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.
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PRODUCTS Bhujodi village walls are adorned with variety of shawls famed with mirror work of all hues, stoles, blankets, upholstery material and carpets mostly woven from sheep hair, merino wool, cashmilon etc. Sometimes shawls 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 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. Kachchhi weavers traditionally come from the Marwada and Maheswari communities. The Maheshwaris transitioned into the art of mashroo, while the Marwada style is now well known as Kachchhi weaving. This community is versatile, crafting woven textiles, leather and woodwork all over Kachchh. Sheep and goat wool was used for veils, skirts, shawls and blankets. The designs woven into Kachchhi woven fabrics were inspired by the communities who wore them, replicating the shapes of musical instruments, the footsteps of an animal herd, etc.
The names for motifs like vakhiyo, chaumukh, satkani, hathi, or dholki are evocative of the rural images. The strong community linkages which insulated the weaving trade have ceased to exist. Weaving has taken on a drastically new shape in the modern marketplace. Weavers have become dependent on markets outside of Kutch for raw materials acquisition and sales. The hub for weavers and traders to procure raw material is Ludhiana, where most weavers get their acrylic yarn. Departing from traditional raw materials, weavers now use silks, rayons, and acrylic yarn in their textiles The aim is to learn the & understand the whole process of bhujodi weaving,in context to the motifs used,the fabric, the technique, the colours used etc. We are also looking forward to practice the craft in front of skilled craftsman so that we can apply It further in our project. METHOD Woollen yarn was hand-spun by the people who provided this yarn to the vankars/ weavers to obtain the products required by them earlier. Today mill spun yarn is used and it is very rare to see somebody engaged in the traditional method of spinning. For dyeing, the required yarn in hank form is tied with the poly pack at both ends and weighed, Colour along with acid is measured and heated to 65-750C and dyed till the solution turns colourless, so that the colour gets transferred on to the yarn, after this process yarns are spread. The above said process is repeated for two times for darker colours, it is then washed in water, dried in shade and in sunlight for fixing of the colours. There are two methods of warping used here with warping pegs or with warping frame. warping pegs warping Frame In warping pegs, the wooden pegs are fixed to ground near wall and continue to wall of required length usually
done in the premises of the house or outside. Peg serves the purpose of maintaining the sequences and formation of the lease with the help of warping stick of 2 to 3 ft. long to which at one end a hallow stick of 90 degree is attached as a guide to make the warp. In warping Frame the yarns are propped up against a wall to make the warp. If the material is cotton or wool, the warp is then placed in the starch solution and placed between two poles and the additional poles, which is then fixed to the ground so that the warp dries under tension. The strands of warp are even, starched with brush, dried and wound on to a beam. Looms mostly used are pit loom with large frame fixed to ground with a beater and lathe turned wooden cylinder. Shafts are attached to the wooden cylinder and adjusted to the required length with the help of cords on each side. The large frame that constitutes basic structure of the loom is a pit that accommodates the treadle, where the weaver sits on a narrow shallow depression in front of the loom placing his legs within the pit. The weft patterns are inserted individually as the sheds are changed, these are loosely held in weft, engaging only a part of the warp and regardless of whether the extra weft pattern is done from end to end or localized. Motifs are woven without reference to a graph. The step of weaving in the motif is done based on the experience of the weaving gained over a period of time. Normally weft threads are inserted through fly shuttle technique; weft threads are inserted in a geometric form such as square, diamond and triangular shape where symmetry is required in special cases. The selection of warp ends according to the patterns required is done behind the shafts as part of preparing the loom for weaving. Weaver staggers the meeting point of the two wefts to create the kangri (temple), the elongated triangle made which is most commonly called, is developed by the understanding of the structural property of interlocking. Finishing (making up) of a blanket or shawl is joining or adding of fringes, which is considered to be an extremely important and integral stage in completing the product.
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 25 th February and we ll reach Bhujodi on 26 th February.From 26 th February to 3 rd 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 4 th March and reach Delhi by 5 th 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