GROUP RESEARCH PROPOSAL 111 · RESEARCH PROPOSAL BHUJODI WEAVING ... The festive vibrance of...
Transcript of GROUP RESEARCH PROPOSAL 111 · RESEARCH PROPOSAL BHUJODI WEAVING ... The festive vibrance of...
RESEARCH PROPOSAL
BHUJODI WEAVING Exquisite weaving of Gujarat
INTRODUCTION OF RESEARCH: The research includes the study of a craft and the visual culture of the
community that practices the craft and document it in a form of A.V.
AIM AND OBJECTIVES To know the weave and the culture of Kachchh Community.
KEYWORDS: Kachchh weaving,Bhujodi weaving,Motifs,Thread,Fabric,Warp,Weft
LITERATURE REVIEW:
INTRODUCTION The distinct styles of dressing and decorations which distinguishes one community from other also speak about the
artisans behind the decorative clothes. Gujarat is known for the abundance of crafts and their craftsmen with the products of local ingenuity.
Rann Utsav is observed in the month of December and January and many artisans participate in it which happens
in the Kutch district of Gujarat. Crafts men from different parts exhibit their products during the Utsav.
PLACE & PEOPLE: Bhujodi is the major textile centre which is about 8 km from southeast of Bhuj, Gujarat. Bhuj is a walled city which is the headquarters of Kutch district. In Bhujodi village off-white and coloured yarns are spread by the
groups of people on their streets adjacent to the veranda/courtyard where each group works to feed their loom for weaving. Each family in Bhujodi is having more than two loom either weaving for the local purpose or for
commercial. In the morning itself the whole village is active in the making of Bhujodi products.
People of Bhujodi are the Vankars or weavers, the Mughal migrants who had migrated from Rajasthan about 500 years ago, to weave the woollen veil cloths and coarse woollen blanket for the Rabari community. There are about
1200 people working in the production of the textile craft.
The Vankars of Bhujodi
The festive vibrance of embroidered textiles is the natural show stealer within Kutch textiles, but the subtler,
elegant outcome from the rhythmic clacking of Bhujodi’s Vankar family of weavers is not far behind in appeal.
The Vankars or weavers of Kutch weave colorful threads on the loom, with the yarn coming from Bhujodi, Ludhiana, Rajasthan and Ahmedabad
The weavers depended on the Rabaris for woollen fleece from sheep and on Ahirs for cotton and in exchange weaved colorful patterned shawls or dhablos for them.
Apparently, it is the Ahir dhablo that was the design inspiration behind Vishram Valji’s award winning piece.
Master weaver Vishram Vankar Valji once worked on a shawl for months that eventually won him the Presidents
award. Traditionally weaving only wool on their looms, the Vankars have slowly begun to experiment with cotton,
creating sarees that are yet to find a foothold in the marketplace, given their cost of production using the traditional methods.
Today, there are 1200 weavers all across Kutch in 210 villages. The number of women involved in the preparatory
and finishing processes is around 2400.
• Vankar is a name of a social group whose main occupation is the weaving of cloth, and Bhujodi has been home to the "weavers" for centuries.
• Up until fifty years ago, weaving was not an year-round activity. Bhujodi's inhabitants dedicated half of the year to farming, and the other half to weaving. But due to climatic shifts that caused inconsistency of the
monsoon and its consequential lack of water, farming became less reliable. In order to sustain a living, the shift to weaving became the community's main livelihood.
• The Vankar brothers, Shamji and Dinesh, two of the six sons of Vishram Valji, shed light on a quintessential factor that defines a highly skilled weaver.
TOOLS AND RAW MATERIALS
• Bhujodi weaving is traditional craft in Bhuj area. Different types of tools and raw materials are used. Finest threads are used for the weaving. Flying shuttle is used according to the designs to be weaved. Traditional four pedal loom is used for the weaving process.
• Tools and raw materials used in Bhujodi Weaving are:
• Bamboo Sticks: To held the threads evenly during warping.
• • Warping Frame: Warping Frame is used to arrange the yarns evenly to the warp beam
• • Dyeing Vessel (Tub): This vessel is used to colour the yarns.
• • Wood Ash: Wood Ash is used to hold the two ends of the yarn firmly during piecing.
• • Winding (Charaka machine): Charaka Machine is used to wind the threads in hank form for warping purpose.
• • Wool, Cotton, Tassar Silk: These are types of materials used to make the Shawls, Stoles etc.
• • Colours (Dyes): • Acid dyes are most preferred type of dyes for coloration of the yarns.
• .
PRODUCTS
Bhujodivillagewallsareadornedwithvarietyofshawlsfamedwithmirrorworkofallhues,stoles,blankets,upholstery material and carpets mostly woven from sheep hair, merino wool, cashmilon etc. Sometimesshawls are embroidered with intricate designs and mirrors used as the geometric patterns. Today, stoles,carpets, mats, shawls are made for the winter, which has more demand in North Indian cities like Delhi,Chandigarh and Lucknow. For the summer, the weavers weave cotton wears/dresses.
Traditionally Kachchh weaving was carried out on nomadic Panja loom, on which the entire activity was carried by hand. Shuttle looms, a more advanced technology, were introduced later on. There are two types of shuttle looms available across Kachchh– Pit looms and frame looms. The wrap is being prepared through many days process which includes dyeing. The women played major role in preparation of wrap. Various traditional designs were
created directly on looms through sequential movements of peddles. The real beauty of Kachchh weaving is the design made from extra weft
.
ABSTRACT
Thedistinctstylesofdressinganddecorationswhichdistinguishesonecommunityfromotheralsospeakabouttheartisansbehindthedecorativeclothes.Gujaratisknownfortheabundanceofcraftsandtheircraftsmenwith
theproductsoflocalingenuity.RannUtsavisobservedinthemonthofDecemberandJanuaryandmanyartisansparticipateinitwhichhappens
intheKutchdistrictofGujarat.CraftsmenfromdifferentpartsexhibittheirproductsduringtheUtsav.KachchhiweaverstraditionallycomefromtheMarwadaandMaheswaricommunities.TheMaheshwaris
transitionedintotheartofmashroo,whiletheMarwadastyleisnowwellknownasKachchhiweaving.Thiscommunityisversatile,craftingwoventextiles,leatherandwoodworkalloverKachchh.Sheepandgoatwoolwasusedforveils,skirts,shawlsandblankets.ThedesignswovenintoKachchhiwovenfabricswereinspiredbythe
communitieswhoworethem,replicatingtheshapesofmusicalinstruments,thefootstepsofananimalherd,etc.
Thenamesformotifslikevakhiyo,chaumukh,satkani,hathi,ordholkiareevocativeoftheruralimages.Thestrongcommunitylinkageswhichinsulatedtheweavingtradehaveceasedtoexist.Weavinghastakenona
drasticallynewshapeinthemodernmarketplace.WeavershavebecomedependentonmarketsoutsideofKutchforrawmaterialsacquisitionandsales.ThehubforweaversandtraderstoprocurerawmaterialisLudhiana,wheremostweaversgettheiracrylicyarn.Departingfromtraditionalrawmaterials,weaversnowusesilks,
rayons,andacrylicyarnintheirtextiles
Theaimistolearnthe&understandthewholeprocessofbhujodiweaving,incontexttothemotifsused,thefabric,thetechnique,thecoloursusedetc.Wearealsolookingforwardtopracticethecraftinfrontofskilled
craftsmansothatwecanapplyItfurtherinourproject.
METHOD
Woollenyarnwashand-spunbythepeoplewhoprovidedthisyarntothevankars/weaverstoobtaintheproductsrequiredbythemearlier.Todaymillspunyarnisusedanditisveryraretoseesomebodyengagedin
thetraditionalmethodofspinning.
Fordyeing,therequiredyarninhankformistiedwiththepolypackatbothendsandweighed,Colouralongwithacidismeasuredandheatedto65-750Canddyedtillthesolutionturnscolourless,sothatthecolourgets
transferredontotheyarn,afterthisprocessyarnsarespread.Theabovesaidprocessisrepeatedfortwotimesfordarkercolours,itisthenwashedinwater,driedinshadeandinsunlightforfixingofthecolours.Thereare
twomethodsofwarpingusedherewithwarpingpegsorwithwarpingframe.
•warpingpegs•warpingFrame
Inwarpingpegs,thewoodenpegsarefixedtogroundnearwallandcontinuetowallofrequiredlengthusually
doneinthepremisesofthehouseoroutside.Pegservesthepurposeofmaintainingthesequencesandformationoftheleasewiththehelpofwarpingstickof2to3ft.longtowhichatoneendahallowstickof90
degreeisattachedasaguidetomakethewarp.InwarpingFrametheyarnsareproppedupagainstawalltomakethewarp.Ifthematerialiscottonorwool,thewarpisthenplacedinthestarchsolutionandplacedbetweentwopolesandtheadditionalpoles,whichisthenfixedtothegroundsothatthewarpdriesundertension.Thestrandsofwarpareeven,starchedwithbrush,
driedandwoundontoabeam.Loomsmostlyusedarepitloomwithlargeframefixedtogroundwithabeaterandlatheturnedwoodencylinder.Shaftsareattachedtothewoodencylinderandadjustedtotherequiredlengthwiththehelpofcordsoneachside.Thelargeframethatconstitutesbasicstructureoftheloomisapitthataccommodatesthetreadle,wheretheweaversitsonanarrowshallowdepressioninfrontoftheloomplacinghislegswithinthepit.Theweftpatternsareinsertedindividuallyastheshedsarechanged,thesearelooselyheldinweft,engagingonlyapartofthewarpandregardlessofwhethertheextraweftpatternisdonefromendtoendorlocalized.Motifsarewovenwithoutreferencetoagraph.Thestepofweavinginthemotifis
donebasedontheexperienceoftheweavinggainedoveraperiodoftime.Normallyweftthreadsareinsertedthroughflyshuttletechnique;weftthreadsareinsertedinageometricformsuchassquare,diamondandtriangularshapewheresymmetryisrequiredinspecialcases.Theselectionofwarpendsaccordingtothepatternsrequiredisdonebehindtheshaftsaspartofpreparingtheloomforweaving.
Weaverstaggersthemeetingpointofthetwoweftstocreatethekangri(temple),theelongatedtrianglemadewhichismostcommonlycalled,isdevelopedbytheunderstandingofthestructuralpropertyofinterlocking.
Finishing(makingup)ofablanketorshawlisjoiningoraddingoffringes,whichisconsideredtobeanextremelyimportantandintegralstageincompletingtheproduct.
MATERIALS AND METHODS:Materials we might need are: Camera,Tripod,Logbook,Pen,Pencil,Eraser,Colors and the basic things need to do weaving which we’ll get from the craftsmen. Method includes the documentation of the craft and visual culture of the community through videos and pictures. EXPECTED CONCLUSION:The outcome of the research is expected to be an A.V. Of 2-3 minutes which includes the process of how the craft is performed and the visual culture of the community that performs the craft. TIMELINE:We are supposed to leave Delhi on 25th February and we’ll reach Bhujodi on 26th February.From 26th February to 3rd March we are going to visit the craftsmen in bhujodi who practice the kachchh weaving and document the A.V..We’ll be returning on depart from Bhujodi on 4th March and reach Delhi by 5th March. BUDGET: Travelling:Rs.6500 per person (approx.) Accomodation:Rs.6000 per person(approx.) Food:Rs.5000 per person(approx.) Total:Rs.18000 per person(approx.) BIBLIOGRAPHY: WEBPAGE:
Socities and Trust Acts,kachchh nav nirman abhiyan and nehru foundation for development. (2005) Mashru weaving,Crafts Of Kachchh[online]. Available at
http://www.khamir.org/crafts/kachchh-weaving
Accessed on 24th january 2017,9:45 am.
BOOK:
Gillow , J. & Barnard , N. (2008) Indian Textiles. Thomas and Hudson Ltd, London
E-BOOK:
Ranjan, A. & Ranjan , MP. & Panghaal , J. (20XX) Handmade in India - An Encyclopaedia on crafts of India Council of Handicraft Development Corporation Cohands , New Delhi [Online] Available at http://www.cohands.in . Accessed on 24th January 2017 ,9:50 am