TANT ARO OF PHULIA” | KARISHMA curta RAVI RANJAN FPT/12/15 | FPT/12/21pate: 15 05-13 - (CERTIFICATE Thisis to Certify that the Integrated Term Project document isa bonafide work done by meiMs Kosishas Guta 2 the 2" Semester in Foundation Programme — Techn Re foun of Batch : 2012-16 duri logy, Nationa Institute of Fashion T kolkata ed in partial fulfilment of curriculum requirement of the 2" Semester ‘The document is submit Foundation Programme ( Technology }. The Work is found to be genuine and satisfactory a Te. Mentor; PBiwwAamr KAve Centre ordinator: vee Pret mst Dea, Management & Teck yl ne he Te 70 ‘a SD 7 Camps lack LA, lo 38, Seca Salt ake C M1 tor Sal Lake Ci, Kolkata 700088 58 2szeanmI507332 #491 9322355734835! einfoniftacin 4 wove:~~ This project is done as a semester project, as a part of course tiled “Intgrated Term Project”. We are really thankful to our mentor Prof. Binwant Kaur, Director, National Institute of Fashion Technology, Kolkata, for her invaluable guidance and assistance, without which the accomplishment of the task would have never been possible. We also thank her for giving this opportunity to explore into the ral world of weaving and realize the interrelation of weaving society, without which a society can never progress. In our present project we have chosen the topic- “Tant Sari Of Phulia” and a case study of the same is done in Phulia, West Bengal, India. This report contains an over view weaving society of Phulia. We are also thankful to the people of Phulia and Mr. Debasis Basak, Society No.3. Phulia for providing us relevant information and necessary clarifications:TOPICS PAGE NO. Brief history of Bengal handioom. Phulia Sari Tant sari Sati focused upon Process of making Tant sari Costing of sari Labours and weavers Post production Product Diversification Sari future Problems of Handloom Industry Hazards to weavers Conclusions Suggestions Bibliography Annexureane D Sari sias |. Tant sari . Sari focused upon a. Tangail b. Jamdani c. Non traditional Process of making Tant sari a. Raw material 1 Sourcing of raw materials ii. Sourcing of yarns iii. Sourcing of loom parts b. Preparatory processes i Sourcing ji, Bleaching ii, Dying iv. Dye bath v. Sizing c. Pre-loom processes i. Winding ii, Warping and beaming iii. Drafting and denting iv. Loom construction ve Design processes d. The designing of sari i. Patterns and motifs ii Layout of sari ii, | Designers iv. The design processes v. CAD centres €. On-loom processesf. Post loom proces i ih Folding and packaging 7. Difference between Tant and Jamdani sari 8. Costing of sari a. Cost analysis ik Cost and benefit aspect ii. Working capital for one loom iii, Raw material procurement cost b. Costing of Jamdani sari c. Costing of Tangail sari 9. Labours and weavers a. Divergence b. Migration c. Division of labour d. Unit level workforce 10. Post production 11 Product Diversification 12. Problems of handloom industry 13. Hazards to weavers 14, Sari future 15. Conclusions and suggestionsDeof xc 290d n exp Handioom industry tne largest cottage dusty providing widest avenues for employ. untes, nox fo agicukure, pine 1 given to plementation of ‘schemes for promotion and development of handloom & Khadl sectors From the begining co-operative’ has been considered lobe the dea infrastructural ns {tion for mlemeniaton of vacous schemes for development of decenalied collage industry the hanalooms, Almost all schemes are therefore {ormulated co-operative oriented. Emphasis has also been {aid upon formation of co-operatives with handloom weav- Hanalooms area key element of he West Bengal econ ‘omy The Handloom Census of 1987-86 insisted West ‘Bengal popuiaton of hancloom weavers at 1248005, wih 5.38499 190m, Of tis, slmost 23% were members of the poorer and relatwely dsadvantaged Scheduled Castes (6) Amongst the population of weavers simost 20% ‘worked ona fulltime bass as weavers, andthe dustry provided ciret employment 10 304845 persons. ‘As percensus conducted by the Ministy of Textiles, Govt of Indi in 1995-96, n West Bengal there are 3 hhanalooms providing drect and indwect employment t ‘about 665,514 persons. By the end of 2001-2002, 1 £53,628 handlooms were registered under 2208 working co societies found wae, 688 covering 69,589 loom Production of handloom cloth n 2001-02 was 650 milion meties. The State Government organizes the sup iy of adequate quantiy of yar othe handleom coopers: ves andthe poor weavers mainly tough the Slate Hand loom Weavers Cooperative Society (Apex Society). In 200102 the Apex Society supplied 1017 bales of yarn (up to 40s coun) and 958 bales of above 4s county mn The ‘Apex Society supptes yarn othe cooperates against handloom products supplies by them The yar or he handloom sectors produced inthe six spinning mils under the conil of he Sate Government The yarn produced by these miles supplied to he coopera tives and weavers though Tanuj and Tantsiee, The Slate Government provides considerable amount of fund to each ofthe spining mills under is contol in an effort to ‘odemizelupgrade and expand the capacity of tese mils Handloom Sector (as on 31.03.2003) No, of Handlooms 3.51 lakh Employment (Direct indirect): 6.66 ok. No. of PCS 2203 No, of ative PICS 638 Total Handloom production in the state 4199.72 mon m Total export orlented production Handloom Sector (Co-op. + Outside Co-op) :21500¢r Total Value of Production : Rs. 1645 68 Crores (Approx ) he weaver poration of West Bengal can be ca + Typet (Entreprencur weavers): Buy raw material ‘on their own, work their own designs and then market {heir products trough a variety of local channels, traders et + _Typell (Laborer weavers) - Weavers linked to mas- ter weavers: who recive the raw mater and design bref fom the master weaver and pass on th al product to tem and receive ther weaving wages in return Type ll - Cooperative fold weavers: Weavers linked to the primary cooperative socities which procure aw material, pass it on fo the attached weavers, pay them ‘ages and then market the final products on their own! through apex cooperave sociely (TANTUMA)seems fo have not gained an focus ofthe state government department Se aBoinchi e Jirat ‘ Chaka panda . Darappur Kenyan, Raghunethpur a Kanchrapara \surah Hooghly Chandenne Habia \ Bhadreswa f Singur i ? te He Barrackpore ve nanget \-Rishra Patulia \ Konnagar Madhyan ‘Of pur Mogaia oy > Khariban Haora-8 a yer Dhuilya 2 akola f ahapur__- Rajarhat 4 \ Bhangar Gopalpur Kalighat )reat Joom industry (Once the ideal Jand by 2 grou which was sf system of poor and middle class peoples. Those 18 weavers were called Roc ‘Asuccesstul cooperalive movement was organized among the weavers of Phul cs 1 sult through it and Phulia is now renown in the map of Textile world ‘Ali weavers of Phulia are displaced persons; they were being migrated gradually from their origina inhabits tion of the district Tanga of former East Pakistan firstly after independence! partition of India in 1947 and secondly the rest of weavers ofthat place were again displaced and came to Phulia during the time of Bang ladesh war in 1971. They are Hindus and mainly of Basak community “This displaced artisans were to ight seriously against their il fate since a long petiod 1948 to 1973, their ‘economic condition became so weak that they were not able to maintain their lvings, many of them Tef theif weaving occupation and went here and there, in search of jobs, some of them returned back to Bangladesh ‘again This miserable condition occurred due to exploitation of master weavers - the cruel money lender of the vilage.{1973 and played very mpotant oe or mproverent of handloom dus ch cooperate movement he tae The Handicrafts and Handioom Expos fst initiatives was taken by them to give necessary technical uidance 10 the Sool (poration of India L1d, , a Govt. of India undertaking was the main encourage, «for production of cloth forthe ‘abroad customers and marketing suppor as the societies needed ‘The societies export their products tough merchant exporters. They are wiling 1 diet export but not possible due to lack of infrastructure: there are some inadequacies ie insuficient working capitals, higher rated inerest on Bank loan Dice fluctuation of raw materials. manval process of ayeina¢SARI HISTORY Jndian ancient are, san goth ne time of Indus Valley Civili BC. Indus emphasis on the origi the fist portrayal of Indian sar, i wa Furthermore, it was the Indi ss this, there are various Bes! hat gave birth to the name of cient language Sanskeitt Bee etter trat ena hard inuncoverng the history of 2, Fr statics Woes ag and ‘elusive drapery or sarin Ancient Tamil poetry. Many sculptures from Gandhara, Ma Jddesses and dancers wearing Sari AS per Gupla schools in 1s1-6in century AD demons s, shawls, and veils have been worn by women of India, since the accepted fact sar-like garment hundreds of years.shave come out, designer sai, RSeetath ee ccteriot tere eae speci ‘on industry. Every prt of naa has developed, over the centuries is own uninue sar styles ae d of fbi, weaving syle, or mi Likewise sari canbe varied according a he cifterentfebres such as George, Chi {on, sik or brocade. This sot of variation has added @ nev version of saris like Georgette sar, cotton saris, sik saris, chiffon saris and chifon saris, Then comes the variety based on weaving style, or mot, that encompasses Sambalpurl ‘Sat, Ikkat Sik & Cotton sari, Tangal cotton, Jamdani, Rajshahi Sik, Tussar Sik, Mooga sik sari, Murshidabad sik sari BBaluchar sik sai, Knandua Silk 8 Cotton ~Cuttack, BomkaiSonepuri Sari, Berhampuri Sik, Matha or Tussar Sik, Bapta Sik & Cotton, Tanta Cotton, Shantipur Coton, Phula Cotton and the list is endless “There are diferent types of saris "Once a poet wrote-"Kos-Kos per bale paanichaar kos per Baant-which means the water and the language of the people changes al every other place , 0 i the types and styles io wear 3 sar changes: ‘Seri Blouse is of matching o* contrasting hue and ithighly contibutes in enhancing the grace of this Indian tradttonal outfit. Sari Blouse are often made of cotton or sik fabric and it comes indifferent styles, necks, backs end sleeves, Be ‘sides sari blouse, petticoat piays an essential role, it is the garment over which sal is draped. Petticoat is made with cot {on and satin fabric and its color should be similar to blouse, Drape is another essential criterion thet makes the sari an impeccable outfit, there are uncountable ways of wearing 2 sar, but the common style is wrapping of sari around the waist, withthe loose end ofthe drape to be worn over the shoulder, baring the stomach. Nevertheless, the sari can be draped in several diferent styles, though some styles do require a seri of particular length or form. And major styles are Nii, Gujarat style, Dravidian, Kodagu. gobbe, gond malyai and kunbi you want some other ecstatic way of sari draping, lear how to wear Sari, wear them and awe the world It's the muliplity in Indian Sari that makes it the mast cherished ethnic ate, Indian san possess the factor of ‘compliance that can match any taste or siyle. One can get any style, colour, fabric and pattems for every diferent occa sion like Bridal, casual, party, etc. Besides this, saris the lawless melange of tradition and vogue, its drape is $o great that one can look modish as well as marvelous atthe same time. Variations of Inian sari are based on diferent regions of india, fabrics, oceasions and works. Saris are the epitome of eversiy and cuture of india. Being the ancient Indian attire, every state of India offers some captivating feature inthis tradtional cloth. Here | am mentioning al the assort- ‘ment of Indian Sari as per the diferent regions of india, 2pceceenepeee bad tant sari weaving, Since the tant sari are meant for daly use sari are woven from cotton threads and dis sige wo ast comfovible eal foc ine le Nol ana Di ag rant presen fr ny be cota one Sow coca Shuttle border with axe ois sing 8081008 ction YOM MTR PGR plain border a se of deen characteris vz val, abstract, geomet ierment extra warp jacquard desiaUnder the oyal guidance the tant (special jamdan). and musin becarme famous in ad around Decca (now 0 haka) in the Mughal era, British government red to de sti0y this art fo protect the txite industry of Manchester ‘wah the dvsion of the Bengal province of British nia {and departure of Bish fom indie many skiled weavers had seties Hoogy, Nada and Burdwan ditt of West Bengal wth the Government aid and incentive. These ‘weaver made this art famous or West Bengal ‘Weaving of ant sais famous and an age old crating of West Bengal The craftsmen defy weave the cotton to thread which fs woven fo ant sari. Two shutes are used forthis pupose Diferent motifs inclusing flora element, solar element and recently even modern at are depicted in this sari Tant Sari comes with colorul design and borders are made thicker because tis subjected to tear easily ‘west Bengal chief minister Mamata Banerjee wears tant seriwhich is brought from Dhaniaknali Thishas @ typical mension. Ths ie 6 meter long instead of usual 5.5 meter long sar TYPES OF TANT SARIS: “The Tant or handloomed saris of he region boast ave mendous range of styles and colors. The ighness ofthe body cloth, combined with wide and siky thread work bor ders and elaborate pallus with supplementary thread work omament give the sa i's unique evenness of crape, “Jamdani: Arighly transparent coth with supplementary ‘thread work omament, which is “jammed! into the well some bal style, unique 10 Designs ate simple and ge Steam ae So¥get Pe tune ewe tent wenn patent un fe or re see evan ster coved wort ad “esata ton apne sce ee The Gelsrpahn ean ee Oe oe sn on ec epee nese wre cen rane os ener fon nie Speer vce bor weet ps a oi pal ofen densely woven vignetiesarangedn sections. Dhaniathali Sari Dhaniakhah Soi 9 cofton sani mode in Dhaniothal West Bengal. India Iisa wit 100 by 100 cotton head count, borders between 15 and 2 inches and six meter long drape weaved in Phula, West Bengal lo reduce he decine of sar These are basically fusion saris, made according fo the preference and choice ofthe young generation, ‘The Tangail sai: The Tangal san is a combination ofthe extra wef loom embroidery on the aerate pick. possibly 4 simplication ofthe Dhaka "Jamdant technique the use ‘of patered border andthe paper Ike finish onthe loon cjves ita finish there were famiar in Tanga practices. the work by ha and amples “The Dhaka Tanga reduce! fo of patterning to twice ts onginal size. ives US how te diferent weaving techniques can be used to crease the production and also oramentation without loosing the orginal favor.et both with in the sat oxmausl since the fifties 11h ail did not comeyrange tat had aetnctve ltapat, vine and Hower pa: pero fee vet ne soy n ea ‘The body is ether checked, plan or has stipes combined ‘auiese developments ar the outcome of an almost 100. wih complementary color Tanga sar has vanity a9 eaves oor p10cess, which slated from the Wt dision of Ben- afd flowers on he border, whic is quite popu. The poplar ge flowed by the mining of East Pakistan ino Bangla. of thee esto is in Bangatore, New De Hyderabad des This process of change and evolution has been accom: pored by the Vast Shi of population which rein tu sgonsible or the oss of product kdenties, and now the ola rns ofregional character nthe case of fie count saris ‘henna and Kolkata ‘The sans woven today uset 805 0 1008 count. combed wih at ik and rex plastic zn The pice varied form RS 100 0 Re. 500 depending on the materials used and the pat The Tanga san as we know f today, exempiies most graphi-_ tN. Accordingly weavers earn thew wages caly the travails ofthe weaving community Atone level tis @ Eventhough the orginal Tangal sais now completely Wan com Manas, ges simplification of te farmed Jamdan technique of Dhaka which has Wen in the extra welt omamentation on {med Naveed Kom Tanga io Kalai Pe gc evan our pick nthe body and end otimetchate based n Kets 1S sina pce. This combined with extra warp pattern probably came ftom the criginal medium count Tanga, in with the par of the sar, Tis is done amongst form ofthe lata-pata vine pattern. It later pike Up al he Shantpur evolution on the debby and jacquard as well The ut onthe price of punching new cards again ané again Tanga 2 most successful hybrid both in its economics of scale and the fact thats has somehow caught the imagina fen ofthe present day market in and outside Bengal ula weavers are more adaptable than the Shantpus wesw ers and are incucating other weaving tradition in Tanga sa Evolution of Tangail sari ‘is Nowadays Phuta is producing Tangail Baluchan, Tangall Banarasi, Tanga Kashmin, Tangall Mekhla Kalakhety and Tonga, city in central Bangladesh, in west central Dhaka div angait Tanchol et ‘on, located onthe east bank of Yamuna river 75 km north westof Dhaka, the Bangladeshi capital. Tangall is famous for 1s handloom products, pariculaty satis, and the tration ‘garments of Bangladeshi women. Weaver vito migrated from Benglacesh settled in various parts of Nadia and Burdwan ditt of west Bengal. The weavers got divided in two groups therefore they folow different techniques ‘Weavers who settied in samudragath and dhatigram were in fence by the “Jamdan” technique of f weaving and weave the“ne Mush ec097204 ths excaenc, sky rary, Dut the renin of Emperor Janay Ine manufacturer offer Jamon was 9 | seyalmonopoty nomtodged ts 19 and Avan, ave product and a ‘te the "Mughals Jamar were conta to develop es the patronage of Nawabs Wid Shah of Tanda ena Newabs of Dacca (preserty under Bengladesn) Te wesvers of Dacca were expert in Jaman known as ‘Dac €ai Jaman for producing mainly saris and dress rater ss, of materials, handkerchiets, nas, cape, table h"Dacca”& “Tanda” Jaman, the gro jnging om 60s to 1506. However, mulberry sik (1315 De In cate ofincgo dyed Niambari Jamdor Benga Ihe seed yarn dyed wth mader clout is beautiful ver and gold 75n, munga beads are used as extra wet for fed met in Dacca where as b leached cation and go 2f 35 plyed of these extra yarns are uted for he dese fectof each motif using the same count a that of wap yam 8x8" pt looms were generally used for producing fgured Jaman Like cnr sri, hank sizing large followed for Jaman rom hank form yarn avalabe in marke The motion of layout of Jamdani fabrics ae drecty woven on loom by traditional master weavers from their hereditary kl, experience and alent. Traditional Jamdani mote are of geo metic in concept, adopted from local flowers, birds, leaves, 2ig2a9 lines, and s0 on by the weavers who improved and ‘volved a directory of design of "Dacca Gharana” These de ‘08 have is nomenclature Hazar bub, Chand, Dorerats Dabur hop, Rosette In those days Mugas, Nawsbe, a Blesching& dyeing techniques ware cared out by indigenous method de to on ‘avalabety of chemical dyes and Waredents the chaque of ‘weaving Jamdan tgred design may be call ICK & PICK "ene ick exta wet desion and hen one ground pick Motits una pool, bagher pa, ihadar and others. The artisans inter: pretaions of nalue and new design innovations have in sed the numberof designs used when weaving Jaman fadevant AMBARI PANCHALI GANDHARI NEELNAYNA, KADAMBIN NAYANSUKH CHARACTERISTICS. ‘ne uaparaleled inclusion in the colourful world of the Saris of Bengal Th v Bengal. These are based on TANGAIL Gharans, but nex in ened by Hancloom Avtisans of Phulla. These are weaves by artisans of Phu wth mod touches in design and layout which are being highly appreciated wth love by aged ladies to young as. These saris can Be wore n sy sophisticated ceremony lke mariage, office party, festival and functions atthe same time be used ordns y The oiner more important characteristics ofthese saris are that, ll he raw materials are taken from th enly dyes for making them decorated by innumerable colour shadesSizing of warp ‘Sizing of Weft Yarn (hank form ) t x ‘Winding of warp Collection of Design & Pirn winding Conversion of Design on | to Graph paper. Sectional warping ¥ & Beaming Conversion of paper designing into card, t Drafting & Denting | Loom & Jacquard Weaving Loom sizing of Setting for extra Fabrics | Ironing & Drying of Folding fabrics in — Sun light. ee am RE Selling ‘Despatch for Calendaring DATA FLOW DIAGRAM FOR SARISsold commonly under the brand n nineteenth century. Now, mil made y Previously, warp length uses to be for 25 saris. but n days warp length s for 62 saris. Shanti : ing woven do not contain a biouse piece Presently, all he raw materials is sourced from outst Phulia and its adjoining areas don't produce any of the raw materials used in the weaving apart from some of the Joom pars. Cotton is used both as warp and wet. Along msi used as extra wth the cotton imitated zai and 2 warp inthe sani The grey cotton yarn is being sourcea from spinning mills of south india. Some of the brand names are Bjayshree c/o, the Suguna mils Lio, Of Col batore, Sulochana cotton spinning mills ts cfo Sr Bhagveti textiles hd of Kerala, Biseri and Sakuna of Chen: fal Yams come in form of bails, which cost around 20 fo 22 thousand rupees. One-bail consists of 40 bundles, mally does not place orders for the raw materials tothe mils. From these mils they are being imported by the « porters of Bara bazaar of Kolkata or directly by the Mahe jans of Shantipun, Wholesalers of Bara bazaar of Shant puri buy from them, get it dyed and sell ito the retailers. Weavers sometimes by the yain directly firm the wholesal fers. Weavers, who come under certain societies, buy their yam form nation handloom development center, which comes under the central government and provides yarn to the weavers on the mil rate, Dyes used ate chemical based Some of the brand names are Caledon manufac:Dyeing (coming aor one st 10.d for sizing of yam. Itis done atS am and lime (chuna) are use: tyarn is kept in water for 24 hours and is squeezed Thereafter ed more to get the added stiff for warp ness. Freshly cooked rice gener- sizing, stale rice puffed rice during the rainy season stale rice and puffed rice Is 3:1 respectively. This whole paste is ed ona Se machine from which an lank is wrapP' no ae heel Anend.oLine vainPRE-LOOM PROCESSES + WINDING | WARPING AND BEAMING + DRAFTING AND DENTING = LOOM CONSTRUCTION « THE DESIGN PROCESS Winding ‘Winding is done manually hee. which help yarn to get winded into Bobbins and pes used as warp and wel filers respectvey, tis process aso ples yam: ivided into two categories warp winding and weR winding, For warp wind winding ea ing, bobbins (no) are used, whereas for he welt pins are used. Warp proé bobbin and prins. Ina bobbin two of he hanks are filed or winded. Weft winding is taken up withthe help ofthese machines only andthe process is also same. The only aif caried on the prins instead of bobbins. Locally these ma: ence between them is that t the wheel ofthe chorki is chines are known as chorkh. These are made up of wood ‘made up of ron Warping and Drumming/Beaming “The warping Is 8 process of making desived length and wisth of warp sheet by combining 120 bobbinsispools. The process of warping used in Shantipuris many small packsges cal known as sectional warping, Sectional warping process is carried on a wooden drum from wooden peg creel. The Sectional warping process facitates warp patteming and handling debates fine spun and filament yarnFee Rowen Dratting i Progress! Drafting and Denting arp beam, frame is ied ‘ hea safer sits on the ground " reed hook (krush) re backside ot the frame er y han yan to the person at the fot ofthe fame This helps in the ft 4 weaving for easy 0 Ing ofbroken ends and also helps inthe designing proc nin plan and thew in straight pattern. The extra warp in body and boarder are crawn through hamess cord of jacquard esigning Deniing is a process of passing the yein through the reed aining the width of fabric during The process helps in mai Loom construction ra bazaar of Kolkat The design processTHE DESIG! OF SARI Patterns and Motifs Layout of sari Designers The design process Computer Aided Design Center‘Ardha Chandra paar Bagh paar ‘Bhomra paar Bonk terchni paar Bomkal paat CChatati paar Chandmaala paar aant motor paar Haathi Paar Phool paar Parapets paar Rajmahal paar Rattan chowk paar Taa\ paar Tabj paar Tara paar Terchl paar i dlagonal/ wave pattern Bal mot Mat weave pattern Row of moon patter ‘Triangles with ciel pattem Elephant Mott Floral pattern utterly moti Palace pattern Gem stone/ eye pattern Crown pattern ‘Amulel talisman pattem Star pattern Diagonal patternTHE DESIGNERS There are about 100 small designers, who do designing work on their own creativity and imagination Th rs 2 formal education nor a mechanism to updale their know Lack exposure their sil are bast osting for the master weaver, and supply then ards for the Jaca Graduates ofthe college, who are currently unemployed usually end up as “de isthe basic design process 2s of today isthe designer coming to Kolkata nd wsting wl arkets of Saris Ike fs for ne body of tara bazear and gariat. They then pickup new and conlemporary designs fr the borders and m ch sari desig # sold 10 the private weavers, government agencies or fo the Mahajans the san After reaching Phulia, €2 {ora minimum goin rate of R's 1000 rivate weavers, government agencies and the Manajans, they dispatch ‘er the design comes into the hands ofthe Jepencding on the complexty and inicacy ofthe design takes the design fort to be transferred onto ° P design. it ‘graph paper anywmere between 2-10 days ‘ ser onto cardboards, by punching holes info them. This is nota very skied la he next step is to transfer the graph paper onto care “ th iled cris the need of the hour Als 1s for this important stage in the skilled worke tools being. oi based job, though being1g) These caidboard cards are hen top Me loom. to obtain a desired design Computer Aided Design Center, Shantipur ut theo mnch tout sign on the graph paper and then onlo a cardboard The process takes anywhere from 2 10 he design The 10 days depending upon the complexity of h adds unching of te cardboard then takes up time, What Upto allof this is that this whole process is highly perish te, afterall how long can graph part be carefully pre served? The brainstorming ofthe Nadia dstict administration 3409 win erstwhile chiet of army staf, Gen Shankar Rey Chowd Nay brought about the formation of 2 computer aided de ‘Six IBM workstation, with more i Sion center at aniipurl aistnt aaa| Fig: Parts of the loom Bahire noraj (warp beam) Kal noraj (cloth beam) Bo (held eyes) Shana (dents) . Joa (lease rods)«Kal path (ole Reo WEAVING TECHNIQUE + Reed (shana): Fs. 600 «Shuttle (maky Re 150 Nol (ni) Re. 12 + Bobbin LOOM MECHANISM made through w dds himsel les api, and is locked in sented wef called beating tion. This p| With the help of to the floats, Fig: The Jacquard set up Jacquard is am ine which is situated at the top of the loom. It controls individual yarn rather th group of yarns and 's attached with a huge 1ron handle, which is tied to the pad. dle. Jacquard has h J pins through which enon Numbers of threads are hanged. To give stability to threads they are passed through a frame of compass board and have some weight at their ends. Extra warp is drafted thro heald eyes of these threads. At every shed of ground shed of extra warp is also formed by pressing the jacquard paddle, This individual yarn control, makes possible the pro duction of extremely elaborated borders. Border designs created using a set of perforated punch cards. The desired pattern is transferred to the series of cards. One card is re- sets the de- quired for each sheding and laying in of a pick. The hole in a ody buttas arg controls the lifting of the needles, the design cess takes __ Needles are pushed by spring box, which is placed to the op- the posite side of the cylinder. Needles determines what warp ure of is gives yarns are {0 be raised fo form a shed, Each card stops on the sign 4nd very. serting cylinder for its particular pick, the pick is placed, the card, moves on and gets stucked on cylinder with the help of nailWEAVING The weaving is performed by Tne looms be fly shuttle pit Tooms with jacquards CHANGES IN LOOM ‘Shantipuri looms are primitive looms, that is @ throw shuttle loom end were called as khadi. But now they are converted a5 y shuttle loom and pit laoms. Although the jacquard has been used al feast in 1975, itis quite common to find the {ooth formation and its variation repeatedly in the borders of Tanga saris The jacquard patterns of today are sel within a stripe in the border. For instance, within a 6 or 8 inch plain bor- der Weavers in Phulia are using jacquard fly shuttle frame loom or the pitooms These looms have a wooden frame, which is fixed, on ground ‘After denting the warp beams taken fo the loom, Warp beam is fied at the backside of the loom and is locked withthe help of a wooden stick Heald and reed frame are also arranged his he shutle The shut to night and vice versa after every st weft yains. After this reed frame is him, which is @ beating process. Th clure. Extra warp is han on a wooden o¢ an iron rod (ul Tanga saris are woven in plain we ated with the he .e¢ bindings to the float ndergoes the surface ubbed onto the sar after weaving ishing on the looms would remove coupling of ends in 2 dent This m denser and also saleable. On loot sed to give @ more erisp and pe than the finish g of Shantipuri ON LOOM FINISHING Saris undergo the surface finishit ‘onto the sari after weaving every the looms would remove reed m of ends in a dent This method 0 denser also made it more saleat of Phulia is said to give more ert the san Material used for finishing- putfe ‘mixed with limestone, This mixtweaving 15 1020 inches of sais i ‘et vening 18 0 20 ces of aris wees win he hel of he clad subsequent eaten wit non 12 gif water, Slang meals utneson he srace cru moton one ani osenedby peng ee Hue dah beam, Then fabrics cx hed and crumbled by hands, Therefore, iis stvetched by locking the cloth beam Fabric is rowed smoothly with the help of hands, This finishing process helps to give sifiness and shine to an end product, which is ly desired by buyers on the demand of customers. The excess of water Is removed byt ng the fabric withthe help of wooden stick: this process is called ‘chat-bart NOW he serenmaterial is apple ih hands. As the fabrics very seer therefore. the starch seeps though th Iretobne thoroughly by hands Now a par of the fabrics ante so that the starch material spreads evenly throughout he 52 a ee Be staring the fabric is weavi in jes carried out in cychz . oe pleted on the loom is cut away from the ret under a sun t¢ : n off the beam. is folded again and kept arts, then rolled into scroll and tied wi {he sar is folded in eight p: ‘own cheela, the mahajan rejects the pi the sari is not tied with its paper ae aa s cheela. Sart is folded in this manner also to preserve itsFolding and packaging packaging of 1 of he most important post oom acts. The ° ican be hampered i (olded properly per folding may Become a rejection er buyer he folding of saris called bh}. aque two people are involved. They sit a " The 6 is properly sretened through ts hand width and folded nt half fs eng, then _ lena The folders lay the sari neatly on the ground and place a shee! of paper, thal s approximately one eight ef the ength ofthe san, on one side of the sar. and then ke stick inthe midgle ofthe sar, fold the saint ofits Jong its width, twice, Keeping in mind thatthe inner edge of the sari remain length. Now the san is again ol sari, again keeping in mind that shorler then the outer edge. Its now folded again along the remaining length of th the inner edge is shorter than the outer, Now a stip of fabric (cheela) that was cutout fom the saris is placed in be- tween the last fold and wound on the sar ‘The packed samt resembles a book thus the folding of the saris called Boi Bh}6 the smal se 5 ale “pet 10 Re 295/- aster wea ee the design angina lH boms. he taal producten cost one i I per piece, Le 25%, w So 1300 gernece But the master weaver eas le margin tha places sue ree Cea {wile clearing the credit p 'irectly pays the marketing cos Pole to Mahajans is by and forge Rs 16-20%" i redit payments, The is in shape of credit supplies © Te amie cleans sonsotsen arte 8 the yams, The The scope of avaling bank loans ruled out because, even at 4 simple interest rate, the cost of interest po Wrest per piece works out to be Rs Hence th em the clutches of the 1 weavers are int Mahalans. Working Capital Requirement for one loom The quantum of working capital requir 1 capital equited depends on the length ofthe warp bear. In general practice beam of 40 saris is prepared to optimize the utity of capital and for a better color range, The average production time fr 40 satis = 2 months. Yarn Cost'- Rs 119x 40 = Rs 4760! Dyeing Cost Rs 9 x 40 = Rs 360! Preparatory Works:- Rs 12x40 = Rs 48 Weaver Wages:- Rs 60 x 40 = Rs 2400) Finishing & Others:- Rs 15 x 40 = Rs 600) Total Working Cepital Requirement per loom: Re 8600 / Ba yocking copilot aunt of our looms (orone production cycle = Rs 94400!-Rs 34000 ~ 24000 Rs 25 ~ 33 per Bobbin Rs 170/- pe pet For Regular Colours | ] , Rs 500 ~ 550 per kg | Direct Rs 400 - 450 kg Sulphur & Napthol Rs 300 -350 per 10 Ibs Item | One Warp | Monthly | Beam: 40 saris | Cluster eae _ Level Yarns | 100 s Cotton for Warp | 88 moda 718 bales 80 s Cotton for Weft 68 moda 882 bales as Li a Dye Stuff (Any one) Qinkg VAT Colours | 210 gms | 1120 Direct | 240 ams | 3228 Sulphur | 1200 gms | P 750 gms | 2400 Naptho! |p Raw Material Cost of Sa LOCAL MARKET COST OF Sari COST Rs. 400!| a FIG: weaver working on loom ng growth in ne cotton i nt 5 19 aecompany increased production, 3s seen inthe cou tem which alway ie the changes that have taken place due to shits of population, upgradh A an eT een cpt RRR ar cs cea cca able between the coaise cotions ne cotton and sik Tne tage i symbolic layouts and motifs capable of transiting from ane category to the other. yet retaining a distinct identity MigrationDivision of labor Mates med with the weaving actives whereas women, chi people looks after other preparatory process Ike sizing. winding etc more eficient in ng As weaving needs a lot of concentrator jon when they find themselves i avery pit helping their family a a very eal agNG OF THE TANT SARI[ypAKETING OF THE TANT SARI Heras a6 Mostly sok the cists, Ate nshing of sate eng fhe sa shaved, en aariered 978 1, one above the oer. Jyses tone elahih. The cross border is kept insie the fold anc the border remains without overappin 4 border The sais folded lengthwise, This alls done man seta othe previous fold remains sight above the sec farming proper crease of the folded sant is kept under pressure wth the help of machine BT rc otic do not nave a vey tram tie neg i 2 Strat chops 6 mark oejartain made from Jamdania "1 ch FUTURE OF SARI conn[yrs THE FUTURE sp wo BNDis hea ins x SN Bay Ta aa - Mahatma Gandhi EROBLEMS OF HANDLOOM INDUSTRYInfrastructural Support Welfare Measures Composite Growth Oriented Package Development of Exportable Products Research & DevelopmentHAZARDS TO WEAVERS nenive sre, Evéry season seems obang wih some {normally takes around two fl days to weave Comfort. The weavers are literally cOopeEd Up in low caing rooms. Surener ings hgh temperate an cannot be switched on due to hinderance inthe weaviong process. The heat increases Pr makes sizing ifcut because the szing material bécomes schy ing it and thus causin breskage. The manson pery jing. An excessive weaving action pus ino fering the nasal chamber, causing bronchial robles ‘Also the eyesight gets strained due to drafing and dentin af se five tuts ent hal region. Continuous working with fibres, ha