha i

He has also won accolades and many awards that includes the National award, Zila award and he is also a state award winner (by Rajasthan govt).

Yasin Bhai is well aware of the market and with his sincere efforts and hard work, with the support of his craft and the wonderful team of skilled artisans, he has established his work and has successfully promoted the craft globally. People highly regard his Block printed textiles and come from overseas to visit his workshop at Pipar in Jodhpur. His customer base includes buyers and retailers both from India as well as from abroad like New York, France, Japan, Spain etc.

It’s all because of his passion, love, inquisitiveness and market intelligence that he has established the family business and is still innovating!

Fig 6.2: Customers at Yasin Block Prints (Dabu Block Print Pipar City, 2018)

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CHAPTER 7 :

BUJHO TO JAANE

We came up with some fun riddles for our readers to solve! come, Let’s rack our brains and test our knowledge! and once you’re done with this, turn the page to solve ‘the dabu trail’, a crossword puzzle!

pssst! or you can just skip these riddles and go straight to the trail!

and listen! turn to the last page of this chapter to know the answers!

Riddle 1 I have holes but still I hold the paste, Each one of us owns a different trace…

You beat on my back, but it leaves a mark on my face Originated from Roheda, I enhance a fabric’s grace Who am I?

Riddle 2 You walk into a room, its dark at every place It contains gur, lime, gond and mud mixed as a consistent paste What is it?

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Riddle 3 You break me open, crush me into a powder I bleed yellow, when put in boiling water Who am I?

Riddle 4 My petals wither, wane and dry…

But, close to a dyer’s treasure stay I I turn the fabric red when mixed with Alizarin dye Who am I?

Riddle 5 I’m a woven wind with royal beginning, You can paint over me…

The more you embrace my fragility, the more boundaries you overcome.

In the sun, when you envision a softness flying away with wind, you see me Who am I?

Riddle 6 Under the light of sun, I make you feel the coolness of moon…

I represent twilight and deep water, Singing the nature’s sweet tune Out of the blue, I emerge on a dyer’s hand, Dyeing the fabric in my hue Who am I?

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Across 3.

7.

9.

10.

12.

14.

16.

18.

20.

21.

25.

27.

What fabric is printed with fine blocks Through which dabu technique is used for obtaining colour background What kind of dyes do they use Famous festival celebrated in jhodour What is the resist paste called Natural agent that keeps the mud bonded to the fabric.

Which block is used to make outlines What shade of colour is obtained from the syahi paste Indigo slurry is left for how many hours before dying Which brand is Yasin bhai still working with in the present times Where is the region of pipad located?

Where are the motifs inspired from

Down 1.

2.

4.

5.

6.

8.

10.

11.

13.

15.

17.

19.

22.

23.

24.

26.

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Which block is used to apply mud resist What kind of dabu paste is used in Yasin bhai’s workshop Where is the special type of organic cotton sourced from for foreign export Who amongst Yasin bhai’s family has passed down the knowledge of traditional hand block printing What is the name of the motif worn by the business men community What are the blocks soaked in after use for strengthening purposes What is the craft of leather footwear called in jhodpur What is the name of the motif worn by the Jaat community community What are the ingredients that the natural dyes are obtained from marks How is it ensured that the blocks are being sequentially printed How does the dabu dry off Which type of dabu technique is used for filling in the design First brand that promoted and made use of the craft Alzarine dye produces what colour Which Traditional community is involved in the Dabu printing Which colour is the city of jhodpur associated with

hmmmm...

....

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pssst! over here! the answers are here!

Riddles 1. A wooden block 2. Dabu paste 3. Harda fruit

4. Dhawadi flower 5. Mulmul fabric 6. Indigo

The Dabu Trail - C ross wo rd 1. Datta 2. Kaligar dabu 3. Malmal 4. Bhuj 5. Father 6. Rakhadi 7. Podh data 8. Oil 9. Natural 10. Marwar (across) / Mojar (down)

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11. Raika katar 12. Dabu 13. Vegetable 14. Gond 15. Registration marks 16. Rekh 17. Sunlight 18. Black 19. Tordatai 20. Overnight 21. Fabindia

22. Anokhi 23. Red 24. Chippa 25. Jhodpur 26. Blue 27. Mughalmotifs

CHAPTER 8 :

NAZARIYA

Archisha

111

Tanvi

112

Khushi

113

Vritti

114

Anurag

115

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117

118

119

120

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any terms you were not familiar with? don’t worry we have a glossary for our readers!

GLOSSARY A Alizarin

–

coal-tar derived synthetic red azo dye, graebe and liebermann,1868

Anar ka Chilka

–

pomegranate rind

B Baati

–

hard, unleavened bread balls that are baked in an earthen oven and dipped in ghee

Bajra

–

pearl millet

Balharda

–

finest, medicinal quality harad, terminalia chebula

Begar

–

mordant print paste containing alum and gum

Bel

–

stylised creeper pattern

Besan

–

gram flour

Bhalka

–

spear, printed design for Gadia Lohar women

Bidan

–

rurplus wheat flour

Buta

–

large floral motif usually used in border panels

Buti

–

small floral motif often put in repeat pattern

C Chhachh/ Chaas Chhapna Chhipa Choorma Chuna

–

a drink made by churning curd and cold water together

–

Hindi verb, meaning to print

–

member of block printing community

–

a mixture of coarsely ground baati/roti with ghee and sugar

–

lime 123

D Dal

–

dried pulses

Datta

–

filling blocks usually used to apply resist paste

Dhoti

–

a lower garment, draped traditionally by Indian men

E Elaicha

–

cardamom

F Fadat

–

length of printed cloth

G Gatte ki sabzi

–

gram flour roundels cooked in a curd based gravy

Genda

–

marigold, Tagetes erecta

Ghee

–

clarified butter.

Gond

–

acacia arabica indica

Gur

–

unrefined molasses

Gwardabu

–

Dabu resist paste made from gawar seeds.

H Haldi

–

turmeric

Harda

–

powdered dried myrobalan fruit

I Imarti

124

–

deep fried flour batter in a circular flower shape, which is then soaked in cardamom and rose flavoured sugar syrup

J Jowar

–

sorghum

Jalebi

–

deep fried refined flour batter in circular shapes, which is soaked in sugar syrup

K Kachodi/ Kachauri

–

a flaky deep fried bread that is usually stuffed with baked pulses, onions and other spices

Kadhi

–

a thick gram flour based gravy

Karigar

–

craftsman/ artisan

Kasumal ka phool

–

a flower (Carthamus tinctorius)

Khar

–

soda ash

Kattar

–

small punch dagger, printed motif for Gadia lohar women

L Laal maas

–

a mutton curry prepared in yoghurt and hot spices such as red mathania chillis

Lassi

–

a drink made by churning curd, sugar, cardamom and/or fruit syrups together

M Magar

–

split yellow pulses

Makka/ Makki

–

maize

Manjistha

–

Indian madder (Rubia cordifolia)

Mawa

–

dried whole milk, which is used in a wide variety of North Indian sweets.

Methi

–

fenugreek

125

Mirchi

–

chilli (Capsicum annum)

Moong halwa

–

a sweet, thick purée of cooked, ground mung/ moong beans flavoured with ghee and dry fruits

N Namda

–

wool or felt

Nargis

–

rare wild narcissus

Nasphal

–

rind of pomegranate, or the yellow-orange dye solution made from this

Nimboli

–

fruits of neem tree (Azadirachta indica)

Nil

–

Indigo, blue colour

P Pachmela/ Panchmeli dal

–

a pulse based curry which usually has five different pulses based on the season and availability

Papad

–

papadum; a thin, crisp, round flatbread made from peeled black gram flour

Paratha

–

a shallow fried flatbread made out of finely ground wholemeal dough, usually stuffed

Pathiya

–

traditional printing table covered with layers of cloth

Poori

–

round deep fat fried bread made from whole wheat flour dough

Pyaaz

–

onion

R

126

Raita

–

a condiment that is made of curd together with raw or cooked vegetables or fried droplets of gram flour batter and spices

Rangrez

–

a person who by tradition dyes fabric for a living

Rekh

–

line, outline, block used to print this

Rezai

–

quilt

Roheda

–

locally available wood (Tecomella Undulata)

Roti

–

round flat bread made out of wholemeal flour dough

S Sada

–

Safed maas

–

Sattu

–

Syahi

–

red dot design, printed for women of Bishnoi community a mutton based gravy that is cooked in fresh cream, yoghurt, dried whole milk and dry fruits a type of flour that is made of a mixture of ground pulses and cereals ink, black printing paste made from fermented horseshoe and molasses

T Tamda

–

large copper vessel used for hot red dyeing

127

BIBLIOGRAPHY Books 1. Ranjan, A., 2007. Handmade in India: A Geographic Encyclopedia of Indian Handicrafts. 1st ed. s.l.:Abbeville Publishing Group.

2. Jaitly, J., 2012. Crafts Atlas of India. Slp edition ed. s.l.:Niyogi Books.

E- Resources 1. Anon., n.d. [Interview] n.d.

2. Bazaar Travels Season 1 Episode 1: Jodhpur (A Goble Travel Original Series). 2020. [Film] Directed by Udit Jawarani. India: Feel Media Productions.

3. Dabu Block Print, n.d. Dabu Block Print. [Online] Available at: http://dabublockprint.com/ [Accessed November 2020].

4. Gandhi, S., 2019. [Online] Available at: https://www.vogue.in/content/history-of-block-prints-indian-textiles-designersusing-ajrakh-dabu-prints [Accessed November 2020].

5. Gandhi, S., 2019. Exploring the Indian block print’s rich cultural history. [Online] Available at: https://www.vogue.in/content/history-of-block-prints-indian-textiles-designersusing-ajrakh-dabu-prints [Accessed November 2020].

6. Gandhi, S., 2019. Vogue. [Online] Available at: https://www.vogue.in/content/history-of-block-prints-indian-textiles-designersusing-ajrakh-dabu-prints [Accessed November 2020].

7. Hada, J. S., 2015. Dyeing with Natural Dyes : A Case Study Of Pipad Village, District Jodhpur, Rajasthan, s.l.: s.n.

8. Jodhpur Handicrafts Exporters’ Association (JHEA) , n.d. Handicraft Industries of Jodhpur.

[Online] Available at: http://www.jhea.in/handicraft-industries-of-jodhpur [Accessed November 2020].

9. Kaur, D. J., 2012. DABU- A Unique Style of Mud Printing. Shodh Drishti, Volume 3, pp.

97-101.

129

10. Ranjan, M., 2010. Handmade in Indis. 1 ed. s.l.:goldcoast.

11. Resource Support Agency, Textiles Committee (Ministry of Textiles, Government of India), n.d. h3- Hand Block Printing, s.l.: s.n.

12. Resource Usage and Practices in the Hand Printing Industry of Rajasthan, n.d. Resist printing.

[Online] Available at: http://www.handprintingguiderajasthan.in/chemistry-of-printing/resistprinting/ [Accessed 9 December 2020].

13. Ronald, E., 2012. Patterns of Identity: hand block printed and resist-dyed textiles of rural Rajasthan, s.l.: De Montfort University.

Images Fig 1.1. REYNOLDS, A. (2017) In photos: on the streets of India’s Blue City [Online] [Accessed: 26th December 2020] Available from: https://www.lostwithpurpose.com/streets-people-jodhpur/ Fig 1.2. REYNOLDS, A. (2017) In photos: on the streets of India’s Blue City [Online] [Accessed: 26th December 2020] Available from: https://www.lostwithpurpose.com/streets-people-jodhpur/ Fig 1.3. Stunning Views (2020) The Blue City of Jodhpur. [Online] [Accessed: 26th

December, 2020] Available from: https://traveljapan47.net/archives/3904

Fig 1.4. KOTHARI, B. (2017) Pushkar Fair is back again and It’s time to get high on

adventure! [Online] [Accessed: 26th December 2020]Available from: https://blog.railyatri. in/pushkar-fair-is-back-again-and-its-time-to-get-high-on-adventure/

Fig 1.5 (a,b,c,d). Hebbars kitchen, 2019. dal baati recipe _ rajasthani dal bati churma _ dal baati in appe pan. [Online] Available at: https://hebbarskitchen.com/dal-baati-recipe-dal-bati-churmarecipe/[Accessed December 2020].

shutterstock, n.d. Rajasthani food images. [Online] Available at: https://www.shutterstock. com/search/rajasthani+food [Accessed December 2020].

Swasti’s Kitchen, n.d. Rajasthani Laal Maans _ Swati’s Kitchen. [Online] Available at: https://swatisani.net/kitchen/recipe/rajasthani-laal-maans/[Accessed December 2020].

Fig 1.7 (b) TRIP ADVISOR. Bishnoi Safari Jodhpur Day Tour: traditional dhurrie making

[Online] [Accessed: 26th December 2020] Available from: https://www.tripadvisor.com/ LocationPhotoDirectLink-g297668-d3581686-i215085853-Bishnoi_Village_Safari_ Tours-Jodhpur_Jodhpur_District_Rajasthan.html (c) TRIP ADVISOR. Bishnoi Safari Jodhpur Day Tour: traditional dhurrie making [Online] [Accessed: 26th December 2020] Available from: https://www.tripadvisor.com/ LocationPhotoDirectLink-g297668-d3581686-i215085853-Bishnoi_Village_Safari_ Tours-Jodhpur_Jodhpur_District_Rajasthan.html

(e) KGN EXPORTS HOUSE.Mother of Pearl works in Jodhpur. [Online] [Accessed: 26th December 2020] Available from: https://kgnmarbleinlay.com/mother-of-pearl-works-injodhpur.html 130

(f ) KGN EXPORTS HOUSE.Mother of Pearl works in Jodhpur. [Online] [Accessed: 26th December 2020]Available from: https://kgnmarbleinlay.com/mother-of-pearl-worksin-jodhpur.html (g) Fig 1.8. Ambwani, A., 2019. Daboo mud resist printing. [Online] Available at: https://www.indiainframes.com/post/photographing-mud-resist-printing-daboo [Accessed December 2020].

Fig 2.1 Photographs courtesy Ashmolean Museum, Newberry Collection of Indian Textiles (left: EA1990.161; right: EA1990.236).

Fig 2.2 (a) WONG, H. (2012) I am a Rajasthani 2 [Online] [Accessed: 26th December 2020] Available from: https://500px.com/photo/6352980/I-am-aRajasthani-2-by-Herbert-Wong/?utm_medium=pinterest&utm_source=500px&utm_ campaign=nativeshare&utm_content=web (b) INDIA NETZONE. (2019) Traditional Dress of Rajasthan [Online] [Accessed: 26th December 2020] Available from: https://www.indianetzone.com/2/costumes_rajasthan. htm (c) INDIA NETZONE. (2019) Traditional Dress of Rajasthan [Online] [Accessed: 26th December 2020] Available from: https://www.indianetzone.com/2/costumes_rajasthan. htm (d) GOZOCABS. (2015) Are you heading to Pushkar Mela? [Accessed: 26th December 2020] Available from: https://www.gozocabs.com/blog/are-you-heading-to-pushkar-mela/ Fig 3.1 Craft Revival Trust, 2009. Google Arts & Culture. [Online] Available at: https:// artsandculture.google.com/exhibit/past-continuous-block-printing-on-textiles-inindia%C2%A0/wQGDHiAc [Accessed December 2020].

Fig 3.2 https://indianartisansonline.wordpress.com/tag/hand-block-printing/ Fig 3.3 Ambwani, A., 2019. Daboo mud resist printing. [Online] Available at: https:// www.indiainframes.com/post/photographing-mud-resist-printing-daboo [Accessed December 2020].

Fig 3.4 (a) STRAND OF SILK. Secret to creating the perfect block print [Online] Accessed: 26th December 2020] Available from: https://strandofsilk.com/journey-map/ rajasthan/block-printing/production-technique (b) KUMAR, R. (2017) BLOCK PRINTING PROCESS [Online] [Accessed: 26th December 2020] Available from: https://www.ichcha.com/blog/block-printing-process/ Fig 3.6 Ambwani, A., 2019. Daboo mud resist printing. [Online] Available at: https:// www.indiainframes.com/post/photographing-mud-resist-printing-daboo [Accessed December 2020].

Fig 3.7 Ambwani, A., 2019. Daboo mud resist printing. [Online] Available at: https:// www.indiainframes.com/post/photographing-mud-resist-printing-daboo [Accessed December 2020].

131

3.8 UNNATI SILKS. Dabu Printing- Process [Online] [Accessed: 26th December 2020] Available from: https://www.unnatisilks.com/dabu-printing-process-indian-crafts.html 3.9 Hada, J., 2015. Dyeing with Natural Dyes : A Case Study Of Pipad Village, District Jodhpur, Rajasthan, Jodhpur: s.n.

3.10 (a) Kamalan travels, 2017. Pipar: Kamalan travels. (b) KIRAN, R. (2020) * Syahi-Begar print. [Online] [Accessed: 26th December 2020] Available from: https://www.metaphorracha.com/blogs/news/syahi-begar-print 3.12 Ronald, E., 2012. Patterns of Identity: hand block printed and resist-dyed textiles of rural Rajasthan, s.l.: De Montfort University.

3.13 Ambwani, A., 2019. Daboo mud resist printing. [Online] Available at: https://www. indiainframes.com/post/photographing-mud-resist-printing-daboo [Accessed December 2020].

3.14 Ambwani, A., 2019. Daboo mud resist printing. [Online] Available at: https://www. indiainframes.com/post/photographing-mud-resist-printing-daboo [Accessed December 2020].

3.16 Ambwani, A., 2019. Daboo mud resist printing. [Online] Available at: https://www. indiainframes.com/post/photographing-mud-resist-printing-daboo[Accessed December 2020].

3.18 UNNATI SILKS. Dabu Printing- Process [Online] [Accessed: 26th December 2020] Available from: https://www.unnatisilks.com/dabu-printing-process-indian-crafts.html 3.19 Dabu Block Print Pipar City, ‘2018. s.l.: s.n.

3.20 Kamalan travels, 2017. Pipar: Kamalan travels.

3.21 Ambwani, A., 2019. Daboo mud resist printing. [Online] Available at: https://www. indiainframes.com/post/photographing-mud-resist-printing-daboo [Accessed December 2020].

3.22 (a) Ambwani, A., 2019. Daboo mud resist printing. [Online] Available at: https:// www.indiainframes.com/post/photographing-mud-resist-printing-daboo [Accessed December 2020]. (b) Ambwani, A., 2019. Daboo mud resist printing. [Online] Available at: https://www. indiainframes.com/post/photographing-mud-resist-printing-daboo [Accessed December 2020]. (c) Dabu Block Print Pipar City, ‘2018. s.l.: s.n.

Fig 3.23 Ambwani, A., 2019. Daboo mud resist printing. [Online] Available at: https:// www.indiainframes.com/post/photographing-mud-resist-printing-daboo [Accessed December 2020].

Fig 3.24 Ambwani, A., 2019. Daboo mud resist printing. [Online] Available at: https:// www.indiainframes.com/post/photographing-mud-resist-printing-daboo [Accessed December 2020].

132

Fig 3.25 Hole and Corner, 2017. Kamalan - The Indian Travel Craftsman. [Online] Available at: https://www.kamalan.travel/production/hole-and-corner/behind-the-scenes/ in-search-of-artisans Fig 4.1 Ambwani, A., 2019. Daboo mud resist printing. [Online] Available at: https:// www.indiainframes.com/post/photographing-mud-resist-printing-daboo [Accessed December 2020].

Fig 5.1 (a,b) Dabu Block Print Pipar City, ‘2018. s.l.: s.n.

Fig 5.2 (a,b) Dabu Block Print Pipar City, ‘2018. s.l.: s.n.

Fig 6.1 Hole and Corner, n.d. [Online] [Accessed December 2020].

Fig 6.2 Dabu Block Print Pipar City, ‘2018. s.l.: s.n.

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