Traditional and trendy

We have made many journeys on intercity public buses in Gujarat. Most buses, especially the ones operated by private companies, pick up passengers at rural locations along the route.

Many of these passengers in rural areas wore traditional costumes typical of the area where they lived. In Saurashtra, many of the women wore tight fitting backless choli (blouse), which are covered by shawls that fly about as draughts are created by the moving bus. Their ears are often festooned with weighty and often complicated solid gold jewellery. They are usually heavily tattooed, with tattoos placed on all parts the body that were visible.

The men who board the buses at rustic spots are usually dressed in white kurtas with white jodhpurs: loose fitting baggy trousers, which are tight around the ankles. I write “white” but these clothes are often stained, the result of working in the fields. These men, often with weather worn faces, wear turbans, which to my western eyes, makes them look quite exotic.

At first, when I saw these country folk boarding the bus, I felt that they looked as if they were stepping out of the Middle Ages and into the 21st century.

Despite their clothing, these country passengers are extremely up to date. Almost as soon as they have found somewhere to sit or stand in the often overcrowded buses, out come their mobile phones. I am not sure where the men store their phones, but the women keep them and their cash stuffed within the tops of their choli close to their breasts.

The close juxtaposition of tradition and modernity is one of the many aspects of India which endear me to the country.

Weaving in Patan

Many people visit Patan in Gujarat to see the spectacular pre 14th century Rani ki Vav, one of the largest stepwells in the state. It was built by the Solanki dynasty.

Patan is also the home of a very special form of weaving called ‘Double Ikat Patola’. The fabrics produced are extremely durable, very colourfast, and display the pattern equally on the front and reverse.

When finished, even the experienced weaver cannot tell which surface of the material is front, and which is back. The textiles are woven to form saris. These are very costly and take many months to manufacture. The method of fabricating this kind of cloth is so complicated that, despite much research, no one has been able to produce a machine to replicate the process that has been done by hand for many centuries in the workshops in Patan.

We were very fortunate to have been shown around one of Patan’s three Patola factories by a member of the Salvi caste, who specialise in Patola making. Although we were given lengthy explanations and demonstrations, I cannot say that I fully understand the complicated process of making a piece of Patola material. However, I will try to explain what I understood of it.

Patola fabrics are woven using the best quality silk thread. That from Japan is preferred, but silk from China, Korea, and Brazil is also considered of sufficiently high quality.

The design for the fabric is chosen and transferred onto graph paper. This coloured diagram will guide the workers towards the desired end product.

Sari length arrays of silk threads are stretched onto frames. These parallel lengths of white or slightly yellow undyed silk are marked with a fine washable black marker to create a grid pattern like graph paper. This will allow the workers to transfer the colour scheme from the coloured diagram to the silk threads.

Next, using the master plan, sections of each thread are wrapped tightly with another thread, which will prevent dye from reaching the covered section. When this laborious task is complete, the whole lattice of parallel threads is dipped into a dye of one colour, say for example red.

After the first dyeing, the lattice is restretched, and all of the dye restricting threads are removed, resulting in a lattice work of threads coloured with stretches of red and white. Let us assume that the next colour on the master pattern is to be green. The stretched silk fibres are then tied with dye restricting threads in all places except where the master pattern dictates there should be green. After dyeing in green dye, the restricters are removed and the process repeated to add yet another colour to the silk. The end result is a set of silk threads with sequences of different colours, a bit like a single strand of DNA or the amino acids in a strand of protein.

A single thread of silk displaying areas dyed in different colours

The weaving takes place on looms that hang at an angle. Both the warp and the weft fibres have been tie dyed as described already. When stretched on the loom the as yet unwoven warp threads, when viewed together, display part of the final pattern.

The weft threads pass between the warp threads in a sequence that is dictated by the master pattern. As the weavers press the woven weft fibres together, the sequences of different colours on each thread begin to reveal the required design of the fabric. The prescribed pattern develops gradually, thread by thread.

How the correct sequence of the dyed threads is maintained during the many stages prior to weaving must involve miraculous organization.

Because of the fastness of the dyes used, the Patola fabric does not fade. The method of weaving results in a fully reversible fabric, which is very durable . The other advantages of such a labour intensive and complicated fabrication process elude my comprehension.Nevertheless, Double Ikat Patola saris are greatly prized and highly priced.

A village in Kutch

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When the land dried up

and the crops failed,

 prosperity left Durgapur

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The village of Durgapur is 5 kilometres northwest of Mandvi. In the past, when the water table was higher, the land around this place was very fertile. The farmers who lived in Durgapur became quite affluent. Nowadays, the ground is unproductive, but the elegant, richly decorated houses of the village attest to its inhabitants’ former prosperity. Many of the houses have first floor balconies which project over the roadways. These balconies have lovely carved wooden balustrades and are shaded by canopies supported by carved wooden pillars and fringed by delicately carved strips of wood. Many of the older houses have crafted stone window frames and intricately decorated wooden entrance doors.

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Today, many houses in the village have been bought by wealthy folk from Bombay, who have also built new homes there. Recently, a large new health centre has been built by members of the Jain community for their own use.

 

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