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Content:

MSME The design Clinic Schemes Introducing design awareness programme All about National Institute of Design Sparsh Assam All about Bodo people and their lifestyle Unit wise survey Goreshwar Handloom Cluster Raw Material Tools & Equipments Type of products Bodo couple wearing traditional attire Design Audit Report Goreshwar Bodo handloom cluster opportunity

areas and summery

Design Clinic Scheme for MSME Scheme information The Micro, Small and Medium Enterprises (MSME) sector has been recognised as the engine of economic growth. Many countries all over the world have established a SME Development Agency as the nodal agency to coordinate and oversee all government interventions with respect to the development of this sector. The Micro, Small and Medium Enterprises (MSMEs) are a vital part of the Indian economy. They contribute to over 45% of industrial production and around 40% of the total exports. There are about 13 million MSMEs in India, which employ about 31 million people. Thus MSMEs are the single largest contributor in terms of employment generation, besides production and export revenues in the manufacturing sector. Presence of MSMEs is seen in the value chain of almost all major industry sectors like automotive industry, garments and textile industry, leather industry and drug and pharmaceutical industry etc. Role of Design in Improving Competitiveness: Design is an approach, process and methodology. Design is intended, purposeful, contextual, which is aimed to create advantage, distinct and futuristic outcome to the existing scenario. Design being systemic and holistic in nature, helps in generating more creative, impactful and sustainable solutions. Design intervention in business is to create value addition to existing products and services. Through design process,

MSMEs can add value to products, services, and in the process to their firms. Design, innovation and growth are closely linked. Innovation and design are not simply about new products or technology. They are also about how to improve/diversify products for everyday use, leading to reduced costs, increased utility and acceptability resulting in new business opportunities. Design is recognized as an innovative discipline that can help MSMEs to sustain and grow in competitive market. Design Clinic Scheme for Design Expertise to MSMEs, a unique and ambitious design intervention scheme for the country’s micro, small and medium scale enterprises, is an initiative of Ministry of MSME, Government of India launched under National Manufacturing Competitiveness programme. The main objective of the Design Clinic Scheme is to bring MSME sector and design expertise to a common platform and to provide expert advice and solutions on real time design problems, resulting in continuous improvement and value addition for existing products and services. This model brings exposure to design thinking and process to the door steps of industry clusters for design awareness, improvement, evaluation, analysis and design related intervention and application. Design clinic scheme will assist industrial clusters to open a channel for design information inflow for creative, innovative and futuristic approach towards products, processes, operations, manufacturing and business design. The scheme will help generate insight for opportunity identification and design intervention for competitive and breakthrough solutions for MSMEs. The objective of Design Clinic scheme is to enhance industry competitiveness and productivity with the help of design interventionand application at various functional levels.

Design Clinic Scheme is structured to provide design related help through design awareness seminar, design awareness programme and design projects to give design inputs to products and services of MSMEs to enhance competitiveness. The scheme provides help through financial assistance at different stages for better implementation of scheme and design awareness. National Institute of Design (NID), Ahmedabad assists the Ministry of MSME, Government of India, as Nodal Agency for Implementation of the scheme. For easy percolation of design thinking and philosophy and maximum benefit for MSME units implementation of the Design Clinic Scheme is spread into following 3 broader areas. These areas help in smooth transition of design intervention to MSME industrial and business clusters. 1. Design Awareness Seminar 2. Design Awareness programme a. Need Assessment Survey b. Design Clinic Workshop 3. Design Projects (handled by Design Professionals/ Student Designers)

INTRODUCING

DESIGN AWARENESS PROGRAMME

The design awareness program (DAP) is a focused to develop a holistic map of MSME cluster and units by exploring through industrial function and activities. The design expart/s will generate design information about products, market scenario, technology, communication, research & development and various industrial function along with human factor study for ergonomics, study, learning and skill upgradation through design remedies for identified opportunities through design clinic workshop. The workshop will help participants to understand the holistic scenario of cluster and benefit them with the support of design expert/s, for design intervention in opportunity areas explored during the programme.

The workshop will help participants to understand the holistic scenario of cluster and benefits them with the support of design expert/s, for design intervention in opportunity areas explored during the progmamme. The activities of design awareness programme are targeted around following areas of design information collection and remedial solution. Design expert will visit the identified/ selected MSME units located in cluster region and interact with them to develop a design understanding of cluster. During the interaction design will provide inputs to MSMEs about products improvement, best practices and creative problems solving approach based on contextual scenario. In this process he/she will identify underlying opportunities with the help of exploration design research of cluster and participating units. The survey will help in developing detailed map of cluster and identification of patterns and exploring the opportunity areas for intervention at various level of product and human interactions.

ALL ABOUT NATIONAL INSTITUTE OF DESIGN

NATIONAL INSTITUTE OF DESIGN (NID) is a design

school in India. The institute functions as an autonomous

body under the Department of Industrial Policy and

Promotion, Ministry of Commerce and Industry, Government

of India. NID is recognised by the Department of Scientific

and Industrial Research (DSIR) under Ministry of Science

and Technology, Government of India, as a scientific and

industrial design research organisation.

Business Week has ranked NID (32 alphabetically) in its list

of top design schools in the world.

It is located at Ahmedabad.

NID had been set up looking at the industrial design

education being imparted in Bauhaus and Ulm in Germany.

The institute currently consists of three campuses, each

hosting separate courses:

The heritage campus at Paldi, Ahmedabad.

The postgraduate campus at Gandhinagar established

on 19 July 2004 to move the postgraduate courses from

the heritage campus

The postgraduate R&D campus

at Bangalore established on 31 March 2006 offering 3 IT

Integrated courses (Information and Interface Design,

Design for Digital Experience and Design for Retail

Experience

SPARSH

“SPARSH” – A rural tribal women upliftment organization was establish in 2002

Address of the main office of this Society:

“SPARSH” Rural tribal women upliftment organization. Shanti Nagar, Vairabhi mandir path, Upper geraki, Tezpur, Dist. Sonitpur, Assam – 784001.

Area of Operation: The society shall operate within the state of Assam and North East.

Objects of the society: a)To motivate rural tribal women for achieving economic selfsuffency using traditional skills and local resources as well as by imparting skills to them through weaving, tailoring, cutting, embroidery, food processing, handicrafts.

b) To organize health awareness camp from time to time in villages. c) Networking with various Government and non-government agencies on programmers for social and economic development of rural tribal women. d) To conduct social welfare activities for rehabilitation of distress women and to render assistance to storm affected, flood affected and natural calamities affected children and women.

e) To conduct research, studies on art and culture, cultural heritage and customary rituals and systems of the indigenous people of Assam. f) To generate awareness among the rural tribal masses on various aspect of education by conducting various programmers on education and by providing quality education to the poor deprive tribal children from the age group of three years onwards. g) To conduct research and development and adaptation of science and technology to improve the life, working conditions and for gainful employment of tribal women in rural areas.

ASSAM

Assam is the meeting ground of diverse cultures. The people of the enchanting state of Assam is an intermixture of various racial stocks such as Mongoloid, Indo-Burmese, Indo-Iranian and Aryan. The Assamese culture is a rich and exotic tapestry of all these races evolved through a long assimilative process. The natives of the state of Assam are known as "Asomiya" (Assamese), which is also the state language of Assam.

A majority of the Assamese is the Vaishnavas (a sect of Hinduism). The Vaishnavas do not believe in idol worshiping and perform Namkirtana where the glory of

Lord Vishnu is recited. The two important cultural andreligious institutions that influence the cultural fabric of Assam: the Satras, the site of religious and cultural practicewhich have been in existence for over 400 years and and theNaamghar, the house of prayers.

Ethnic groups

Assam is acknowledged as the settling land for a lot of

civilizations. A number of tribal grouping have landed in the

soils of Assam in the course of diverse directions as the

territory was linked to a number of states and many different

countries. Negritos, Dravidians, Tibeto-Burmans as well

as Aryans had been the most important traditional groups

that arrived at the site and lived in the very old Assam. They

were well thought-out as the ‘aborigines’ of Assam and yet at

the moment they are an essential elements of the

“Assamese Diaspora”.

Tai-Ahoms were historically the dominant group of Assam

and were the ethnic group associated with the term

"Assamese". More recently, the Assames language speaking

ethnic group has been associated with the term "Assamese".

Bengalis are another major group of Assam and are a

majority in the Barak Valley. Bodos are the dominant group

in Bodoland. They mostly speak theTibeto-Burman Bodo

language and live in Bodoland. Many Bodos want to

politically separate from Assam and want the creation of a

separate state.

Though some people with political aspirations have tried to

spread the notion in the poeople of the rest of the world

about the Ahoms being the defining element of Assamese

society, that is far from being true. Assamese language and

culture started to take roots more than a millenium before the

arrival of the Ahoms. Even though the word "Assam",the

present name of the state, has been ascribed to the word

"Shyam/Siam"(which was how the Ahoms were referred to in

the earlier days) the area of Assam was known as Kamarupa

before that. Ahoms, though they now are trying to claim to be

"Kshatriyas" were never considered a caste groups by the

Hindu Assamese. They are still regarded as a semi-tribal

group who have nominally converted to Hinduism even

though keeping alive their own tribal traditions and customs.

Historians like Edward Gait too have ridiculed such claims of

the Ahoms. Ahoms like all the other mongoloid groups of

Assam are outside the caste system.

Migration of Hindus to Assam started very early in history.

According to some historians Hindus startd migrating to

Assam from North India as early as the 4th century BC. The

first Hindu group to have arrived in Assam were the Kalitas.

They brought the Indo-European speech Assamese to the

Brahmaputra Valley. They are reagrded to have introduced

Hindusim in the North-East. Before the arrival of the Vedic

Brahmins, the Kalitas used to perform the priestly duties.

Though the exact places from where the Kalitas came has

not yet been ascertained, there are various theories. Dr.

Banikanta Kakati has related then to the Koliyas of Kolit

Pradesh(in present day North UP) while others like Dr. B.S.

Guha have tried to relate them to the Nagar Brahmins of

Gujarat. Though, the later day Vedic Brahmins who migrated

to Assam eventually displaced the Kalitas from the position

of priests of Kings, even now there are temples where one

can find Kalitas acting as priests. Other caste groups like

Brahmins, Kayasthas,Ganaks etc. have migrated to Assam

at later periods.

It is also to be noted that the Ahom kings were known to be

very cruel to their subjects. They have been known to have

meted out atrocities which are beyond description. Though

on this point, not too many historians have dared to

comment, some historians have been very vocal about this

aspect.

ALL ABOUT BODO PEOPLE AND THEIR LIFESTYLE

The Bodos (pronounced BO-ros) are an ethnic and linguistic community, early settlers of Assam in the North-East part of India. According to the 1991 census, there were 1.2 million Bodos in Assam which makes for 5.3% of the total population in the state.[1] Bodos belong to a larger ethnic group called the Bodo-Kachari. The Bodos are recognized as a plains tribe in the Sixth Schedule of the Indian Constitution. Udalguri and Kokrajhar are considered the center of the Bodo area. The Bodos represent one of the largest of the 18 ethnic sub-groups within the Kachari group, first classified in the 19th century.[Bodos have settled in most areas of North-East India, and parts of Nepal.The BODO People constitute a diverse range of the Indigenous people of North-east India .The overarching term "BODO" is a collective designation to

http://en.wikipedia.org/wiki/Bodo_people#cite_note-0�

include the peoples of the region who share some degree of cultural and linguistic heritage; however, the term embraces many distinct populations, societies, and ethnic groups like Dimasa kachari, sonowal kachari, Mech kachari, Rabha kachari, Thengal kachari etc. who each have their own particular traditions, language, cultures, and historical identity.The BODO word is nothing but merely a male Clan of Royal Dimasa Kachri Race. The first Raja of Dimasa Kachari kingdom was belongs to BODO Clan.so Bodo never be a tribe. There is no history in the world that A clan of a tribe can become a community. If it is so then is a distortion of the History Among the 18 groups mentioned by Endle, the Mech in Western Assam, the Bodo in central Assam, the Sonowal and Thengal in the eastern part of the Brahmaputra river are closely related. The others have been either Hinduized (e.g. Koch, Sarania), or have developed separate identities (e.g. Garo).

The culture of the bodo people of Assam in India is influenced by the land where they currently live.

For a long time, Bodos have been farmers, with a strong tradition of fishing, keeping poultry, piggery, rice and jute cultivation, and betel nut plantation. Very early on, Bodos may have introduced rice cultivation, tea plantation, pig and poultry farming, and silkworm rearing in the North East India.

The traditional favourite drink of the Bodos is Zu Mai (Zu: wine; Mai: rice). Rice is a staple of the Bodos and is often accompanied by a non vegetarian dish such as fish or pork. Traditionally Bodos are non-vegetarianThe Bodos also cultivate mustard and corn.

They make their own traditional attire .Weaving is another integral part of Bodo culture. Many families rear their own silkworms, the cocoons of which are then spun into silk. Bodo girls learn to weave from a young age, and no Bodo courtyard is complete without a loom. Most women weave their own Dokhnas (the traditional dress of the Bodo women) and shawls. The Bodos are also expert craftsmen in bamboo products. Bodo people are mainly into Bathou Religion from ages. In recent decades, they have been influenced by social reforms underBharma, Assamese Sarania, Islam and the spread of Christianity. They are deeply independent and proud of their Bodo identity, which has given rise to political assertion in recent times. The Bodo linguistic ethnic group arrived the earliest and settled in the region, and have contributed to the cultural traditions of the Assamese and others in the north east of India.

UNIT WISE SURVEY

UNIT ONE

Name: Moromi Das

Age : 32

Sex: Female

Weaving since: Eight ( 8) years

No. of Looms: 1 loom: Dobby loom

Products: Traditional towel (gamucha) and Running fabric.

UNIT TWO

Name: Tilak Rajbonshi

Age : 35

Sex: Male

Weaving since: Eighteen (18) years

No. of Looms: 2 loom: Jacquard loom, Dobby loom Products: Dokhana, Traditional towel (gamucha) and Running fabric.

UNIT THREE

Name: Shankar Das

Age : 35

Sex: Male

Weaving since: Seven (7) years

No. of Looms: 3 loom: Jacquard loom, Dobby loom Products: Dokhana, Traditional towel (gamucha) and Running fabric.

UNIT FOUR

Name: Dhaneshari Deka

Age : 35

Sex: Female

Weaving since: Six (6) years

No. of Looms: 3 loom: Jacquard loom, Dobby loom Products: Dokhana and Running fabric.

UNIT FIVE

Name: Renu Deka

Age : 36

Sex: Female

Weaving since: Fiftee (15) years

No. of Looms: 6 loom: Jacquard loom, Dobby loom

Products: Dokhana, Mekhala-Chadar, Traditional towel (gamucha) and Running fabric.

UNIT SIX

Name: Santi Boro

Age : 36

Sex: Female

Weaving since: Ten ( 10) years

No. of Looms: 3 loom: Jacquard loom and Dobby loom Products: Dokhana, Mekhala-Chadar, Traditional towel (gamucha) and Running fabric.

UNIT SEVEN

Name: Archana Boro

Age : 36

Sex: Female

Weaving since: Eighteen ( 18) years

No. of Looms: 1 loom: Dobby loom Products: Dokhana, Mekhala-Chadar, Traditional towel (gamucha) and Running fabric.

UNIT EIGHT

Name: Pobatri Boro

Age : 25

Sex: Female

Weaving since: Three ( 3) years


UNIT NINE

Name: Dipa Boro

Age : 37

Sex: Female

Weaving since: Thirteen ( 13) years

No. of Looms: 4 loom: Jacquard loom and Dobby loom

Products: Dokhana, Mekhala-Chadar, Traditional towel

(gamucha) and Running fabric.

UNIT TEN

Name: Ambala Basumatary

Age : 38

Sex: Female

Weaving since: Nineteen ( 19) years


UNIT ELEVEN

Name: Pabitra Rajbonshi

Age : 35

Sex: Female

Weaving since: Five (5) years


UNIT TWELVE

Name: Rima Boro

Age : 32

Sex: Female

Weaving since: Ten (10) years


UNIT THIRTEEN

Name: Damayanti Basumatary

Age : 36

Sex: Female



UNIT FOURTEEN

Name: Alaishari Boro

Age : 35

Sex: Female


No. of Looms: 6 loom: Jacquard loom and Dobby loom

Products: Dokhana, Mekhala-Chadar, Traditional towel

(gamucha) and Running fabric.

UNIT FIFTEEN

Name: Bajanti Boro

Age : 38

Sex: Female

Weaving since: Fifteen (15) years


UNIT SIXTEEN

Name: Mainau Daimary Age:36 Sex: Female Weaving Since: Ten (10) years No. of Looms: 3 looms. Dobby loom Products: Dokhona, Traditional towel.

UNIT SEVENTEEN

Name: Kono Basumatiary Age:40 Sex: Female Weaving Since: Fifteen (15) years No. of Looms: 2 Looms, Dobby Products: Traditional Towels, Dokhona.

UNIT EIGHTEEN

Name: Romila Boro Age:42 Sex: Female Weaving Since: Sixteen (16) years No. of Looms: 2 Looms, Dobby Products: Traditional Towels, Dokhana, Mekhala-chadar.

GORESHWAR HANDLOOM CLUSTER

ABOUT GOREASHWAR BODO HANDLOOM CLUSTER :

A most common feature is a typical Bodo homestead is the presence of weaving looms. Every home in Goreashwar has got a loom. In brief weaving for the people of

Goreashwar is a way of life. A looms is something that is ubiquitous is every household and weaving is invariably a skill learnt by every female member of the family.

The every day drap worn by the Bodo Kacharis are chiefly characterised by the home –spear quality and rich vibrant Colors.

Dresses and ornaments of the Bodos are the symbol of

their traditional art and culture. Most of the tribes belonging to the Mongolian races in the North Eastern Region of India deserve the same character of dresses and ornaments. Their arts of such dresses and ornaments are the intrinsic reflections of the nature within which they are shaped and moulded. At present the dresses and ornaments of the Bodos, do not differ from their Hindu neighbours. Since ancient time, the indigenous people like Bodos were accustomed with the production of clothes from the tread of Eri and Muga. The Eri cloth is of dub colour and is durable. It is light but worm, in ordinary cold season, wrap of the Assamese (Refering to the people of ancient Assam including all tribes ) is generally made of this cloth. Bodo women are expert in rearing the “ Endi Emphou ” ( Eri worm ) and “ Muga latha ” ( Muga worm ) and find out treads from them. They weave different kind of clothes like “ Dokhna “ ( Women’s dress for covering the whole body ), “ Jumgra “ ( Chadar or orna or scarf of woman ) , Gamosha ( Clothe for covering the lower part of the body by man and sometimes used in bath ) , “ Phali “ or “ Rumal ” ( Handkerchief ), “ Shima “ ( Big and wide cloth used as rugs during the winter season ) etc. out of the treads of Eri and Muga. Traditionally Bodo manfollk used to wears female garment called “ Gamsha “ ( Gamosha in Assamese ) to cover the body from waist down to the knee.

MALE ATTIRE The male members sport gamochas worker at home which are wrapped around from the neck to the knee. The men also take are arovai around the neck and the head. There are essentially woven at home. Traditionally Bodo manfollk used to wears female garment called “ Gamsha “ ( Gamosha in Assamese ) to cover the body from waist down to the knee. Previously Bodo old man used to wear wooden footwear known as “ Khorom “ ( Karam in Assamese ). There was no use of shirt in the past days. They only used a type of cloth known as “Jumgra “made of Eri trade and a small cloth on the shoulder during the winter and summer season respectively. But now-a-days they put on modern dresses available in the market.

FEMALE ATTIRE

The women folk wears a warp called dokhana a long piece of cloth work around their chest, which falls to their ankles. Dokhanas are sometimes plain and sometimes ornamental. It is said that the woken folk prepare the working of the arovai and also weave the some in single night. Arovai in various designs are generally used by men, while the female counterpart put on the arovai while performing the kherai dance during different festivals.

Typically in Goreashwar handloom cluster there are many classic designs an motifs which are women on an ornamental do-Rhona, usually made of silk. By and large western clothing is get to make its impact on the dress code of the people from Goreashwar. Even the school uniform of Goreashwar and other place in BTAD area for Bodo medium school are their traditional gear of dokhana and jamgra.

The craft of weaving, which conventionally employed traditional methods, is fast being replaced by more product techniques with its commercialization, the handlooms industry has opened up new avenues, giving employment opportunities to hundreds Bodo weavers from BTAD area. Such essential infrastructural paraphernalia of the handlooms fussiness like the handloom training Institute, Hand loom production centre, weavers extension service unit, common facility centre, yarn Bank and computer aided design centres, which have developed in the BTAD area have definitely geared up the economy of the people. Slowly with proper �lanning all there facilities could be imported in Goreashwar.

Goreshwar Handloom Cluster

Weaving in Process

Raw Materials

• Muga Silk

• Tusser Silk

• Eri Silk

• And other yarns which are blend of Pat Silk

• Cotton yarns

Tools & Equipment

• Beaters and combs • Bobbin winders • Boat shuttles and bobbins • Card weaving cards • Pick up Sticks • Reeds • Warping boards or drums

Types of Products

Woolen Shawls Mekhala Chadar Bodo Traditional Dokhona and Arovai

Bodo couple wearing traditional attire

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(a) Description and scope for existing products, redesign, new products development and product diversification:

ISSUES AND CONCERNS:

Existing product consists of traditional Bodo female

attire which includes ‘Dokhona’ the main piece of fabric

which covers the whole body, ‘Arvai’ long piece of data

which covers the upper part of the body. The Bodo

male attire consists of one piece cloth which covers the

lower part of the body from waste to knee and a long

piece of cloth which is use to cover the head and body

some time while working in the field.

Existing product also consist of traditional Assamese

attire which includes chadar mekhala and traditional

towel called gamucha.

Woolen shawls of different color and patterns and

selling it to other states like Arunachal Pradesh.

There is a lack of innovation therefore designs are

replica of what is already available is the market.

There is a huge scope far redesign. Wearers are very

understanding and willing to learn new techniques.

They are ready to accept new changes. Redesigning in

possible in all the existing products.

Major problem is the high cost of yarn price has shoot

up like anything in the recent time.

High cost of your has put restriction an the weans to

play with design and spend on R & D, due to which they

restrict them to regular outdated designs.

Due to lack of exposure the weavers hardly consider

latest trend in market on color forecast an check the

your quality.

There is again shortage of electricity due to which they

can’t work after sun set. And due to poor financial

condition they can’t afford generator or invertors.

Weavers are get to taste the affect of commercialism so

there is no fix working hour. Except far few weavers

weaving is been taken up like hobbies part time activity.

Most of the weaver are completely dependent on the

traders for raw material, so quality of the yarns are

sometime compromise.

OPPORTUNITIES :

Looms could be upgraded with good quality wood as

looms are old and are made of very low quality wood

and are of poor finish because of which both the quality

and quantity of the product gets affected.

People in cities and towns are fascinated by their

traditional products. So again keeping in mind the

elements from existing traditional products, new

products can be introduce which could include different

kind of lifestyle products, mats, rugs etc.

Infect new product development can be done as new

market are opening up. And there are demand for new

product in the market as people are exploring.

New product development could include home

furnishing range, rugs, etc. as the village has enough

optional and with proper training and skill development

a whole new rage of product can be develop.

And the new product could be diversified fare on market

need and demand.

(b) Scope for research and development, direction for future initiatives:

ISSUES & CONCERNS:

Research and development are time consuming things and need enough funds, time and expertise to carry out on regular basis.

The weavers don’t get delivery of raw material on time because of which research & development takes a back seat. On time delivery of raw material and transport facility would be a boon in facilitating and increasing speed of work without compromising on quality.

The weavers don’t have funds and resource to introduce new technology on looms and design.

OPPORTUNITIES:

New technology ideas and exchange of all these ideas can be initiated through seminars, workshop and other idea exchange programme.

Loom technology should be improve through research and development activities.

A common facility centre (CFC) can be set up with modern technology.

Research work can be carried out in terms of market trends, consumer trends and completion in the local & international market.

(c) Existing status & opportunity for visual identity, branding and communication design:

ISSUES & CONCERN:

Present scenario regarding existing status and opportunity for visual identity is completely zero. There is no visual identity for the cluster as there are middle man who takes control of marketing, visual identity, etc.

Till now no proper catalogue/brochure/documentation of traditional and non-traditional, popular design and product can be classified and worked upon.

Products should be shown by means of pictures and other documentation methods to the weavers.

There are lots of weavers, traders and middle man who are against consumerism which hampers the growth in this era of globalization and modernization.

OPPORTUNITIES:

Proper effort need to be made so that the cluster comes in direct contact with the main consumer. The outcome would be mutual benefit to both buyers and sellers.

Initiative should be taken to organize fashion shows, on-line selling by creating website, proper branding for the cluster and a common visual identity.

A proper product brochure/catalogue is much needed at this pint so that the weavers can reach out to the high end consumer who has the actual buying power.

Through branding and visual identity the weavers will be in touch with the market and will get more exposure.

(d) Scope of technology, modernization and design collaboration:

ISSUES & CONCERNS:

Due to shortage of electricity work timing are less than eight hours because of which bulk order cannot be taken.

When it comes to customize order or made to order the high end product are made in ordinary looms because of which quality is always compromised.

Most of the traditional looms such as fly shutter loom or dobby loom are out dated with no real modern technology available to them.

OPPORTUNITIES:

Long run solution such as solar panels, generator set

should be provided to them. The quality of the loom should be improved and

introduction of jacquard loom the weavers can take bulk order or customize order.

(e) Scope for operations and process innovation from design perspective:

ISSUES & CONCERNS:

Traditional and non-traditional attire made out of cotton-silk blend limits scope of various innovations as quality of the yarn provided to them are poor.

There is another major issue to be taken care of, the high cost of pure muga silk, pat silk and eri silk which most of the weavers cannot afford to invest in high end traditional attire.

The available yarns are also not available in bulk because of which design are always compromise.

OPPORTUNITIES:

Using more effective looms and other tools & technique which enhances the product should be used.

Quality control in terms of yarn quality should be introduced so that the scopes of various innovations are not being compromise on.

Different type of yarns can be bought in bulk which in turn leads to saving of time and can be used in enriching the quality of the product.

(f) Design opportunity in workstation and tooling design:

ISSUES & CONCERNS:

There is nothing such as work station as most of the weavers don’t have proper shed or other facility because of which work is really slow and untidy.

Low quality of looms makes the work process really slow.

Tools are outdated as most of them are home made which leads to slow and time consuming production process.

The work place is not at all organize and cluttered with unnecessary objects all over.

Due to lack of electricity working hour are reduce and its very painful to work in kerosene lamp and low light.

Use of kerosene lamp at night leads to compromise on the quality of work.

Sometime work is done in open space and due to which dirt gets deposited on the fabric because of which it losses its natural shine and luster.

Most of the time they sit on the floor and work with improper seating posture which leads to backache.

Tools are not kept properly, Infact there is no proper arrangement.

OPPORTUNITIES:

Proper organized work station at common facility centre

should be set up. Solar penal/light, diesel/kerosene generator should be

introduce so that they could work in the evening and night hours.

New loom for weaving, drums for spinning etc should be introduce at CFC.

(g) Details of market and competition study for design advantage and distinction: ISSUES & CONCERNS:

There is a tough competition from states such as West Bengal, Bihar and Karnataka.

The looms in West Bengal, Karnataka, etc are new modern and equipped with all the basic amities which is required to meet today/s market demand.

Decrease in profit margin due to exploitation by the traders and in increase in cost of raw materials such as (cotton, Muga silk and eri silk etc).The customers/traders are not ready to pay higher price for the product.

There is fear among the weavers that introduction of power looms might lead to loss of hand made nature of the products.

Also traditional and non traditional attires and traditional towels made from power looms are available in the market at a much lower price.

Non traditional garments which are usually copied give retailers and sellers a great profit margin. These products are brought from West Bengal, Karnataka, Bihar etc.

The weavers don’t have direct interaction with the market and customers. Infact the artisans rarely get a chance to have direct consumer feedback.

The middle man and the traders buy products from the artisans directly and sells it in the local market of Assam, Such as Guwahati, Dibrugarh, Sivsagar etc due to which weavers do not get exposure.

Due to shortage of money artisans/weavers do not store sample pieces generally, so when a directly visits them there is hardly any product to show.

OPPORTUNITIES

Introduction to new and modern looms will give them scope for research and development which could give them a bigger market share and make up for lost market as their product capacity will increase and give them more design variety.

With better product which is base on latest market trend they can reach out to larger market such as Delhi, Mumbai, Kolkata, etc and to many other metro cities where lots of Assamese people lines.

Every state has got Assam Bhavans, so the artisans/sellers can directly sell their products to the consumer through these store in different Bhavans.

(h) Study for the need of training and skill up-gradation:

ISSUES & CONCERNS:

There is no new/advance training programme for the artisans except for few entrepreneurship skill development programme.

The skill craftsmen sometime leave for better pay out of the state to near by state such West Bengal,Bihar,etc and shortage is not filled up which effects the quality of work.

Very few workers are trained regularly and enrolled to keep the pace of work smoothly.

Due to lack of exposure weavers/artisans have been practicing same methods for many years because of which the product are not according to the latest market trend.

OPPORTUNITIES:

A common training centre should be set up which could provide training on skill upgradation, quality control, product modification and diversification to the weavers/artisans of Goreshwar handloom cluster.

(i)Ergonomics and environment factors in MSME premise:

(j) Packaging and logistics related design opportunities: ISSUES AND CONCERNS:

The bodo wedding/bridal traditional “Dokhana” which is mostly in demand are not packaged properly which leads to breakage and wear & tear and which in turn leads to dissatisfaction among the consumer.

The product are kept either in a box or wrap in a paper.

The butter paper which is purchased from Guwahati/Rangia by the local people are of low quality.

Infact there is no real concept of packaging. OPPORTUNITIES:

Eco-friendly bags and other packing material should be introduce.

New-packing design should be introduce. These bags should have a individual identity of

Goreshwar handloom clusters. There should be some kind of symbol or logo that can represent the place or the weavers.

Cost effective form of packaging need to be introduce as the weavers are quite poor to invest on packaging.

Good packaging of products should be done to avoid fading of colors and attack of moths.

If there is a improvement in packaging it would create a good visual impact and consumer will feel confident in buying the product.

(k) Exhibition/display design opportunities:

OPPORTUNITIES:

A small display area/showroom can be created at the cluster or village in and around common facility centre.

Product can be displayed at various art centre, museums, Assam Bhavans present in different states of India,Dilli Haat, Pragati maidan in Delhi, etc.

The weavers/artisans/traders can participate in trade fairs at local,state, national level and even in international levels.

(L) Study of infrastructure set up from design perspective:

ISSUES & CONCERNS:

There is no in-house display area for the products. Lack of proper work shed for the artisans. Work environment lacks that creative touch which

otherwise would have help artisans to be more creative. OPPORTUNITIS:

A common work place or a CFC should be provided to every village or cluster.

(m) Scope of design intervention for inter cluster communication:

OPPORTUNITIS:

There should be a common place for stocking raw materials where weavers can buy material on credit basis as it will help them store raw material for R & D purpose.

A CFC will help the weavers tremendously and increase the scope of communication between the Goreashwar village and near by towns and cities through which they can share knowledge and skills.

There should be a better cooperation and understanding between the weavers/artisans and the traders/middleman.

Goreshwar Bodo Handloom Cluster Opportunity areas and summery:

Staying and working with the people of Goreshwar was a unique experience all together. People are very warm and open minded and willing to learn new things. As weaving is culture of the bodos which depicts their mesmerizing color combination and intricate design. The people of Goreshwar have retained strong links with their roots, tradition and customers. The handloom industry of Goreshwar area plays a very important role in the socio-economic development of the area. There are various opportunities if proper steps are taken. Over all future is bright if proper planes are made to uplift the Goreshwar Bodo handloom clusters.

(1) Details of the cluster with number of units/population involved in the making of handloom fabric:

Total number of cluster/units in Goreshwar: 400 units

(2) System map/ process chart of product making which involves function of raw material, pre-processing, fabric weaving, post processing, packaging storage, distribution, marketing, etc. function & sub-function for better understanding:

Weavers get their raw material from near by market.

The major market foe weavers of Goreashwar people are Guwahati market and Rangia market. Most of the rich weavers and shop keepers store raw material and sell it off to the weavers in a much higher price then the existing whole sale price.

The Quality of the raw material is been compromise due to non-availability or the time which is required to go to the market like Guwahati and getting it.

Pre-processing involves coloring of the yarn, washing of the yarn with starch to give it a thick feel so that it adds on to the value of the garments which is a very important factors when people buy these traditional attire.

Pre-processing also involves twisting of the yarn while spinning.

Fabric weaving involves a very delicate and time consuming technique. Weaving of the traditional attire like mekhala-chadar and dokhona involves long hours on the loom. Design are inspired from nature and events from day to day life activites.

Once are design are selected they are then transform on draft (or graph paper) and finally on card.

Weaving on Jacquard loom involves placing of the card according to the design which is very time consuming. On the other hand if the weaving is done on simple dobby looms or in fly shutter looms the design needs to hand pick by the weavers using the extra-weft.

More intricate the design and more color are used more time consuming it is.

Most of the weavers in Goreshwar village are professional and has good knowledge of the loom and how to develop their own design.

There are lots of master weavers and skill craft man in the village who has taken weaving as a serious business.

Post production involves packaging, storage, distribution and marketing etc. This is the part where the weavers are lacking behind. There is no system of proper packaging, storage, distribution and marketing etc.

In terms of packaging the garments are just wrap with white paper or old news paper and are kept inside a box or most of the time its kept outside.

There is no system of price tagging, labeling, washing instruction or any such things.

Again in terms of storage there is no proper place or unit where the garments can be kept safely from moths or other insects.

Assam is a very humid state and because of humidity the garments tends to loss its luster and the newness if not store in a proper place.

Because of storage problem the garments are given away in a minimum rate where the weavers are in a loss.

Distribution is yet another major problem. It is again not done in a very organized way. The weavers gives away the garments to the middle man who visits village to collect all different kind of garments.

Some times the middle man are hired by the big shop owners and are sent to different villages to source and collects garments. And sometimes they are individuals who knows the weavers and buy the garments in credit and pay off half the price and rest of the payment is

done once the garments are sold in shops in Guwahati city or any near by place.

Marketing is again done by the weavers themselves or by the middle man who visits town/city with the garments.

They go from shop to shop to display their garments. Some times they have few regular shop who buy their garments and sometime they look for few new places who will give them the desire money.

Functions of the entire system is not in a very organized way. The traditional methods are been followed since a very long time and that’s why production cant meet the demand.

(3) Tools, equipment and ergonomics

related issues and opportunities so that design solution could be based around the existing scenario instead of graduating to new loom technology straight away:

Rather than straight away upgrading the entire

loom technology we should try to build a system in around the existing system. No doubt the looms are old, out dated and woods use are not up to the desirer standard as the woods are not dried up properly and artisans usually don’t have sufficient money to buy good quality wood before construction of the loom so they usually bends when expose to heat and sunlight.

Most of the units are not equipped with proper shed or lighting system so they work in open shed where there is excess exposure of light and heat on the loom as well as on the garments.

The golden yarn which is called as “Zari” in hindi and “Guna” in Assamese gets a tan effect when expose to excess sunlight and heat and thus loss its luster. Therefore there should be proper unit or shedding where weaving should be done to avoid unnecessary color variation or any kind of technical mismanagement. Good quality wood should be used in the looms.

(4) Common facility for training, skill

development, new product opportunity, existing products improvement, R & D facility etc need to be elaborated to understand the underlying design opportunity areas:

Need of the hour is a fully equipped CFC (common

facility unit). Training to the weavers is very important to meet the demand of the new market. There is lots of new technology coming up which is very important for the weavers to know.

Tanning will make them more skill which will give them a better wage then what they are getting. More skill weavers means better quality of products and lesser delivery time of goods will give them an extra edge over other weavers from different state who is gradually getting more business then their counter partner in Assam.

Getting Skill labour is one of the major problem faced by all the production houses and weaving units. Getting them train is a expensive process as one need to hire technical people, designer etc. and money is big problem among the weavers or owners. So existing weavers are used without giving them proper training or skill upgradation. In

this area MSME is of great help. With on going project like these the weavers can accesses to new technology and get an exposure to the global market.

To earn business and maximum profit new product development is necessary with growing global exposure there is a need for new product development for which R&D is very necessary. Common facility unit will provide R&D for new product and opening new business venture.

In terms of product development existing product development is very necessary. Existing products need to be taken care of for better understanding of the market. Therefore in case of existing R&D is necessary which can be provided in a CFC. Gorashwar village doesn’t have a proper CFC so far. If a CFC can be provided to the people we can expect better skill weaver and good business in the future.

(5) On the spot remedial solutions provided to the weavers:

To get artesian card from DIC so that the

weavers/artisan can participate in fair and showcase their own design.

Packaging with proper symbol, logo of the cluster or unit can be done.

Exhibition at various Govt. and non-Govt. supported venues can support the weavers to sell their products directly to the market. This will help the weavers understand the choice of the customers and also about the latest trend of design and color of the fabric

Different products such as stole, shawls, saree etc. should be made during different workshop held at the cluster or even individually also.

Weavers can also try the national market, Dilli haat, different trade fair and international expo.

The traditional look and feel of the fabric can be made more trendy for the market by diversifying the product from dokhana, Arnai, etc.

Designer Details:

Irin Bismitar NIFT Alumni

BODO HANDLOOM

CLUSTER

GORESHWAR, Dist.BTAD,

ASSAM

BAND 5 DESIGN WORKSHOP

Under DCS at GORESHWAR HANDLOOM

CLUSTER nov-dec 2012

Organized by SPARSH- a rural tribal women

upliftment organization

IMAGE of BANNER at BODO HANDLOOM CLUSTER

Weavers at BODO HANDLOOM CLUSTER

Schedule for Bodo Handloom cluster,Goreswar,Dist.BTAD,

Assam

DAY ONE WORKSHOP REPORT at BODOHANDLOOM CLUSTER

WOMEN SELLING TRADITIONAL DRESS in GORESHWAR MARKET on 22/11/12

BODO WOMEN SELLING TRADITIONAL DRESS in GORESHWAR MARKET

BODO WOMEN SELLING TRADITIONAL DRESS

BODO WOMEN SELLING TRADITIONAL DRESS in GORESHWAR MARKET

First Day of WORKSHOP in Local Goreshwar maket.

Eri-culture and handloom weaving is a traditional craft in the area of Goreshwar

which remains as a part and parcel of the culture and heritage of the scheduled

tribe and economically poorer section of the society in the BTAD District since

time immemorial. Bodo women are very fine weavers so weaving is a household

activity for the women folks. There are many finding on the 1st day of the

workshop at the local market place.We had gone to the regular Thursday market to

do onspot workshop to see how the local buying and selling takes place and what

are the major problem face by them.

The design pattern of the fabric is mostly in stripes, checks and combination of

traditional motifs signifying the different clans and sub tribes which are used by

weavers to get a wide range of designs. Geometrical patterns, Flora and Animals

motifs which are prevalent in the area and which form part of the culture are often

used. The handloom artisans in the District are belonging to poorer section of the

community, therefore, frequent changes of the product, designs, color pattern and

other new innovations in the market has put the handloom weavers in a position

which bears the cost of the trail production before the same product is introduce in

the market. For instance:-

Incapability to take bulge order-which means larger investment which is

impossible for the poor weavers.

Frequent change product version in design and pattern-means increase in

the development cost.

In ability to maintain the quality standard like fabric structure, specificity,

design, colour, etc- Due to the entire production process in manual and

labour intensive and usually done in small and disperse set up.

Inability to face new uncertainties – means risk.

Most of the weavers are part time weavers because of lack of proper

workplace.

After all the findings we went back to the main class room of the conference hall

and had a long talk with all the weavers. Then we came to a conclusion of

distributing cotton yarn among the weavers so that they can go ahade with the

sample development for the five days workshop without any difficulties of buying

yarns. Different motifs and designs were develop during the first day of workshop,

which were later develop into cushion cover and pillow cover.

Day one at Workshop.

Women weavers taking part in BAND FIVE workshop under DCS at

Goreshwar Handloom Cluster organized by Sparsh-A rural tribal

women upliftment orginazation.

DAY TWO WORKSHOP REPORT at BODOHANDLOOM CLUSTER

Tie and Dye technique with direct dyes.


Weavers trying to learn “Bandani” Technique during the Band five workshop


Weavers trying to learn Tie and Dye Technique during the Band five workshop

Bandani:

The day started very early. All the weavers came on time to the conference hall to

learn Bandanani (Tie and Dye). The main reason behind teaching them Bandani is

because of raising cost of hand woven motif in traditional garments. Most of the

women weavers weaves their household garments using traditional loom. As cost

of yarn are going high they need some alternative. And also the fact that design

variation is needed. The art of Bandhani is highly skilled process. The technique

involves dyeing a fabric which is tied tightly with a thread at several points , thus

producing a variety of patterns like Leheriya, Mothra, Ekdali and Shikari

depending on the manner in which the cloth is tied.

Different forms of tie and dye have been practiced in India. Indian Bandhani, a

traditional form of tie and dye, began about 5000 years ago. Also known as

Bandhni and Bandhej, it is the oldest tie and dye tradition that is still practiced.

The art of Bandhani is practiced widely in Rajasthan, with Barmer, Jaipur, Sikar,

Jodhpur, Pali Udaipur, Nathdwara and Bikaner being the main centers. Bandhani

comes in a variety of designs, colors and motifs and these variations are

region‐specific.

Girls trying to untie treads used in “bandani” technique.

The centers of tie and dye fabrics in Gujarat are Jamnagar in Saurashtra (the water

in this area brings out the brightest red while dyeing) and Ahmedabad.

Raw Materials:

The fabrics used for Bandhani are muslin, handloom, silk or voile preferably.

Traditionally vegetable dyes were used but today chemical dyes are becoming very

popular. Various synthetic fabrics are also highly in demand. For tying knots

mostly synthetic thread is used on the fabric. The dominant colors in Bandhani are

bright like yellow, red, orange, green and pink. Maroon is also an all‐time favorite.

But with changing times, as Bandhani has become a part of fashion, various pastel

colors and shades are being used. The Bandhani fabric is sold with the points still

tied and the size and intricacy of the design varies according to the region and

demand.

Popular Dyes Used in Bandhani:

Vat dyes: Vat dyes are an ancient class of dyes based on the original natural

dye,indigo, which is now produced synthetically. Both cotton and wool, as well as

other fibers, can be dyed with vat dyes. 'Vat dyeing' means dyeing in a bucket or

vat.

Direct dyes: Also known as hot water dyes, direct dyes can be used with hot

water and require no binding or exhausting agents. They are convenient but lack in

color fastness and wash fastness. They are used on cotton, wool, silk and nylon.

The colors of direct dyes are duller than those provided by reactive dyes. They can

be found in powder form as well as in the form of a liquid concentrate.

Napthol dyes: These are two sets of chemicals which, upon reaction, produce

a third chemical, essentially colorful in nature. The fabric is dyed with one and

later printed with the other. The chemical reaction produces a third color.

Procion dyes: Procion fiber reactive dyes are specially formulated for

cellulose fibers like cotton, linen and rayon. They also work well on silk. They are

considered “cold water” dyes. These dyes make fabrics great for solar dyeing, tie

and dye and batik. As for the auxiliary chemicals, all you need is salt and soda ash.

Synthrapol is optional but very helpful for rinsing out excess dye.

Process: The process, though relatively simple, is very time‐consuming.The

tying of the fabric is mostly carried out by women or young girls. In some places

in Rajasthan the craftsmen wear a metal ring with a protruded point to facilitate the

lifting of cloth for tying.

The area of the fabric to be dyed is outlined using fugitive colors. Then a clear thin

sheet of plastic, which has been pierced with pin holes, is kept over this area of the

fabric and using fugitive colors an imprint of the desired pattern is transferred onto

the fabric. The craftsperson then pulls on a small area of the fabric where each is

placed and winds thread tightly around the protruding cloth to form a knot or

bhindi. The thread generally used is nylon thread. After tying the knots the fabric is

thoroughly washed to remove the imprint. The cloth is then dipped in napthol for

five minutes and dyed in yellow or another light color for two minutes.

Next it is rinsed, squeezed, dried and then tied again and dipped in a darker color.

This is kept for three to four hours (without opening the knots) to allow the color to

soak in.

During this process the small area beneath the thread resists the dye leaving an

undyed dot. This is usually carried out in several stages starting with a light color

like yellow, then after tying some more knots a darker color is used and so on.

After the last dyeing process has been completed the fabric is washed and if

necessary, starched. After the fabric is dried, its folds are pulled apart in a

particular way releasing the knots and revealing their pattern. The result is a

usually deep colored cloth with dots of various colors forming a pattern.

DAY THREE WORKSHOP REPORT at BODOHANDLOOM CLUSTER

Women weavers taking part in Workshop

DAY THREE WORKSHOP REPORT at BODOHANDLOOM CLUSTER

Third day of the workshop started with visual presentation about the cluster and its

future prospect.Topic like selection of design for woven fabric, selection of color

for domestic market of India were taught to the weavers.

Topic like how colors that we wear affect us constantly, as we absorb the color

through our skin. So selection of color should be base on what type of skin color as

we are affected by the vibrational color of the clothes we wear, especially if we are

wearing natural fibers such as silk and cotton.


Simple things like we are drawn to the color or colors that we are most in need of

at that particular time were unknown to the weavers as they weave color what ever

yarn is available in the market. After the topic was over the weaver realized that

everyone can wear each color of the spectrum depending on which shade or tone

best suits his or her natural skin tone and 'coloring'.

A simple guide to choosing the best shade or tone (of the yarn or motif) was

taught to the weavers which is by holding the colored yarn underneath the chin, if

it light - up the face then the weaver should go for the yarn ,but in case if make the

person appear tired then that color should be avoided.

Second topic which was covered was future prospect of Bodo Handloom cluster

and what could be done to get the weavers into export market. The main topic

which were covered are:

Introduction and Definitions of Export Marketing.

Features of Export Marketing

Importance of Export Marketing

Distinguish between Domestic Marketing and Export Marketing.

Motivations for Export Marketing

Present Problems / Difficulties faced by Indian Exporter.

The main purpose of having this session was to provide:

Overview of export marketing.

To understand the meaning of export marketing

To explain the features of export marketing

To know the importance of export marketing at national level and firm level.

To distinguish between domestic marketing and export marketing.

To elaborate the motivations for export marketing.

To find out the present problems / Difficulties faced by Indian exporters.


DAY FOUR WORKSHOP at BODOHANDLOOM CLUSTER

Mr.Faizual Haque giving presentation on Natural dye,Vat dye,Direct dye and how to apply them on hand woven fabric and yarn.

DAY FOUR WORKSHOP at BODOHANDLOOM CLUSTER

SStep wise process of Vat dye application on woven cloths and yarns

SStep wise process of Vat dye application on woven cloths and yarns

DAY FOUR WORKSHOP at BODO HANDLOOM CLUSTER

Textile dyeing process with Vat Dye:

The required water for dying is taken in the bucket and it is maintain at

proper temperature (50º- 60 ºC), the reducing and dyeing temperatures

vary from dyestuffs to dyestuff.

The vatted dye solution is than added to the bucket containing the

required amount of caustic soda sodium hydro sulphate, kept at

recommended temperature.

The well scoured wet fabric is entered in the bucket and turned several

times, so that the affinity of the color may be uniform.

The fabric is then kept completely immersed under the dye liquor and

the dyeing is continued for one hour. The fabric is turned from time to

time.

Care should be taken to keep the bucket at required temperature and also

to keep the fabric thoroughly immersed under the liquor.

The exhaustion agents or retarding agents are added to the bucket

depending upon the dyestuffs taken, during the entire dyeing period.

Excess quantities of both sodium hydroxide (NaoH) and sodium hydro

sulphate (Na2s2O4) should be present in the bucket in order to keep the

dye in the soluble form.

At the end of the dyeing the partly or completely exhausted bucket must

be kept in a distinctly reduced condition; otherwise oxidation of the

residual vatted dye takes place in the bucket itself leading to the

appearance of turbidity. This is ensured by adding sufficient sodium

hydro sulphate.

The dyed fabric should be removed from the bucket and excess liquor

which contains the unexhausted vat dye, sodium hydroxide, sodium

hydro sulphate is removed.

The dyed fabric are rinsed with cold water and then subjected to an

oxidation treatment by exposure to atmospheric oxygen. This is called

“air oxidation” but the oxidation may be accelerated by using stronger

oxidizing agent such as sodium per borate or hydrogen peroxide or

sodium dichromate in the presence of acetic acid. This process is usually

referred to as chemical oxidation.

During the oxidation step the sodium salt of leuco vat dye absorbed by

the fabric is oxidized and converted into insoluble dye in the fibre. At

the same time the vatted dye contained in the residual liquor in the fabric

being dyed also gets converted into the insoluble form which is loosely

deposited on the fabric surface.

This loosely deposited dye on the surface of the fabric has to be removed

for achieving optimum fastness properties especially rubbing and

washing fastness properties. This is achieved by soaping process.

The dyed fabric is treated in hot soap solution or a synthetic detergent

solution for 15 – 30 minutes. After the soaping treatment the dyed goods

should be rinsed thoroughly and finally the dyed material is dried.


Process showing Natural dyeing:

Raw turmeric

Boiling Raw turmeric



Cloth is squeeze to take out the colored turmeric water



Tying of fabric with jute yarn to give tye & dye effect


Dyeing with turmeric is a basic process that has been used for centuries

across the world. Turmeric produces a bright yellow/orange color.

Adding acids and alkaloids at different stages of the dye process also

changes the hue of the final color. At the end of the 19th century natural

dyes became less common with the onset of textile factories and

synthetic dyes. Turmeric works best on natural linens made of

cotton,silk.

Instructions:

Wash the outside of your turmeric root. Wear gloves to prevent the

turmeric from staining your fingers. Slice the turmeric root into 1/4 inch

slivers and place them in the large stainless steel bucket.

Pour the water into the bucket with the turmeric and bring to a low boil.

Let this simmer for 45 minutes to an hour while the water extracts the

color. As it simmers the turmeric emits a strong smell and the water will

turn a dark orange color.

Rinse your piece of cloth in tap water to remove any debris and pre-

treatment chemicals that may prevent it from absorbing the turmeric dye.

Wring out the excess water.

Remove the simmering dye from its heat source. Place the wet, clean

cloth in the pot of turmeric dye. Let the cloth sit completely submerged

in the pot for half an hour. Occasionally rotate the cloth with the tongs to

ensure an even color.

Remove the cloth and rinse it thoroughly with cold water. Wring out the

cloth and hang it to dry.

DAY FIVE WORKSHOP at BODO HANDLOOM CLUSTER

Weavers taking part in Band 5 wrkshop

Miss Yashma Hussan explaing costing and quality control to weavers


Yashma Hussain showing quality control of yarn

Class on Costing and waste management


Nilofer Ahmad talking about DCS and NID to weavers

Filling up of feed back forms


Samples develop during Band 5 workshop:


Samples develop during Band 5 workshop

Conclusion:

It was indeed a very good experience to work with the weavers

and general people of Goreshwar. Weavers are very skill and

have lots of potential to go into domestic as well as exports as

few weavers are supplying to near by countries like Bhutan and

Myanmar. They need extended design programme which will

help them get some innovation and diversification in existing

designs through which they can have a much wider customer

profile.

no. of looms

Documents