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This documentation is a compilation of the study of the durries of Sitapur. Research has been vastly done on durrie weaving and its co activities. It is a reference source that includes all the aspects of the location also rewind back to the history. The cluster development initiative of NIFT endeavours both the vision building as well as c a p a c i t y b u i l d i n g objectives for the betterment of these artisans and their families so as to provide them with brighter, happier and satisfactory future, through design development and diversification skill upgradationtraining, technological upgradation, formation of self-help groups for linkage with markets and financial institutions for sustainable income generation.
PR
A
cknowledgment
The document is made on a craft cluster of Sitapur’s durrie making. The document aims to study the pattern and old tradition of durrie making famous in the village Khairabad. The project resource was collected in ten duration period of our group stay in Sitapur. I would like to thank my faculty (Ms. Geetika Kumar) for co-ordinating our group activities and (Dr. Vidya Rakesh),for helping us in compiling the document.
uttar pradesh sitapur demographics socio cultual importance misrikh neemsar economy
ABOUT CLUSTER
what history of durries sitapur durrie tools involved in making raw material pre-process post-process design phenomenon and motifs shapes and sizes colors dyeing houses dyeing process facilitation of trade sold by weight
MARKET STUDY online market durrie mandi
ARTISANS
woking conditions ansari artisan profiles
BIBLIOGRAPHY
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C O NDestination TENT
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U
TTAR
P
RADESH
is the fourth largest state of India. It lies in the north central part of India. The state is divided into two psychographic regions. The Ganges and the Indo-Gangetic plain. It is the most populous state of Uttar Pradesh.
CRAFTS OF UTTAR PRADESH Uttar Pradesh is called ‘the heartland of India’. It is quite rich in its craft. -durrie weaving -stone craft -pottery -chickankari -zari embroidery -glassware -textile printing
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s
s Sitapur is a city/district located in the state of Uttar Pradesh, and belongs to the Lucknow division. The town is located on the banks of river Sarayan, halfway between Lucknow and Shahjahanpur and is well connected to state capital Lucknow by the National Highway No. 24. The town is easily accessible and so is the durrie weaving hub.
Kairabad situated about 10 kilometres away from sitapur and is accessible by auto or bus facility which is operated by the Uttar Pradesh government. The town is busy during its early hours yet has its own beauty even though it is slightly unclean. Moving towards Kairabad it was noticed that people pay less heed to their living condition as well as the hygiene levels of their homes or work place as well as the gallis, known as streets or small roads.
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DEMO
GRAPHICS The region of Sitapur shapes some portion of the Lucknow division of Uttar Pradesh and is a piece of Gomti-Ghaghra Doab, lying between Lat 27°6′ and 270 54′ and Longitude 800 18′ and 810 24′ E. Fit as a fiddle it is an unpleasant parallelogram and is around fifty miles from North to South and seventy miles from East to West. It is limited on the west and the south by the stream G o m a t i w h i c h wanders from North West to South East, isolating this region from the locale of Hardoi; toward the east lies the Ghaghra, which isolates it from the region of Bahraich; toward the north is the locale of Kheri, there being no characteristic limit on this side aside from in the north-east where it is set apart by the stream Dharwar; and toward the south are the locale of Lucknow what’s more, Bara Banki which likewise lie between the Gomati and Ghaghra
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The total area of Sitapur District is 5743 sq. kilometres with a density of 781 per kilometre square. The actual population of sitapur according to the 2011 census was found to be 4,483,992 of which 2375264 were males and 2108728 were females, with a population growth of 23.88%.the sex ratio is 888females /1000 males. The average literacy was found to be 61.12.
The primary religion rehearsed/took after is Islam and a minority of Hindus are likewise found here. Under Islam two classifications were which were known by the particular names Shiya and Sunni. As noted the Shiyas live together and the Sunnis live together yet separately. The Shiyas are more into cleaning, stitching and other activities, while the durrie craft is practiced by the Sunnis and a few Hindus widely spread on a medium or large scale.
History of the place
Region Sitapur is popular in India because of its fanciful and verifiable foundation. There is no official portrayal for its name however as the customary platitudes Sitapur is alluded as Lord Ram’s significant other Sita. In the primary Freedom Fight in 1857 this region assumed a critical part. Amid 1857 Arya Samaj and Seva Samiti-had set up their associations in the locale. In 1921 a great many individuals of Sitapur partook in Gandhiji’s Non-Cooperation Movement. Gandhiji came to Sitapur in 1925 and engaged participate in the Freedom Movement at Lalbagh. numerous National pioneers Maulana Mohammad Ali, Pandit Motilal, Pt. Jawaharlal were likewise present.
SOCIO CULTURAL importance
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MISRIKH
NEEMSAR
Misrikh is a city and a civil board in Sitapur area in the Indian territory of Uttar Pradesh. Misrikh is notable for Maharishi Dadhichi Maharaj, one of the best savvy. Neemsar, otherwise called Nimsar or Nimkhar or Naimisaranya is situated on the left bank of the stream Gomati. The sanctuary is considered one of the eight sanctuaries of Vishnu that self-showed and is named Swayamvyaktha Kshetra.(Seven different sanctuaries in the line are Srirangam Ranganathaswamy sanctuary, Bhu Varaha Swamy sanctuary, Tirumala Venkateswara Temple, and Vanamamalai Perumal Temple in South India and Saligrama, Pushkar and Badrinath Temple in North India). Naimisaranya sanctuary is venerated in Nalayira Divya Prabandham, the 7th– ninth century Vaishnava ordinance, by Thirumangai Azhwar in ten psalms. The sanctuary is named a divyadesam, the 108 Vishnu sanctuaries that are venerated in the Vaishnava group.
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ECONOMY
There was no presence of politics as per the survey as the government does not interfere with the craft or the people of Khairabad. Even during elections, they do not receive anything from politicians or the government at all. They prefer to keep their peace of mind with no external interference. Even though the living conditions of this region are far from hygienic, these people still do not find the need for the implementation of government schemes and other help. There is a lot of peace found here due to their ignorance when it comes to any kind of politics.
POLITICS
The economy of sitapur as well as khairabad are very different, the living standards and lifestyle of people are also different. The spending of both is considered less when compared to other cities, but then basic necissites are well afforded by the people of sitapur, while the people of khairabad still struggle to make ends meet.
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THE
CLUSTER
The cluster is closely knit with all the artisans living in a particular part of the district and all of them belonging to a particular religion and caste. In this case they were mainly people who follow the Islam religion, there was also a presence of a few Hindu’s in the society. This cluster revolves around the main craft of weaving durries and shows the vastness of this singular craft. Starting from the procurement of yarns, to the main process of weaving is handled by the cluster.
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WWWW
A PUR
SIT
R
angon bhari suti jab ek duje se milne jati hai, Durrie ke
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DU
R RIE
ehlo ya kaleen , ek nayi kahani bun jati hai
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‘
history of the craft
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The most punctual type of cover weaving was accounted for in India around 500 B.C. in Buddhist writings. Additionally, confirmation of utilization of floor coverings originates from Mongolia. These floor coverings were fundamentally the same as present day Persian and Anatolian floor coverings. Marco Polo composes of the far reaching prevalence of floor materials in India in his narratives. Be that as it may, albeit straightforward types of ground surface like namda (handwoven fleece) and durrie (straightforward floor coverings woven by ladies in provincial regions on two even parallel bars) have discovered day by day use in the towns of India for long, the cover in its present frame was foreign by the Mughal sovereigns from Persia toward the start of the l6th century. thought their history is not very specified we can see their use in pictures and documents of the past and even in historical movies. They were used mainly by the royals, again to depict royalty. Specific motifs and colours were used and the same were not made available to normal or middle or lower class people.
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Durries The art of weaving dhurries goes back decades and has been classified as a family inherited craft. it shows the intricate details of weaving because of its visibility of each warp and weft. It is mainly practiced in the district of sitapur which falls under the state of uttar Pradesh. Its basic description is a thick woven cotton fabric. sitapur Rugs (Sitapur durries) made here are based on flat weave technique using horizontal looms. Not only are they found made of cotton threads but are also made of synethtic, rayon, faux fur and silk and are used to cover bare floors or even used to make products and garments in various industries. They are made in different sizes depending on their final purpose. The sizes generally range from 12� by 12� to as long as 20 feet by 20 feet. The motifs are also carefully decided by the middlemen/ traders why give these weavers work, based on the trends and requirement of the market. Not only the motifs are based on trend, but so are the accessibility as well as portability of these durries. They come in a variety of colour, either weaved with dyed yarns or are dyed after the entire durries is finished catering to the needs of any taste or occasion. They are mainly woven using a four shaft pit or a table loom, and one to three people weave one carpet together depending on the width of it and also the size of the shuttle. As is generally woven plain weave or variation of plain weave along with a pre decided design or motif.
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T O O L S
THE LOOM The looms are generally self-made and are made of wood as it is more affordable than those made of metal and other durable materials. The looms are also given by the traders/people who run stores in the durrie mandi in case the looms cannot be purchased by potential weavers
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RAW
MATERIAL 15
The finished product requires quality and standard raw materials in order to produce quality exports which match the international standards, but are also feasible for day to day use, and are generally required to be dust free and low maintenance. Hence cotton yarns are required in order to make a normal cotton carpet (durries) and different materials are required for different types of carpets. cotton yarns of different diameters, synthetic yarns, fabric scraps, slub yarn etc. are used The fur based carpets which are 3d in nature require a different kind of material which had series of protruding thread like structures which helped attain that effect. These different yarns are spun using a wheel to make it more accessible and easily useable by the main weavers. The materials are either self procured when the durries is made for self consumption, but if it for sale or export purposes the materials are provided by the traders or the brokers involved.
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THE P R E
PROCESS
Primarily yarns are either purchased from the market or are supplied by the buyer itself according to the demand of durries’ in order to match up the supply. Before they are handed over to the weavers, they are first dyed to fit the requirements of the motif details and the colour palette of the product. As they come in different types, such as single colour, motif detail work, plain white durries which are further digitally printed or dyed according to the clients taste. • The yarns are first procured from the market in bulk according to the consignment • These could either be pre dyed in the dying house or could be of the raw shade • Then these are linked through a series of loops (tie-up) and through a bicycle wheel (charka) and spun on to small shuttles made of either inexpensive metal and wood or plastic (tube like structures) o Incase of scrap fabrics the fabrics are stretched and loaded on shuttle like structures in order to ease the process of weaving and ensures no knots or tangles appear. • The spinning could either be done from an external source but can also be done by the weaver himself. • These spun shuttles are then brought to the workspace where the looms are dressed. • First the yarns are yarns are counted and laid on the ground then the assumption is made for dressing the loom • The yarns are passed through the slots on the harnesses, the process is often referred to as denting and then they are passed through the loops and connected to the end of the frame • the looms are a 4 shaft setup (repeat size) hence the weave generally is a plain or a variation of plain weave. • The looms are dressed with the warp yarns, they are generally loose to prevent breakage • The design is pre-determined by the final buyer or is drafted out by the trader based on the current trend in the international, national and local market.
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The main process is backed up by the pre pro-
cess of material and loom prepping. As the loom is a 4 shaft unit, the repeat size and lifting order becomes very limited, hence to facilitate motif work extra threads are tied over and it is worked in such a manner that is all looks weaved in. there have been many cases where 3d weaving has been observed, where the motifs are woven with a thicker thread and protrude out of the 2d frame.
THE MAIN
• once the loom and materials are all accessible and ready to use, the lifting order is carefully studied and a graph is made of the draft, a lot of thinking is done before the weaving starts.
rocess
• The weaving is done in a monotonous way if it is a plain weave durrie is being made • If the durrie is one that involves detailing, then it is worked upon with external shuttles or threads that are knotted to the main structure and interlaced
• The main process consists of just weaving on its own. • It can be done by one person if it is a small loom within the hand’s reach, but it is sometimes worked on by 2 or even 3 people depending of the size of durrie required for the market or a client.
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THE
Process O S T
Depending on the type of durrie the post process is determined In the case of detailed colourful durries the threads are cut out to finish the product, also known as finishing. These are then bundled up or packed seperatly and put into storage ready for sale and exports. In the case of plain white durries then are finished by cutting out excess threads and then sent to the dying house for further printing and dying before they are packaged and sent for sale. These plain durries are made when there is a fear of change in trend and colours, and they are easier and faster to weave. In the case of simple durries, they are also finished by the cutting of excess threads. And sometimes are re dyed in case the colour of the yarns appear to be dull or faded out. In case of scrap fabric durries the weaver ensures that the fabrics are all well settled inorder to attain the flat surface which is required. The post process does not stop with just the finishing of the product but also talk about what is done with the product after its finishing touches and how the loom is set up for the next procedure of weaving. The marketing of these durries is done through many ways depending upon the target market which is predetermined.
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DESIGN Phenomenon MOTIFS
The trends when it comes to the durrie craft has been on a rapid change due to the identification of the different tastes and preferences of the final consumers. The motif work also depends on not just the ones mentioned above, but also on caste, status, occasion etc. Motifs are generally categorized into sub categories such as floral, texture, geometrics, animals etc The main motif work is done inspired by geometry, flora and mainly textures. Symmetry can also be found in these carpets striking the balance with colour as well as design space. In Kairabad the main motifs worked on are named as under.
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SHAPE SIZE and
The shape of the durries is generally rectangular but can be customised to a square shape depending upon the requirement of the market. The smallest durrie/ mat is about 12” by 12” which are generally used for table covers etc and the largest durries can go up to 20 ft by 20ft depending on the size of loom which it is woven on. Durries which are made for social gatherings are more grand in nature, they tend to reflect the status of the people as its motifs and material depict caste, creed etc.
The size of the durrie determines the amount the weaver will be paid for his hours of hard labour, if the shape is tricky then this also plays a role in their wage system. For example, for a 12” by 12” durrie a weaver is paid about Rs.30 to 50, but when a durrie of a bigger size is made then he receives an amount around Rs.100, sometimes even more.
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CO LO RS 27
In products such as these durries colours are chosen as per trend and then classified according to availability. Generally, very vibrant colours are used in order to make them more appealing and also help with the taste and aesthetics. Colours such as white, blue, yellow, orange, red, green are used as basic colours and their tints and tones are also used in order to achieve a shaded effect and add depth to the design.
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DYE ING HOUSE The dying house, Hafizia workmanship and artworks arranged on the edges of Sitapur area because of its tremendous size and Kachiyara, the market more often than not for pieces of clothing and the populace was for the most part of the Muslim religion, just the general population who have been living there for long think about the dyeing house itself. Sitapur railway station proprietor was a nearby, no uniforms for the workforce were instructed. The understudies of MBA foundation seek preparing for their administration framework. The structures in the nearness of the dyeing house were utilized to do different highlights, for example, HR, administration part, parking areas for authorities and so on were available there with their own particular designation of confided in watches. A different place was distributed for the dye expert where he would deal with the labourers and additionally the guests. The regions were unmindful towards the area of the diminishing house, which made it somewhat hard to find.
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DYEING
PROCESS Different yarns made of different materials involved unique dyes as well as handling of the dyes concentration, namely cotton polyester and wool. All these yarns are dyed under pressure and high temperatures, in specific machines. The brand of dye used came by the name ORNET, it came with a shade card
Dyeing of cotton yarns MOT chemical was added to made the dye into a solution to be used with cotton yarns RDL RASOGEN chemical with colour, salt and soda for dyeing Normal wash so that the chemicals get washed off
Dyeing of woollen yarns Acid dye RASOGEN SMKL with colour along with acid, the yarns are boiled in this solution and then washed normally
Dying of polyester yarns Disperse agent added with DFT which helps with disperse levelling Acetic acid is added in order to make the final solutions Ph value fall inbetween 4-5 It is dyed at 120 degrees centigrade after it is done the solution is drained out the yarns are dried and then ready to use.
Cold dyes are referred to as MR dyes HER dyes are used at 80 degrees MER dyes are used at 60 degrees
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FACILITATION
OF
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RAD Transport and communication play the main role in trade, be it local or international trade. Few artisans have used the web to help connect with traders, online portals etch in order to make their lives easier as well as in the hope to not get cheated by the middle men. Due to the lack of education people still tend to blindly believe these middle men who so called helped them sell their durries. The trade sector plays a large role in the cluster because of the crave and demand for this product. Not only do the locals know the actual value of these products but also as they are easily available they aren’t maintained carefully. When these textile products are shipped globally people tend to decorate their homes and other spaces with this uniqueness, it even holds good as a status symbol. People are even willing to pay a high price in order to receive these durries.
SOLD BY WEIGHT
The main concept of this heavy textile product is its weight, structure and weave. Because of these aspects durries are even sold by the weight. As understood by one of the artisans Mrs. Baby Banu, who receives Rs. 3 for one kilogram of durrie she has made by the trader who further sells it at 50% higher price. Durries of different materials weigh differently on the scales hence its variation of the prices it is procured at from the artisan as well as determines its price in the main market. The sell by weight concept, has made life easier and tougher if we look into the welfare of the artisans, easier because in case a heavier durrie is woven quickly with ease they tend to receive more money, but if they are working on a very intricate durrie, which they spend days on and receive very less because this durrie might be light weight.
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MAR ‘ The online market
There are various websites where only durries are sold inorder to promote this craft as well as help aid the artisans. Sites such as indiamart, fabindia, amazon.in, snapdeal etc where these are sold as a cluster help initiative. Not only are they sold in india, but also shipped across the globe. With this being done the durrie market increases as it is targeted at its potential buyers. The prices on these sites vary from the start of Rs. 250 per durrie excluding shipping costs. And can even go up to Rs. 15000 per durrie and even higher depending on the intricacy and the materials used in them. The materials can be of various grades and values depending on which market it caters to.
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‘
KET Durrie markets
there are 2 durrie mandis in Khairabad, one being the old market and one is the new market. Both of them are known for durries. The old market was a little close minded when it came to answering questions and thought that those who were surveying them were going to cause them harm. The old market sold only durries; it had the presence of traders as well who would store their products as well as exhibits them and put them on sale. This market also has hygiene and location issues due to the high population as well as congested area. The new durrie mandi is more like a small, market where not only durries but other things such as apparel, jewelry, toys etc. machine made carpets are also sold along with other power loom produce. The main term durrie mandi comes into mind even though it is a vast market as the people who sell anything there are associated with the durrie craft. The durries from here are exported globally to countries such as Dubai, Florida etc and sold in stores such as IKEA and home centre etc from where it is bought by people to match their interiors as well as for permanent flooring with a good texture. They are also exported around India itself, in the south they are found in malls, fabric streets and branded stores such as lifestyle, mommy and me etc and used for various purposes, and sometimes even spotted in the form of products such as lampshades, seat covers etc.
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SWOT ANALYSIS
The main key of this analysis is to identify the main pros and cons of the craft, intertwined with the living conditions as well as the lifestyle and welfare of the artisans.
STRENGTHS
The main strengths were, the enrichment of the craft, and the will to learn especially when it came to development of the durrie craft to fit the modern lifestyle and current trend The craft is reaching great heights and is demanded by a vast market/ markets, yet still focusing on its main part which is it is entirely handloom, no machines are used to ease its process making it unique and special. Power looms are not over powering the production of these products; hence it still has the link to its rich past. Durries can be made using literally any textile material ranging from fibers to yarns and even scrap fabrics. Sustainability is found in this craft as even the yarns that are extra are tied together and used in a different type of durrie using a different technique There are many techniques and the main part is its link to the past, the basic technique remains the same but the designs change.
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WEAKNESS The living conditions are so [poor the artisans catch infections as breathing problems very easily Deaths have been caused due the tiny fibers present in the faux fur being used which wither away and enter the nostrils The artisans are made to work overtime for very less pay, the sell by weight concept is also a weakness as it offers very less pay hence it makes it difficult to make ends meet. There is a lack of electricity, water and shelter facilities, they tend to live in small houses and also work there at the same time with their high population in their own families The women of the village are very skilled tailors but do not know professional pattern making and other designer elements to make a living out of that and provide more earning to the family as well as stand on their own feet. The heat cannot be tackled and a lot of the artisans also suffer from heat strokes, and other heat related skin problems.
OPPORTUNITIES THREAT The durrie craft has a lot in store as it is still developing and people are learning more about it, hence it is gaining a new market and winning over trend studies The reach of this craft is not just the Indian market but also has a i nternational approach and can be used as much more than just a floor cover, products such as clocks, water bottle cases, knife stands, letter holders, wallets etc can be made from this textile using zero wastage pattern making techniques.
There is always a threat of the dominance of the mass market with the use of power looms , hence artisans are scared that they will use their only source of livelihood. The craft may die out as the artisans do not want their children to work on the craft as they are mostly not interested and prefer to get an education and work in a government set up. Due to lack of education, the decline of this craft people are afraid of losing all their job opportunities as they were limited to start with, hence making it difficult to even afford leads for survival
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ART SANS The artisans of Khairabad who have dedicated their time towards this craft are roughly aged between 17 and about 60 years of age. All of them are used to being taken advantage of by being paid very less for their long hours of tireless work. They live in dim lit unfinished little houses with large families and sometimes joint families. Most of them work a total of 8-10 hours a day, some even more and the ones just starting on the craft work less at the beginning. The artisans are mainly working on the craft to earn their daily bread and no other staunch reason. About 90% of them do not want their children to continue this craft due to all the difficulties they face on a day to day basis as well as want to give them a good education. And it does not stop there it also leads to them expecting them to do something which does not involve high labour work such as in durrie weaving. The craft has been carefully preserved by these artisans which has been passed on from their previous generations. Not only have these artisans stated that they are thankful for the existence of this craft but also would like to develop the craft and design the motifs and choose the colours on their own for a change as they are tired of working with what the traders provide them. It was noticed that the artisans who were younger than 38 years worked on intricate durries with multiple colours and also worked on the fibre like ones known as faux fur or hair durries in the international market as they were known to cause health problems.
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WORKING CONDITIONS Beginning procedures of the durrie (cotton cover) is an industry based process, while the rest happens at home. Thusly, it is basic to examine the working states of both of these units. Very poor working conditions were observed. The houses are little comprising of a couple of rooms, a verandah and a yard. The houses are made of mud and the verandah has covered rooftops or plastic sheets. Weaving machines regularly to be found in the front verandah. The weavers and other youngster works sit on the floor. Tying requires the weavers to be situated similarly situated for 5-6 hours at a stretch. This puts a consistent strain upon the eyes, hands and legs of the weavers. Accordingly, most weavers are known to experience the ill effects of spine torment.
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ZALEEL MR.
ANSARI
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Mr. Zaleel ahemed Ansari,the main weaver who led the group at the cluster has himself been practicing weaving durries for 30 years. He started by setting up a loom in his own home in Khairabad, after a while he migrated to Panipat where he learnt design, motif development and various new techniques. After Panipat he decided to widen his thought process in durrie weaving by going to Agra. Kanpur was his final stop for the same.
In 1996 he received official training so that he could go teach the potential artisans this budding craft, and increase its viability as well as put it forward so it gains a good market. New batches kept coming and they were trained 18 months at a time. He travelled a lot for this craft, hence it can be said he is well dedicated and well versed where durries are concerned. Mr. Zaleel Ahemed Ansari has also received many awards for his service, and is well known in the village of Khairabad at present. Many artisans work under him but do not suffer as he is generous and believes that they should be well taken care of. He has not only It can be summed up as; Mr. Zaleel just helped them earn a Ahemed Ansari is a person who has living but also taught them about basic given his life to the textile craft necessities, hygiene, and even given industry and also helps in them insight as to what happens to contemporizing not just durries but their products, where they go and how also products made from that much they are sold for. textile. extile.
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PROF
ARTISANS
Name - Suhaib Age - 24 years Qualifications - 12th grade Mobile Number - 9044639688
1
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Name - Sameel Ansari Age - 36 years Qualifications - 10th grade Mobile Number - 8917772427
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Name - Shahad Ali Age - 49 years Qualifications - No Education Mobile Number - 9044639688
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FILES Name - Kadeer Ansari Age - 40 years Qualifications - No Education Mobile Number - 9026923035
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Name - Mohammed Arif Age - 20 years Qualifications - 8th grade pass Mobile Number - 9159532641
5
Name - Mohammed Hashim Age - 27 years Qualifications - 10th grade pass Mobile Number - 9335908423
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Name - Ekhlaq Ahmad Age - 30 years Qualifications - 10th grade pass Mobile Number - 7784022095
7
Name - Firoz Age - 38 years Qualifications - No Education Mobile Number - 7784022095
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Name - Murtaza Ali Age - 40 years Qualifications - No Education Mobile Number - 9695242151
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Name - Mohammed Shakeel Age - 40 years Qualifications - No education Mobile Number - 8887928645
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Name - Mohammed Tukhair Age - 27 years Qualifications - No Education Mobile Number - 7518152265
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Name - Mohammed Irshad Age - 35 years Qualifications - 5th grade pass Mobile Number - 9335908423
12 13 Name - Sartaj Ahem Age - 30 years Qualifications - 8th grade Mobile Number 8957378910
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Name - Mohammed Akib Age - 20 years Qualifications - 8th grade pass Mobile Number - 8953332601
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Name - Riyaz Age - 35 years Qualifications - 8th grade Mobile Number - 7784022095
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Name - Javed Age - 32 years Qualifications - 7th grade pass Mobile Number - 6352326402
Name - Sameem Age - 38 years Qualifications - 3rd grade pass Mobile Number - 8853883109
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Name - Fareed Age - 20 years Qualifications - 5th grade pass Mobile Number - 6394967719
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Name - Javed Age - 26 years Qualifications - 8th grade pass Mobile Number - 8853913572
Name - Mohammed Javed Age - 18 years Qualifications - 12th grade Mobile Number - 6391661723
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Name - Mohammed Sarvesh Age - 18 years Qualifications - Graduation Mobile Number - 6392326402
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Name - Shabir Ahmed Age - 29 years Qualifications - 5th grade pass Mobile Number - 9026626645
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Name - Noor Mohammad Age - 25 years Qualifications - 6th grade pass Mobile Number - 9369741801
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Name - Iqbal Ahmed Age - 28 years Qualifications - 8th grade pass Mobile Number - 9369741801
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Name - Mustafa Hussain Age - 50 years Qualifications - No Education Mobile Number - Not Available
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Name - Masab Ansari Age - 42 years Qualifications - 10th grade pass
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Name - Rehmat Ali Age - 50 years Qualifications - No EducationMobile Number - 9120332908
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Name - Mohammed Shahid Age - 17 years Qualifications - 8th grade pass Mobile Number - 9854346218
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Name - Akeel Ahmed Age - 40 years Qualifications - 6th grade pass Mobile Number - 7266923596
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Name - Shah Fahad Age - 18 years Qualifications - 7th grade pass Mobile Number - 7206746305
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Name - Vakil Ahmed Age - 35 years Qualifications - 6th grade pass Mobile Number - 8808566110
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Name - Kabul Ahmed Age - 40 years Qualifications - 4th grade pass Mobile Number - 93070469610
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Name - Abdul Age - 36 years Qualifications - 3rd grade pass Mobile Number - Not Available
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Name - Tahir Ali Age - 22 years Qualifications - 8th grade pass Mobile Number - 8808212909
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Name - Shakeel Ansari Age - 30 years Qualifications - 5th grade pass Mobile Number - 7275201369
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Name - Niyamat Ali Age - 30 years Qualifications - 6th grade pass Mobile Number - 9889719015
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Name - Farukhuddin Age - 32 years Qualifications - 10th grade pass Mobile Number - 8604816451
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Name - Mohammed Javed Age - 39 years Qualifications - 10th grade pasMobile Number - Not Available
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Name - Mukhtar Ali Age - 64 years Qualifications - No Education Mobile Number - 9389879107
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Name - Nazmukh Hasan Age - 21 years Qualifications - 3rd grade pass Mobile Number - Not Available
Name - Firoz Ahmed Age - 37 years Qualifications - 4th grade pass Mobile Number - 9598716101
Name - Ajimullah ALI Age - 32 years Qualifications - No Education Mobile Number - 8545872903
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Name - Nasiruddin Age - 42 years Qualifications - No Education Mobile Number - 9118750831
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Name - Parvez Alam Age - 28 years Qualifications - 8th grade pass Mobile Number - 8090330323
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Name - Rasul Ahmed Age - 53 years Qualifications - No Education Mobile Number - Not Available
Name - Nirasat Age - 32 years Qualifications - No Education Mobile Number - 8840234388
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Name - Hamid Age - 20 years Qualifications - 5th grade pass Mobile Number - 9598688254
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Name - Meraz Ansari Age - 28 years Qualifications - 5th grade pass Mobile Number - 7269083334
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Name - Mohammed Kaif Age - 15 years Qualifications - 9th grade pass Mobile Number - 9682485210
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Name - Mohammed Imran Age - 23 years Qualifications - 8th grade pass Mobile Number - Not Available
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WE ARE WE ARE WE ARE RUSHALI VERMA
SHIVANI MAURYA
DEEKSHA ANAND
ARUSHI SINGH
NOOPUR AHUJA
RADHIKA RASTOGI 57
ATUL KUMAR
SNIGDHA MAURYA UMANG PARCHA
16 20
FD
5
RAVI KUMAR
AVINASH VERMA
BATCH
Weaving , illusions and dreams AKANSHA TRIPATHI
58
BIBLIO
GRAPHY
https://www.census2011.co.in/census/district/525-sitapur.html - DEMOGRAPHIC STRUCTURE http://ipindiaservices.gov.in/GI_DOC/458/458%20-%20GI%20-%20 Reply%20to%20FCR%20-%20A nnexure%202%20-%2022-07-2014.pdf - HISTORY OF THE CRAFT https://sitapur.nic.in/history/- HISTORY OF THE PLACE https://en.wikipedia.org/wiki/Khairabad,_Sitapur- information about the village resource centre - craft cluster documents. the loom hand book. primary collected data
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