HERITAGE TEXTILES AND CRAFTS
TRADITIONAL ART OF JAMDANI WEAVING
SOURCE : UNESCO
Jamdani is a time-consuming and labour-intensive form of handloom weaving traditionally practised by craftspeople around Dhaka. The sheer cotton textiles are renowned for the richness of their motifs, which are woven directly on the loom. Bengali women wear Jamdani saris as a symbol of identity, dignity and self-recognition, both for everyday wear and at celebrations. The traditional motifs and weaving techniques are transmitted by master weavers to disciples and are handed down within families in the weaver community.
WEAVING THE HERITAGE
SOURCE : NIHARIKA MOMTAZ
The Saree (or Shari) is a women’s garment consisting of a length of unstitched cotton or silk that is elaborately draped around the body. The Saree has been draped in many styles including regional variations that respond to occupational requirements. The most popular style is to have a set of folds at the front, and draping the end over the shoulder. Apart from drapes, there are many more variations on the weave of the Saree. Handloom Sarees are a traditional textile art of Bangladesh. The production of Handloom Sarees are important for economic development in rural Bangladesh.
Weavers migrated from Benares to Dhaka in late 40s. Their numbers dwindled from a peak level of 40,000 weavers to the current level of meagre 2000. If the current declining trend continues, the handloom industry will cease to exist in a decade or two because of not using new technology, less variation in design, Foreign influence in this market etc. Moreover many artisans are leaving the profession as it has become less rewarding and youths are not entering the trade as they have more options. That’s why Niharika made an abortive attempt to revive 100% pure katan and organza weaving to save this industry.
Handloom weaving is a complicated and labour-intensive process. These sarees are hand woven from very fine silk threads. A karwa weaved sari generally takes more than a month to weave and require extra hands, where as completion of a single regular katan saree takes two to three weeks of work. The production of one handloom pure katan saree requires 25 to 26 workers’ involvement in different processes. A Handloom Saree is often woven on a shuttle-pit loom made from ropes, wooden beams and poles. The shuttle is thrown side to side by the weaver.
These colorful sarees could be used to make shirts, tunics, jackets, sherwani, prince coats, fashion clothing etc, which would help to create work for the artisans and save them from a loss of heritage textiles.
MARRIAGE, HOUSEHOLD AND THE SAREE
Marriage is an important milestone for a householder in every religion, region and community has its own textiles associated with marriage ceremonies. Marriages are very colourful in Bangladesh and with red and yellow being important colours. Red symbolizes hope and a new beginning and yellow symbolizes happiness as well as knowledge. While leaving her maiden life, along with the sweet memories, the bride takes with her some textiles as heirlooms, wrapped in blessings and the love of her parents and dear ones.
WHY WOULD YOU PREFER A HANDLOOM SAREE
•The pedigree and rich history behind it.
•To support the handful of weavers that are struggling to maintain their art and skill alive amid the industry loom while people are turning away from the tradition.
•Finest of silk, gold and silver threads.
•An heirloom being passed on to the next generation.
•The best variety of fabrics used such as Katan silk and Organza (kora) silk.
MONSOON [+ OTHER] GROUNDS
LABIB HOSSAIN
“Looking at certain traditional practices in monsoon landscape can offer an alternative reading of human habitation, one that challenges the dry ground of the city. For example, muslin weaving in Bengal embodied the unique landscape of a particular place (Dacca/Dhaka). Muslin is a kind of cotton fabric, very delicate and transparent that attracted the whole world. The story of this fabric took a dramatic twist as the practice of manufacturing it was ceased and the plant species behind the finest quality of muslin became extinct about 200 years ago during the colonial period. This study begins with the question: why the practice of making Muslin was unique to Bengal, which engenders several other questions: what was the role of the landscape of this region and was there a connection between the practice of making muslin and human habitation?”
REFERENCE:
Labib Hossain, A Critical Reading of Dry and Permanent Grounds Through the Practice of Muslin Weaving in Lindsay Bremner, ed., Monsoon Assemblages: Monsoon [+ Other] Grounds, (London: University of Westminster, 2020): 113-120.
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