Cherai Kaithari by VAIBHAVIVINOD SHINDE

Copyright © 2019 NIFT All rights reserved under International copyright © 2019 convention No part of this document covered by the copyright here on maybe reproduced or used in any form or by any means graphics,electronics or mechanical including photocopying,recording,taping and scanning without the written permission of the copyright owner.National Institute of Fahion Technology , Kannur

DECLARATION We hereby declare that the documentation titled “Cherai Kaithari”, submitted as a part of the subject Craft Research and Documentation in the 5th Semester of Textile design is an original record of the genuine work done under the guidance of Mrs. Jyothi Siv Anand, National Institute of Fashion Technology, Kannur. Group Members: Anushka P. Kulkarni(BD/18/1439) Harish R.V.(BD/18/3720) Meera Mathew(BD/18/1986) Nikhil C. Muralidharan (BD/16/3544) Rhituparna Haldar(BD/18/5957) K.M. Shreelaxmi (BD/18/1570) Vaibhavi Vinod Shinde(BD/18/1524)

Signature of the mentor

Signature of the Hounourable jury members

ACKNOWLEDGEMENT We as a group would like to extend a very heartfelt gratitude towards the cluster, Cherai Handloom Weavers Cooperative Society for helping us in understanding the working and structure of their Society. We would especially like to thank The secretary, Mrs. Shiji for explaining everything with such detail. We also share a deep sense of gratitude towards the weavers of the Society for being very cooperative and patient with us and for sharing their valuable knowledge with us. We would also like to thank Mr. Giri Verma, the Nodal officer, Kannur at the Directorate of the Handloom and Textiles, for sharing his knowledge and expertise on the different aspects of the Handloom Societies, the policies and subsidiaries introduced by the central as well as state government. We owe a deep sense of gratitude towards our Course Coordinator, Mr. T. Pugazhenthi for providing us with the opportunity to undertake this project and our mentor. Mrs. Jyothi Siv Anand, without whose guidance and support this document would have been incomplete. Finally we would like to thank the National Institute of Fashion Technology for providing us with the opportunity and exposure to weaving communities like Chera Kaithari.

TABLE OF 1. RESEARCH CONTEXT Introduction About the place Methodology

CLUSTER PROFILE Historical perspective of the craft Demographics Geographical factors and conditions Artisan profiles

CONTENTS 3.

THE CRAFT

ANALYSIS

Process Product details Product and design specifications

Sustainable practices Study on demand and production Today’s scenario Marketing mix Role of government, Ngos and financial institutions Swot analysis Conclusion Recommendations and suggestions

1. RESEARCH CONTEXT

1.1 THE LOOM SET UP

1.2 THE ROUTE MAP TO CHERAI HWCS

1.3 THE PLANS OF THE OFFICE AND THE CLUSTER

1.4 ONE OF THE WEAVER AT WORK

1.5 ILLUSTRATION OF CHARKHA OR THE WINDING WHEEL

2. CLUSTER PROFILE

2.2 THE KAAVI MUNDS

2.1 THE KAAVI MUNDS

2.3 THE HANDLOOM MARK

2.4 THE CARE FOR CHENDAMANGALAM MARK

2.5 THE CHERAI HANDLOOM STORE

2.6 VARIOUS TYPES OF SAREES PRODUCED BY THE SOCIETY

FIG. 2.7 THE WEAVERS WARPINT THE YARNS FOR WEAVING

FIG. 2.8 THE VICINITY OF THE SOCIETY

FIG. 2.9 THE BACKSIDE OF THE SOCIETY

FIG. 2.9 ILLUSTRATION OF A WEAVER WEAVING CLOTH FOR SAREE

FIG. 2.10 ILLUSTRATION OF A STACK OF FINISHED CLOTH

FIG. 2.11 ILLUSTRATION OF A CLOSE UP OF THE PROCESS OF WEAVING

THE ARTISAN’S PROFILE

FIG. 2.12 ILLUSTRATION OF THE PROCESS OF JOINING WARP YARNS

FIG. 3.1 THE PROCESS OF WEAVING A TRADITIONAL SAREE

FIG. 3.2 PROCESS OF CURING AND WASHING THE YARNS

FIG. 3.4THE DYED YARNS

FIG. 3.5 YARNA FROM YARN BANK

FIG. 3.6 DYED YARNS

FIG. 3.7 DYED YARNS

FIG. 3.8 & 3.9 THE PROCESS OF WINDING DONE FOR DIFFERENT CLOTHS

FIG. 3.10 THE BOBBINS USED FOR WARPING

FIG. 3.11 THE SIZING PASTE USED FOR THE YARNS

FIG. 3.12 APPLICATION OF SIZING PASTE

FIG. 3.13 PROCESS OF PREPARATION OF THE LOOM

FIG. 3.14(ABOVE) BEAMING OF THE WARP YARNS FIG. 3.15(BELOW) PREPARED LOOM

FIG. 3.16 THE PROCESS OF WEAVING

FIG. 3.17 THE KASAVU OR ZARI THREADS

FIG. 3.18 WEAVING OF KASAVU THREADS IN THE WARP

FIG. 3.18 THE LOOM SET UP

FIG. 3.19 WEAVING OF THE STRIPE PATTERN

FIG. 3.20 ILLUSTRATION OF THE DYED YARNS

FIG. 3.21 AND 3.22 THE WEFT YARNS WOUND AROUND A BOBBIN

FIG. 3.22 VARIOUS TPES OF CHENDAMANGALAM SAREES

FIG. 3.23 THE MUNDUS

FIG. 3.24 THE KASAVU SAREES

FIG. 3.25 THE MUNDU NERIYATHUM SOLD AT THE CHERAI HANDLOOM STORE

CAD DRAWINGS OF THE PRODUCTS

FIG. 3.27 THE KAAVI MUND

FIG. 3.28 THE KASAVU MUND

FIG. 3.29 THE STRIPED PATTERNED SAREE

FIG. 3.30 THE MUNDUM NERIYATHUM

FIG. 3.31 AND 3.32 THE CONTEMPORARY DESIGNS MADE BY THE CHERAI WEAVERS AS A PART OF THE ROUKA COLLECTION

4. ANALYSIS

FIG. 4.1 THE LOOM SET UP

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FIG. 4.2 THE CHERAI HANDLOOM STORE

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FIG. 4.3 THE SAREE MADE FOR ROUKA

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FIG. 4.4 THE PROCESS OF WARPING

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FIG. 4.5 THE SAREES MADE AS A PART OF A COLLECTION FOR ROUKA

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FIG. 4.6 THE PROCESS OF WINDING YARNS INTO PIRNS

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FIG. 4.7 THE PROCESS OF JOINING YARNS

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FIG. 4.8 THE CHARKHA

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FIG. 4.10 THE VARIOUS NGOS THAT HELPED IN UPLIFTMENT OF THE CHERAI HWCS

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CONCLUSION We as a group documented about the Cherai Handloom Weavers Cooperative Society. The study actually started with a lot of limitations, with the most major one being that most members of the group could not visit the place but we did understand the working and the importance of the cluster assigned to us for the study. The main aim of this documentation was to understand the traditional weaving societies and to empathise in order to come up with solutions for a betterment of the societies, which was fulfilled in the course of this documentation. Cherai kaithari went through a lot of changes in the past, right from having a glorious history and patronage of the Paliams, to the decline in the number of workers due to other opportunities, to the floods of 2018 and even to the COVID-19 pandemic. The cluster has withstood all and everything and is still a very functional part of the society. Every single time there was a problem the society found a way to overcome. In terms of processes, the whole process is pretty much sustainable with a very few unsustainable practices. The issues that we came across while documenting were that of the waste management, marketing and design innovation. The documentation helped us understand the structure and working of Cherai HWCS. This was accompanied by the understanding of the government initiatives and programmes which helped the handlooms survive the era of powerlooms. We wish to work with this highly empowered organization to help them achieve even better success in the future.

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RECOMMENDATIONS AND SUGGESTIONS The cluster has the potential to reach new levels of innovation with some amount of skills training in terms of surface ornamentation. This may bring about new designs of products and help the society to widen its market. The exploration of the young adult market segment can help to increase the product categories and thereby ensure more sales. Marketing as a whole is a big problem for the society. Training the imparted in terms of usage of social media can help promote the products to a wider audience. The handcrafters who work in the rural or niche areas. Should be brought under public notice. More people should know about them and thereby it will help them make more sales. People should be made aware of the benefits of handloom products which can lead to everyone finding something of their taste and interest in the handloom products.

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QUESTIONNAIRE FOR THE ARTISANS QUESTIONS FOR THE CLUSTER Why did they choose this location? How did the whole cluster originate? Do the weavers who work in the cluster belong to the same family? If not then how did the craft get passed on to others? How did the craft evolve over the years since its conception? How do the younger generations get started with the craft? What is the significance of the craft? What is the climate and how does it affect the craft? What sources of water do they use? If the source has changed then how did it affect the craft? If the work is gender-based what is the division of labour? What work is each one doing? Questionnaire for the artisans Role of each artisan ? Where do they live ? How do they travel ? Education level ? Family ? Religion ? Secondary occupation ? Income ? What makes them continue working for the cluster ? Health facilities ? Emotional bond with the textile or cluster? Length of involvement with the craft ? What is your area of specialty? How long have you been practicing? Where were you trained, with whom and for how long? What are you currently producing? Do you teach others, and or pass on skills within your family? What are some of the challenges you face in continuing with the craft?

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PRE-PROCESS What raw materials are used? What is the method of preparing the raw material?Provide a brief description for each material. What are the local terms for the raw material? Where do you buy/source these materials from? How much of these materials can be collected at one time? What are the problems encountered in collecting these materials?( if any) Describe the preparation for making the product in the work area. What are the tools used? Record the size, and material. (Photograph the tools together and separately.) What is their(tools) local name? Have new tools been introduced? If so, what was the old tool? How has the new tool changed production processes? Who makes the tools? Can they be purchased from the local market and what is the present price? How is the tool maintained and by who? How often? Describe the preparations, if any done for the exercise How much time is spent in each step? How do they test that the material is now ready? How do they store prepared material? Are there alternative materials? PRODUCTION PROCESS Ask for a live demonstration, if possible, to record the process step by step, describing in detail each step of the process. What is the primary work area? What is the sequence in which materials are put together? POST PRODUCTION PROCESS Record the after treatment ? finishing ? decoration ? packaging? Quality Assurance (pictures of common defects if any) What characteristics does a good product constitute, according to the artisans? Ask if you can see a product that has failed, and one that is perfect. Note differences. Record the artisan’s evaluation of a failed product. What could go wrong? Why does this happen? Note down the processes that have led to the failure, some examples may be poor quality material, or poor quality production process.

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MARKETING Where is the main market for the sale of the product? Has it always been traded? What were the traditional trading communities? Has this changed? CHARACTERISTICS OF THE CRAFT PRODUCT Are there common or repeated motifs used in the craft? What is their symbolism? Are these inspired from the surroundings or are there other influences on design or motifs? What kind of motifs are made? What is the inspiration for all the motifs? Is there any difference between the new and the old motifs? How frequently the designs and motifs have changed? How are the Chendamangalam products different from other clusters? / what is the speciality of the Chendamangalam products? How have the sales been in the past few years? How have the customers perceived the craft according to them? (Record the evolution of designs and motifs, if any.) Is the craft traditionally utilitarian, or socio-cultural, and or religious? Has the traditional use changed? If so, what is the new use for the craft? How do local people use the craft products? What are the problems faced by the craftsmen? Why do they use frame looms and not the Malabar looms? What was the original setting of the crafts(with respect to the traditional practices of the craft)? What were the religious and community settings that have been prevalent and working with the craft? CLUSTER POLICIES What are the policies of the cluster in terms of welfare of the workers( weavers and non-weavers)? How does the government help in the working of the cluster? Is there any designer or NGO interventions in helping the cluster work? What are the possible threats according to them to the cluster and the craft?

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THE TEAM & THEIR CONTRIBUTIONS

ANUSHKA P. KULKARNI (illustrations, secondary research and document layout)

NIKHIL C. MURALIDHARAN (primary research, field work and translations)

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HARISH R.V. (Illustrations and photo editing)

MEERA MATHEW (primary research, field work and translations)

K.M. SHREELAXMI (translations and document layout)

RHITUPARNA HALDAR (illustrations)

VAIBHAVI VINOD SHINDE (illustrations, content writing, secondary research)

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