Today was a day to explore the weaving process. Stopping off at Kutchi carpets now in their third generation, being run out off a home studio. Using Natural and synthetic dyes depending on the customers request, but all dyed onsite. The grandfather of this family Virjibhai has received a National certificate of Merit for his craftsmanship.

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In the same studio we also met Prakash Siju and his father Naranbhai Siju. Prakash has been weaving for the past 11 years, and has a brother who is also carrying on the family tradition. Naranbhai and Prakash are often busy creating naturally dyed and natural fibre rugs for supply to a business in Finland, in their extra time they create rugs for the Indian market.

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We started with a visit to their nearby workshop which had four pit looms, and two seated looms. Their operation was immaculate with all of the artisans eye for detail on display. All the product gets sold through the business shop out the front, a really unique experience. The colours in their product was something quite amazing.

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Arjunbhai also quickly took us past his house to display the mudwork adorning the outside walls. This style of adornment was typical of the houses of the Rabari and Weavers communities before the 2001 earthquake. Now homes are more commonly made of concrete. 

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After lunch we headed to the Hiralaxmi memorial craft park. The park was established in 2005 with an aim to promote, preserve, and restore the rich cultural heritage of Kutch. The park is a bridge between the artisans and the buyers, connecting the artisans with commerce. The artisans rotate on a monthly basis, so each artisan can be represented at the park. The artisans keep 100% of the money from their sales. 

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India is quite something else, with the animals and nature

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Our day started in a weaving village called Awadhnagar around a 15 minutes drive from our accommodation in Khamir. The village was inhabited following the 2001 earthquake, after Khamir established in 2005, they extended help to all the local people of Awadhagar. Providing work for both men and women with assisting in setting up the looms and tools needed.

Plastic weaving is an innovative and contemporary craft, which is carried out on a Polylooms. It is small in width in comparison to other looms, and uses Nylon threads as the warp and recycled plastic strips as the weft. Plastics bags are collected from garbage and industrial waste plastic and then cleaned. The plastic bags are cut into long strips, wound on a bobbin, and then woven into material strips and used for various products. Left over pieces of plastic are used to create tassels, so that no plastic is wasted in the process.

Khamir also works with a jail in Bhuj, providing hand looms and raw materials for criminals to weave.

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On our way back from Awadhagar village, we stopped off to Adrakh, to finish off the scarves which were dyed in red. Red takes 2 days in the sun to develop, as opposed to the indigo and black colors. Our red scarves went through the same boiling, washing and drying process as our indigo and black scarves did. When the process was complete, our scarves went from a muted orange to a very vibrant red and a beautiful result was produced!

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When we got back to Khamir, we were able to put what we’ve learnt in practice with plastic weaving. We followed the same process we learnt about today. We cut plastic bags into strips using two different methods and then manually wound the plastic onto bobbins. Following this we were taught how to do a simple weave on the raised pedal hand looms, which was exciting! Its exciting to see these new methods that use wastage to create a new piece of art, giving plastic bags a second life that would normally end up in landfill, or blowing around the streets of India.

Today was our last day of the block printing workshop at Ismail Mohmed Khatri. This time we travelled to a different location to carry out and complete the dyeing process of our scarves. We were given the options of dyeing our works in either the colours indigo, orange, grey or black. 

Below is a brief description of how each coloured dye was achieved. With the help of our guide/translator Amishi Vadgama, Bianca was fortunate enough to have the methodology of each dye process explained by master dyer, Juned Ismail Khatri (son of Ismail Mohmed Khatri):

Indigo: One of the many methods to create the indigo dye consists of indigo leaves being pressed in water for a few days. The pressure is then removed and the leaves are continuously beaten in the water, leaving it to settle once beaten. The indigo used to dye is then extracted from the sediment, known as indigo cake. The indigo cake is ground with a stone that turns the cake into a powder. Lime, (to maintain the alkalinity), dates, jaggery and natural soda (to maintain the ph level) are added to the ground indigo powder and room temperature water. The solution in the vat must maintain a temperature of 35-40 degrees celsius, as well as a ph level of 11-12, in order for the vat to ferment. The indigo solution is left to ferment until the top layer begins froth, known as the indigo flower, indicating that it is ready to dye. 

Orange: To create the orange dye, which consists of orange organic food colouring and alum mixed together to form a paste. In a separate container, tamarind seed powder is mixed in with water, then boiled. This solution allows the orange colour to adhere to the fabric. The two solutions are then mixed together, ready to dye.

Kabutri, also known as grey: The kabutri/grey dye consists of iron water and alum mixed together to form a paste. The amount of iron water added to achieve this kabutri/grey dye is significantly less than what is required for black dye. In a separate container, tamarind seed powder is mixed in with water, then boiled. This solution allows the kabutri/grey colour to adhere to the fabric. The two solutions are then mixed together, ready to dye.

Black: Similar to the previous blog post explanation; scrap iron, water, jaggery and gram flour are mixed together and left to ferment for up to 15 days-30 days. This forms a paste like mixture. In a separate container, tamarind seed powder is mixed in with water, then boiled. This solution allows the black colour to adhere to the fabric. The two solutions are then mixed together, ready to dye.

To apply the coloured dye solutions, we used a brush to evenly coat our fabric for the red, grey or black dyes. Whereas for the indigo dye, we dipped the fabric into the vat twice to allow it to properly soak in the indigo colour.

To apply the coloured dye solutions, we used a brush to evenly coat our fabric for the red, grey or black dyes. Whereas for the indigo dye, we dipped the fabric into the vat twice to allow it to properly soak in the indigo colour.

We next laid the dyed scarves outside in the sun to dry. As we were waiting, we visited another fabric store in the same facility that stocked more block printing and naturally dyed fabrics.

In the afternoon, we returned back from lunch to complete our block printing scarves. We watched them wash and beat the indigo and black dyed scarves in baths of plain water to remove the excess dye, as well as soften the fabric. The orange and grey dyed scarves were left to dry overnight for the dye to set into the fabric. After this stage, we watched the now washed indigo and black scarves being boiled in alizarine and temrix flour (Dhaavdi na Phool). This helps develop the red colour from the block printing ink, as well as prevent the colours from bleeding. The scarves were then washed again in plain water and dried, ready to be worn.

So far this trip has been so interesting to learn all the different crafts and the lengthy natural process (up to 40 days) fabrics go through to become the colour they are, opposed to using chemicals and instantly get the result in a few hours.

We continued on where we left off yesterday, we had remove the starch from the cloths, the next step was the saaj, which softens the fabric. The traditional method of this includes castor oil, soda ash, and camel dung letting the material soak overnight and dry out in the sun. Because camel dung is hard to source we soaked the fabric in water and enzymes which gives the same effect of removing the starch and softening the fabric.

The next stage was dyeing the fabric in a cold solution of myrobalan (powered nut of the harde tree) which turn the fabric a pale yellow colour. We then laid the fabric out in the sun to dry.

Juned Ismail Khatri explained the process of block printing. While waiting for the fabrics to dry we practiced what designs we may use of our final cloths.

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Once our fabric dried we were able to start block printing. We used Teak wood blocks that had been carved in geometrical patterns and floral motifs. All of the blocks are mirrored and each design consists of different blocks, as each colour in a design requires a separate block.

The first step was to apply the resist, which is a mix of lime and gum arabic that is printed onto the cloth to define the outline of the design. This step is known as rekh. This resist printing is applied to both sides of the cloth. When the fabric is dyed at a later stage, it will not affect the resist printed areas, and these will appear white.

After we finished block printing our fabrics we laid them on the ground to dry under the sun. And waited till tomorrow till we could continue with the dyeing process.

Today we were shown around the Khamir campus looking at all of the different crafts that are done at this location along with some small demonstrations. Through out our stay here we will get to do some hands on activities for each craft.

There are various craft stations where top artisans were designing and developing new products, as well as fulfilling custom orders for export. Some of the products we were Hand-spun woolen yarns, hand woven rugs and hand woven recycled plastic. The sights were incredible, but hardly scratched the surface on Khamir’s footprint –Khamir employ over 25,000 women across the Kutch region specifically for dye work– thousands more are employed and work from their homes producing craft goods such as weaving, embroidery, wood lacquer work, Rogan art, bell making, pottery, and leather craft.

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We visit a local block printing shop and work are and as a welcome, the staff at Ajrakh played a video for us explaining how the establishment came about, and the processes that a single piece of fabric goes through to reach its finished product.

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We visited a block printing site browsing around the various fabric and techniques that were being done my the men. Next to start our own small masterpiece the first process is to remove the starch from the fabric with watching the men do the technique of rinsing and slapping the fabric on the concrete. This is so each fiber can fluff up and water can get in. We had to let the fabric soak overnight so we headed back to Khamir for dinner and study.

Today was beautiful day in Khamir, the perfect day to catch up with some laundry and talking to my family back in New Zealand. It was a hot 32˚ with mild breeze, with plenty of dogs lying in and around. It’s a very beautiful campus to be surrounded with so much nature and isolation is quite the blessing.

Our Morning began with a knock at our doors from our contagiously smiley host, Harishbhai. We were invited down for breakfast in the courtyard. On the menu this morning is a rice and peanut dish, fresh fruit and a familiar taste of home – jam on toast.

Khamir is an institution dedicated to preserving the rich culture of the area’s artisan past while nourishing, collaborative and sustainable relationships between artisans and the outside. While here we will be working along side these artisans learning their techniques while broadening our appreciation of hand craft and expanding our own practice.

In the afternoon after lunch some university was discussed with one on one meetings with Belinda to ensure our university work was coming along smoothly and ideas were being developed. A quick browse of the shop which sells a lot of the goods made on site along with an early night to rest up for another busy week.

Today began with checking out of the Ilark hotel, which has been our home for the past 6 nights. Was a satisfactory hotel with this being wedding season it made quite a noisy stay most nights but was quite this experience to witness. Next stop was Khamir less then an hour away with a few activities on the way.

On our way, we stopped off at the Shrujan LLDC (Living and Learning Design Centre) This museum held all the different embroideries in the Kutch region, which made it a little easier to be able to differentiate one community/tribe to the next. The purpose of preserving and celebrating the traditional crafts of the people groups who have lived here and created here for thousands of years.

The museum also wants to inspire future artists, and influence them to draw inspiration from their dense and rich artisan past. The traditional Kutch crafts are not only shown through textiles such as embroidery, weaving, block printing, rogan painting and tie-dye, but also in wood, metal, leather, lacquer and silver work. The museum also provided a lot more information on the local groups whose work we have been learning at Kala Raksha, such as the Aari, Jat Dhaanetah, Khareek, Sodha Pakko and Rabari. We were able to read about their histories and how they intertwine with another through both the past and present.

The crafts tend to reflect the geography of Kutch, which is very unique in where it is located, with the sea on one side and the White desert on the other. The land itself dates back to the Jurassic period, between 214 and 144 million years ago.

One of the plaques at the museum stated how a 5,000 year old skeleton of a girl was found, she was clutching a bronze mirror, and wearing shell bangles which are still made to this day. This indicates just how much craft has always been a part of the Kutch culture, and the importance placed on passing down traditional techniques.

We arrived at Khamir where we will be staying until next Sunday. Here we will be working with block printing, weaving and recycled plastic. Personally I am super excited to get hands on and even explore making my own prints in my collection or do a collaboration. Will just have to enjoy some down time tomorrow and get myself organised for another busy week.

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We headed back to Kala Raksha for our final day today to learn yet another embroidery technique. Today we learnt patchwork and applique typically this sort of style is done by women over the age of 40 as this is when their eyesight will start to go and doing fine detailed needle work is a strain to the eyes. All these women had previous done Suf embroidery and were from the same community. There we beautiful examples around our sitting area of their work, the details of the little people and animals trying to figure out the story that goes along with the patchwork.

We started by ripping up fabric squares and then making triangles using the pattern of raali to create a small blanket/cushion. We had to hand sew all the pieces together to make sure they were nice and small and have a good seam allowance on the fabric otherwise the raw edge would show through and the fabric wouldn’t be strong enough.

Next we did some appliqué and we created some small designs with people or nature. Nothing at Kala Raksha is ever wasted even the small bits of fabric or thread is used to create the small toys or bags. What an amazing workshop at Kala Raksha, i am so thankful i have had the opportunity to learn from the artisans and meet all of the beautiful souls! Off to the supermarket called DMart to stock up on some snacks and goodies! Before back to the hotel for an early night of packing next on the list is Khamir!

Our 4th of 5 days at Kala Raksha today we would be learning Jat embroidery which looks very much like cross stitching. The women came from Sumrasar Jat Village which is near Ahmedabad. All of the women work from home in their spare time throughout the day normally 3/4 hours they will sit down and work on their embroidery pieces, once finished transport will be arranged for the piece to be brought to Kala Raksha and sold in the shop. The women had been at a wedding the previous night so were all quite tired but this was made up by the inside joke resulting in giggles all round.

Jat embroidery involves a lot of mathematics and counting, as the designs are generally geometric and use teeny tiny mirrors. The women will only really produce this work for their
n-laws and dowries as with other embroidery styles of the region, instead embellishing the yokes of their wedding dresses. These churi are a plain red colour aside from the embroidered yoke.

We were taught some basic stitches before expanding and creating quite intricate patterns. While Jat embroidery looks very similar to cross stitch their technique is slightly different. The women like to use strong, bold colours with lots of contrast however we were able to pick our own colours as well.

After 5pm we said fare well to the ladies and off we went to the hotel while they were on their way back home.

We headed back to Kala Raksha today to learn yet another embroidery technique. We were taught by the Rabari women who wear only black due to tradition of mourning a king that past away many generations ago. They also have tattoos done by a pin and ink that’s cover their neck, hands, feet and lower legs, so essentially any skin besides their face that may be exposed.

We began with learning the basic back stitch and chain stitch, taught to us by an artisan. As you mastered each line you were able to move on to the next more complex design. Essentially these women utilise the chain stitch and backstitch with slight variation to get these stunning designs. Using motifs to help add interest to the designs and as well as inserting mirrors to add some interest to the images.

Since these days have been quite long, we headed home for an early night to catch up on some university work and to reflect on our travels so far.