Tag: rich Indian heritage

Hand-Rickshaw Pullers of Kolkata: The Legacies Left Behind

Hand-Rickshaw puller of Kolkata

Introduction

Kolkata is a city that is an amalgamation of the old and new. A city that is being modernised everyday but still manages to hold on to the old charm vibe. It is the only city in India to have various modes of transportation, dating back to the British era. The first city in India to construct a metro rail, it is now the only city in the world that continues to operate licensed hand-pulled rickshaws (called tana rickshawin Bengali) as a mode of public transport. One can still see the tram cars and hand-pulled rickshaws plying on the narrow bylanes of Kolkata.

Hand Rickshaw in Kolkata

Histrionic Background

The word ‘rickshaw’ originates from the Japanese word ‘Jin-riki-sha’ (jin meaning human, riki meaning power, and sha meaning vehicle; which translates to human-powered vehicle). The hand-pulled rickshaw was invented in Japan in 1869 and was introduced in China by 1874. Unlike previous modes of transport, like kago, sedan chairs, etc. which needed two persons to carry, the rickshaw had the significant advantage of being driven by a single person. The following decades witnessed a boom of hand-pulled rickshaws in Japan, China, Singapore, India, Indonesia and Malaysia. They served as cheap means of transportation and provided employment to millions of poor working-class families living in cities. 

The British were the dominant colonial power in Asia and the usage of a human to pull another human definitely served in reinforcing the master-slave power hierarchy. Post World War II, colonialism declined in Asia and the hand-pulled rickshaw faded out of use from erstwhile British colonies. Strangely, the legacy of rickshaws continued in Calcutta long after the British Empire was gone (1947), and long after the communist government in China banned (1949) the use of rickshaws. Not only did it survive in Calcutta but the tenacious hand-pulled rickshaw has become an icon of the metropolis. 

A Hand-Rickshaw in an alley of Kolkata City

A Staple to Kolkata’s Culture

Kolkata’s hand-pulled rickshaws are mentioned in many literary books and featured in films of different languages. It plays the protagonist in Rudyard Kipling’s ‘The Phantom Rickshaw’. The story is set in Shimla of the 1980s. Greg Vore, an international travel photographer, researched on the life, role and history of hand-pulled rickshaws in Kolkata and Bangladesh. Bimal Roy’s classic Do Bigha Zamin (released in 1953) tells the story of a farmer who becomes a rickshaw wallah in the then Calcutta.

Present Situation of Rickshaw: How They Are Doing

The hand-pulled rickshaw survives due to a number of socio-economic reasons peculiar to Kolkata. Firstly, pulling a rickshaw does not require skill; it requires hard physical labour. Unemployed and unskilled labourers find employment as rickshaw pullers in Kolkata. They do not undergo any training or require a driver’s license to operate. Most rickshaw pullers do not even know the names of the roads they ply their trade on, nor do they understand the various traffic symbols. This is because they are mostly illiterate and speak Hindi instead of the local Bengali. Many rickshaw pullers do not even own the vehicles themselves, but rent them from sardars (rickshaw owners) who own khatals (rickshaw garages). This arrangement evolved because many rickshaw pullers are either too poor or seasonal migrants, plying the rickshaws only for a few months when their fields back home lie fallow. 

Leisure between the fare trips

Today, due to declining popularity and availability of other modes of transport, rickshaw pullers earn a meagre amount and mostly live on the streets, saving every rupee to send to their families. Added to this are costs for food and rent paid to sardars, after which they are left with very little money for themselves. Many turn to alcohol and suffer from various diseases and medical problems associated with old age and the physical stress of the job.

Kolkata does currently have 18,000 rickshaw pullers and 6000 rickshaws, though not all of them are licensed by the municipality. 

Queued up for passengers

The “Ban” for Rickshaws: The Efforts to Demolish The Rickshaw Transportation

Kolkata has faced much flak due to the existence of this colonial relic. In 2006, the state government tried permanently banning these rickshaws by the passing of the Calcutta Hackney-Carriage (Amendment) Bill, but it was never implemented. Nothing has changed after the change of government in 2011, though promises were made about replacing the licensed hand-pulled rickshaws with electric or cycle rickshaws. If these rickshaws need to be permanently removed from the streets, a justifiable solution needs to be worked out to ensure proper rehabilitation for all the people directly and indirectly attached to the trade.

On the streets of Kolkata

The Positive Side: Why Hand-pulled Rickshaws Are Relevant To Kolkata

The narrowed urban planning of Kolkata has also played a part in the continuance of this mode of transportation. Due to poor drainage, streets in low-lying areas get flooded frequently. During heavy monsoons, the hand-pulled rickshaw is the only form of transport which can navigate flooded streets. Its non-reliance on fossil fuels makes it less expensive and non-polluting, and its compact size allows easy navigation through the narrow lanes of Kolkata. 

Carrying passengers in flooded road

Conclusion

Hand-pulled Rickshaws are the legacies of Kolkata’s British colonial past. The demolition of these mannual carts and their replacement with electric mode of carrier carts, would slightly dim the spirit the of the old city. But with time’s stand, it is on the behalf of saving the human labour in a more cost-effective and eco-friendlier way. Although, Kolkata will always cherish its beautiful past garnered with these wooden carts, that served the city and its citizens for ages.

Khadi: The Sustainable Fashion of India

Khadi, India‘s own versatile clothing material for ages

Introduction

Khadi, also known as Khaddar ,which started as a symbol of the Swadeshi Movement led by Mahatma Gandhi 100 years ago, is now a fashion statement in India and is gradually getting popular across the globe. Not only as an affordable and comfortable fabric for daily-wears, but also Khadi is now being considered as a Style Statement for its sustainability and eco-friendliness.

Khadi production

Nature of The Khadi Material

Khadi is a textile fabric made by hand-spun and hand-woven cotton, silk, wool or a mixture of these fibres. It is a traditional way of textile manufacturing and is generally produced by rural artisans. The method of manual spinning and weaving makes the fabric structure somewhat rugged and imparts a unique appearance and makes it soft and comfortable to wear. The spinning is carried out on a traditional wooden frame called charkha, while the weaving is done on a handloom. The specific fabric construction helps in circulation of air within the threads and imparts unique property of keeping the wearer warm in winter as well as cool in summer.

Weaving of Khadi

History of Khadi : Role in India’s Freedom Movement

India has an ancient heritage of cloth making based on the availability of natural fibrous raw material such as -agricultural cotton owing to the clement climatic conditions and fertile land, varieties of silk from different sericulture and wool from domestically reared sheep. The textile coloration was carried out using abundantly available natural dyes, derived from various plant and animal extracts. Such flourishing textile base was one of the major attractions for the Western world. After mechanised industrialisation, the situation changed and the basic raw material was exported from India, converted into mill-processed finished cloth and the imported fabric was brought back. This led to the demolition of traditional textile manufacturing in India and eventually the art and craft of fabric making diminished.

During the initial phase of the freedom movement, national leaders like Dadabhai Naoroji and Lokmanya Tilak initiated the Swadeshi Movement to promote Indian-made products. However, it was Mahatma Gandhi who in 1918 brought the focus of India’s freedom struggle to khadi by promoting that as a Swadeshi symbol.

Under the leadership of Mahatma Gandhi, khadi-making regained momentum and became a symbol of revolution and resistance. It also provided employment to the vast rural population of India and achieved distinct identity as a common man’s cloth. As everybody could wear the same form of clothing without any distinctions of class, creed or religion, they could demonstrate solidarity in freedom struggle. Wearing khadi became a matter of national pride and united the population of India by surpassing the divisive system of the region, language, religion, caste, age and gender. It reflected our country’s legacy of sustainable living and self-reliance. The Indian national flag is also made from khadi material.

Khadi making with Charkha, during India‘s Freedom Movement

Government Initiatives After India’s Independence

The Khadi and Village Industries Commission (KVIC) is the Indian government body that promotes khadi, whose production and sale comes under the small scale industry sector. KVIC was created by a parliament act after which many KVIC outlets were opened across the country. These shops sell khadi fabrics and apparel. Every year between October to January, all Khadi Gramodyog Bhavans offer discounts on their products. KVIC also organises exhibitions and trade fairs in the country and abroad to promote khadi.

An estimated 15 lakh people are now engaged in producing over 12 crore metres of khadi. KVIC is taking further steps to enhance its production as the market demand for such products is much more than the supply. A new programme is expected to establish the ‘Khadi Mark’ and a logo to indicate the genuineness of the product. The financial support provided and the political will exerted by the present government and the special emphasis from Prime Minister Narendra Modi has helped boost employment in the manufacturing and promotion of khadi products. Leading film artists, sports personalities and fashion designers have come forward to promote this unique ‘Made in India’ fabric in the global arena.

Khadi used in sustainable fashion

Contribution of Khadi in World Fashion

Considering khadi‘s eco-friendly and natural origin, it has become a focal point of global fashion owing to growing consumer awareness and the consistent demand for sustainability. Fashion designers have acknowledged the aesthetic appeal and comfort attributes of khadi and experimented it in blending with many other stuff to synergistically enhance the fashion appeal and outlook of products. Khadi is now used in denims, jackets, shirts, dress material, stoles, home furnishings and apparel accessories like handbags. Khadi, once considered as the fabric for political leaders and the rural folk, has entered the wardrobe of the fashion-conscious urban population. Wearing khadi now symbolises affluence as it offers a distinguished look. The ecological aspect and ethnic looks of khadi have caught the fancy of global brands and leading fashion designers have started including khadi material in their collections.

Global acceptance of the Khadi in fashion

Conclusion

Incorporating Khadi in our daily life may also pave the way for a simple spiritual living exuded by our clothing and home décor items. Khadi being such a versatile fabric can be easily incorporated, by changing the warp and weft, in a home decor and clothing lines. This will make us come closer to nature and add a touch of earthiness in our lifestyle.

Dhakai Muslin: The Exclusive Bengal Silk from The Past

A portrait illustrating how Transparent Muslins were

Introduction

Muslin today has come to mean almost any lightweight, gauzy, mostly inexpensive, machine-milled cotton cloth. The word has lost all connection to the handwoven fabric that once came exclusively from Bengal. Cotton, stated the historian Fernand Braudel, was first used by the ancient civilizations on the Indus, while the art of weaving itself has been traced back to much earlier times. This head start perhaps was why ancient India became proficient in making cotton textiles. They became a staple export commodity to the Roman Empire, and they expanded in volume in the Middle Ages with the growth of the “maritime Silk Road” in the Indian Ocean.

Historic Background

Muslin a brand name of pre-colonial Bengal textile, especially of Dhaka origins. Muslin was manufactured in the city of Dhaka and in some surrounding stations, by local skill with locally produced cotton and attained world-wide fame as the Dhaka Muslin. The origin of the word Muslin is obscure; some say that the word was derived from Mosul, an old trade centre in Iraq, while others think that Muslin was connected with Musulipattam, sometime headquarters of European trading companies in southern India. Muslin is not a Persian word, nor Sanskrit, nor Bengali, so it is very likely that the name Muslin was given by the Europeans to cotton cloth imported by them from Mosul, and through Mosul from other eastern countries, and when they saw the fine cotton goods of Dhaka, they gave the same name to Dhaka fabrics. That the name Muslin was given by the Europeans admits of little doubt, because not only Dhaka cotton textiles, but cotton goods imported by the Europeans from other parts of India like Gujrat, Golconda, etc were also called Muslin.

The route connecting the Hubs of Muslin Industry in Bengal

How Muslins Were Made

The textile industry of Bengal is very old. Bengal cotton fabrics were exported to the Roman and the Chinese empires and they are mentioned in Ptolemy’s Geography and the Periplus of the Erythraean Sea, and by the ancient Chinese travellers. But Dhaka Muslin became famous and attracted foreign and transmarine buyers after the establishment of the Mughal capital at Dhaka. The Muslin industry of Dhaka received patronage from the Mughal emperors and the Mughal nobility. A huge quantity of the finest sort of Muslin was procured for the use of the Mughal emperors, provincial governors and high officers and nobles. In the great 1851 Exhibition of London, Dhaka Muslin occupied a prominent place, attracted a large number of visitors and the British Press spoke very highly of the marvelous Muslin fabrics of Dhaka. Weavers in Dhaka, Bangladesh, used to make this incredibly fine cloth using a method called the discontinuous weft technique. This technique required the weaver to work two layers of weft – one as fine as spider’s silk to hold the cloth together and the other forming the pattern. Each pattern motif was worked individually, using fine bamboo sticks to interlace the pattern threads with the warp threads.

Weaving of Muslins under the supervision of royal official( Painting, in 1800s)

Types And Variations

The finest sort of Muslin was made of phuti cotton, which was grown in certain localities on the banks of the Brahmaputra and his branches. The other kinds of cotton called bairait and desee were inferior and were produced in different parts of Dhaka and neighbouring areas; they were used for manufacturing slightly inferior and coarse clothes.The productions of Dhaka weavers consisted of fabrics of varying quality, ranging from the finest texture used by the highly aristocratic people, the emperor, viziers, nawabs and so on, down to the coarse thick wrapper used by the poor people. Muslins were designated by names denoting either fineness or transparency of texture, or the place of manufacture or the uses to which they were applied as articles of dress. Names thus derived were Malmal (the finest sort), Jhuna (used by native dancers), Rang (of transparent and net-like texture), Abirawan (fancifully compared with running water), Khasa (special quality, fine or elegant), Shabnam (morning dew) Alaballee (very fine), Tanzib (adorning the body), Nayansukh (pleasing to the eye), Buddankhas (a special sort of cloth), Seerbund (used for turbans), Kumees (used for making shirts), Doorea (striped), Charkona (chequered cloth), Jamdanee (figured cloth). The finest sort of Muslin was called Malmal, sometimes mentioned as Malmal Shahi or Malmal Khas by foreign travellers. It was costly, and the weavers spent a long time, sometimes six months, to make a piece of this sort. It was used by emperors, nawabs etc. Muslins procured for emperors were called Malbus Khas and those procured for nawabs were called Sarkar-i-Ala. The Mughal government appointed an officer, Darogah or Darogah-i-Malbus Khas to supervise the manufacture of Muslins meant for the emperor or a nawab.

A real Muslin dress exported to England from colonized India

Areas of Production

Weaving was prevalent in the Dhaka district in almost every village, but some places became famous for manufacturing superior quality of Muslins. These places were Dhaka, Sonargaon , Dhamrai, Teetbady, Junglebary and Bajitpur.

Why It Was So Exclusive

The finest of Muslins were honoured with evocative names conjured up by imperial poets, such as “baft-hawa”, literally “woven air”. These high-end muslins were said to be as light and soft as the wind. According to one traveller, they were so fluid you could pull a bolt – a length of 300ft, or 91m, through the centre of a ring. Another wrote that you could fit a piece of 60ft, or 18m, into a pocket match-box. Dhaka muslin was also more than a little transparent.

Muslins were adored by the elites

How The Industry Was Lost

Unfortunately, during the period of the East India Company, European manufacturers all but destroyed the industry by flooding the market with factory produced muslin equivalents. Through a combination of punitive taxes on locally produced textiles and the dissolution of local and influential patrons, Jamdani muslin became uneconomical to produce and the skills were almost lost.

Conclusion

Thankfully, there are organisations in Bangladesh today that are encouraging local weavers to continue to practice their craft. Coupled with the UNESCO listing of Jamdani muslin on its Representative List of the Intangible Cultural Heritage of Humanity, there is more impetus to continuing production, albeit on a very small scale. With the proliferation of mass produced and synthetic fabrics on the market today, it is important that these historical techniques aren’t lost forever. No factory can ever emulate the quality arising out of a skilled artisan. Their skills are part of our textile heritage and it’s wonderful they are being recognised and preserved.

UNDERRATED ART FORMS OF INDIA

India is a land of different cultures where over 1.5 billion people belonging to different communities live together . Many years back when India was called the GOLDEN BIRD , which was then brutally plundered by the foreign invaders, was not only because of the monetary wealth but also due to the rich culture and art form which the land once inhabited. Today centuries later, when we are still reeling from the affect of past attacks and with modernization reigning over, it has become extremely difficult and also important to preserve the dying art forms to save a remainder of our rich heritage . Also these art forms have been a source of income for lakhs of people .

While the term ART includes dance, singing and the paintings , in this blog we will have a glimpse on the five lesser known and underrated art forms which are desperately needed to be saved.

Madhubani Paintings

Originated in Madhubani district of Mithila region of Bihar, these paintings are said to have been made on the walls of every house of all the villages to celebrate the wedding of Lord Ram and Goddess Sita. The paintings are made using fingers, twigs, nib pens , brushes and matchsticks as tools. The color in the original Madhubani painting is given using natural dyes and pigments. Originally done on a freshly plastered mud wall , now for the commercial purposes the paintings are being made on a canvas or cloth. The paintings generally represents mythological Hindu deities, court scenes , traditional weddings and social gatherings. The All India Handicrafts Board and the Government of India in order to promote these traditional art form have asked women from the non agricultural backgrounds to continue painting on canvas or cloth and this has also become a source of income for many families.

Miniature Paintings

The origin of these paintings darts back to 7th century under the patronage of the Palas of Bengal. It is a kaleidoscope of history, scriptures and lives of people through ages made by the use of delicate brushwork, mixture of different colors and graceful forms. The paintings are so delicately made that even today in this world of modernization the brushes used for these paintings are made from Squirrel’s hairs. This intense labor of love illustrating the ancient mythology is created on palm leaves, paper, wood , ivory panel and cloth using natural colors such as stone dust, silver dust and real gold

Chambal Rumaal

This art form is an embroidered handicraft promoted under the patronage of the rulers of Chamba and was a common gift item exchanged during the marriages in ancient times. It is said that the earliest reported form of this art was made by Bebe Nanaki , the sister of Guru Nanak in 16th century and is still preserved in the Hoshiarpur Gurudwara. The art form is now continued in various parts of Himachal Pradesh and is made on a square or rectangle shaped cut muslin or khaddar material. Embroider Lalita Vakil got the NARI SHAKTI AWARD by the President of India Mr. Ram Nath Kovind for promoting this art form and giving employment to many women.

Gond Art

This art form is the tribal art of the Gond tribe which is one of the largest tribes of Madhya Pradesh. The art form preserves and communicate the culture of the Gond Tribal Community. The paintings constitute of two main designs called DIGNA and BHITTICHIBA . While the DIGNA designs constitutes of traditional geometric patterns which were originally made on the floors and walls of the house , the BHITTICHIBA designs constitutes the animals , plants and trees which were made on the walls of the houses.

Pattachitra Art

The art form includes the ancient artworks of Odisha which were generally used for ritual purposes and as a souvenir for the pilgrims of Puri and other temples. The cloth based scroll painting captures mythological narratives and folktales which are inscribed on the cloth with intricate details. The painting is made on a traditional canvas which is made by coating a gauze like fine cotton cloth with white stone powder and gum made of tamarind seeds which makes the canvas ready to accept the paints made by natural means. it is basically a dominant icon painting and almost all the chitarakars of this community hails from Puri , a small village in the heart of Odisha . It is also the only village in the entire country where everyone is engaged in one art form or the other such as patta painting, wooden toys making and stone crafting.

The rich ancient heritage of Indian art forms cannot be contained anywhere. This blog was just a means to let people know of the beautiful things which we are missing on.