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Fashion Value Chain
3 days ago
- Science
- Fashion Value Chain
Bhujodi Hand Weaving of Kutch: A Meditative Legacy of Yarn, Dye, and Design
Dr Ela Manoj Dedhia, PhD Guide, University of Mumbai Director, Anveshanam Foundation SDC Trustee UK (Society of Dyers & Colorists) Introduction The Kutch Desert is home to a vast variety of artisanal production. 'Bhujodi' weaving/weave is named after a village 'Bhujodi', almost 8 kms near Bhuj 'Kutch', where hand weaving is practised in every home, and thus this village is famous for woven textile products such as shawls, traditional blankets, stoles, traditional skirts called ghaghra, and lungi. The weaving tradition in Bhujodi is the result of an age-old traditional best type of collaboration between Rabari and Vankar communities, and for generations, the two communities have been working together to produce traditional shawls which are worn by both the Rabari and Ayar men and women. Weaving is practised in more than 35 villages of Kutch; however, Bhujodi has gained popularity due to the proximity to the city of Bhuj and the experimental explorations of dyers and weavers of Bhujodi. This paper is based on research collaboration with weavers in Bhujodi. Usage Traditionally, for married women/ Suhagadi – black ludi/ ludki /odhni/ ba poti were woven in white by the weavers. They gave the khatri men /dyers to dye it black. Men used a white khes/shawl, draped on one side was white with a mostly black or red border. Headgear/pagh was woven white with a border and stripes woven in black. Black was obtained from a desi bavad / danad plant from Fabaceae (pea or legume family) called Babool or Acacia Arabica, from which leaves and stem are used for obtaining the black colour. Lac, an insect dye, was used for pink or red colour. Traditionally the women used to dye cloth themselves also. In Bhujodi, weavers who are highly accomplished in weaving mainly create shawls and stoles, carpets, mats, and running fabric to be used in different end uses, including garments. Traditionally, wool was used to make shawls for the harsh winters of Kutch for people living in Kutch. Since the last few years, cotton has also been used for various products, as it is used by people outside Kutch as well for garments and is used during summer even by people of Kutch. This ensures a demand for the spinners, dyers and weavers throughout the year. Earlier, the weavers of Bhujodi also made paghdi, a traditional headgear or a turban known as Dhotali in Kutch. Traditionally, they were maroon and green, and later white. These paghdis were woven by many other weavers of other villages as well, but those woven by weavers of Bhujodi had their uniqueness and were worn by Rabari men after their marriage as part of their traditional attire. These paghdis are still woven in Bhujodi, but they are not so high in quality and design as the traditional ones. Kala cotton fabric was used to make Judi and Joro the traditional wear of the locals. Dhoti, which is a loose, draped pant also called Lang/pot, on which the upper wear called kediyo, over which they carried a shawl/ khes and the headgear was called pagh/turban, was the traditional attire of men. The Rabaris used woollen dhabda/shawl throughout the year. 850 years ago, the very rich Rabari community girls were given gifts when leaving their maternal homes after marriage. This practice was called kanyadan; thus, the rabari daughters were sent along with them, one cobbler /mochi, one weaver /vankar, whose needs would be taken care of by this rabari girl through the funds sent to her by her parents. She would give gold gifts to the vankar and cobbler, which is known as giving paghdi. Gold neck piece called Mandaniyo or gold earing or even animals such as goat were gifted during her wedding to the cobbler and weaver. Only the barter system existed at that time and there was no money exchange. The cobbler and the weaver played drums in return during the weddings. One weaver and one cobbler then grew into large families and gradually an entire weavers and cobblers community got established in the villages where these rich Rabari girls went after marriage. The relationship between these communities thus grew very strong and continued for generations. There are more than 35 villages in Kutch where the weaver families have established themselves, right from village Adhoi to Naransarovar. Their weaving technique is similar with little differences in design. GI Tag (Geographical Indication) is given to Woven Shawls of the Kutch region, not to any specific village of Kutch, but wherever it is practiced. Four weaving communities are there- charaniya, bharvada, maheshwari and gujar. These are marvadas from Jesalmer who are described as gat ganga, meaning that others become pure/pavitra when interacting with them. They were known as the Rakhiya kul / protector clan for the Rabaris. If anyone is sick, amongst the rabaris, they call them to perform rites/puja so that they get cured. In return, the Rabaris place offerings/ sokha to the rakhiyas in return, and also offer them lunch and gifts, and consider them like soldiers of god. Recently, Harshi Bhagat from village Bidda, who was from the vaniya community, when dead, was buried was given samadhi in the ground in the farm/vadi rather than being burnt as per Hindu tradition, as he was considered a very important rakhiya/ protector. His samdhi /shrine is worshipped even today. Many of the weavers thus visit different places wherever they are invited by the Rabari community to sing bhajans and cure the sick. Significance The weavers weave the beautiful patterns and intricate designs completely by hand; therefore, it may take a few months for them to complete. Many of these artisans have received National awards and accolades to their credit. It takes around ten to fifteen days to weave a single shawl with simple designs and around six shawls of the same design are woven each time. The first award was presented in 1973 to Punjabhai Ramji of Vatan/village Vanora mota, which is next to Nagaur. Recognition to Bhujodi weaves came when Shri Vishram Valji Vankar, a senior weaver in Bhujodi cousin of Khengarbhai weaver, whose case study is mentioned below. Vishram Vankar received the President's award in 1974 for an intricately designed and patterned shawl woven by him, which was completely created by him over an entire year. The recognition received through the award strengthened his determination that all his six sons, Amir, Ramu, Arjun, Shamji, Dinesh and Rajesh, should follow the family weaving craft. Maiwa, a foreign-based NGO, has been working with the sons, especially Master Weaver Shamji Vankar, for many years. Their work was featured in a weaving documentary prepared by Maiva named Tana Bana: Wisdom of the Loom, which was released in 2005. Shamji Vankar participated in the Maiwa Masterclass held in Bengal in 2011 to share the vital knowledge of natural dye that the family possesses. The family experiments beyond the traditional colors to an entirely new range of natural colors, which they dye themselves. Contemporary work produced by the Vankars is a class of its own and the success of the Vankar family confirms that skill is the most effective trade protection for artisans, very difficult to copy. Fine cloth was gifted to the Maiwa Collection to showcase it to the public. It stands apart as an example of the best of Bhujodi weaving and dyeing. Shamji Vankar was invited in 2019 to present at the Maiwa School of Textiles and his masterwork was featured on the cover of the Course Calendar of the Maiwa School of Textiles. Several other weavers later received National recognition for their work. 'Kutchi' shawls have received the 'GI (Geographical Indication) tag'. Bhujodi weaving, like many other Indian crafts, is a family craft where all in the family are involved in the creation of every product. The distribution of work is decided based on the amount of physical work involved. Men weave on the looms, while the women are involved in yarn making and preparation of the looms. Traditionally, in the past, even women were involved in weaving, but with the passage of time, there has been a division of work. The intricate patterns and designs are woven by hand, in which the additional horizontal yarn/weft goes between the warp and weft, the vertical and horizontal threads, respectively. This unique technique of weaving motifs with the extra weft is done by manually lifting the warp with fingers without the use of punch cards, as is the case with Dobby or Jacquard weaves. This is the 'Athh tako' (8 stitches) technique (with four peddles in the loom) which is the specialty of these weaves. Every craftsman trains their next generation, their children, to weave right from their early age. There is no formal intentional training, but the children learn by watching their elders at work and also by helping them out all day, through, as it all happens in the home environment. Myths & Legends Popularly, it's believed, as earlier mentioned, that kutchi weaving started about 800 years ago when the daughters of rich 'Rabari' families came to Bhujodi/other villages after her marriage. The parents of the daughters had sent one weaver along with her as part of her dowry, so that she could get any weave woven as per her desire. A large community of weavers gradually got established, as the family of this one weaver grew over centuries, and they were known as weavers of Kutch. It is also believed these weavers/ vankars of Kutch were the Marwada weavers of the Meghwal community in Rajasthan who have migrated to Kutch more than 800 years back and their style of weaving has connection to the pastoral community the Rabari Tribe who travel across the rough mountains of Afghanistan and settled first settled in Rajasthan 1000 years back and later in Kutch. Another tale says that the Hindu folk deity Ram Dev Peer of Rajasthan came on a pilgrimage from Rajasthan to Narayan Sarovar in Kutch. He was requested to bring his weavers' troop from Marwar to take care of a temple made in honor of Ram Dev Peer. This is believed probably to be the first weaver community to settle in Kutch. It is believed that these Vankars were sent by Lord Shiva to tend to the camels owned by Parvati. As the economy followed the barter system for long in India, it is believed that weavers made handspun blankets, traditional ghaghras (long skirts), and the wedding wear for the Rabari community, in exchange for handspun wool from their sheep and camels. Blankets were worn by Rabaris over their shoulders or around their waist, or both over the Pachedi. The Rabaris, being a pastoral community, also provided milk, milk products and grains to these Vankar families in barter for the woven products. The Rabari women were also embroiderers so they embellished these woven textiles. History More than 250 weavers are practicing this weaving craft in the village Bhujodi of Kutch. The Rabaris of Kutch which are the nomadic tribes that are always on the move needed warm clothing to withstand the harsh winters of Kutch. Traditionally, weavers used hand-spun woolen yarn which were provided by the 'Rabaris', the nomadic community of sheep and goat herders. The 'Meghwals' and 'Marwadas' also wove and they developed a distinctive style of weaving that provided the local people of kutch with blankets and fabrics for traditional dress. These were then known as 'Vankars' or the weavers. The 'Vankars' slowly created designs as per the desires and demands of the 'Rabari' community, thus most of the designs developed the features of this particular clan. Such special design features make it easier to distinguish the weaves of various communities, although they worked interdependently as this craft grew over centuries. Most of the weavers continue to weave to pass the craft to their future generations. The Vankar community in Bhujodi was at its peak in the 18th Century when cotton production was thriving. Since cotton cultivation and its trade were later controlled by the British colonial Raj, who levied very high tariffs on Indian cloth and began exporting cheap mill-made yarn and cloth from their country to India, the weavers of Kutch were very badly affected as this caused a reduction in demand for handspun yarn and finally caused mass unemployment. Thus the entire economy of the weavers and spinners was disrupted. In the 1920's the khadi movement initiated by Mahatma Gandhi, encouraged handspinning of yarn and hand weaving of fabric, trying to solve the issues of unemployment. Weavers Sammelan organization, led by Gandhian Ravishankar Maharaj, brought more than 5000 weavers together. This certainly improved the livelihood for the Vankar community, both culturally and economically and bythe 1960's the beautiful and extraordinary work of these weavers started getting recognized. The Shree Bhujodi Cotton and Wool Handloom Cooperative Ltd was established on 25th March 1954 with the registration of 52 weavers, which provided the trademark ' Bhujodi Shawl' across India and abroad, for which the weavers received awards at the State and National level. The Trust received grants from the government which supported weavers. The weavers took great efforts in weaving elaborate and unique shawls, experimenting with novel designs, motifs and patterns and by 1961, the weavers mixed traditionally locally used wool with Merino wool imported from Australia and New Zealand, introduced by the Rajasthan Khadi board. This led to changes in techniques of weaving, texture, feel and weight of the woven fabrics also led to an increase in cost and thus price. Acrylic was introduced by the 1980s in the form of blends with merino wool, sometimes even some cotton, which lowered cost and thus price. Effects of the Earthquake in 2001 and revival thereafter: Kutch was completely devastated due to the massive earthquake that struck on 26th January 2001. Just like all other crafts, the woven craft of Bhujodi was also severely affected. The age-old relationships between landowners, sheep herders, spinners, dyers, weavers and the Rabari women were completely destroyed. The Shree Bhujodi Cotton and Wool Handloom Cooperative Ltd was completely closed down. Between 2002 to 2005, weaving was revived by NGOs and institutions like Abhiyan, Kala Raksha and a few others. Short Workshops and year-long training courses were conducted for weavers of Bhujodi to innovate new motifs and designs using symmetry and design. Kala cotton, which was the indigenous local rain-fed cotton that has evolved under desert conditions and does not require excessive irrigation or pesticides to flourish in Kutch, was introduced by Khamir which was a registered society and public Trust established in 2005, which also contributed to the revival of the Bhujodi woven craft revival. The Shree Bhujodi Cotton and Wool Handloom Cooperative Ltd was revived by the weavers of Bhujodi by 1st September 2016. The weavers who were entrepreneurs created sarees, dress materials, dupattas, stoles, scarves etc, with the help of designers through various aid agencies, central and state government and non-government organizations to attract young clientele. With the efforts of all these organizations, the weavers participated in exhibitions and fairs and interacted with prominent designers. By 2008, these shawls and other woven products attracted tourists and local retailers. Nowadays, their work is recognized internationally as well and most are independent entrepreneurs or some do job work for these entrepreneurs. This old devastated village of Bhujodi has revived and today has more than 200 weavers. They diversified to make new products like carpets, placemats, etc. Shawls and stoles are also woven in contemporary styles. Tussar silk and cotton are used along with traditional wool. With changing time and efforts the weavers are now identified and termed as designers. There is a fusion of traditional motifs and patterns with contemporary simplicity in designs and color to attract the modern customers. The product line has expanded itself to new applications in home furnishings to include bedsheets, cushion covers, and curtains, which do require the use of different fibers and weights of yarn to suit the various end uses. These contemporary designs and products attract national and international markets through design collaborations, exhibitions and fairs. On the other hand they are struggling to survive in traditional local markets. Brands like Peepul tree help artisans to produce lightweight shawls and stoles in a range of colors. Thus the craft of Bhujodi weaving has struggled over last several decades; however has evolved over time from trunks of nomadic Rabaris to the modern wardrobes and homes of the modern clientele. Case Study of an Artisan Family of Bhujodi Some dyers and weavers, such as Khengarbhai Manjibhai Vankar, who practiced weaving at the age of ten, as his family had practiced weaving for generations. Their forefather Shahjan Vankar came to Bhujodi 850 years back, whose family grew and today there are more than 100 families from his own next generations. Khengarbhai and his son Naresh Khengar Siju, including their entire family, have developed a range of color ways from natural colors and also collaborated with designers and design institutes to participate in exhibitions and fashion shows. They have been presenting their range of natural dyed and hand-woven fabrics through modern attire on the ramp. They have gone through tough times like most artisans of Kutch have, due to natural calamities like the earthquake, drought and recent COVID times; however, this artisan family, like many in Kutch, are very positive about the Present. They wish to refer to the past only for lessons to learn, but not get depressed or regret any of it, as they feel that reality has to be accepted as it exists. There's a lot to learn from each of them. They look forward to opportunities due to technology, the opening of trade and economics. The attitude of accepting the odds as part of the life cycle by such skilled artisans is worth appreciation. They focus on the preservation of culture at the same time, exploring innovations. Many such master craftsmen in Kutch play a very important role in the continuity of traditional crafts of Kutch and the creation of innovations in design, products etc., in spite of all challenges they face. Earlier, Khengarbhai produced for Gurjari and a few other traders, but after the earthquake, he joined a Geneva-based trust that helped karigars/artisans for three years by providing what they needed, like sewing machines, printing tables, etc, by going to villages and identifying the needs of the artisans. Khengarbhai was involved in such rehabilitation work post-earthquake for three years. Later, Khengarbhai Manjibhai Vankar, his wife and one of their sons, Naresh Siju, who are hereditary dyers cum weavers, worked for Khamir for almost 12 years from 2005 to 2017. In 2005, they were exposed to chemical dyeing at Atul Industries at Valsad, but the family continued with natural dyeing. While in Khamir, they took care of weaving and natural dyeing departments, which took them initially five years to set it up. Initially, 2 to 5 kgs could be dyed, but later, 25 to 50 kgs and even more were possible. Khamir, an NGO situated between village Kukma and village Lakhond, thought it appropriate to train other artisans and thus, for four years, Khengarbhai went on his own at Khamir by renting a small unit where he spent hours of experimentation along with his son Naresh. But since his financial needs were not getting fulfilled, he returned to his village with his family. Along with their own orders received, they also supply to Khamir based on orders received from them. Khamir does try to give them job work, but that would depend on the orders received in turn by them, which may not be regular, but this family continues to dye for Khamir because 100's of weavers would benefit through the dyed yarns supplied by them. Khengarbhais father, Manjibhai, also practiced dyeing and weaving, but only produced Ludki or odhni (half saree) for the Rabari women, as that was in great demand. Their products are totally organic as they use locally grown kala cotton dyed with natural dyes. Cow Urine is used in the process while dyeing with Indigo. Indigo is purchased from natural dye sources, mainly from South India, Jaipur, or Ahmedabad. The price they pay for Indigo, for example, is Rs 11000 per kg. They have experienced adulteration with ash, lime, etc., when purchased from a few other sources, so they are confined to known sources only. Pomegranate/anar, marigold, kesuda, onion shells are used to give yellows; indigo is used to give blues; manjistha is used to produce orange; lac or alizarine is used to give red and sometimes mixed with manjishta for different shades of pink/red; iron for giving blacks and grays; green with marigold for dark green / kesuda with indigo. New developments for pink and orange shades took four and a half years of experimentation and standardization with long hours of work. Every month now they complete 300 to 350 kg of yarn dyeing at home with 10 to 15 days per color. Currently, he is dyeing a 150 kg order of 6 to 7 different colors. They cater to orders for dyeing from awardee weavers, designers, students for their projects, local weavers etc. Currently, they fulfill weaving orders by giving job work to small weavers by providing samples of patterns and kala cotton dyed yarns. They are catering to requirements for stoles and running fabric for both genders. Light mill spun 20's count cotton for shirts/upper wear. They use peti charkha spun 10 to 16 count for bottoms. This does give variable count as different women are involved, and each one's skill varies. Amber charkha spun yarns of 19 or 20's are used. Khamir is involved with the yarn spinning work as they receive grant from the government. Single ply is used in warp, while single or double ply may be used in the weft. Yarns Used and Their Preparation Fibers used: Traditionally, these shawls were always made from locally available wool but the craftsmen explore other materials like cotton, and nowadays wild silk like tussar, eri, and muga also. Wool initially was blended with acrylic, and slowly, a new category was developed whereby it was completely replaced by Acrylic fibers in shawls priced low. Sourcing: Acrylic is mainly sourced from Ludhiana. Wool is sourced from local goats, camels and black and white sheep. Silk is sourced from Bengaluru, and cotton from West Bengal. Spinning: The Traditional charkha was used for spinning the yarn. Dyeing: Most of the yarn used is left white in color, while the weft yarn used for the formation of the design is coloured. Dyeing is carried out at the yarn stage. Wool or cotton, if used, is dyed with rich natural dyes. Some of the common colors used are Indigo for blue, alizarine for red, pomegranate for yellow, a mix of blue and yellow for green, off white with light shades of yellow, iron rust for black, etc. Lighter shades of these, such as pink and grey, are also produced depending on the intensity of the natural dyes used. Acrylic yarns, if used, are dyed with synthetic dyes for producing hues and shades to resemble those produced from natural dyes. Preparation of yarns: The Woolen yarns are dipped in wheat flour paste before transferring them onto the looms for weaving. Loom used: Kutchi weaving was carried out traditionally on a Vertical frame loom called Panja, but later on Pit looms in the weavers' homes itself. Design Traditionally, the designs are geometric in nature. According to weavers, the motifs are inspired by architectural design elements of the forts and Rani ki Vav in Patan, Gujarat. The craftsmen weave both traditional motifs as well as contemporary motifs as suggested to them by the designers/retailers. The shawls are usually woven plain with several borders on the shorter length side, which is the main area of adornment. Stripes or checkered patterns are woven, and the special feature of these shawls is that the design creates a bold texture on the background plain fabric, giving it a look of embroidery. Most of the designs have linear patterns interspersed with motifs that are spread throughout the body of the shawl. These motifs are repeated in various patterns. The width of the border will vary from shawl to shawl. General sizes are 3', 9', or 18 inches. 18-inch borders are mostly used in shawls used by men, while smaller ones are used for those used by women. The end finishing of the shawls or smaller ones called stoles is done with colorful tassels, which is a distinctive feature of the bhujodi weaving. Types of Motifs inspired by rural scenes: Hiraghiryu – The traditional 'Dhabda' or Shawl is woven in two parts due to the small width of the looms available to them. Two pieces are joined together using traditional hand-stitches known as 'khelavni' machikanto in the center lengthwise of the shawl. Jhar – This motif resembles a tree known as Jhar/Jhal. Popati – Commonly used simple triangle motifs repeated in various patterns to form complex motifs. Chaumukh – Four-sided motifs made by lifting warp threads manually. This is a special feature of the bhujodi weaving style. It has a religious connotation and represents the Mandala. Four triangles of the popati motif joined together. Sachchi kor – A warp-based design having pointed temple-like motifs with a thick base- light jo thamblo. This is done as a black and white weave. Jesalmero dhabda – like a palace with black motifs Motifs inspired by rural scenes: Panchko/ Peepul Tree – Two triangles in opposite directions joined in the middle Sathkhani – A pattern that requires seven steps while weaving in its making. Border-diamond Dholki – A drum-shaped motif. Wankia/Vakhiyo – Motif resembles a crooked or 'zig-zag' line like mountains-vel. Ayar-dhandha motenu. The inspiration for this is believed to be the pattern that is created by a cow as it walks on the soil. Macchar – Mosquito motif Lath – Stick motif- line Hathi- Elephant motif When woven loose with woolen yarns, they serve as all-season wear – warm in winters and cool in summers. Very often, other textile crafts are incorporated in the shawls or other bhujodi woven textile products for embellishment. Those patterned very commonly with bandhani resist (tie-and-die) are passed to a third group of artisans, the Khatris, who are specialized dyers. Commonly used value-added techniques are Batik, wax resist dyeing; Bandhani, tie and dye, embroideries such as Ahir, Rabari, Mutwa, Abhla -mirror work, Aari or Mochi -chain stitch, and Sindhi embroideries -Kutch work. Opportunities and Challenges Bhujodi weaving demands a high level of concentration, skill, and expertise. It is a weaving craft that can be very physically strenuous that requiring the craftsman to hunch over his loom for long days and all days. In the past, it caused health issues to some weavers; however, currently, there are no such issues. It is a very time-consuming craft as it takes more than a fortnight of hand weaving at a stretch, for all the warp that is put around the drum at once to be woven into textiles. The weaver handpicks the warp and the weft based on designs and their count, which are in his memory, and any error or deviation will mean starting the whole process all over again. Nowadays, it is flourishing as they get paid well. Earlier, they would get only Rs 10 for the same; they now get Rs 150 per shawl for the workmanship. Women are also getting recognized for their contributions. Many weavers are able to earn Rs 800 to Rs 1000 per day. This community is a very satisfied community. They consider it a meditative art and are very passionate about it. There was a period when mills started getting established in nearby villages, where the youngsters started going for work but soon as this craft picked up in demand, the weavers returned to their craft. The younger generation is now getting educated by traveling 3 km to Madhapur or 8 km to Bhuj, but they are well connected to their ancestral craft. The children in the family pick up this craft very easily in their families and no formal training is required. Acknowledgements: Weavers of Kutch Bhujodi for the information shared during the Interviews and Unpublished documents shared by them.
Indian Express
5 days ago
- Politics
- Indian Express
State unit of AAP seeks digital copies of electoral rolls in Excel format from Gujarat CEC
The Gujarat unit of the Aam Aadmi Party (AAP) has requested the digital copies of electoral rolls used in the Ahmedabad Municipal Corporation elections of 2016 and 2021, as well as the Gujarat Assembly polls of 2017 and 2022 in Excel format from the Election Commission of India (ECI). AAP's Gujarat General Secretary, Sagar Rabari, has penned a letter to Chief Electoral Officer (CEC) of Gujarat, seeking the digital copies of the rolls in seven days. Rabari has threatened to launch a public agitation against the ECI in case the said information is not received in seven days. Addressing a press conference on Tuesday at the party's headquarters in Ahmedabad, Rabari, accompanied by party's spokesperson Karan Barot, also released the letter sent to the CEC. In his letter to the CEC, Rabari has stated that AAP national convener and former Chief Minister of Delhi, Arvind Kejriwal, had raised the issue of many complaints of irregularities in electoral rolls before the assembly polls in Delhi, but no correction was made in it then. 'After that the electoral rolls used in Maharashtra assembly elections and 2024 Lok Sabha elections have strongly come under suspicion. The issue has been raised strongly at national level,' Rabari stated in the letter. 'All the opposition parties are coming together and fighting for the equal voting right of the voters, transparent elections and saving the democracy,' Rabari stated further. He added, 'In Gujarat, during the Ahmedabad Municipal Corporation elections in 2016, complaints were raised that entire societies of Patidar community, in large numbers, had gone missing from the electoral rolls at the last moment. Similarly, there is a strong belief among people that during the assembly elections (of 2017), all the classes of the society were agitating and there was immense opposition towards the government and despite that BJP won the elections in an undemocratic manner'. 'In the elections of 2022 too, people were discussing that similar irregularities had been committed,' the AAP leader said. Rabari has sought the digital copies of the electoral rolls from CEC to ensure that the confidence of voters of Gujarat 'stays intact' in the 'election process, election commission and democracy.' 'If the Commission fails to provide the electoral rolls as sought… then the people of Gujarat will consider it as the Commission's partnership in murder of democracy. As a national party, (it will) force us to do extensive public awareness and public agitation to protect democracy, equal rights, and the Constitution which will not be good for the national and international image of the Commission,' said Rabari. Reacting to the AAP's claims on BJP winning election in undemocratic manner, media convener of Gujarat BJP, Yagnesh Dave, said, 'If BJP won in undemocratic manner, then it can be said that Gopal Italia (of AAP) too won in undemocratic manner (in the recent Visavadar bypoll). In the past, they won thrice in Delhi and twice in Punjab. Did they win there also in an undemocratic manner? The same Election Commission was there too.' 'Secondly, the Election Commission puts its electoral rolls online. There is no need to ask for it. You can download it from the Election Commission's website even today. Everything is open. I don't know which age they live in. In short, without evidence, it is their tendency and method of making allegations against BJP,' he said.
Khaleej Times
01-08-2025
- Khaleej Times
Tips for travel, stay, and leopard sightings in Jawai-Bera, Rajasthan
He lay stretched on a ledge of granite rock, as though carved from tawny stone. We watched the leopard from across a wide chasm as he uncurled himself, limbs and muscles rippling with leashed power. After what seemed like eternity, he yawned lazily and then strode back into his cave home. In the Jawai-Bera region of Rajasthan between Udaipur and Jodhpur, the big cats roam free and live in harmony with the Rabari herdsmen and villagers who believe that the hills belong as much to the big cat as to them. Legend has it that the unspoken pact of peace also rests on local belief that the felines protect their temples and the leopards know that their human custodians will not harm them. In this surreal wilderness, each season has its own charm — the hot summer is the best time for birdlife, especially for photographing 80-strong groups of sarus cranes near water holes. In summer, the felines emerge from their caves at the crack of dawn, and come evening they revel in the cool breeze. The monsoons mantle the landscape in shades of green while winter months are pleasantly chilly and leopard sightings are spectacular. 'Jawai is virtually a year-round destination,' said Siddharth Singh Chaudhary, managing director of Ratan Villas, Jawai, whose open-to-nature 28-room resort (including a four-room villa) girdled by wheat fields has echoes of Jawai's whimsical landscape of granite hills speckled with lush fields of wheat. 'Safaris are easily available in the off-season whereas in the high season, the demand-supply of guests versus jeeps is a trifle skewed,' said Siddharth. And the pressure to showcase the spotted feline to guests is greater on the driver. We were there in March when the undulating landscape of rugged granite hills rose like silent sentinels seeming to watch over a desolate land. On our first morning, we embarked on a leopard safari, in a 4WD jeep expertly driven by Govind Singh Ranawat, who has a fleet of safari vehicles available for hire by tourists. We bumped along the rocky terrain interspersed occasionally with fields of wheat that rippled in the sun like a maiden's silken tresses. Occasionally, a blood-red palash tree would rise like a totem pole softening the stony aridity and the dry bed of the Jawai river. Granite outcrops carved and eroded by nature into bizarre shapes leered in the distance like gnarled fists pummelling the sky. In the boulders, nature has chiselled out caves where the felines live — unmolested by man. What is unique about Jawai-Bera is that it is a Leopard Conservation Reserve and is neither a national park nor sanctuary. Conservation is managed by local rangers independent of government involvement. And in this dreamlike landscape walk the weather-beaten Rabari herdsmen with their cattle; shielding their heads from the harsh sun with tightly wound red turbans that weigh a cool one kilogram; clucking and talking tenderly to their herd. An occasional camel cart lumbers past while a man on a motorbike with his veiled wife riding pillion zips into the distance. Jawai is about unexpected encounters... sipping goat's milk tea with a Rabari in his makeshift dwelling against the soundtrack of mooing cows and bleating lambs; fugitive glimpses of the glass-like waters of the Jawai Dam which shelters crocodiles with mouths agape. The eerie alarm calls of antelope warning of the unseen menacing tread of the spotted cat – its pug marks engraved in the dusty road; a flying ibis with a fish in its death throes, dangling from its claws; an egret with a grasshopper in its beak; a hyena devouring the remains of a kill. And the ultimate thrill happens when Ranawat guns his jeep up a steep granite cliff called Baba Meda Hill in the neighbouring district of Sirohi (Jawai falls in Pali district) and an untamed sun-stunned landscape unfurls below. With superb control, Ranawat steers the jeep down over the humped rocky hillock and then with the hospitality typical of locals drives us to his home in Devli village for cups of tea! His cattle moo as we sip tea concocted with fresh buffalo milk and he relates stories about some of the region's 40 leopards with the fondness of someone who knows them well. Bajrangi, the leopard from near the Pakistan border, easily identified by the lighter shade of his coat, crossed over frequently to the Indian side. He was finally caught by the Forest Department and released in the Kamleshwar hills which he has now claimed as his territory. Of Neelam, the female leopard, whose ear was slashed in a fight but delivered two frolicsome cubs a while back. While leopards find it easier to make off with dogs and goats that stray into their territory, they can even bring down a cow or a camel by going for the jugular of the beast. 'They bury the organs and haul the meat to their cave to feast at leisure for as long as a week,' related Siddharth as we toured his former family home where he and a vast extended family spent many a summer. Siddharth has now imaginatively restored and augmented the family property and endeavoured to keep some memories intact in his Ratan Villas resort. The former family kitchen is now a cosy library with an intact old-world chimney while what was the family dining room is now a spiffy restaurant overlooking a blue swimming pool. Whimsical elements are cleverly woven into the design of the resort like a Buddha head and a mosaic representation of the leopard, the rock star of the region. Even today, the resort remains a place where families bond, with the laughter of guests mingling with soothing Buddhist chants or the calming notes of a Chinese flute. That night we experienced a 'bush dinner' in a distant corner of the resort (which occupies five acres of a total of 47 acres). The wilderness beyond seemed to whisper to itself and the fields of wheat waved ghostly fingers at a star-veined sky. Were we imagining it or did we hear a low growl in the velvety dark? Fun Facts The leopard is the fifth-largest feline in the world (after the tiger, lion, jaguar and mountain lion). A naturalist who has studied leopard behaviour around the world told us that the most intriguing thing about the leopards in the region was their social interaction. 'Leopards around the world are solitary and fiercely territorial animals. In the Jawai-Bera region, they behave more like lions and live in prides. Nowhere else are you likely to see a model of how land is managed, without man and animal conflict.' Fact File A three-hour drive from Udaipur or Jodhpur (both have good air and rail connections), Jawai is leopard country minus the arduous regulations of Indian wildlife parks. Ratan Villas, Jawai, Sujan Jawai, and Castle Bera, etc are luxe options. Ratan Villas, Jawai, offers comfort stirred with holistic insights into the region such as village excursions, walks with a Rabari, cycling to the dam, and excursions to Ranakpur and Kumbhalgarh.
News18
23-07-2025
- News18
Businessmans employee flees with gold jewellery worth Rs 4.8 crore
Indore, Jul 23 (PTI) An employee of a Gujarat-based businessman allegedly stole gold jewellery worth Rs 4.8 crore and is absconding, police said here on Wednesday. A manhunt has been launched for Masroo Rabari, the accused, said Deputy Commissioner of Police (Crime Prevention Branch) Rajesh Kumar Tripathi. As per the complaint lodged by Dharmendra, the businessman, he had sent Rabari with one of his accountants to sell the jewellery to goldsmiths in different areas of Madhya Pradesh. A week ago, when the accountant was at a barber's shop in Indore to get a shave, Rabari allegedly ran away with the jewellery. As he could not be traced, the businessman lodged a complaint of breach of trust. Police found some CCTV footage of the accused and further probe is underway, said DCP Tripathi. PTI HWP MAS KRK Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
Mint
18-07-2025
- Business
- Mint
Morii Design: How a Gandhinagar-based studio is sewing up a stitch library
Under the shade of a tree, a group of Kachhi Rabari women are huddled together. With their black lehngas tucked between their legs and their veils draped across their foreheads, their eyes follow the slender needles darting between their fingers. The women giggle and trade stories with each other, as they embroider the fabrics with their generational knowledge of Rabari bharath (or embroidery). Leading them is Brinda Dudhat, a product of National Institute of Design, Ahmedabad, who in 2019 co-founded Morii Design, a Gandhinagar-based textile design studio that crafts riveting textile tapestries using the erudite wisdom of over 180 artisans across 12 villages in India. The studio reimagines folk patchwork and motifs, embroidery techniques and block printing with modern flair. With the onset of machines that could master and replicate even the most complex handmade techniques, regional and rural thread-works unknowingly began to recede into oblivion. Dudhat noticed the change at the source: the women in pastoral and seminomadic communities, who once took hours embroidering their trousseaus for personal pleasure, were now assembling their clothing using machine-aided decorations. 'It was really surprising," says Dudhat, 30. 'There are some very complex stitches in Rabari embroidery alone. Now, however, there are machine-made ribbons available that replicate those stitches. So, the women stack these ribbons on to their dresses and just stitch them. Instead of traditional mirror embroidery, they use reflective acrylic or plastic discs. So, their wedding attires, which were once entirely hand-embroidered by them, now feature machine-made imitations," where only the smaller areas are filled in by their own creativity. Dudhat wanted to breathe a new life into these folk textile crafts—rekindling both pride and interest among the artisans, while monetarily empowering them as well. 'Craft has a PR problem," says Kabir, 33, Dudhat's partner and the other half of Morii Design. An NID graduate, he manages marketing. Together, the pair realised they needed to create a 'stitch library"; not only did they need to catalogue various Indian embroidery techniques but also create a comprehensive repository of new stitch combinations . 'At the moment, we are working with four different communities: the Jat community from Kutch, sujani artisans from Bihar, kantha craftspeople from West Bengal, and the Rabari community from Kutch," says Kabir. 'We have developed almost 40 new functional combinations in the Rabari embroidery itself, and are still in the process of creating many more." Morii Design is also working closely with Bela block printing's last known custodian Mansukhbhai Pitambar Khatri, while documenting the motifs of this age-old art form. At the forefront of the studio, though, are the women artisans. Back in 2019, when Dudhat had first considered working with them, she faced resistance. On the advice of a friend who mentioned a particular community whose handiwork had remained largely unexplored by modern designers, Dudhat rode pillion for two hours to a village 35km from Bhuj, to meet a Garasia Jat cluster. The pastoral Muslim community's personal clothing showcases their detailed geometric designs and intricate cross-stitch embroidery called Jat bharath. The womenfolk waved her off: 'Nahi hoga—not possible". Undeterred, the ambitious and optimistic 24-year-old at the time, continued to return to the village the following months, gradually earning the women's trust. The women hadn't worked with designers before, but the promise of consistent work and a stable income was deeply reassuring. 'Today, the Garasia Jats are the longest collaborating cluster," Kabir declares. In Japanese, mori translates to 'forest"—one that's lush and deeply alive. After spending a semester at Tama Art University in Tokyo, Japan (2015-2016), Dudhat found herself drawn to the 'Mori Girl" aesthetic, a Japanese fashion subculture that romanticises a life that's in harmony with nature. The palette is inspired by the woods: muddy browns, moss greens, soft whites and calming pastels. The style felt like a natural extension of her own sensibilities. That quiet, forest-like elegance now runs through the visual identity of Morii Design. 'So, much of our work is about reconnecting with nature, and reminding people of the importance of trees, forests and the ecosystems we so easily take for granted," Dudhat says. Each tapestry or wall art is distinct with striking colours and abstractions. The process begins at Dudhat's studio, where she designs a prototype. First, she assembles a base: a patchwork of fabrics sourced from weavers across India. 'Just by looking at them, ideas begin to take shape, where different colours come together almost instinctively. The patchwork is created first, and then I draw on top of it, imagining the textures with embroidery threads. It's a very intuitive process." Dudhat then takes these prototypes to the artisan cluster. The craftswomen are invited to choose the design they feel most drawn to. 'Some of the older Rabari women are more inclined to do mirror embroidery, for instance, while many sujani craftswomen opt for larger pieces," says Kabir. 'Bigger is better for them, not only monetarily but when they hold the finished work and stretch out their arms, they experience immense pride in seeing the full scale of what they've created." The process of letting craftswomen choose what resonates with them offers them creative freedom. But with a wide variety of embroidery methods and intricacies, it was clear that a uniform percentage model wouldn't be practical—'Especially since many of our pieces overlap multiple crafts," Kabir explains. 'So we sat with the artisans and co-created a wage system from scratch, beginning with a base rate that they felt was fair, and moved forward from there." In the spirit of contemporising, Morii Design brings together diverse folk handiwork traditions. A single piece might begin in one region adorned with colourful motifs printed using 200-year-old Bela blocks, then travel to a cluster in West Bengal to be kantha-stitched, or Bihar for sujani embroidery, and finally get bedazzled with tiny mirrors by Rabari women. The ultimate production is one that has passed many hands, and carries with it the emotions and stories of multiple lives. 'That said, it's also important for us to maintain the geographical integrity of the technique," says Dudhat. For example, a running kantha stitch could be easily replicated by other clusters and communities. 'But we ensure that a technique that specifically belongs to a certain region is executed there itself, since it has evolved in that place over generations." At the moment, the focus is on digitising the stitch library, which remains private for now, with the new combinations intended to help train the artisans. As Morii Design stitches tradition and contemporary storytelling together, their work stands as a quiet but powerful act of preservation. Radhika Iyengar is the author of Fire on the Ganges: Life Among the Dead in Banaras, and an independent arts and culture journalist. She posts @radhika_iy
