The Travelling dot

The Travelling Dot

chapter title

chapter title

The Travelling D t a

t a l e

o f

t h e i r

l o v e

B a n d h a n i

A documentation by

Chandni Karelia and Hima Dholakia We learnt to cooperate and manage, We discovered our weakness and Strenghts, We learnt to Explore and Share We became better friends, Without eachother this would have not been possible.

Acknowledgement We would like to express our deep gratitude, For which we could discover the traveling dots and connect them too.

To Swasti Singh Ghai, For inspiring us to take up the craft ‘Bandhani’, Which we have lived with since our childhood, To learn to appreciate what is at home first, This then, will allow us to also appreciate the craftsmanship of others.

To understand and really go into the depth, To discover, experience and explore, Leaving no stones unturned, Most importantly, to connect to the Artisans, And the locals to treasure the life of the craft as

To Our parents and family, Jayesh and Vandna Karelia, Dilip and Jagruti Dholakia My Grandmother, Lila karelia and Vanita Karelia, my Aunt, Vina and Shailesh Dangi.

For their unconditional support and love, Encouragement and motivation, And to have faith in their Daughters.

To Kintu Gadhvi and Carmina Fernandes For connecting us to the crafts person, Showing us directions through their experiences, Also, kindly sharing their stories, Teaching us how to analyze and imagine, What we could not discover directly.

it is.

To our neighbors and Friends Bhupendra Pithwa, Ashok Damaria, Amir Sumra, Altaf Sama and Nipa Amlani For organizing visits at the ‘Karkhanas’, Meetings with Artisans, And guiding us through local towns.

Also, Narendrajeet kaur khera, For sharing her life in Punjab, during partition (with Pakistan), highlighting the story of the craft then.

Jayanti Bhatacharya, For sharing her experiences in Bengal, Sonal Modi, For sharing her lifestyle as a Rajasthani woman

Acknowledgement

To the National institute of Design For allowing us to carry our this course, Under its assistance and support.

To our batch mates and friends, For their suggestions, Sharing their ideas, And experiences.

Especially, Jaymin Modi For supporting us during our field work, For understanding the local language.

The people, the behavior, the ways of life And capturing moments on his camera.

For, Our Mothers and Sisters of Saurastra. ‘Woman is the companion of man, gifted with equal mental capacity’ Mahatma Gandhi.

Dedication

Preface Into the silence of our world came voices, those voices that have always sung, cried and complained, yet we walked pass them in ignorance. They huddled together and pointed fingers at us, their lips moved, yet we did not hear their words. We noticed the frowns of despair on their faces, the curious shapes into which their noses bent holding the burden of their ‘nath’.

Their disappointed eyes that stored excruciating stories, but did we ever try to look into them, discovering the untold stories of these women? Yet after so many burdens of agony, despair and complicated ways of life and tradition, we wonder why, we did not see the love that bound those women together under their veils and gave them a reason to live with dignity, search for happiness even amongst the darkest periods of their lives.

Being women highly influenced by the western society, we had forgotten that there is more to being a woman other than having a well-paid job, good education and a comfortable lifestyle.

How we seek shelter for a good living from our parents when young, from our teachers when in school, from our partners when married and from our children when old. But, is the story the same for women in some of the regions in Saurashtra, Gujarat. For years, these women have lived with dignity under the shelter of the traveling dots and will continue to do so passing them on to their daughters.

Originally, belonging to the regions of Saurashtra, we were interested to understand the lives our mothers and sisters who continue surviving over there. This time, to highlight their lives beyond the perceived roles and their contribution to the beautiful creation of the traditional ‘bandhani craft’, which is as close to their heart as to ours.

The field work was about, to build relations, witness the processes, listening to stories and almost living the life of these women in their world for over a month. Over the period of one month, we travelled across the Saurashtra region namely the district of: Ahmedabad, Surrendranagar (Wadhwan), Rajkot, Jetpur, Jamnagar, Khambhaliya, Kutch and some of the smaller villages near these cities where tying or trading happens.The method of research we adapted was staying with the Artisan to understand their lifestyles, visiting homes of tyers to hear

their stories, socializing with the local communities to understand the significance of Bandhani in their life. Simultaneously, compiling detailed case studies, craft men’s profile, accompanied with an organized journal to keep account of all the experiences, findings and realizations.

To present to the world, that within our world, there are worlds, where the sun does not shine as bright as it does for many of us. Amongst us we have people like the women of Saurastra, who have been working silently for centuries keeping the traditions alive, not knowing that one day someone like us would walk into their lives appreciating their dedicated work, get inspired and share their stories through our eyes and writings. A compilation of rich experiences and a journey showing how the women were finally appreciated for the ‘bandhana’ work they have done for centuries along with balancing the daily chores at home, which is as important as the work men do.

The chapters in the book will reflect the journey and stay into each region, revealing the local traditions of Bandhani and comparison within the regions.

A lot of secondary research has been conducted from published sources on the traditions of Bandhani, describing it process and techniques in formal textiles books. Some unpublished craft documents undertaken by the textile students were also referred to, especially where the published sources did not mention much or were totally silent.

The document is a format of a travel journal though the eyes of a Raja that would allow to have a larger audience beyond textile designers. The idea is also to not only focus on the technical side of bandhani but to reveal the relations it has with other crafts, how it has been adapted and stylized by local communities within Saurashtra. Additionally, we intend to hint towards slow tourism possibilities throughout the Saurashtra regions, especially in light of the fact that due to high government interventions kachchh has been over highlighted, with regards to tourism.

Preface

Tie- dyed textiles from Kutch imported into Sindh and Punjab, Muslim dyers who emigrated to Pakistan at partition in 1947 make Gujarati syle bandhani.

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Kachchh

The North west Frontier Province upto the 20th century, used mostly head cloth Bandhani, especially the Wazira and Pobinda tribe of the regions bordering onto Afghanistan. Rogan work was also combined with the Bandhini in this region.

Jamnagar Khambhaliya

Rajkot

Jetpur

Madurai Saurastran maintain close links with the Bandhani workers of Gujarat. Lack of skilled dyers in Madurai has led to wax resist Bandhani. This is called Sungudi.

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Although in Rajasthan today the wide repertorire of tie dyed designs and at festivals has diminished, Bandhani textile retain its popularity even in the face of machine printed competition.

Ahmedabad Adire are indigo resist dyed cotton made by women of Yorubaland in South- Western Nigeria. Also, other resist form dying such as ‘Kampala’ were created in these regions which are similar to Bandhani.

Wadhwan

During the time of the Britsh Era in Bengal indan textile were traded with spice. The Bandhani trades was in form of a handerkerchief known at ‘Bandana’.

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The Khatri’s

Harmonising the Dots 28

Colour, Composition and Dots 32

Process 36

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India 22

The Traveling dot 20

Raja’s Return 46

Rani’s Desire 48

Voice behind the Veils 16

Ahmed Shah’s Ahmedabad 52

Streets of Jamnagar 60

Opulence of the Rajkot city 70

Kaleidoscopic Khambhalliya 78

Wageshwari’s Wadhwan 88

The Divine Union Marriage 132

Revolution for Women 134

Bibliography 138

Reference 139

Credits 140

Tying his Love 130

Glossary 141

Index 142

Fashion Trends and Designer’s 128

Costumes and Patterns 124

Sun of Surat

Just of Jetpur 98

The Kissable Dots of Kachchh 104

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Introduction

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‘I took birth on this earth as a daughter, From childhood I stood as support to my mother, Eventually I grew up looking fair, Watching my mother tie bandhani, Eventually, I also learnt, During adolescence I was married off, Given a red gharcholu as a gift, Eventually, I grew old, But my red gharcholu remained as it was.’

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introduction

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chapter name

Voice behind the veils ‘Bandhan’ is not just the language of ‘tying and dyeing’, but the language of love and creation, maybe hope for some. The ‘odhani’ was mute by birth then, and so were the women. But, the dots came by, the dyes painted their beautiful colours, like the husband applies vermillion on the forehead of his wife. So it is, with women the art of revolution had taken birth- ‘Bandhani’, the tale of their love.

We were born free, like the birds in the sky and like the flowing meanders that run down the mountains. Yet, as we grow older, we connect to people, build homes and bind us to the places we live in. sometimes, we break those bonds, maybe to just make new ones. What remains are the ‘doris’ that were wrapped around our fingers, some loose, some strong and some broken.

Like the photograph we take that carry memories of places and people we met. We pass on just like the travelling dot. After we dissolve back into the earth we came from; it is the ‘bandhan’ that lives on.

The world has existed longer before us and it will continue growing after we vanish somewhere into the universe. Our only remains will be those travelling dots that will continue to fill colours of life like how they did to ours once upon a time.

The bandhani technique and the end-product are created by the process of pinching and resist tying of the fabric before dyeing.

The tied areas indicate the patterns that remain undyed creating dotted outlines of forms. Speckled with tiny square shaped dots, textured with crinkled crease of fabric, dyed with vivid dramatic colors; bandhani of Gujarat attracts all the attention and admiration. Floral or abstract, circles or zigzags, figures or animals, birds or trees- diverse patterns are created by the distinctive technique of tie and dye.

Each community in Gujarat has its unique identity of Bandhani painted with the colors, patterns, compositions, signifying the individuality of the group. In pastoral or rural areas of Gujarat, a woman can be easily recognized or identified as the member of a community by the kind of Bandhani and associated textile attire she is wearing.

The creative ingenuity of the artisans today is expressed in a series of products with assorted new motifs and patterns, simultaneously being updated with older motifs for those who desire. From the cushions of the living room to attires to make a fashion statement, artisans of Gujarat express their capability and passion in contemporary Bandhani.

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Introduction

The travelling dot Tie-dye became fully developed in China during the T’ang dynasty (618-906 A.D.) and in Japan during the Nara period (552-794 A.D.).

The availability of silk and hemp, which are very useful to the resist technique, made these countries’ art outstanding. Some early tribes in Western China, South East Asia, and Central America tied and dyed the threads before weaving their cloth. When it was woven into material, beautiful designs appeared where the white lines of the tie contrasted with the colour dyes. This method is known as Ikat. (a history of textile art, Agnes Geijer)

In Japan from 1568 to 1603, Tsujigahana reached its height; this is an art combining tie-dye with ornamental drawing using Chinese ink called Sumi. Tie-dye is the entire design, or it can be used to create large areas where flowers, landscapes, and trees are drawn into the designs. Traditional dye shops developed new methods, such as Shibori for making elegant silk robes. In 1960’s Tie-dye is revived to its original form. Plangi and tritik are Indonesian words, derived from Japanese words, for methods related to tie-dye, and ‘bandhna’ a term from India, giving rise to the Bandhani fabrics of Rajasthan

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General History

During 1980s urgence of tie-n-dye style required highly skilled, difficult and labour intensive art form. As a result many different colours can be put on a single item to get intricate detailed designs. The easily removable dyes are now replaced by dyes that are permanent and easier to use. The modern technique of simultaneously applying different colours of dye directly to cotton became possible with the development of cold water fibre reactive dyes.

Mudmee tie-dye originates in Thailand and neighboring part of Laos. It uses different shapes and colors from other types of tie-dye, and the colors are, in general, more subdued.

Another difference is that the base color is black.

Pre-Columbian tie-dye in Peru date from 500 to 810 AD. Their designs include small circles and lines, with bright colors including red, yellow, blue, and green. (Susan Druding’s dye history from 2600BC TO 20TH century)

Zha Ran ancient name ‘ tie Valerian ‘ and ‘ dye Valerian ‘ is a dying process . Fabric in dyeing partial ligation cannot make up a colored dye method, which belongs to resist dyeing, is the traditional Chinese hand dye one of the technologies. Shibori includes a form of tie-dye that originated in Japan and Indonesia. It has been practiced there since at least the 8th century. Another shibori method is to wrap the fabric around a core of rope, wood or other material, and bind it tightly with string or thread. The areas of the fabric that are against the core or under the binding would remain undyed. (Shibori,

Tie-dye techniques have also been used for centuries in the Hausa region of West Africa, with renowned indigo dye pits located in and around Kano, Nigeria. The tie-dyed clothing is then richly embroidered in traditional patterns. It has been suggested that these African techniques were the inspiration for the tie-dyed garments identified with hippie fashion. (Indigo cloth of Nigeria, Susan Barkley)

the inventive art of Japanese shaped resist dying, Jane Borton, Mary Kellog

Rice, Yushika Wada) (a history of textile art, Agnes Geijer)

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General History

India Giving a time for when the first bandhani was produced is impossible, however the relatively complex process of mordant- dyeing was certainly known in the ancient city of Mohenjo Daro by about 2000 BC, possibly resist dye was practiced. Also, the earliest examples were of tie dye are are from those in the Peruvian Paracus culture, which is from 1st to 2nd century, from the tomb of Astana in chinese Turkestan dating to the 4th century.

It is possible that the technique was brought to Far east from India. previously, India was the only place where fast dyeing was possible with a good range of colours. The earliest evidence for use of bandhani is portrayed in on the walls of the Ajanta caves, these date from the 4th to 7th century AD.

Additionally, the women on the Ajanta caves are wearing a dotted bodice tie- dyed pattern accompanied with skirts made of Ikat, which is also a resist dyeing technique used widely in India till today. Moreover, the earliest mentions of bandhani in a written format appears in the Harshacharita, the history of Harsha of Kannauj by his court poet Bana. It contains a passage on the marriage of Harsha’s sisters, in which the palace is described as ‘array in textures flashing on every side like thousands of rainbows, textured of linen, cotton, spider thread, muslin and shot silk, were skilled in many sorts of patterns, some which were in process of being tied, the scenes describe the dyeing of the bandhanis.

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Indian History

From the 12thcentury, the Jain manuscript painting from western India illustrate many garments with dotted patterns, portraying ‘tribundi’ which has been popular in Gujarat upto the 12th century.

During the 14th century the Morrocon traveller Ibn Batuta, describes pieces of silk ‘a single piece was dyed in five colours’ being sent to Emperoro of China from Muhammed Tughluq’s court. Fragments of Indian textiles at Fostat in Egypt probably dating from the 15th century, depict bandhani patterns in printed designs from Gujarat.

From the 16th century onwards, more visual evidence was depicted by miniature paintings, showing ladies swathed in fine muslin odhanis with dots.

From the 17th century, many paintings of Rajput nobles and raja show them wearing mutli coloured laheriya turbans, the trend continued till the 20th century, also used at occasion today for the Rajput community.

During the 18th and 19th century Bengal tie dyed handkerchief piece goods of Kashimbar who were major export commodity. The English east India company monopolized this trade, exporting goods to London for auction. The exported Bandanas can be seen in the British genre paintings.

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Indian History

The Khatri’s Khatri community is well known for its business acumen since antiquity in Northern India particularly undivided Punjab. The origin of Khatris is ambiguous as oral Historiography establishes their linkage back to the time of the Parasuram, a mythological figure. Khatri derives its origin from the term “Kshatriya”. As a result of economic and political necessity, the Khatri expanded into various occupations besides being its military occupation, Khatris took over to trade activities, engaged in maintains of account keeping and served as scribes like kayasthas and Rajput. The Demographic statics reveals that Khatri migrated after partition in various nook and corner of India. They can be located at Punjab, Haryana, Delhi, and Uttar Pradesh. Generally the Khatris are non Muslim, Hindus, Jains and Sikhs, however a small number is Muslim which is generally found in western India particularly in Kutch.

Bombay Presidency Gazetteers establish them as weaver’s community in Gujarat and as skilled dyers in the Kutch region. Kutch is the biggest district of Gujarat and known for his uniqueness in terms of morphology, culture and historical traditions. Its association with Sindh has made it different from the rest of Gujarat.

The Muslim Khatri community is believed to be migratory population from Sindh which established itself from 1540 onwards records the migratory pattern of the Khatri community and attributes this migration to famine condition of provinces of Sindh during the 16th century. ( James Burners in his book ‘History of Kutch”en the century. ) The migration of the Khatri from Sindh started in 1542 and continued till 1600 AD.

The Khatri’s

There were many migratory people living in Kutch among them Khatri successfully converted themselves from artisans to Entrepreneurs. Today there are the backbones of the handicraft industries of Kutch. This development also plays an important role in economical prosperity of the people and increasing the living standard of the people.

They also successfully come out from the natural calamity of earthquake 2001 without much Damage. Henceforth with help of NGOs and Government and their inner strength they successfully established themselves as Entrepreneurs.

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History of the Khatris

Dr.Ismail Khatri and Ismail Haji Khatri

(research/Interview compiled by Dilip Kataria)

Before 1970 Very few people were engaged in these industries mostly from the Khatri community but they only do the manual work while sales and investment were done by Shravak and Vaishnav Vanias. Most of the profit were collected by this class while the position of the Khatri who engage in this field not very satisfactory. The consumption is also entirely for the local community and no scope large scale production and export. Other important of features was disappearance of Hindu Khatri community from these industries. Dr.Ismail Khatri describes lot of reason for this disappearance of Hindu Khatri community. He attributes low profit and hard work responsible for them to shifts their business and they migrated at many place during the 19th century.

He also told that up to the 1845 A.D natural dyes were used by the artisans in the production but latter on chemical dyes were introduced. This chemical dye created many problem of health like skin diseases and asthma for the artisans. It resulted in disappearance Hindu Khatri from this field. After the Partition this Industries loose the charms. Introduction of synthetic cloth and factory-produced polyester in 1970s created big problem for this industries.

Initially synthetic was a comparatively expensive, exclusive item, which was very often brought from the gulf countries by returning migrant workers who were attracted by its sheen and lurid colors. Later, with development of Textile industries in Surat and Ahmadabad made this cloth very cheap and also widely available. Arrival of factory-produced polyester versions of cloth eradicated the market for Bandhani, Ajrakh and other block-printed textiles; this led towards miserable condition for artisans and so many left this work.

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Interview

After 1970 During the second phase or after 1970 there were huge transformations of these industries. Establishment of Gujarat State Handicraft Development Corporation (GSHDC) in 1973 A.D. and involvement of NGO became explosion for these industries. Gujarat State Handloom & Handicrafts Development Corporation Ltd. (GSHDC) is an undertaking of Government of Gujarat with the main objective of identification, revival, development of handicrafts and handlooms of Gujarat. It also provides marketing support to the artisans weavers by way of procuring the products and selling through its chain of Garvi-Gurjari emporia. Other objective of this institution was to organize exhibitions for selling and creating awareness of handloom, handicrafts among perspective buyers .It also provide assistance to the artisans/ weavers in the field of design development also started to arrange training programme for skill up-gradation in various crafts and weaving techniques to produce the products.

During late Eighties and Nineties was arrival of NGO further consolidated and expanded the handicrafts industry .They provided input in terms of design and product development, and marketing. These NGO are Shrujan, Kutch Mahila Vikash, Sangathan Kala Raksh, Sewa,KHAMIR crafts resource many other. Kutch Nav Nirman Abhiyan (KNNA)has established Common Resource Centre (CRC) with prime objective to facilitate a sustainable recovery for the artisans. Centre provides need based support to NGOs working in the craft sector, such as design/ technical marketing inputs and support systems etc. Centre facilitated the buyer-seller relationship by linking inter-national and national buyers to various artisans. This NGO play important role in advertising this handicraft in all over the world. Some of NGO established many emporia to sell this product in city and popularize this craft. . Total around 32000 artisans work in this industry.

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Harmonising the Dots

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Process

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The traditional process involved placing fabric over nails set in wood blocks and tying the fabric by pinching it over the nails with the thumb and forefinger. However, more modern methods involve transferring the pattern onto the fabric using these same blocks with inserted nails, or carved wooden blocks and printing with a paste of geru – a red ochre.

However, a more common method is stencilling the patterns using a pierced plastic sheet and a fugitive dye mixed with kerosene.

The tying is usually done by women, and the dyeing by men.

The fabric is often folded to make the processes quicker, while also creating a mirrored design. The number of stages of tying and dyeing depends on the number of colours and complexity of the design.

The dyes used are usually synthetic, but like other dyeing and printing crafts in India, natural dyes are being revived, and are particularly popular amongst foreign and urban markets. After being dipped into the dye, the fabric is dried, then stretched out to reveal the pattern. Often the bandhani cloths are sold with the threads still on the cloths to prove it is a genuine hand tie-dyed article, and the customer then has the pleasure of revealing the pattern for themselves. In the last few decades, bandhani has experienced success in Indian urban and global markets.

Adapted designs, new colours, natural dyes and new garments made by skilled craftspeople using the traditional technique can be found in up-market shops all over India and abroad.

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Process

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chapter name

Colour, Composition and Dots The elaborated variety of patterns portrayed by white or yellow dots, rhythmically composed on deep red and black background, has always been a direct identity of traditional attire for some communities in Gujarat. The prominent colours contrast are always well balanced by inimitable sense of composition and symmetry of the design forms. Bandhani artisans have exceeded beyond the traditions and express their creativity in riots of color combinations. Fabric dyed in red, maroon, pink, yellow, ochre, orange, green, mauve, violet, sky blue, indigo, black, white and more hues reflect the expertise and imagination of the dyers in Gujarat.

Dots identified as ‘bindi’ or ‘bundi’ are created with variations in form of circles which are called ‘laddu’ and squares known as ‘dabbi’ or box, they frequently have multicolored bands, often applied by block printing, inside them.. Tear-shaped dots (cowrite shell/ kodi) are also created by stitch resist technique or ‘tritik’ which is a ‘Malay’ word, where by the kodi is outlined in a running stitch and gathered by pulling the thread. The kodi is individually dipped in dye, dabbed with a colour soaked pad. The process is called ‘lipai’ which is executed to highlight small areas of colour.

These tiny dots are meticulously composed to create patterns of desired elegance, style and beauty on varied range of fabrics. Silk, cotton, wool, cotton-silk, jute and many other fabrics constitute the material paraphernalia of a bandhani artist in Gujarat.

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Colour, Composition and Dots

Each pattern has a given name and is usually worn for specific occassions.Names are based on the patterns they most represent: ‘Ambadal’,’Chandrakhani’,’bagido’,’Shikari’, and more. The circular pattern known as the ‘Ras Leela’based on the dance of the’Gopis’ and ‘Krishna’ is a common theme.

The dots are formed by pinching a small area of cloth and tightly wrapped cotton around the raised part. The cotton resist keeps the dye from reaching the part of the cloth, so that when it is removed a white circle is revealed, using this technique a lot of variations are possible. Additionally, the tip of the cloth may be left unbound, to create a coloured centre to the circle. The cloth may have been dyed before tying , hence allowing a range of coloured dots. The sequence of which the cloth is dyed must be planned cautiously, from lightest being dyed first.

On the other hand, the skilled tyers in Madurai have led to an unusual variation on the traditional bandhani method, where by the dots or squares are not reserved by wrapping but by wax resist. The wax is applied with wooden blocks, and the cloth is immersed in a cold dye bath, more resist being applied according to the number of colours the finised cloth is to have. The borders are not tied and or stitched, but usually dyed by dipping after the field has been folded and clamped between boards to resist the dye. They name given to these waxed- resisted dots is ‘sungudi’ this name seems to have been deirived from Junagadh, as it seems to be another form of a ‘chunari’. This technique is different to how they tie each dot in Saurashtra, it is saves time, however the size of dots would vary.

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Colour, Composition and Dots

The colours of dots vary in each region. In Jetpur and Wadhwan, artisans use analogous colours, where the shades of dots transform from light to dark (yellow – orange – red), black can be added depending on the decision of the artisan. It is fascinating to see such decisions are made without knowledge of colour. It is a true, the Khatri Dyers have been god gifted with ‘sense of colour’ and dying. On the other hand, the Artisans of Jamnagar use complimentary and contrast colours, they use of colours are very limited and the size of dots remain the same throughout the fabric. in kachchh the dots are dyed one colour, the tying is done with the finest details; more attention is given to tying than to dyeing. Recently, in khambhaliya, the artisans are using idea of tones, square colours blending them together which they locally call ‘marwadi tone’.

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1. The large dots of Jetpur, triple dyed, in analogous series of colours, yellow, orange and red.

2. Contarsting dots, locally know as ‘Marwadi tone’ fron Khambhaliya.

3. Intricate and detailed dots, of Kachchh

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Bandhani’s in different Regions

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All these dyers are Khatris, tracing their history, have migrated from Sindh to various regions in Gujarat, but each one has developed their unique sense of compositions, range of dots, colour methods and ways of working. Presumably, the location they settled in has influenced their decisions and adaptation of the dyers in those regions. In Kachchh, the dyers and tyers are fully engaged and focusing on craft as that’s their main job, where as in regions like Jamnagar, the artisans take advantage of the fertile lands, participate in agricultur al activities and farming, 4

Simultaneously doing following the bandhani tradition. Hence, the attention to tying is comparatively less than of Kachchh.

Interestingly, the tyers are conscious and have adapted to the style of dyeing in layers, they understand the size of dots and the method of tying as they are so aware of composition and formation of dots.

4. Square dots of Jamnagar, mostly use of two dyes simultaneously.

5. Scattered dots, also comaparativey large and in two colours, Wadhwan.

6. Vibrant colours of Ahmedabad.

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Colour, Composition and Dots

Process For centuries people have experimented with new techniques and processes. Some have come up with innovation and discoveries that have created some transforming arts. Everything changed with time but what remains fresh is the ‘bandhana’ of the women that has remained revolutionary since then.

Previously, the development of craft was created with the resources within the location the people lived in, but with time people started migrating, discovering other possibilities, maybe cheaper or of better quality of materials, becoming more aware, so the craft adapted to these changes as well. The’ Rabaris’ used to use wool from the animals they travelled with and used that as a surface to create simple ‘bandhani’ patterns.

The dots, with their friendly nature blended in with any sort of dyes, material and techniques of tying.

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1. Storage cupboard where raw material and printed material kept, in Khambhaliya.

2. Dyeing area in Jetpir, with equipments.

3. Printing with blocks, In Khambhaliya.

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Introduction

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Raw Materials Although, the dots remain friendly to the material that gives birth to them, but the fineness of the material tying is dependent on fineness and texture of the material.

The material trading units in Saurastra purchase their raw material from Benaras, Madurai, Mubarakpur, Adangadh, in Uttar Pradesh and Bangalore in Karnataka. The raw materials are supplied by the traders of Ahmadabad, Delhi and Bombay.

Material: gajji silk, georgette, chiffon, chinon, tussar, mulberry silk, cotton silk and cotton

Material Prices 1000INR – 1500INR silk zari saree 1300INR – 1500INR gajji silk 3000INR – 6000INR mudarai cotton silk with zari checkers (saree) 4000INR – 7000INR mulberry silk with zari brocade border, pallav and checkers (saree)

The prices of the material varied depending on type per metre or single saree.

4. Collection of powder dyes stored, in Khambhaliya.

5. A local shop selling Bandhani in Darbar Gadh, Jamnagar.

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Raw Material

Folding Technique’s The folding techniques vary for each products. Mostly, the the material which are light are folded in symmetry of 2 or 4, also depending on the design planned and the patterns of the specific bandhani.

Traditional Bandhanis are folded 2 times symmetrical with two ends also tied and the pattern on the ends are usually more intricate as closing borders.

Modern sarees are folded symmetrically on the horizontal level through the centre, the pallav are tied separately. According to artisans, there can be many methods of folding this

is dependent on the level of intricacy of dots and the pattern of the saree designed by the artisan.

On the other hand, Gharchola in Jamnagar have no such folding techniques but they use blocks to print pattern on each compartment and is tied separately.

If the material is thick, like the wool of Rabari shawls, there is no folding taken place, the dots size are comparatively large than on cotton, as tyeing intricately becomes difficult on thick material, however they take this opportunity to dye more colours on the dots.

F1

B 2

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chapter name

F2

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Specification

Border Tied

F2

Size: 340 inches by 42 inches Dye: natural

F1

Colour : red, balck, yellow, white and green Significance : Marriage

F3

Border

Border: Kodi, teen phuli, shankha, jalebi, phool

F1

Motifs : 6 dana, 4 kodi Demarcation: Divided in recatangular blocks byt folding, using chawks for separation

F3 F2

Type : Odhani Location : Jamnagar

F3

1. A diagram showing Birds Eye view and side view of the folding techniques.

2. A hand drawn bandhani design, showing the folds, (F - fold), B( side borders)

B

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chapter name

Printing Aathro (cloth), 5 to 6 layers of thick cloth over which the printed material is spread on.

Wooden blocks, design to be tied is to be printed on material with unfast colour, providing guidelines for tying.

Now it is only used for gharcholu. WWPointed wooden sticks, the weak imprints and the joints between one motif and another are traced with the sticks.

Stencil, stencil made out of perforated plastic sheets are used for printing. The artisans perforate plastic sheets with needle and trace design in the form of motifs.

Geru(red oxide)/ direct dyes, is used for block printing.

Direct dye of green colour is used for stencil printing mixed with water and kerosene.

Tyeing Bhungari, a small glass tube used to guide the thread.

Thread for tying is passed through the bhangari hence detailed tying is possible. Glass tubes are made in Bombay, they personally smoothen it to improve the inner surface.

Nakhali, derived from ‘nakh’ meaning finger nails. It is a metal ring with pointed tip, acting as an artificial nail while tying. The nakhali is placed on top of the finger used for tying. It is available in steel and brass.Thread for tying, is rolled in form of a small ball (no. 120 cotton). The tying of silk is done with fine count cotton thread (2/80’s cotton).

In 1 saree 5 – 7 rupees worth of thread is used.

Tickali stand, it is made of wood, it is used for localized application of dyes. It has two parts, one wooden where the fabric to be dyed is kept and second is a wooden stick.

The cotton cloth is tied to one end of the stick, with the stick the colour is applied on the cloth.

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Equipments and Techniques

Dyeing equipments Vessel, used for dying.

Wooden stick used to stiring the dye bath and moving material in the boiling the dye. ‘chulah’ stove, used to heat the dye solution.

Polythene sheets used for resist border of pallav while dyeing.

Rubber fasteners, made of recycled tube to fasten polythene sheets to prevent dye from penetrating the resisted area.

Dyes, acids and soap for washing.

Production Preparation of the material for ‘bandhani’ wash the fabric in cold water to remove starch, then it is dried in sunlight. After folded width wise, it is stitched at the selvedge with long needle and thread so fold remains even during tying process to obtain fine dots, it is used as a single layer.

Transferring of the design, fugitive dyes (geru) is used to print the layouts of the pattern on the material, as guidelines for tying. Previously, this was hand drawn by the craft men, usually takes 2 to 3 days. Eventually, this was replaced by block print, which proved efficient to an extent (still used for gharcholu).

However, now they have developed stencils made using perforated plastic sheets. Direct green or red dyes are used for printing. First the ‘pallav’ is printed and the borders, lastly the grounds.

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Equipments and Techniques

Dyeing The dyes used today are mostly synthetic for all types of Bandhani works.

Previosuly, when there was use of natural dye, the prevalent dyes were ‘al’, from the roots of Morinda Cordifolia, in conjustcion with an Alum mordant for fast (pakka) red, ‘Kasum’ from petals of Safllower, Carthamus Tinctorius, for fugitive (kacha) red, Haldi turmeric, from Rhizome of Curcuma Domestica, which chhach , buttermilk fpr yellow and galli, indigo, from the leaves of Indigofera Tinctoria, for blue.

Their accounts of steeping the cloth for several days constrast strongly with mere minutes necessary for chemical dyes to take effect. The laborious work of collecting the dye – plants and extracting their dyes is one reason why these days use of natural dye has reduced or become really expensive, interesting the elite costomers.

When dyeing in layers, to achieve different colours on the dots. The Dyers begin from the lightest first, then the shades of layering with dyes are decided in a manner where the darkest colour will be dyed last. The beauty of this is magical, as the Khatri dyers are naturally familiar with the recipes of dyeing, also with the simultaneous understanding of the tyers, who are aware of what colours will be places on the dots being tied. Through years, the colour and dots have created a tradition in each region, where the Artisans do not have to explain to the team as they have had this knowledge passed down for years.

The colours have been developed and matched differently by each regions, this gives us a chance to appreciate indigenous intelligence of the artisans who have not learnt about dyeing from Design schools, but have discovered and explored the possibility from what is around them, developing their own colour palettes.

A wide variety of dyes such as fiber reactive, acid, and vat dyes may be incorporated for tie-dyeing, depending on the kind of fabric being used. Almost all kinds of natural fibres can be used for tie-dyeing or blends of them with polyester may be considered. Synthetic fabrics are generally lesser preferred.

Protein-based fibers viz. silk, wool, and feathers, as well as the synthetic polyamide fiber, nylon, can be dyed using acid dyes.

Vat dyes, like indigo,are effective on cellulosic fibers and silk.

Discharge agents are generally used for bleaching previousy-dyed fabrics, and may be employed for reverse tie-dyeing effect.

Household bleach (sodium hypochlorite) can be used apart from others like thiourea dioxide, depending on the kind of fabric.

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Tying work 2/ 80’s cotton thread are used for tying. The cloth is spread on the floor to see the design, and where to start. Generally, start from the ends, moving towards the motifs. Tying of motifs and a row of small ties is called ‘sarkham bandhwanu’. One small tying of dot is called ‘bhindi’, group of four ‘bhindi’ is called ‘kadi’. Artisans are paid 100 – 125INR for tying 1000 kadis.

Distribution of tying, the tying is distributed amongst ladies in the villages. They do this as a part time job along with their house chores, so a detailed saree would approximately take 3 – 4 months.

Tying of one Bhindi Distribution of wages silk bandhani folding and stitching work are 150INR per saree.

Printing work 15 – 20INR Tying work 100INR for 1000 kadi Bharti kaam (1000 kadis) 200INR Dyeing 100 – 150INR per saree Agents for tying work 10INR per kadi

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Process

Material is folded in two layers, is raised with the pointed nails on the ring fingers left hand. While the thumb presses from the material from top to identify exact dot area.

A small area of cloth for tying is taken per design marked on the cloth. It is folded and made in small tip.

Thread for tying is held by the left hand thumb and ring finger, helps in tying the thread tightly.

The ‘bhungri’ guides the tying of the thread and is held by the first finger and thumb of right hand, to get the right tension on thread while tying. The ‘bhungri’ is moved around and the thread is wrapped to get a tiny dot, because of the ‘bhungri’ the thread moves evenly and fast.

Dyeing Mostly acid dyes are used for dying. Popular colours: red, green, magenta, purple and blue. Now pastel shades are more used with the introduction of multi- coloured dying also. Traditionally, red was the most used colour, the dyer who can achieve the perfect red is known as the master dyer. Napthol dyes are for silk but with less amount of caustic soda.

Dyeing with a different colour If two different bright colours are required like red and green for the body and ‘pallav’, then first the border and ‘pallav’ are gathered, then wrapped in plastic and tied tightly with the help of recycled tube. The cloth is then dyed. After this the body area is tied and the ‘pallav’, borders get dyed.

Washing The cloth is washed thoroughly in soap solution followed by washing 2 – 3 times in running water; it is then squeezed and dried.

Opening the ties The ties of the ‘bandhani’ remains closed till they are sold or opened to show the colour scheme or pattern to the customer. They are usually unopened show colour.

Customers can be sure that it is original ‘bandhani’. For opening up, the fabric is pulled crosswise forcibly (most of this work is done by two persona so that all ties open simultaneously).

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Raja’s Return

Raja remembers his lovely family back at home, He set out to see his them in his airplane, Mesmerized by the beauty of the ‘bandhani’ and ‘patolas’ He desires to purchase a ‘bandhani’ for his lover, And, also a ‘sela’ for his sister.

He was in search for Jamnagar’s Rani Jobanvanti, But found the fair beauty of Darbar Gadh.

He fell in love with her at first sight, Since then she resided in his heart.

Rani wishes for a ‘bandhani gharcholu’ and demands She shall only marry the Raja who designs her gharcholu

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Raja’s Return

For many years, I have lived away from home. The transcendental vibration of mother’s voice that was so soothing to the heart, my sister’s anklets making sounds that irritated me, yet so satisfying. The vibrant ‘chaniya choli’ they adorned themselves with, that were decorated with dots swirling to the beat they danced on during ‘garba’. I saw how proudly my father sat on his throne wearing this turban with white dots standing out in the deep maroon fabric, like how he stood out amongst the kings in India.

In the modern society today, culture and tradition is fading, with the modern influence. Fortunately, back at home some still carry on to live like how we used to live traditionally. That’s why today we have our rich textiles like the ‘bandhani’ alive or the craft would have also faded away by rising influence of modernisation and rapid innovation methods.

palace were elegantly draped in ‘patolas’ and emeralds and rubies dangling from the necks, gold bangles as an addition to enhance the already beautiful wrists that were harmonized with heena, a diamond ‘nath’ and ‘tikka’ they wore in every decoration which was known to be a symbol of good fortune and auspiciousness. Accompanied with a ‘bandhani dupatta’ covering their head which was embroidered in gold ‘zardosi’ work from surat, that brought memories and made new memories, which was given to the wife when married. I was going to meet my queen for the first time today; here we call it ‘sagai’. My heart was tingling like how the dots tingled on my mother’s ‘dupatta’. All the ladies from around the outskirts, far villages, relatives and friends had gathered at our palace in Baroda. There was music, laughter and dance, accompanied with a grand royal meal.

What has impressed me is that the ‘bandhani’ craft has been worn by the rich and poor. The crafts nature portrays so friendly that any community welcomes it and embellishes it with their embroidery technique, and ‘bandhani’ allows this marriage of two crafts so beautifully.

The time had come, where I had to look for a queen, my father desired that I got married. So, I could take up the responsibility. Our traditions in Saurastra were yet not interfered by the government on the craft sector as much as the other regions. Maybe, that’s why we remained so backward, or should we be thankful that our craft remained traditional and uninfluenced unlike others. Being, a king i preferred our craft remain as uninfluenced to save it from the chances of exploitation.

The Artisan gets their chances to expand through organized exhibitions where they display their work and talent, where some gets sold and they get opportunities to meet with designers. Usually, through exhibitions artisans get a chance to collaborate with designers, who give them orders or give them new designs to expand their knowledge, an opportunity to view from a different perspective.

Time for celebration had arrived, my mothers and sisters in the

Women dancing to arrival of the Raja, dressed in traditional attires

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Raja’s Return

Rani’s Desire

How does the Ranis desire for her ‘bandhani’ design?

That, which has golden and silver squares embroidered on it, That, which has Goddess Laxmi’s vehicle- elephants That, which has the summer’s sweet as honey mangoes, That, which increases the brain memory- almonds, That, which is used during worship- ‘kharek’ and ‘sopari’ That, which has auspicious coconut, on a ‘tramba’ pot, Decorated with ‘asopalav’ leaves, That, which has the episode of Sri Krsna’s Rasa dance, With the Gopi’, That, which has bright colours: red, green and yellow.

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Rani’s Desire

My Rani is from Jamnagar, as much as updated with the latest trend, she got deep taste of the traditional textiles. A woman who treasures her textile just as much as the jewels she adorns her body with. For some, textiles were embroidered in gold and silver, owned as possession, worn on important festivals and when time of need came they would melt the gold and silver and re-use it.

Rani believed, the attire she wore on her wedding day should connect to her life, a piece she could own that would have memories then and have space to make more memories in the future. At her ‘sagai’ she was adorned with green ‘gharcholu’ which is a symbol of auspiciousness, blessing and prosperity gifted to the ‘dulhaan’. ‘Ghar’ means home, ‘cholu’ means vast, so a vast expansion of home, compartments are demarcated with gold zari checks, with motifs in between.

A demarcation of a Gharcholo, showing the compartments and the placements of motifs.

The motifs in between the compartment each have important significance and symbolization to the life of the women. Most popular motif is the flower, which is used for decorating the women and worshiping the higher authority, like God and Goddesses. There is the elephant which symbolizes royalty and wealth, it is known as the vehicle of lord Lakhsmi who is the Goddess of wealth. They are only found at temple previously or with kings within human society. On the other hand, for some who don’t belong to the royal families, elephants played a vital role of armour during battle, the elephants gave protection to the husbands of those wives that stayed at home, so they worshipped and thanked the elephants. Additionally, ‘keri’ translates to mango, which is signified as fertility of the mango tree; hence it is considered as a fertility blessing for the bride. Like the flower, there is also ‘Badam’ (almonds), ‘supari’(betelnut) and ‘kharek’(dry dates) are believed to be sacred so used during worshipping, also a form of offering so it is included in the compartments. ‘karashiyo’ translates to a sacred pot which stores the holy water, during worshipping and offering during marriage, the holy water acts as a purifier and witness so when the ceremony is completed it is sprinkled amongst the couple to give them blessings and also some on the people who attended the function. The most unique motif, that has traditionally played the most important role in the book of motif are the ‘putalis’ which are the women (dolls).

(Traditiobal Indian textile, John Willow and Nicholas Bernard)

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Gharcholu

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Traditionally, for the ‘Hindu’ community all women are considered symbolically auspicious. The motifs portray the women engaged in their daily household activities mostly holding flowers or water pots which are symbols of growth and well beings. Previously widowed women were considered inauspicious however with time people have started understanding and orthodox mentality of eliminating them from society is changing, they are accepted and also welcomed now with respect.

Each region had their story, way of life and traditions with ‘bandhani’, the methods of dyeing and tyeing remained similar, just the style made each ‘bandhani’ so different from the other. Like how we have our finger prints that never match, similarly here is the story off the dots that were never the same, so each individual had a personal memory with the dots that decorated the attire they wore. The dots painted colour in their life, and also the dots that stayed back when women were left by their partners. In Saurastra, along with the married women, even the widows get an opportunity to wear the ‘bandhani’, with deep maroon dots on a black ground. The dots are like loyal friends that never leave side for a life time for the women, and they leave together with the women on her death bed, too.

With this, the ritual of the ‘sagai’ came to an end. The Rani and the Raja had officially announced their marriage which would take place in couple of months. Till then grand preparations would take place, the most important of all, the Raja’s challenge was to find the perfect attire that his going to be bride would wear on their wedding day. According to ‘Sastra’, a woman’s mind is the most complicated, so this was going to be one task, to please the Rani. Within a few days, the Raja set off on a journey around Saurastra to discover the dots that have travelled to regions, understanding their stories first, so he could create his Rani her story. The search of the ‘bandhini’ began…

Be putali

Keri

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Occasions

Phool patti

Kalash

Badam, supari, kharek

Haathi

Choras

1. A diagram of zardosi embroidery, combined with Gharcholu 2. A Gharcholu, showing the placement of motifs and as a final product

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Ahmed Shah’s Ahmedabad

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Ahmedabad

Considering My Rani’s desire, I left out to search for her ‘Bandhani’ Whilst searching, I reached at Ahmed Shah’s Ahmeabad, The month of‘shravana’, and occasion of ‘Rakhsa Bandan’, Sisters ‘Rakhi’ reaches to her brother, In return, I am sending my sister A yellow coloured ‘veer bhaat’

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Ahmedabad

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I arrived at the most beautifully crafted city that belongs to Ahmed Shah, located on the banks of Sabarmati River. There was a balance of communities, especially the Muslims and the Hindus, within the Hindus, the local communities that had settled in the city over time. Also, people from different states of India had migrated for work purpose. This place was a fusion of all communities, mixed cultures, inters-marriages and western influence.

There were few ‘bandhani karkhanas’ in Ahmedabad, most Artisans had moved out to kutch, or changed their line of business into something else. The children of the Artisans don’t wish to lead on the business; they are more attracted to modern jobs.

They believe that modern jobs give a permanent income, ‘bandhini’ business is still seasonal, and especially for those who are not well established. They are not willing to take the risk.

The families also that practice send the printed fabrics to kutch or Jodhpur to get tied, if taken order. The local ‘karkhanas’ distribute the work amongst the ladies in the ‘chawk’ who do the tying work as part of leisure, most of the ladies in Ahmedabad who practice this art belong to Muslim families.

1. Ahmedabad Bridge at sunset 2.Chabitaro, birds rest/ drinking water place.

3. Entrance of a Pol, in Ahmedabad Old city.

4. Map of Ahmedabad.

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Previously, during the riots in the name of religion between Hindus and Muslim, the economic structures of these Artisans from both communities had fallen, affecting the productions, the distribution of tying amongst the ladies of the Muslim community and the sales.

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This was becoming a disaster for the local fashion hubs, shops and retailers, as there was fall in stock and suppliers.

However, with time, people’s attitudes started changing as peace was painting its colours back in the magical city of Ahmedabad, bringing back life to the dots that were fading away because of the differences created by the people.

Tine if festival had arrived;it was time for ‘Raksha Bandhan’. A special occasion celebrating the relationship between brothers and sisters.

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It was time of festival, whilst my stay in Ahmedabad ‘Rakhsha Bandhana in the month of ‘shravana’, this festival was where the sister observed prayers for the well-being for the brothers long life and his protection, in return the brothers duty was to bless her and send her presents.

My sister sent me a ‘rakhi’ which she would have tied around my wrist if she was here.

I attended an exhibition, where I witnessed how artisans from different sectors had come to display their crafts. Here was how, they built contacts with designer and took orders. In cities like Ahmedabad where people have money to purchase crafts and this gives an opportunity for artisans to make their living.

The exhibitions are usually organized by the government.

On the other hand, where I was viewing the perfect picture smartly painted by the government, there was a dark side aswell that was hidden away. As I still hadn’t managed to find something from Ahmedabad for my queen, I was personally visiting the Artisan after the exhibition. In the outskirts, lived one community of ‘vagris’, where one of the youngest son of an artisan was bitten by a dog, there were high possibilities that he would be affected by rabies.

The people were offering a ‘chandarvo’ an offering of a printed textile, to the ‘hadakmai’ who is a goddess who protects against rabies. She is usually depicted riding a dog. (Temple tents for goddesses in Gujarat, Jyotindra Jain, Haku Shah, Berhard Fischer)

I was left astonished that were still people in my country with such beliefs, that a goddess would help cure things like rabies.

Maybe, it was good that still people followed traditions, but now that we have modern medicine and simple solution to such scenarios many people were still unaware of basic medical facilities also.

In return, I sent her a gift from Ahmedabad a ‘Veer bhet bhat’ or ‘veer but’, this is a saree gifted to the sister as a prayer of her good marriage life, health and future, to keep the love between ‘bhai behen’ eternal and pure. The colours of these saree vary, if the sister is umarried, she receives a yellow colour which signifies mood of preparing for a marriage life or red which is to have an auspicious marriage life. The motifs are ‘sat phool’ (seven dots that form a flower) and ‘veda’ which is a huge single dot on the outside of the seven dots. All this signifies growth, prosperity and fertility as it is replicated throughout the saree. (costumes, textiles and jewellery of India, Vandana Bhandari)

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Way of Life

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Following traditions at the cost of someone’s health was really making me rethink about traditions. I wasn’t really impressed with this scenario I witnessed. It was so different to the modern lifestyle I lived abroad and also comparatively different to how we live in the modern cities in India. Unfortunately, saddened by situation, 2

1. A sister tying Rakhi to her brother during occasion of Raksha Bandhan.

2.A Goddes, evolved in Ahmedabad known as Hadkai mata.

3.A drawn example of Veer Bhat Bandhani design.

I had found nothing special for my queen. After looking around, I met this enthusiastic modern day designer; I was quite fascinated with his way of thinking and presenting tradition in a convincing manner. Bharatsinh Vaghela, the owner of ‘Bai and Baisa’, where he designs attires, which have a traditional touch in modern silhouettes. He says’ I want to create costumes that are traditional which pleases my grandfathers and at the same time I remain comfortable and presentable amongst the modern society of today’.

This visit was very insightful for me, I got to view craft from a different perspective, how some designer still manage to create balance between tradition and modernization.

57 - Veer Bhat and Occasions

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Artisan’s profile

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1. An example of colour combination of Bandhani in Ahmedabad.

2. An artisan printing an embroidery pattern on Bandhani Dress.

3. A bandhani peocock motif embroidered.

4, 5. Sarees are pre dyed, in a factory before tyeing or embroidery wo 6. A pink bandhani saree with embroidery and zari work.

7. Iqbal Koriwala, a portrait of an artisan settled in Ahmedabad.

An artisan settled in Ahmedabad, he is called Iqbal Koriwala, belonging to the Muslim Khatri community. They have their dyeing unit at their home in Chhipa Market in the old city. They send their tyeing work to Jaipur and most of the designs are traditional, however now they are also inventing their own designs as per demand of the rising new fashion trends and markets. The colours are decided according to the current trend.

High peak of sales is during festival time, during Eid and Diwali, so throughout the year work is done to have it all ready on time for occasion sale.

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Artisans’s Life

Streets Of Jamnagar

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Jamnagar

Leaving Ahmedabad, I found the road to Navanagar, Meeting the Rabari community, I was impressed with their costumes, Something my Rani would be fascinated by, It is embraced by the Rabari stitches, Rectangles, squares and triangles, With ‘abla bharat’, with ‘bakihiya’ stitches.

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Jamnagar

As I entered the streets of Jamnagar, which was previously known as Navnagar, I was welcomed with chickens dancing around crazily. This was the town of ‘Bavchar mata’, where she had arrived from the Himalayas using a rooster as her ‘vahaan’ (vehicle). It is said that she is ‘maya’, the daughter of Yashoda, who is the foster mother of Krishna. She performed many miracles, devouring many demons. She then finally rested on the town of Navnagar, where her ‘mudh’ was placed. The ladies in the town of Navnagar, ofter observe fasts to get protection from ‘surrounded evils’, and in return have social gathering where they wear the traditional bandhini ‘ghaghra choli’, invite unmarried girls(virgins) for feasts and dance to traditional folk songs of the glories of ‘Bavchar mata’. (Temple tents for goddesses in Gujarat, Jyotindra Jain, Haku Shah,

Berhard Fischer)

Jamanagar is one of the main Bandhani centres, the centre is located in Darbar gadh. The main centre has all the retail and whole sale shops, where most final products are dress material and scarves, only some shops sell saree. The dots here are comparatively large, they are tied using finger. Jamanagar has good fertile land and water, so people are also engaged in other activities like farming. Also it is believed with the water of Jamnagar, the most pure version of red is dyed.

1. A busy day at Darbar Gadh, in Jamnagar where most Bandhanis are produced and sold throughout the day and year.

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Jamnagar

The ‘karkahanas’ are located right behind Darbar gadh, so supplying and ordering becomes easier. There are more than 200 dyeing units in Jamnagar, the printing takes place using stencils for specific patterns in bulk and is stored, mostly blocks are used as mostly ‘gharcholas’ are produced in this region.

I visited one of the owners of the ‘karkhanas’, Haroon bhai. Dyeing takes place from 9am to 12pm, as the sunlight affects the colour judgment made by the dyers. I met Mansoor bhai, who was suffering from dengue. He was one master craftman of the region, admitted in the hospital.

‘I have been suffering from this disease because we work in such harsh conditions, we have no support from the government, and we don’t have a good drainage system so the water is left open and a good breeding spot for mosquitoes. The drainage system in Jamnagar is also open so all the sewage, waste from dying is gathered, people like us who have taken dyeing as our income have to risk our lives. Also, because of this production falls, also whatever we earn is used up on medication. I can’t receive orders so I lose my clients and other artisans take advantage of this.’ (Mansoor bhai)

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Jamnagar, has many local communities like the Rabari who use ‘bandhani as their attire and also combine it with their ‘Rabari bharat’.

Rabari embroidery is a plethora of square, triangular and rectangular mirrors composing to form abstract motifs of birds and animals, flowers and fruits, landscape and sea scape. Linear abstractions filed In with intricate stitches and mirrors are simply created reflecting the observant nature of a Rabari woman.

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Jamnagar

Chain stitch accompanied by an array of accent stitches adds in graphically illustrative quality of needle work. the ‘bakhiya’ local name for back stitch is one of the simplest stitch. The bright and vibrant colour palate used on the contrasting background of white and black with sparkling mirrors is easily distinguished with other needle work in the region; characteristic of rabari embroidery is the contrasting and non repetive use of colour.

The Rabaris combine embroidery with bandhani as an embellishment. Symmetrical and assymetrical motifs conceptualized based on surrounding topography and reflecting a lot of verve and pleasure in creation symbolizes their wandering lives. (Indian

embroidery, Rosemary Crill)

The nomadic pastorals, are settled in various parts, tracing back to Marwar in Rajasthan. There are diverse contemplations about the time period when they migrated to Gujarat.

Earlier the term Rabari was loosely applied to migratory camel herders having similar customs and belief due to their profession so different sub communities of Rabaris have their own legends of origin.

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Some call themselves the ancestral keepers of shiva camels, others migrated in the recent past on account of Islamic invasion from north.

Due to their knowledge of the terrain and a community which dealt with stray animals were often entrusted with the task of transporting goods. (Rabari- a pastoral

community of Kutch, Francesco prorazia)

Each community and culturally linked group in Gujarat is distinctively identified by the kind of embroidery costuming, body tattoos and living settlement.

Similarly, in Rajasthan, the communities are identified by the types of dots on their turbans.

Rabari embroidery is uniquely suited to their life style and a young girl is initiated to the craft form by her mother in order to prepare for a bridal trousseau.

It was really interesting to see ‘Bandhani’ has been combined with rabari communities, creating a product which is beautiful. I found a special piece for my queen, she would surely love the story and the cultural significance of this ‘kapru’.

1. A man showing a fresh Bandhani arrived from the karkhana at his shop.

2.Haroon Bhai, tying Bandhani’s meant to go for dyeing with rubber.

3. Two dyers working on dyeing the Bandhanis before midday, for good colour speculation for an order.

4. A Rabari dress.

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Rabari Community

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Saap (Snake)

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Phool (Flower)

Surya (Sun)

Tutak Rasto (Broken pathway)

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Maqsood Bhai, who works with Haroon Bhai at his karkhana, he manages the dealing with the ladies who do the tyeing work, making sure to hand out the printed Bandhani for tyeing and collecting them, so they can be passed onto the dyeing sector on time. He also deals with the financing on the Karkhana.

1. A collection of Bandhani and its colour combinations produced

by Haroon bhai.

2.Maqsood bhai, who is brother of Haroon bhai works of on the same Karkhana.

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Artisan’s Life

Opulence Of The Rajkot City

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Rajkot

What can be said about Rajkot and its streets?

Streets of gold and silver, capital of Patolas I found a ‘bandhani’ family, in this vast city.

Goddess Hingraj gifted this city with, Colours, bangles and swings believe the people, ‘ambadal’ ‘rasmandal’ dances Lord Krsna, Also in the bandhani reside the gopi’s ‘raas mandal’ In my ‘odhani’, make a motif like ‘jalebi’, With ‘abla bharat kaam’, O my dearest.

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- Rajkot

Rajkot is Gujarat’s most opulent city, founded by Thakur Sahib Vibhoji Jadeja of the Rajput Jadeja clan in 1620. He was the grandson of Jam Shri Satarsal Vibhaji Jadeja of Nawanagar.

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The region was part of the Ghaznavid Empire ruled by Mohammad Ghaznavi and Muzaffarid dynasty ruled by Mahmud Begada before the Jadeja settlement.

I saw the highly artistic and posh building made of glass, as I entered the city. The ladies were wearing rich saree’s accompanied with jewellery even on a normal day.

The city seemed developed and polished well. This city had a lot of elite class people and the middle class also were just as luxurious at their standards. On the other hand, there are some needy people who are just surviving on the mercy of the elite.

There is one family of Pravin bhai and Maya ben, a kind married couple, who own a ‘karkhana’ of ‘Bandhani’ where they give jobs to people who are in need of money.

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Way of Life

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At the same time, they teach girls, ladies of any community, especially those who are uneducated how to tie ‘bandhani dots’ so they can make a living.

The dyers come and do a part time job, are called in the mornings to come and dye ‘bandhanis’ once they are completed. The motive of this family is different compared to those of artisans, who compete with each other.

This family wants to teach the art, share and give life to women who cannot earn or are not allowed to go out and work, so they can live with dignity. Once the stock is ready, it is sold into the market. All the women are paid fairly and so are the dyers.

The designs made in this ‘karkhana’ are sold to the local villages in Saurastra. The most popular colour dyed here is black and maroon, majority of their customers are Ahirs, Mochis and Rabaris.

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1. Old Rabari ladies from the local community se aed on an otla suring midday for gossiping.

2. Rabaris from Dwaraka shopping in a local Band hani shop in Rajkot.

3. A bandhani being untied to show its customers, so they believe its an original piece.

4. ladies dressed in traditonal atire going to collect water as part social activity.

5. Pravin bhai teaching on e young artisan how to do print work with stencil.

73 - Production

Additionally, like how every region has their own speciality, the local community of Ahirs, have their Ahir embroidery which they combine with the dots that have travelled and made a home in their community too, ‘Bandhani’. It is an exuberant dexterity of ornately endowed circles following one other in a rhythmic row of embroidered pattern, enhances characters and verve of contemporary textile piece. Accompanied with little circular mirrors encircled with chain stitch forming geometrical and abstract pattern, enriches any garment or home furnishing with simplicity.

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Vividly coloured repertoire of limited stitches amid glittering pieces of mirrors embellishing cotton, silk and wool fabrics appeal every heart. ‘sankli’ or chain stitch used for outlining and ‘vana’ or herring bone stitch utilized for filling along with ‘bakhiya’ and ‘dana; serving purpose of detailing, encompasses the gamut of stitches which enriches identity of Ahir embroidery. The needled embroidery embellished technique practiced by the pastoral Ahir community women reflects minimalism and is highly inspired by flora and fauna surrounding them.

Flowers created by repetitive usage of circles, peacocks and parrots blending accordingly. ‘kanta’ stitch inspired by local babool tree thorn and other nature inspired motifs mirror their alliance with nature. (the embroidery and read work of kutch and Sauratsra) They wear the ‘Ambadal’ which include the motifs: ‘mor’ peacock, which signify prosperity, the ‘hathi’ elephant which symbolizes wealth, ‘putali’ women who are performing household chores. Also, they wear ‘raas mandal’, where a group of ‘gopis’ female devotees of lord Krishna performing the ‘Rasa dance’ in circles in the inner banks of Yamuna River. The motifs included in the ‘Rasa mandal’ is ‘amabadal’, a garden of mango trees in symmetrical form or cluster to create a romantic mood, ‘phool’, here the flower is kept in the centre to present Lord Krishna, ‘raas mandal’, a group of ‘gopis’ form circle doing ‘rasa dance’ devoted o lord Krishna, ‘laher’, are represented in form of Yamuna River where the ‘gopis’ danced around, ‘lakadi’, the ‘gopis’ danced with these sticks to keep up with the beat of the ‘rasa’ music, ‘chakali’, the sweet singing bird sing for the gopi as they dance, ‘ek fool’, the single flower is located in the centre of the ‘gopis’ dancing the mystical ‘rasa’, Lord Krishna is symbolized as the flower in the centre and ‘mor’, peacock, plays a vital role in the romantic atmosphere of the ‘rasa’ dance as the peacock if Lord Krishnas favourite bird.

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Ahir Community

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Ahirs, the cowherd community are considered to be descendants of lord Krishna and supposedly migrated with him from Mathura centuries ago. Ahir, the name finds its origin in the sankrit word ‘Abhira’ meaning fearless. Historically, a nomadic community which has settled down identifies as ‘Gopas’ who came to Dwarka along with Krishna. Ahir women usually wear black to mourn Krishnas death. Krishna’s adored ‘gopis’ is also deemed to be an Ahir woman.

Embroidery plays a significant role in Ahir houselhold, ‘chaklas, ‘torans’, ‘godalis’, quilts or pillow covers are embroidered popularly by the women, making their space a rich compilation of form and colour, with recycled Bandhani which they have worn several times. Usually, the embroidery is green, red, orange, yellow colours with white used for contrasting highlights and lots of rounded embroidery predominate the costumes of young women in the community and differentiate from old women. Ahir embroidery textile used mashru as base fabrics for products like ‘gaghra’ or ‘odhanis’. Colours and stripe patterns of the mashru fabrics were harmoniously complimented with contrasting hues and distinctively circular pattern of Ahir embroidery. (under the embroidered sky, embroidery of the Ahirs, shruyan)

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Amongst, the Rabaris are the Lohana commutinity who belong to the elite class who wear ‘ambadal’ and ‘raas mandal’ during occassions.

This place was so rich and even with the hierarchy of different people, still peace was maintained, work and art was created beautiful. My queen would have been so impressed witnessing such a harmonized atmosphere where everyone is sharing.

Hence, from here I collected some Ahir embroidered ‘odhani’ with dots swirling around like ‘jalebis’ around the mirrors, painting rainbows on fabrics.

1. An example of Rasa mandal Bandhani pattern.

2.Radha Krishna dancing with Gopi which is inspired in making the Rasa mandal Design.

3.An example of Ahir embroidery pattern.

4.Ambadal Design used by the Lohana community in Rajkot.

75 - Ambadal

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Artisan’s Life

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Pravin bhai and Maya ben owners of a Karkhana, they teach young artisan and dyers.

1. Rabari Lokdi Bandhani with addition of new design.

2. Tying work on Bandhani 3. Example of Bandhani work in Rajkot.

4. Artisan working on printing design before given for tyeing.

4.Pravin Bhai cleaning stencil for good maintance and durability.

6. Local customers shopping on a day in Rajkot.

7. A portrait of Pravin bhai and Maya ben.

This place was so rich and even with the hierarchy of different people, still peace was maintained, work and art was created beautiful. My queen would have been so impressed witnessing such a harmonized atmosphere where everyone is sharing.

Hence, from here I collected some Ahir embroidered ‘odhani’ with dots swirling around like ‘jalebis’ around the mirrors, painting rainbows on fabrics.

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Artisan’s Life

Kaleidoscopic Khambhaliya

78 -

Khambhaliya

A golden bowl filled with colours is Khambhaliya, ‘shikari’ bagido’ patterns derived in Khambhaliya, Silk thread used in kathi work shines in Khambhaliya, In pairs, sarees are dipped in colours in Khambhaliya, O, how are the colours compliments of khambhaliya.

79 - Khambhalia

Khambhalliya is located on the outskirts of Jamnagar, a very old city with an ancient and still damaged partial ‘Kille bandhi’.

It has not developed much since then; however different communities have migrated from places making this place their home. So, even if the building didn’t change, the people introduced new traditions and ways of life. With time, the craft of ‘bandhani’ arrived in Khambhaliya.

I met, Atul Bhoot khatri, whose great grandfather had arrived in Khambhaliya years ago, initiating the business of ‘bandhani’ since then he has been taking ahead the legacy. ‘khatris are god – gifted dyers’ says Atul Bhoot Khatri.

He owns the main ‘karkhana’ in Khambhaliya, where there are 21 smaller units working under him, most of them are his extended family. His ‘karkhana’ is located under his house, where there is a room for printing, storage and dying unit. I was impressed to see how Atul stored his designs, so systematically in his computers, where a motif was stored with its prices per dot; despite being in a village he was aware of technology. His daughter, Shreya manages the finance, packaging and taking orders. The work is smoothly managed throughout the day by Haresh bhai, who is the printer and the Atul Bhai who is the master dyer along with his assistant Jignesh bhai.

Within, the small community, there is also competition. Atul Bhoot does not even allow his extended family to enter the dying and printing unit, as he is secretive about methods and techniques. He is also in constant search for coming up with innovative printing methods, where he has created stencils, rollers and other printing equipment’s, some which have given success or some failed, yet he still not giving up.

Karkhana work place in Khambhalia, at the house of Atul Bhoot Khatri

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Artisan’s Life

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Production

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1. Atul Khatri and his daughter Shreya handling the Kharkhana.

2. Artisan demonstarting printing work before tyeing work.

3. A Dyer working on the orders of Bandhani.

4. A method of roll polishing, ironing a saree before work so the material is straightened.

5. Khambhaiya railway station.

6. A portrait of Atul kahtri and his two daughters.

7. Stages of production in the process of Bandhani.

8. Blocks used for making designs for Bandhani

83 - Production

Two of the most common ‘bandhani prints’ are ‘shikari’ and ‘bagido’. The ‘shikari’ print is basically depicting a story of a predator hunting its prey in the forest. Assuming this print must have been derived from what the tribals witnessed around their surrounding and got inspired. The motifs in ‘shikari’ are ‘pata phool’ this is the scrolling leaf design where the curved leaves and flowers are combined like its natural form, usually, presented in different colour combinations to make It look effective. ‘shikari’ borders, this is combination of all motifs put together in order of size:’lahar’ movement of life, ‘ankdo’ translates to hook, ‘keri’ mango. There is also ‘bagido’ which translates to garden, where the motifs are ‘gul’, ‘buti vel’ which are in cluster gardens, with ‘lahar’ and ‘ankdo’ as a border.

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The ‘bandhani’ in Atuls karkhana, have their own names for colour trend, one of the trends is ‘marwari colours’ which are bright colours combined together and dyed on a shikari or bagido. They are also making new products combining ‘shibori’ with bandhani, making ready-made dresses, where the tying is done on the patterns, before getting stitched, this is a very effective method as the dots are formed exactly where wanted without getting cut when stitched.

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Shikari and Bagido

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‘Kathi bharat’ is considered as one of the oldest form of embellishment. ‘kathi’ landlords find their origins going back to times of Mahabharata when Karna the famous warrior brought them to this region as cattle breeders. Along with them new concept and repertoire of stitches got introduced to this area. Tales of pathos and heroism of this community along with topography around got depicted. With growing opulence and authority as landlords the women stopped parctising and started exploring beadwork, as well as commissioning ‘aari work’ from Mochis.

It was time of festival, where the community gathered to dance to ‘navratri’, where the Goddesses and their tales are sung and celebrated. The women are dressed in exquisite attires, with embroidery combined with ‘bandhanis’. Most families here have migrated from Bhavnagar, so they brought their family Goddess along. The goddess is depicted as being accompanied by a tame crocodile that wears a golden ring in its nostril. A modern ‘chandarvo’ piece illustrates the goddess sitting on a throne above a crocodile. On other popular prints of the goddess, khodiar stands alone infront of a crocodile, raising one hand in ‘abhaya mudra’ to bless the viewers, holding with the other hand, a trident to which dotted red cloth is tied. (Temple tents for goddesses in Gujarat, Jyotindra Jain, Haku Shah, Berhard Fischer)

On the other hand, the ‘bandhani’ in kathiwar marries with ‘kathi bharat’ which is most desired by the local people in the region. ‘kathipa’ style of embroidery is known as ‘heer’, from flossy silk yarn. Bold motifs adorned in rich contrasting colours. Traditional attires of ‘kathi women’ flaunt style’ and have become n intrinsic part of costumes worn by rural and urban women during ‘navratri’. ‘kathi Bharat’ style of embroidery with its long stitches and embossed designs executed all over the fabric in a playful manner, brings out the joyous pleasures of fabrications experienced by the creator. Geometric patterns engulfed between borders constructing checkered forms, illustrated by linear long stitches and contrasting colours. Repeating patterns of 6 – 8 pointed stars, triangles, and squares and arranged to form a symphonic composition and glittering mirrors; set amidst. The form adds in aesthetical splendor to these vibrant forms of embroidery. Design patterns are emphasized by use of elongated darn stich along with herringbone stitch accentuating the borders or outlines.

The stitches in triangles run in parallel to warp and weft creating interesting play of light and shade with single colour of yarn. ‘Abla’ or mirrors are inset with buttonhole stitches amid square and triangles harmonizing the curves and even lines.

Narrative and figurative elements like human beings, birds, animals and landscapes play essesntial role in this embroidery style. (Indian embroidery, rosemary crill)

Most of the art here is created by the women, also the women are the main ‘bandhanas’ in the ‘bandhani’ sectors, however they are not valued and used as labourers. The men are too egoistic in that region to appreciate the work of these women and let the tying work blend in with their daily chores at home.

They give more importance to their farming life style than the work of tying and embroidery.

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1. Bagido, Bandhani design.

2. Shikari, Bandhani design.

3. An example of Kathi Bharat.

4. A picture of Kodiar Mata, who uses a crocodile as her vehicle.

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Kathiyawadi Community

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A collection of Atul Bhoot Khatris Bandhani. He makes set of 12 colour combination for every order. He says that he has inovated the Chandrokhani pattern using the Marwadi tone.

1. Atul Khatris dyeing chart showing, the colur ways and methods ofmaking.

2. Range of Bandhani sarees of Khambhaliya.

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Colour Palette

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chapter name

Wageshwari’s Wadhwan

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Wadhwan

Quickly comes, Goddess Wageshwari’s Hawa Mahal, How the wind sings throught the walls of the Mahal, Reminding me of the flawless beauty of Bandhani, How much I love the green chilly of Wadhwan, How are the purple eggplants complimented at Wadhwan, Sitting together on the veranda, How large they tie the bandhani dots, How large the bandhanis of Wadhan, That no other place satisfies such dots.

89 - Wadhwan

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Wadhwan was founded as a state around 1630. It became a British protectorate in 1807. Wadhwan State was ruled by Rajputs belonging to the Jhala dynasty. The rulers of the state bore the title ‘Thakur Sahib’. The town is situated on the banks of the Bhogavo River. It is also known for its old world royal charm and serene space with a life and culture of its own.

Hawa Mahal, ‘the wind palace’ was built during the era of Jhala rulers. Even though it was an ambitious project with ultimate craftsmanship, the work was left incomplete. The part which is incomplete is outside the actual fort and is in different stages of construction along with the study of architectural designs, which were stopped midway. These give a glimpse into the style of architecture used by the artisans in erecting Hawa Mahal. In the present day also, many of the Sompura artisans whose community built Hawa mahal are seen involved in carvings and cutting of sculptures for various Hindu and Jain temple projects.

Madha Vav is popular for its historical significance. It is believed that the son and daughter-in-law of King Sarang Dev sacrificed their lives here for the natives of the region. At the entrance of the well, every years a cloth with red dots is offered and then hung their as a ‘dhaja’ throughout the year in the memory of the two that sacrificed their lives.

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1. Wadhans, Hawa mahel.

2. Wadhwan, Madha vav

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Architectural Influences

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chapter name

The Goddess Wagheshwari mata is the goddess of Wadhan, she granted the city with 3 boom ‘tramba na vasan, dhola nagara and bandana kam’ according to the locals of the place.

‘Tramba na vasan’ translates to brass vessels, the majority community living in Wadhwan are Kansaras, the make vessels of copper and brass and sell them into different regions in Saurastra.

‘Dhola Nagara’ translates to drums, also they make drums which are then transported to regions around Saurastra and also into other states, per order.

The Mochis make leather goods, they are aware of the market demand so they produce and export accordingly in bulk to places like Bombay and Ahmadabad.

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Other crafts in the Region

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1. Drawing of Goddess Wageswari, with her tiger behicle.

2. Aritdan making vessels of brass and copper.

3Artisans making dhol.

4. Artisans making leather products.

93 - Other Crafts in the Region

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Production and Manufacturing

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‘We take bulk orders, produce as much as we can, our dots are comparatively large as we do not have time and labour for intricate dots like of kutcch. Our production is fast, the colours are mostly running and we use limited amount of colours to make things efficient and similar, as wel sell on stock to buyers, who then take the stock to their shops and sell accordingly’ Nimesh bhai Chhantbar.

1. A busy day at the dyeing unit.

2.Ladies gathered for tyeing work.

3. Washing work after Dyeing.

4.Final product after all he process of making are complete.

5,6. Embroidery added as embellishemts on the Bandhani.

7. A portrait of Nimesh Chantbar and his family.

Wadhan does not produce intricate bandhani but does bulk manufacturing and sells it around the region, the colour palate is very simple, maximum 2 colours. The materials used to dye are not of good quality so have to be starched to maintain the quality and make it look presentable. The Bandhani ‘karkhana’ is owned by Nimesh bhai Chantbar.

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Production and Manufacturing

Voice of Women

We don’t know where we stand, we are given this job of tying but we are paid so little, sometimes not paid in time, yet they expect their work to be done on time’ Shanta ben, 46 years old.

I was left by my husband 1 years after marriage, as I could not conceive, then no one would accept me, his family or mine, I lived on the roads for months, until I found shelter and started earning basic money enough to eat through the art of tying dots’

my husband earns but he has got bad association, he goes to gamble and drinks alcohol where all the money finishes, bandhani tyeing is my only source of income, my girls stopped going to school as we don’t have enough money to pay fees, they are now also learning bandhani tying with me, we earn enough to feed ourselves and not rely on my husband’ kokila ben, 38 years old.

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chapter name

Manisha, 23 years old.

Mintu died when I was 45 years old, since then I had no one to rely on, my daughter were married at young age as I could not take care of them, also I had no son, I lived in my one room home which we had bought 25 years ago, I make a living through tying bandhani which allows me to have 2 meals a day and survive.’

Ramila ben, 67 years old.

i like to tie bandhani, it is like magic, we can tie dots of any size and then everytime I go to bazar I see the bandhani we ties, and after it is dyed, it looks like magic’ Mona, 16 years old.

We don’t get to go out often, but in the evening we gather to tie bandhani, this is refreshing for us and a social gathering’ ladies of the village.

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chapter name

Just of Jetpur

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Jetpur

O, kathiyawadis of Jetpur, With so much pride, The whole town hears Of the bandhani stories, Sitting together tyeing badhani, In the town of Navagadh, With the sweet and sour stories, Carries on their lives.

99 - Jetpur

Jetpur Navagadh (Kathi’s) is a city and a municipality in Rajkot district in the western Indian state of Gujarat. Jetpur is also called ‘Capital of Kathiawad’.

It is one of the largest centers for screen-printing, block printing and yarn dyeing workshops in the country. It is famous for cotton saree ‘udyog’ and is major exporter of khanga and kitange (fabric used by native African for various use). Renowned industrialist Shri Gordhandas Karsanji Bosamia and Shri Chunilal Karsanji Bosamia of Jagdish Prints, who set up the first Textile Printing and Dyeing Industry in Jetpur and Ahmedabad are from this town.

Jetpur is a pleasure for textile enthusiasts who can visit and experience the process of printing and dyeing. The city is known as Mini Dubai because it’s vibrant commercial activity.

The bandhani sector in Jetpur, is vast and very commercialized.

There are factories which take bulk orders where they produce 64 bandhani in a day.

The colours are limited to two; the dots are very large, as not much time is invested in tying. However, as every region has its specialty, here the dots are large and vibrant appealing to the people around. The ‘karkhana’ is located on the terrace of the house where the dying takes place and also the drying becomes easier.

‘We take a 2 lakh rupees order in a small piece of paper, our production is fast, and the colours are choosen by us according to recent trends. Per day we make a production of 64 bulk bandhanis, in the same colours, our main customers are from whole sale shops, who then export the products to small villages around saurastra, sometimes, we also get orders from outside, other states’ Ashok Damaria, master craft man, owner of ‘Karkhana’

Bandhani after final wash hung for drying.

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Way of Life

chapter title

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chapter name

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Ashok Damaria

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Artisan’s Profile

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1. An example of double coloured bandhani.

2. Bandhani stock at a shop.

3. A triple coloured dyed layers with white dots.

4. A man drying washed bandhani.

5. A man tying rubber onto the material.

6. A man dying in the dying units.

7. A man drying washed final products.

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Raavi

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1 Woman doing tye work on an evening.

2.Colour combination of Bandhani in of Jetpur.

3. Stock of Bandhani in the shop.

4. Mode of transport.

5. Artisan arranging Bandhani after process.

6. Artisan making prints, before giving for tyeing.

7. Packed in bulk for order.

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103 - Artisans’s style

The Kissable Dots Of Kachchh

104 - Kachchh

Crossing the big and small Raan, I arrive, The art of Kachcch is highly complimented, Bells, Bharat kaam, Bandhani and Rogan, Ajarakh, Batik and weaving, Is overall complimented.

Mutwa, Meghwals, Jhats, And Rabari community costumes Are so unique, That I have never seen before. ‘dabeli’ and ‘karak’ are complimented That I cannot stop eating it day and night.

The Kachchh Bandhani leaves me in wonder, How the ‘rai’ dots are scattered on the ‘chunadi’ With the friendship of colours, How I see the bandhani ‘chunadi’ Which shares the story of its heart, The artisans crafted a pattern, Like it is a little flower.

On the fingers of ladies, It gets tied one by one, Finding its way through the threads.

105 - Kachchh

Kutch District is surrounded by the Gulf of Kachchh and the Arabian Sea in south and west, while northern and eastern parts are surrounded by the Great and Little Rann (seasonal wetlands) of Kachchh. When there were not many dams built on its rivers, the Rann of Kutch remained wetlands for a large part of the year. Even today, the region remains wet for a significant part of year.

Historically Kutch was always considered a backward region due to its location and submerged geography. The situation seemed to have worsened after the disastrous earthquake.

But in the next decade, the economy took an almost miraclous jumpstart due to the intense efforts of the Gujarat government.

Kachchh today is a growing economic and industrial hub in one of India’s fastest growing states - Gujarat. Its location on the far western edge of India has resulted in the commissioning of two major ports Kandla and Mundra. These ports are near most to the Gulf and Europe by the sea route. Since historical, times the people of Kutch have formed the backbone of trade between Gujarat mainland and Sindh.

Kachchh, is opulent with its numerous textile crafts and communites that have made it their home. I wondered along in aw every time I studied the craft, each one had its specialty, which held so much meaning to the community it belonged too.

1. Women dressed in Traditional costumes of the regions.

Also, another common ‘bandhani’ is ‘bar/ bavaan bhag’, this is used for ritual ceremonies for the hindu communities, the Lohanas, Rajputs, Jains, Soris and Vaisnava, as a symbol of prosperity and auspiciousness. ‘bhar bhaag’ means 12 parts formed by diagonal checks, each rhombus including a motif. ‘Laher’ is a symbol of water and air, according to Hindu mythology air and water belong to the 5 elements that create the world. ‘Aso Palav’, is a tree, the leaves of which are used for auspicious decorations.

‘Morla’, the peacock, is the vehicale of Goddess Saraswati(Knowledge) which signifies growth and auspiciousness.

‘Putali’ women, engaged in their daily household chores.

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Trade Route

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The most common ‘bandahni’ was ‘chandrokhani’ this is the bandhani the Muslim bride wears on her wedding, it is the comparison of her beauty with the moon. A ‘chandrokhani is made of many motifs:’naag ni saar’ or ‘sarvel’, this translates to snake borders, the khatris are descendants of Bhrama Kshatriyas who worshipped the serpent of the lord, and also the snake is another symbol of fertility. ‘Gul’ indian flower which is used for decoration and worship. ‘Panchak’ is a five petal flower which is considered lucky and brings fortune. ‘keri’ mango which is a symbol of life giving and fertility. ‘kungra work’ is cluster of dots itself used for outline of the ‘gul’ motif and border, also it is name of the ‘Parapet fort’, so used to end final border. ‘Bharti work’, used to finish or bring finishing to the motif or a piece of textile to portray that the story has come to an end.

2. Bavaan Bhag, example of Bandhani design.

3. Chandrokhani, example of Bandhani pattern.

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107 - Chandrokhani and Bavaan Bhag

Meghwal’s Along with these, bandhani is used by many communities in Kachchh where is combined with their embroidery. The Meghwals and Sodha Rajputs use bandhani skirts accompanied ‘kharek and paako bharat’. Dense, compact style of ‘paako bharat’ using a riot of colours, controlling balance and contrast enhances the glory of any textile piece regardless its functionality. The bold and constant pattern giving, more emphasis to the created positive space defines ‘paako bharat’, which literally means solid. Square chain and button hole stitches along with tiny pieces of mirrors add an opaque veneer to the embroidery which is considered to be most durable.

The unique identity of the needled embellishment is the use of black colours for outlining utilizing slanted satin stitch. ‘kharek’ the name itself is reminiscent of the tactile textural quality of date trees and the ‘kharak bharat’ is an exultant inspiration of the form. It is a geometrical style of needle work created by counting the structural make-up of the fabric. The make-up is primarily executed with black outline of double running stitch and then the surface front filled with bar – shaped cluster of satin stitches along with warp and weft of the textile.

The origin of these embroideries was brought to the region of Banni by Meghwals and Islamic pastoralists who migrated from the regions. Both these districts have distinct style of embroidery which is practiced by the community.

These styles practiced by these communities reflect their cultural temperant, including marriage and tradition. Domestic embroidery styles of suf, Pako, Kharek and fashioned richly embellished textile products. The preference of embroidery style always depends on the usability of the product. (Travel in textile, exploring material culture, kutchi embroidery. Stitching

stories- art of embroidery in Gujarat, Nina Sabrani)

Meghwal women dressed in their tradtional outfits : Ghagra and Kanchli

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Meghwal Community

Mutwa’s Also, there is ‘Mutwa ‘which is one of the most intricate form of embellishment which intensifies the elegance and flamboyance of any textile. Inlaid with tiny round shaped mirrors and adorned miniscule sticthes, mutwa bharat is like a verse dedicated to skill and creation. Ornamental patterns encircling miniature mirrors and tiny dots edging patterns in a ring like shape. Additional variations; paako, kharek, haramji and jat form an intrinsic part of mutwa repertoire of stitches.

It is also handed down generation from mother to daughter.

Similar style of technique is also practiced in the Arabian Peninsula which shows resemblance with Menon and Baluchi style of embroidery.

The varied collection of motifs used in mutwa embroidery almost compliments the diverse stitches used in this art form.

Star shaped ‘bhido’ with tiny mirrors, fuladi anchikan floral motifs, ‘kucho chopad’, are some of the traditional motifs which add in beauty of Mutwa Bharat.

Mutwas are a small group of muslim herders inhabiting in Banni areas of Gujarat. It is alleged that almost 500 years ago their ancestors migrated from Saudi Arabia to Sindh, and then moved to Kachchh. The art of this community is part of wedding trousseau, with other goods like jewelry. Mutwa girls begin learning and preparing these works from 7 to 8 years old. The fine gamut stitches and aesthetic appeal of colours and composition, though an inherent quality is also handed down generations.

The vibrant and radiant colours of mutwa embroidery offer a pleasing contrast amid the barren arid salts of Banni. The use of square chain stitching in orange along with white emphasis show a close resemblance between the mutwa embroidery and needle work practiced in Saudi Arabia.

Mutwa woman selling her work at a local market.

109 - Mutwa Community

Jath’s Amongst the Mutwas and Megwals are the Jath community, Garasia Jats are locally the land holder or agriculturists whereas the Dhanetas and Fakiranis originally belong to one community of the cattle herders. Churi, a long gown worn by the Garasia women radiate the skills and ingenious imagination of the community women who fashion for personal use. Garasia bharat is counted thread work in which criss-cross pattern are embellished keeping in rhythm with warp and weft on the fabric. Yokes of the gown are filled with an assorted range of symmetry and geometric pattern created with x- shaped crosses and embedded with mirrors. The unique aspect of the embroidery style is the application of colours complimenting in rich red of their traditional garment and use white to emphasize outline patterns.

Bold and dense embroidery created by both these communities form an integral part of their attire of daily wear. The distincitive identity of their embellishing style can be seen in form of tight padded chain stitch along with an array of other stitches creating geometric pattern. Tiny blocks of stitches and inlaid with glittering mirrors define sensibility of the creators. The colour palate used by the communities is akin to the hues and shades used in ‘paako bharat.’ (kutch the last frontier, T S Randhanwa. Dowries from Kutch, folk art and tradition in India. The art of kutch, Christopher W London. Shifting sand, kutch textiles, traditions and transformations, Bandhej.)

Jath sisters dressed in their traditional jewellery and attires.

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Jath Community

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111 - Jath Community

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1. Combination of Ajarakh and Bandhani.

2. Combimation of Zardosi work and Bandhani.

3. Awards won by Mohammed AliMohammed.

4. Portrait of Mohammed AliMohammed.

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Combination with Bnadhani

4

Further on, I met Mohammed AliMohammed, who works with his two sons Junaid and Salman in his bandahni ‘karkhana’.

Fortunately, his sons were different; they were interested in their fathers business and not attracted to modern jobs. Generally, in kachchh most crafts are passed onto the next generation or kids of artisans are sent to ‘Kala Raksha’ to learn the craft. These artisans work with designers who they meet during exibitions, take orders and also make new designs in collaboration with the designer, so they are more aware of the market demand. Whereas, Jamnagar regions are still untouched by designers. Also, Kachchh has had a lot of government support after the earthquake, so this helped boost the economy.

The size of dots in Kachchh are tied with fine attention to details and neatly. Comparatively, the dots in Jamnagar regions are large, even if the prints within both region may remain same, the size of dots can speak the stories of their tiers.

This happens as tiers give full attention to the ‘bandahni craft’ and make it their priority, whereas in Jamnagar because of its fertile land also agriculture is prioritized.

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Artisan’s Condition

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Government Intervention and Artisans

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1. A tied bandhani, forming a large dot.

2. colourful dots on black background from kachchh.

3. Artisan washing Processed Bandhani 4 times.

4. A bandhani peacock motif.

5. Man dyeing in warm water.

6. A sample of Bandhani final product as a Dupatta.

7. A portraint of Ali Mamad.

Ali Mammad, is one of the senior craftman in Kachchh who has worked on the Bandhani sectore for generations. He strongly believes that Kachchh produces the most intricate and high quality bandhani compared to any region. Often, he wonders why this craft is majorly produced by the Khatri community and not others, as anyone can have the ability to initiate this craft. In addition, now some Harijan’s are also starting to practice this craft. He believes that decision on what kind of Bandhani to produce depends on many factors, such as appearance, skin colour and colour of eye. This is how initially, decision, now also matching has become very important throughout time, with the changing market trends.

A very interesting story about tradition of dyeing from Ali Mammad, traditionally, only full material dyeing was done, once a beggar came to the house of the dyer and begged for some food, whilst the artisan was organizing for food. The beggars fiddled with the material and tied a knot on the plain material meant for dyeing. Without noticing the dyers started dyeing and when time came to dry he noticed the beauty the mistaken knot had created, since then they started they journey of this dots.

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Artisan’s Condition

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chapter name

Judy Frater is Founder Director of Somaiya Kala Vidya ,an institute of education for artisans. She has lived in Kachchh, working with artisans, for 25 years. During this time she Co-founded and operated Kala Raksha Trust. She established the Kala Raksha Textile Museum, and founded Kala Raksha Vidhyalaya, the first design school for traditional artisans.

For this concept, Judy was awarded an Ashoka Fellowship for social entrepreneurship in 2003. Under her eight-year tenure as Director, Kala Raksha Vidhyalaya received international recognition for its unique and successful approach to education of artisans. Judy received the Sir Misha Black Medal for Distinguished Services to Design Education in 2009, the Crafts Council of India Kamla award in 2010, and the George B. Walter’36 Service to Society Award from Lawrence University in 2014.

In 2014 she joined Somaiya group to found Somaiya Kala Vidya, to take design for artisans from a program to an institute and reach its full potential. Judy is the author of Threads of Identity: Embroidery and Adornment of the Nomadic Rabaris, awarded the Costume Society of America’s Milla Davenport award.

Before residing in India, she was Associate Curator of Eastern Hemisphere Collections at the Textile Museum, in Washington, DC

Personally, Judy was not interested in Bandhani as she had not seen any appealing designs until she met Ali Mammad, who completely changed her perspective about bandhani. He had a very unique and sensitive approach and he thinks beyond the traditions.

On the other hand, she highlighted Zakirbai, who is the owner of ‘bairaj’ which translates to women rule. She has a very strong point, she believes that all the hard work is done by women, however once the final product is complete only men are rewarded. She desires to do something where the women would get an opportunity to get appreciated, but being solo she is struggling. Judy, is doing a lot of work for developing the crafts sectors of Kachchh.

Judy Frater believes that the traditional craftsperson is the best designer to make the work of the craftsperson economically viable to consumers and a larger market.

Through practical and relevant education on technology and marketing, Judy is building the expertise of the craftsperson to make a significant contribution to the sustainability of the craft tradition.

According to Judy Bandhani is a special as it is difficult to tell where the art takes place, as so many roles are played throughout the process. Traditionally, two fabrics made separately made were stitched and ‘odhani’ was made. However, the tradition is fading away with new customer’s demand and experimentations. ‘Dora’ and Blocks were used for straight lines, in bandhani everything is done in grid format. Also, she has observed the bandhani craft is easily accepted by anyone.

Previosly, people had also left the bandhani with its natural contours where textured where formed and surprisingly that trend is returning.

In kachchh, the most preferred bandhani is chandrokhani, initially there were only two colours maroon dyed with white dots, with time other colours were added. Previously, when Bandhani were made for royal, the tying was intricately done on thin fabric which was loaded with heavy embroidery, this meant that the Odhani could only be worn twice as the material would not be able to bare the weight of the embroidery.

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Interview

Sun Of Surat

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Surat

The sun of Surat rises early morning, The people of Surat like the working thread Mills, Bandhanis are preferred with Surats Zardosi kaam, Parsi, zardosi and badla works are here, Only to be seen in Surat, Purchased sarees for Rani costing in thousands, As my Rani loves unique Sarees,

119 - Surat

Surat is mentioned in the Sanskrit epic, the Mahabharata, when Lord Krishna stopped there on his way from Mathura to Dwarka. Later on, the Parsis began to settle there in the 8th century.

Since it is known for producing textiles, including silk, Surat is known as the textile hub of the nation or the Silk City of India.

It is very famous for its cotton mills and Surat Zari Craft. Surat is the biggest centre of MMF (man-made fibre) in India. It has a total of 381 dyeing and printing mills and 41,100 powerloom units. There are over a hundred thousand units and mills in total. The overall annual turnover is around 5 billion rupees.

There are over 800 cloth wholesalers in Surat. It is the largest manufacturer of clothes in India, and Surti dress material can be found in any state of India. Surat produces 9 million metres of fabric annually, which accounts for 60% of the total polyester cloth production in India. Now the city is focusing on increasing the exports of its textile.

Bandhani sarees are sent to surat for rich ‘zardosi bharat’.

Silver, gold and other metals wires along with rhythmic repetition of stitch dazzle and bedeck textile products, providing the beholder with an over-whelming experience. Embroidery fashioned with metal wires or zari, silk, cotton, velvet, satin and many different kinds of fabrics are embellished by cordial alliances. Linear wire outlines the patterns on fabric and is filled with textured details, glittering badla is sprinkled all over the fabric, circular stiff and thin wire known as gijai is used for intricate detail braided, braided gold thread ‘kala butta’ is used in the borders. In complex design spirally twisted tikora is used to give curves and dull zari known as kura or chikna to add more depth to the fabric. Mukaish or badla work done with flat silver wire reminds me of sparkling starts, compliments the illustrious bandhani as surface embellishments in traditional attire. Kamdani, lighter form of metal embroidery is utilized for delicate on light fabrics. Tiny flowers created with badla to complex floral pattern with intricate detailing, heavy textures by artisans. Art of metal embroidery goes back to many centuries in Gujarat. The inhabitants have used for commercial and personal use. Traditionally, gold and silver metals were melted to create wires used for embroidery. Gold was considered most sacred symbolizing sun and silver represented the moon.

Embroidered or woven textile which encompassed metal not only verified status level but worked as assets too. In situations of emergency these textiles were heated and melted to recover back to investment. The textile forms of garments or home furnishing are used for religious festivals. (Indian embroidery, Rosemarry crill)

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Central of Textile Market

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1. A sketch of zardosi embroidery pattern on bandhani.

2. A Gharcholu saree with combination of Zardosi work and bandhani.

3. A Zardosi embroidery pattern for a blouse.

121 - Zardosi Embroidery

Parsi’s Additionally, some Parsis had also settled and remained in Surat creating their own bandhani, which was mainly inspired by nature. They also had their own embroidery, which they later combined on the pallav of a bandhani. The Parsis call their art ‘Gara embroidery’ in satin stitch, long and short, the khakha stitch form a delicate texture as of like a bead. Most saris are red, black or purple, the embroidery was done with light threads for highlight. Gara motifs are drawn from rich repertoire of traditional chinese textile motif, the smaller are selected for embroidery, some are linked to trade patterns depicted on textiles exported from China. Peacock with tail appears to be Indian motif adapted by Chinese embroidery. Embroidering a gara takes several months, depending on the intricacy, fineness of the design. They like purchasing a piece of jewelery which can be passed down through generations. The chinese refined art is now been revived in India.

The Parsi followers of Prophet Zarathustra, left Iran for India, settled in the western coast of Gujarat. Over centuries, while they retained their religious customs and beliefs, the adapted to the Gujarati culture. By the early 19th century Parsi owned shipping companies with Mumbai built ships and plied trade with China. Western interaction brought them closer to the British.

Appreciative of chinese embroidery, Parsi traders brought embroidered silks for family and placed order for embroidered sarees. The embroidery was done on silks from China, as the chinese textiles were woven on narrow looms sarees were of two separate lengths, stitched together to make required length. Soon started combining with local fabrics. These sarees were referred to as ‘do patti’ two strips, on these lengths, borders, an end panel and field would be embroidered. Over the time, the word ‘Gara’ from the gujrati word for saree, associated with Chinese embroidered saree, now referred as ‘Gara embroidery’. (Travels in textiles, exploring material culture) Surat, was rich. I got an opportunity to witness some of the most unbelievably costly textiles to some of the magically cheapest textiles. There was a story and beauty within every material I felt. It was soothing to see how our Indian textiles were being exported to other countries, where people would adorn themselves with our sarees and material. I collected various sarees for the queen, she will definitely love them.

Parsi bandhani and drawing of Parsi embroidery which is usually combined.

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Parsi Community

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Parsi Embroidery

Costumes and Patterns Bandhani being a surface itself gives an opportunity to many communities and designers an opportunity to create costumes.

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Costumes

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For Women 1. Choli 2. Kancli 3. Abha, tradiitonal wedding attire for Khatri Muslim Brides, diyed accoring to the folds of the abha in pieces, then stitched.

4. Kalidar Ghagra, Kali pat Ghagra

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125 - Costumes

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costumes

For Men 4. Chola 5. Sherwani 6. Putthiya 7. Chola

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Costumes

Fashion Trends And Designers

Roaming here and there, I finally arrived to this Designer, Everwhere I roamed, But I failed to find a bandhani, Even the designer go confused, To create the bandhani the Raja desires, All designers, could not make the one he wants, And so, He returned back to his home.

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Fashion Trends and Designers

The fashion industry has played a vital role in the bandhani sector. Designer are collaborating with Artisans in Kachchh and coming up with innovative designs, which is beneficial for the Artisan as they get an opportunity to understand the customers demand and also to see the development of the craft from someone else’s perspective who is from a different background.

Some designers who I met are, Sunita Shankar, Malvika, Anuradha Wakil and Archana Shah who is the owner of Bandej and has collaborated with Mohammed Alimohammed from Kachchh.

Looking at the modern bandhani, now they are not flattening the bandhani dot, keeping the textured form that is naturally formed when tied and opened. This has become the latest trend with the bandahni craft, the traditional method of flattening the dots is being eliminated slowly. As, also now printed imitation are there, people want to see evidence that the bandhani fabric is original, hence artisans leave the fabric as it is, just folding it accordingly in bundle.

At sunsilk fashion, designer displaying new outifts constructed unisng Bandhani.

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Fashion Trends and Designers

Tying His Love I falied to find the bandhani that satisfied me, Finally, why shouldn’t I tie it myself?

Also, I desire to know life of these women tiers, I desire to experience the tyeing work, I desire to understand the hard life of women.

I will tie a bandhani for my Rani, With my own design, Where my love will reside, Where my hardwork will reside, Where my experiences will reside, Where my knowledge will reside, Where my attachment will reside.

With every dot my love increases, Now I undertand the pain a women goes through, I can see the difficulties faces by women.

Months took to complete the tyeing work, Finally I found the bandhani I desired for my Rani, I used dots from Kachchh, Red colour on the Bandhani will make my Rani Look like a reflection of the moon, And our wedding night will shine Like the full moons night.

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Tying His Love

After travelling all over, I realized that a craft always has a story behind it, some with agony, some with happiness and some with hope. But, what I have to give my Rani is a token of my love. There was no way I could have pleased her than make her the wedding attire. With my experience and knowledge gained from travelling, i am going to tie the dots of love, each dot will be filled with surprises for her, and each colour will paint her life with joy and prosperity.

Wearing the ‘nakh’ on my fingers, I tied each dot, on her wedding saree, I could not perfect the tying like how the women of Saurastra tie. But what I learnt from them when each dot is tied with love, perfection is seen even in the imperfection. This could be the best present I could gift my lady. I felt how much effort it took the ladies to tie each dot.

As I tied each dot, I felt like I was painting a life, the more I tied, the more peaceful my heart felt, I was so satisfied and relaxed.

I felt connected to the bandhani. Yet, I realized how much tying

and magnificent art the ladies create, but they always passed it on, so they could make more.

If they remained attached like how I am, how would have all the others, danced so joyfully in the festivals would. This craft is truly magical, with some magnificent qualities that make it so tender to those who own it.

After months of tying, it was time to dye it. I had invited master craft men dyers from Jamnagar and Kachchh, with their magical hands they gave birth to the twinkling dots. The dots dazzled forming a beautiful moon, in the deep maroon. I could imagine how beautiful Rani would look in this saree, just like how the moon does on those gloomy nights. Artisans from Surat had arrived to the palace to add a floral zardosi border, in gold and silver.

I was so excited to present this to Rani, this would be the most special gift she would receive on her wedding day.

131 - Tying HIs Love

The Divine Union - Marriage

Giving and taking of presents is all over, Now is the time to bid farewell to the bride, Give chariots, horses to the Yadavs, Offer gold and zari brocade robe to Sri Krsna, Give a wardrobe and other fineries to the son in law, Give sarees from south to Rani Rukhmani, Give salu and gharcholu to sati Satyabhama, Give patola of patan to queen Jambuvanti, All presentation and customs finish, With great delight sri krsna returns joyously, Along with bride to Dwarika.

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Ceremony and Rituals

Marriage is the most awaited time, after months of travelling to find the magical gifts to present the Rani with, and create her wedding saree. It was finally time…

I presented her with her wedding saree, I saw the tears of joy that meander her rosy cheeks. I felt so satisfied. I had understood what marriage meant, and what marriage life would be like. I was prepared.

The bells were jingling, crowds from every region was arriving in excitement. Royal meals were being cooked. Women were dancing. Drums were loud. I sat on the ‘mandap’ waiting for my bride. As she walked in with her beautiful attire, I recalled all the memories I had with the dots. The dots were winking back at me. This was a moment of magic for me. It was indeed special. Her face was decorated with a golden ‘nath’ with diamond embelishments accompanied with a ‘jumar tikka’, placed on the partition on her braided hair. Her forehead had a red ‘bindi’ painted, resembling the dots on her saree. I could see the shyness on her face, her nervousness and excitement was reflecting in her eyes. When I looked into her eyes, I could see the stories she has planned for our future, and it was beautiful.

As the priest chanted the holy mantra, our hearts were bursting with excitement; the dots on her saree were in a romantic mood, reflecting the excitement in our minds. The night ended peacefully, in the midst of a huge crowd. Everyone left to their respective homes, but the dots stayed back into our lives, giving us hope and taught us to love.

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Marriage

Revolution ForThe Women During my travel, I witnessed the birth of the dots, how they travelled and gave life to whoever adapted them. The mothers of these dots, were the mother of all those little boys who danced on the streets where I had walked on, too. But, like how our mothers, so quietly do the entire household chores without expectation of gratitude. Similarly, they were also creating these beautiful dots so silently, with so much attention and love, nurturing them like they were their own whilst they sheltered on their laps every afternoon in their homes, until the Agents arrived to carry the dots away to the new home. I felt if it wasn’t for the women, and their ways of life, their rich tradition and stories, I would have never understood the love and effort that goes into every piece of bandhani created. I was inspired.

The dots were revolutionary for the women, like how they gave birth to them, the dots gave them a reason to live with dignity.

It was time for the women to be celebrated for the majestic work they have done through centuries.

My Rani organized a show, hosting all these women and rewarding them for these wonderful creations that have brought smiles to a million faces on every occasion.

This is the tale of those travelling dots, which will keep on replicating like how the universe expands, filling colours into everyone’s life, giving a new definition to life. They will always be there. That cluster of dots that never left my side.

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Women Revolution

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chapter name

The world has existed longer before us and it will continue growing after we vanish somewhere into the universe. Our only remains will be those travelling dots that will continue to fill colours of life like how they did to ours once upon a time.

After we dissolve back into the earth we came from; it is the ‘bandhan’ that lives on.

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chapter name

Bibliography •Buhler, Alfred “Indian time dyed fabrics” ahmedabad calico museum of textiles, 1980

• Jain jyotindra: “Folk art and culture of Gujarat”, Ahmedabad, shreyas Prakash, 1980.

• Buhler, Alfred, Fischer Eberhard “the PayPal of Gujarat double ikat in India”, basel, Switzerland publication of the rock foundation new York and museum of ethnography Basel,1979

• Larsen, Jack Lenore. “The Dyer’s Art: Ikat, Batic, Plangi”, New York, Van Nostrand Reinhold, 1976

• Dhamija, jasleen. Ed. “Crafts of Gujarat”, new York, main international, 1985 •Elson Vickie c. “Dowries from Kutch: A women’s folk art tradition in India”. California museum of cultural history. 1979.

• Fischer Eberhard. “Tempelucher fur die muttergottinnen in Indian”,Zurich mudeum, 1982 • Frater Judy “Threads of identity: embroidery and adornment of the nomadic Rabari”. Ahmedabad, mapin publishing Pvt. Ltd, 1995 • Gillow John. “Traditional Indian textiles”, London, Thames and Hudson 1992.

• Lynton Linda “The sari, styles, pattern, history, techniques”, London, Thames and Hudson, 1995 • Marie Louise, “Golden sprays and Scarlet flowers”, traditional Indian textiles from the museum of ethnography, Basel, Switzerland.

• Murphy, Veronica,”Tie-Dyed textile of India tradition and trade”, Ahmedabad. Marpin publishing,1991 • Nanavati J.M., M.P.Vora, M.A.Dhaky. “The embroidery of Kutch and saurastra” Ahmedabad Gujarat stat department of Archaeology, 1964 •Patel haji yoosuf, “A history of Khatris”, Krachi, published by same author, 1975.

•Goswamy, B.N. “Pichhwais: Temple hangings of the vallabha sampradaya”, Sara bhai foundation, Ahmedabad

•Sarabhai Mrinalini, “ Patolas and resist dyed fabrics of India”, Ahmedabad marpin publishing,1988.•Trivedi Kirti, “Indian symbology”, Bombay, industrial design center,1987.

•Gulati, A.N. “ The Patolu of Gujarat” Bombay museum association of India” 1951.

• Wada Yoshiko and others, “shibori: The inventive art of Japanese shaped resist dyeing”, Tokyo,kodansha, 1983.

•Hauser Arnest. O.” Treasures of the Ajanta caves” , readers digest, Bombay RDI print and publishing private limited, 1987

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Bibliography

References Unpublished Craft Document • Bhowmick surbhi, “Laheria Tie-Dyed textiles of Rajasthan” Ahmedabad, NID •Jain neelu, Tasnim cycle wala, “ The costumes of Jat community Kutch, Gujarat” Ahmedabad NID, 1997 • K.Himabindu, Jayanti Janaki, Manchanda Rashna.”Bandhani of saurastra & katchchh” Ahmedabad,NID, 1995 • Northeim, Turid, “Documentation of Bandhani and Laheria” Ahmedabad NID •Wada, Yoshiko. “Study of Bandhani and Laheria: Tie-Dyed fabrics of india” Ahmedabad, NID, 1983

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Reference

Credits Sketches and Diagrams, Hima Dholalika Illustration, Hima Dholakia and Chandni Karelia Gujarati Poem, Hima Dholakia Translations of Poem, Chandni Karelia Photography and editing, Jaimin Modi and Hima Dholakia Cover page Sketches, Chandni Karelia Main cover page Illustration, Chandni Karelia Captioning, Chandni Karelia Text, Chandni Karelia text editing ( authors draft), Chandni Karelia and Hima Dholakia Compilation, Chandni Karelia Layouts, composition and editing, Chandni Karelia and Hima Dholakia Research, Chandni Karelia and HIma Dholakia Text editing, Swasti Singh Ghai Other Pictures, Rosemarry Crill’s (Indian tye dyes textile of India

140 -

Credit

Glossary Aba, Abo: dress worn by Khatri Muslim women over loose trouser (ejar) Al: Red dye from the root of the tree Morinda cordifolia.

Bandanna: from bandanna, ‘to tie’. The English term for tie-dye spotted handkerchiefs And their printed imitations.

Bandhani, Bandhej: ‘tying’. Tie-dye work in general. Synonymous with Malay Plangi and Japanese shobori.

Banhu: from bandhna, ‘to tie’. Tie-dyed handkerchief design of red with pale lozenges.

Bund: from bundi. Tie-dyed material for use as handkerchiefs.

Bundi , Bindi: a small dot formed by tie-dyeing.

Kanchli: short bodice with sleeves.

Kasum, Kasumba: red dye from the petals of the safflower.

Khunti: tie-dyed dot (alternative term for bundi).

Kurta: long collarlrss shirt with sleeves, worn by men.

Kurti: long sleeveless shirt worn by women.

Karkhana: workshop Malmal: fine cotton muslin.

Nath, Nathani: nose ring.

Chunari, Chundadi, Chunni: woman’s head-cover or veil; 2. Tiedyed pattern of dots.

Odhni, Orni: from odhna, to cover up. A large square or rectangular cloth worn by women which covers the head and hangs down the back. One end is often tucked into the waist-band of the skirt. Worn mostly in Rajasthan and Gujarat.

Dhanak: tie-dyed dot.

Pallav, Pallo: the decorative end of a sari.

Dupatta: ‘two leaves’. A long rectangular cloth worn by women over the head and shoulders; usually made up of two lomgitudinal sections sewn together.

Panchrang: ‘five colours’. Multi-coloured, especially of tie-dyed turbans, etc.

Ejar, Ezar: trousers worn by Muslim women, especiall of the Khatri community.

Gali: indigo.

Gajji: satin-weave silk, used mainly in Gujarat.

Ghaghara: skirt.

Gharcholu: ‘house dress’. Cotton tie-dyed sari or odhni worn by brides in Gujarat.

Haldi: turmeric; the yellow dye prepared from it.

Panetar: White silk sari with red tie-dyed decoration, worn by Gujarati brides under the gharcholu.

Pomcha: from Padma, lotus. The stylized floral medallion on an orhni; also, the orhni otself.

Rasamandala, Rasalila: ‘dance circle’ or ‘dance play’. Krishna’s dance with the cowgirls(gopis). The name given to the tie-dyed pattern of dancing girls in a circle.

Rumal: ‘face-wriping’. A handkerchief or head-cover.

Zari, Jari: gold thread brocade or embroidery.

Kamli, Kambli, Kambal: woolen blanket. Anglicised to ‘Kumblee’.

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Glossary

Index Introduction,16,17,18,19

Way Of Life (Rajkot),72

General History,20,21

Production (Rajkot),73

Indian History,22,23

Ahir Community,74

History of khatri’s,24,25w

Ambadal,75

Interview With Dr, Ismail Khatri,26,27

Artisans Life (Rajkot),76,77

Process,28,29,30,31

Kambhaliya,78,79

Colour, Composition And Dots,32,33,34,35

Artisan’s Life (Khambhaliya),80,81

Process Introduction,36,37

Production (Khambhaliya),82,83

Folding,38,39

Shikari, Bagido,84

Equipment And Techniques,40,41

Kathiyawadi Community,85

Dyeing,42,43

Colour Palette (Khambhaliya),86,87

General Process,44,45

Wadhwan,88,89

Raja’s Return,46,47

Architectural Influence (Wadhwan),90,91

Rani’s Desire,48.49

Other Craft In The Region (Wadhwan),92

Occasions,50,51

Production And Manufacturing (Wadhwan),94,95

Ahmedabad,52,53,54,55

Women Interview (Wadhwan),96,97

Ways Of Life (Ahmedabad),56,57

Jetpur,98,99

Artisan’s Profile (Ahmedabad),58

Way Of Life (Jetpur),100, 101

Artisan’s Life (Ahmedabad),59,68,69

Artisan’s Profile (Jetpur),102

Jamnagar,60,61,62,63,64

Artisan’s Style (Jetpur),103

Rabari Communitys,65,66,67

Kachchh,104,105

Rajkot 70, 71

Trade Route,106 142 -

Index

Chandrokhani And Baavan Bhag,107 Meghwal Communitys,108 Mutwa Communitys,109 Jath Communitys,110,111 Combination With Bandhani,112 Artisan’s Condition,113,115 Government Intervention And Artisan’s,114 Judy Frater’s Interview,116,117 Surat,118,119 Central Of Textile Market (Surat),120,121 Parsi Community,122,123 Costumes (Women),124.125 Costumes (Men),126,127 Fashion Trend And Designer,128,129 Tying His Love,130,131 Marriage, Ceremony And Rituals,132,133 Women Revolution,134,135,136,137 Bibliography,138 Reference,139 Credits,140 Glossary,141

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Index

chapter title Nequamus exces quis core nos vent voluptaque plaborepedi beaquatum exerum raestis idelit omnis dolorem laborumquo quidebit a vellora dem lacilis cipitaqui volupta eaque sequi comnis eos peressim ipidemp eribea vere providi verum eum as vit aspersperum, volupiendit, venisque nis nis auta debis rendae. Dolore nonet aria solecea eiusdae ma doluptio velendam doluptatus rendam, sit estota velenis rentionsequo volupta sitis in nonecum res mollore premquis mo volecearum fuga. Itat quam, voluptam haris es aut unturis arum quam fugita asitibus.

Luptas aut porita incium, cor alicimus et volenienima verum hiciume natinihit optae lab illuptatum et qui veliquas volut hiciaspisque corpos autet esecuptas aut la isciet modis vento dolorporatem idem lantus eaquatet ut audionsequis molorpo restorecae none mo qui conserrovit, veratur min reris ad eriorro rporunt videlitaeris est, vendam, inctior arum atio torae natiberi dolorerupta illautatiore excerum, cones asitatu renimetur am inci conseditas volupta tusaeritati dolecep erfercia volupta eveniatur? Adipsandis sequo blab inctem. Sit quatem. Itatur, qui bearum fugitat asi con pa inveria iumquatae parunt veliquias di dem etur

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chapter name

chapter title

Nequamus exces quis core nos vent voluptaque plaborepedi beaquatum exerum raestis idelit omnis dolorem laborumquo quidebit a vellora dem lacilis cipitaqui volupta eaque sequi comnis eos peressim ipidemp eribea vere providi verum eum as vit aspersperum, volupiendit, venisque nis nis auta debis rendae. Dolore nonet aria solecea eiusdae ma doluptio velendam doluptatus rendam, sit estota velenis rentionsequo volupta sitis in nonecum res mollore premquis mo volecearum fuga. Itat quam, voluptam haris es aut unturis arum quam fugita asitibus.

Luptas aut porita incium, cor alicimus et volenienima verum hiciume natinihit optae lab illuptatum et qui veliquas volut hiciaspisque corpos autet esecuptas aut la isciet modis vento dolorporatem idem lantus eaquatet ut audionsequis molorpo restorecae none mo qui conserrovit, veratur min reris ad eriorro rporunt videlitaeris est, vendam, inctior arum atio torae natiberi dolorerupta illautatiore excerum, cones asitatu renimetur am inci conseditas volupta tusaeritati dolecep erfercia volupta eveniatur? Adipsandis sequo blab inctem. Sit quatem. Itatur, qui bearum fugitat asi con pa inveria iumquatae parunt veliquias di dem etur

Nequamus exces quis core nos vent voluptaque plaborepedi beaquatum exerum raestis idelit omnis dolorem laborumquo quidebit a vellora dem lacilis cipitaqui volupta eaque sequi comnis eos peressim ipidemp eribea vere providi verum eum as vit aspersperum, volupiendit, venisque nis nis auta debis rendae. Dolore nonet aria solecea eiusdae ma doluptio velendam doluptatus rendam, sit estota velenis rentionsequo volupta sitis in nonecum res mollore premquis mo volecearum fuga. Itat quam, voluptam haris es aut unturis arum quam fugita asitibus.

Luptas aut porita incium, cor alicimus et volenienima verum hiciume natinihit optae lab illuptatum et qui veliquas volut hiciaspisque corpos autet esecuptas aut la isciet modis vento dolorporatem idem lantus eaquatet ut audionsequis molorpo restorecae none mo qui conserrovit, veratur min reris ad eriorro rporunt videlitaeris est, vendam, inctior arum atio torae natiberi dolorerupta illautatiore excerum, cones asitatu renimetur am inci conseditas volupta tusaeritati dolecep erfercia volupta eveniatur? Adipsandis sequo blab inctem. Sit quatem. Itatur, qui bearum fugitat asi con pa inveria iumquatae parunt veliquias di dem etur

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chapter name