Bagru Craft Cluster Documentation

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Fig 3.1 Bagru Textiles Source: Instagram 37

Bagru Village Bagru is a small village in Rajasthan Like most of the cities in Rajasthan, well known worldwide for its Bagru is dominated by typically unique language of hand-block humid climatic conditions; April, printing that has been flourishing May, June & July are the peak for the last 400 yearsThe Bagru summer months with an average village is located approximately temperature of 30 degrees Celsius, 32 km eastward of the pink while July to September is the city(Jaipur) on the Jaipur-Ajmer monsoon season. Winter prevails highway (NH-8); it is a wonderland from November to February. The for any textile lover. This place is ideal time to visit the suburb is connected to the capital by road somewhere between October and and rail; Sanganer Airport is the March. closest to Bagru by air. 38

The Structure of village REGIONAL DEMOGRAPHICS Fig 3.2 A craftsman with his Craft Source:Google The village provides shelter to 31,229 people (according to the 2011 cen- FESTIVALS sus). The percentage of males & fe- males in the total population is 52% Days that are significant to the people and 48%, respectively, while 18% is of Bagru include Kartik Sudi Ekadashi, below eight years. Bagru is one of the which is the birth anniversary of Saint 200 Legislative assembly constituen- Namdev, Basant Panchami, and the cies of Rajasthan The total literacy full moon day of every month ob- rate of the city is 71.43 percent which served as community holidays. Other is higher than the state average, In celebratory festivals are 2015 as many as ten private schools were also reported to be running in the region, followed by Government High Secondary School and girls-on- ly Mahila Mahavidyalaya. COMMUNITIES The village is predominantly inhabit- ed by the Chhippa community (print- ers and dyers) and Raigars (Leath- erworkers). Chippas of Bagru are Vaishnavites and claim their origin from Namdev(a wandering Vaishna- va Saint of Pandharpur, Maharashtra 1270AD- 1350AD). They belong to Kashyap Gotra and claim to be de- scendants of Aditi. The marriages take place within the community. The Chiapas of Bag- ru usually gives the hand of their daughter to the Chippewas of San- ganer and Jaipur. 39

Fig 3.3 Ladies walking by infront of Bagru Fort Source:Google THE STRUCTURE Reminiscent of a typical Indian village, Bagru is and goddess). Jugalji Mela is an annual characterised by narrow lanes & two-storeyed three-day-long festival associated with houseswith vibrant patterns and hand-painted motifs the temple. Other attraction points on the walls, exemplifying the colourful facades. of the village include the temple of The village is segmented into different sectors Ram Kuanrji,. The Laxmi Narayan Ji called ‘Mohallas’ inhabited by people from different Temple, near the Chippa Mohalla, communities, There is a ‘Chippa Mohalla’ where where a statue of god Namdev is printers and dyers live, ‘Raiger Mohalla’ where leather installed. Bogota fort is also located workers dwell and ‘Lacqueron ka Mohalla’ where lac in the middle of the village, though it workers subsist. is private property and accessible by Located in the heart of the village is Jugalband Ji the public only once a year, during the Temple, one of the oldest standing shrines. People festival of Gangaur. come here to worship Krishna and Radha (Hindu god 40

Bagru Print Bagru printing is an ancient and ends with a fully finished technique of hand block printing hand block printed fabric using using natural components. indigenous methods. Intricate Traditionally involves the use of motifs of a unique style are natural colours obtained from transferred on pale yellow coloured plants and mineral sources. It and naturally treated fabric with is practised by an indigenous wooden blocks using direct and community of printers called resist printing techniques. This Chippas, who are involved in this art of natural block printing is craft for centuries. The process is renowned globally and preferred laborious and time-consuming; it for its sustainability aspect. starts from cutting the grey fabric 41

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Fig 3.4 Pile of Washed Clothed Source: Google Fig 3.6 Craftsman using machine for Hari Sarna HISTORY OF BAGRU PRINTING The village of Bagru was once an island called ‘Bagora’, located along the Sanjharia River. It was roughly about 450 years ago that the Thakur (head of the village) brought two families of Chippas(printers) from Isarda village located 5 kilometres west of Bagru. As the local rulers announced royal patronages, printers from neighbouring Sawai Madhopur, Jhunjhuna, Alwar & Sikkar came and settled in Bagru. The availability of raw material, primarily water from the Sanjharia river and vast sunbeds along the river, helped the craft and communities to flourish. Today, the Sanjharia river has dried up, but the river bed provides the soil needed as a raw material for printing. Fig 3.5 A Washer at work Source: Instagram 43

Fig 3.7 A Craftswomen Source: Google Source: Instagram Dhobis are launderers who perform wash- ing(Dhulai)and drying (Sukhai). Dhobis PEOPLE & THEIR CRAFT have separate washing units that process grey fabric, removing dirt, grease, oil and It is magical to see how artisans from other impurities. Their services are re- different communities come together quired at the various stages of printing. to create a single piece of Bagru printed The task which Dhobis performs is labo- fabric, each with a different skill set. rious and requires enormous physical There exist interdependencies between strength. the block makers (Kharaudi), launderers Chippa is the community of printers re- (Dhobis), dyers (Rangrez) and printers(- sponsible for making colouring pigments Chippa) for making the process of block and pastes and subsequent transfer of printing possible. The work of each of prints from block to the fabric. Their craft these communities is predetermined, demands skills, expertise and years of ex- and they are masters of their craft. perience. Kharaudi refers to the community of Rangrez is a dyer who specialises in add- wooden block makers( mostly Muslims) ing colours to the printed fabric using who specialise in carving intricate motifs traditional boilers and natural colours. and patterns of wooden slabs of differ- These dyers can make various natural ent sizes and shapes. shades using natural materials like tur- meric, pomegranate, indigo, red soil, jag- gery, iron nails and other plant and min- eral products. 44

Fig. 4 Bagru craft product 45

v The Craft 46

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Woods for block making Fig 4.1 Sagwan Tree Fig 4.2 Gurjan Tree Fig 4.3 Sheesham Tree Fig 4.4 Rohida Tree Source: Google 49

1 2 Sagwan (Tectona Grandis) Gurjan (Dipterocarpus Turbinatus) Generic Name / Local Name Generic Name /Local Name Sagwan ki lakdi Gurjan ki Lakdi Description: Sagwaan is a water-resistant Description: The strongest and one of wood with a high percentage of timber the most expensive type of wood & a dense structure. It is used when a That was used to make blocks, but now little softness is required while carving the usage has been banned by the the wood. government. 3 4 Sheesham (Dalbergia Sissoo) Rohida Wood (Tecomella undulata) Generic Name / Local Name Generic Name /Local Name Indian Rosewood/ Sheesham ki lakdi Marwar Teak, Desert Teak Description: Sheesham is a hardwood Description:Rohida ki Lakdi his variety that grows very fast, does not require of wood is found in abundance in the much care and is resistant to termites. Thar region of Rajasthan. It grows slowly Less expensive as compared to other and is used extensively for building and varieties of wood.It is preferred when carpentry. intricate and highly detailed motifs are Used for making wooden blocks. desired. . 50

Fig 4.4(i) A wooden block being carved in the Jaal pattern Source: Google TOOLS FOR WOOD CARVING Chisel (Cisellum) Hammer Generic Name /Local Name Generic Name /Local Name Cheni, Kalam Hattha, Hathodi, Hathoda, Handle. Description: A tool characterized by Description : Hammer is a tool used for sharp cutting edges. It is made up of striking or hitting the edge of the chisel. either iron or steel. The size of the chisel It is a stronger wooden log used to carve varies from 0.2” to 1”. on the other wooden blocks. Usage- Used for giving shape to wooden Usage - Used for giving shape to blocks while carving motifs wooden blocks while carving motifs Price - 100- 150 per piece. Price - Rs. 100- 300. Drill (Percussion Drill) Iron Nails Generic Name /Local Name Generic Name /Local Name Chedan Yantra Keel Description: A tool that requires Description: A slender metal shaft with electricity to operate with a sharp- one pointed end and one flattened end. pointed needle. Nails come in different sizes and radii and Usage- Used for making minute holes in are composed of iron. the wooden block ( air passage) Usage- Either for connecting two Price - Rs. 2000- 8000 per piece. different blocks of wood or for casting impressions to carve out motifs. - 51

Raw materials for Hari Sarna 1 Cow Dung (Bovine faeces) Generic Name /Local Name Gaay ka Gobar Description: Cow dung is the waste product (faeces) of animal species. Usage- Cow dung is used to make a cleansing solution and remove impurities, dirt, and grease from grey fabric. Price - Rs 12 per kg. 2 Fig 4.5 Gobar Source: Google Fig 4.6 Caustic Soda Source: Google Caustic Soda (Sodium Hydroxide) Fig 4.7 Sesame Oil Source: Google 52 Generic Name /Local Name - soda Description: Caustic Soda, also known as lye, is an inorganic compound (NaOH). It is a white coloured solid compound and has an alkaline base. It is easily soluble in water. Usage- Used for washing grey fabric to remove impurities, dirt and grease as it is one of the main components in all soaps and detergents. Price - Rs 36-65 per kilogram. 3 Sesame Oil (Sesamum Indicum) Tilli/til ka tel Description: Edible oil obtained from sesame seeds. Usage- It is used for making cleansing solutions that remove dirt and impurities from grey fabric. Price - Rs. 110-600 per litre.

Tools for pinting process Fig 4.8 Wooden Tray Source: Google Fig 4.9 Printing table WOODEN TRAY PRINTING TABLE Generic Name /Local Name - Choti tastari, saaj Generic Name /Local Na Description: The tray used in printing is made up of Description: The tables a either plastic or clay (baked). Each tray is 6-7 inches long, the block printing proce 4-5 inches wide, and 3-4 inches high. ft long, and 4 ft wide. Usage- Tray is used for holding the printing pigment or Usage- Used for spreadi paste at the time of printing in a specific quantity. Price - Rs- 9000 - 12000 Price - Rs- 50 - 100 per piece. CLOTH PIECE PLASTIC CONTAIN Generic Name /Local Name - Gaddi, Parat, Kambal Generic Name /Local Na Description: A thick piece of cloth that might be wool, Description: Plastic is pr jute, or even cotton is kept over a Taati(frame) and it does not react with the placed inside the tray. pastes. Also, because it is Usage-Prevents excess transfer of printing pigment existing containers. or paste onto the wooden block—single-time usage; Usage-For is used for sto cannot be reused. at various stages of print Price - 50 -200 per piece 53

Source: Google Fig 4.10 Wire Frame Source: Google E WIRE FRAME ame - Rangaee Mez Generic Name /Local Name - Taati, Katli. are used to lay the fabric horizontal for carrying out Description: A frame might be made up of wood ess. On average, a printing table is as high as 3.5 ft, 20 or plastic. It is bounded by plastic wires running horizontally and vertically, forming a checkered sieve ing out base fabric horizontally straight for printing. structure. 0 per piece (customized). Usage-Frame is kept on top of printing paste or pigment to prevent excess transfer onto the block. NERS Price - Rs- 50 - 100 per piece. ame - container, Dabba, Drum, Baalti (bucket). REVOLVING STOOL referred for storing dyes and pigments because e other raw material used for making colours and Generic Name /Local Name - Gaadi s inexpensive and readily available, most people reuse Description: A cart is made up of wood with four wheels at the bottom to facilitate movement. The average size oring dyes, coloured pigments and solutions required of the carriage used by printers is 2ft by 3rd or 2ft by 2ft; ting and dyeing. the height is fixed at 3.5 ft. e. Usage- For keeping all the tools and material (Tray. Frame, Wooden block, Cloth piece) required during printing at one place. Price - 400-600 per piece. 54

Plant based raw material Fig 4.11 Harda Source: Google Fig 4.12 Indigo Source: Google HARDA (Terminalia chebula) INDIGO (Indigofera tinctoria) Generic Name /Local Name - Fruit of Generic Name /Local Name - Indigo dye Myrobalan tree, Harda Description:Natural Indigo is extracted from Description: Harda is an elliptical, the Indigofera tinctoria plant in lumps or chips; smallish, ribbed fruit extracted from sometimes, the plant’s leaves are crushed and the Mybroloan tree. used as powder. It is a natural dye that imparts Usage- Harda is a natural mordanting a blue colour to the fabric. agent.Harda powder and water Usage- Indigo cakes are crushed to powder solution are used to facilitate the link and put into vats along with a base and between fibres and printing pigment reducing agent (to make it soluble). Fabric is since fabrics like cotton do not have dipped in these vats, and when it is taken out an affinity to natural dyes. It gives a in the presence of oxygen, the colour of the distinct yellow colour to the fabric. cloth becomes blue. The blue shade becomes Price - Rs 200 - 250 for 1/2 kg dark with each subsequent dip. Price - 300-400 for 50 gms (powder form). 55

Fig 4.13 Gur Source: Google Fig 4.14 Dawadi ka Phool Fig 4.15 Nashpal Source: Google Source: Google JAGGERY Fire Flame Bush Pomegranate Peel Generic Name /Local Name (Woodfordia fruticosa) (Punica granatum) Gur. Description: It is golden Generic Name /Local Name Generic Name /Local Name brown to a dark brown Dawadi ka Phool Anar ka chilka, Nashpal coloured concentrated Description: The waste product of cane sugar. It is Description: It is a small-sized product produced while edible deciduous shrub found in processing pomegranate Usage- To form a fermented Rajasthan goods. Syaahi (black pigment) Usage- Used in the steaming Usage- Used as a natural dye solution. When it reacts with process to fix the dyes to impart pale yellowish colour tannic acid-treated fabric, it permanently onto the fabric to the fabric. imparts black colour to the while preventing patches from Price --NA- fabric due to oxidation. forming on the surface. Price - 80 -200 per kilogram Price --NA- 56

Fig 4.16 Gond Gum Source: Google Fig 4.17 Chhiya Source: Google GOND GUM TAMARIND SEED POWDER (Gum arabic, acacia gum, Arabic gum, Generic Name /Local Name gum acacia, acacia, Senegal gum), Chhiya, imli ka beej. Generic Name /Local Name Description: Tamarind seeds are extracted from Gond, Babool ki gond the bean-like pods, the fruit of the Tamarind Description:Gond is natural edible plant. These seeds are crushed to form a gum that is soluble in water. It helps in powder. thickening, emulsifying and stabilizing Usage- A good quantity of tamarind seed solutions and pigments. powder (used as flour) is mixed with Begar(red Usage-Used in making the printing colour) or Syaahi(black) to get the right pigments, which acts as a binding consistency and facilitate sticking of the pastes agent and facilitates the link between on fabric. fibres and dyes. Price - Rs 150-280 for 500 grams (powdered Price - Rs.180-300 for 250 grams. form). 57

Mineral based raw material Fig 4.18 Alazarine Source: Google Fig 4.19 Geru Source: Google Fig 4.20 Alumn Source: Google ALAZARINE GERU (Red Soil) ALUMN Generic Name /Local Name Generic Name /Local Name Generic Name /Local Name Fitkari Laal Mitti Aal ka rang Description: It is an inexpensive mordant used by Description: It is a Weathered Description: Alizarine is an the dyers for cellulosic plant material of crystalline & organic compound extracted fibres/fabrics. metamorphic rock with iron from the roots of the madder Usage- It increases the colour content. The soil is reddish- genus plant. fastness and light of all-natural brown Usage- Natural red colourant. dyes and keeps colours clear. Usage- Used as a natural dye It is used for intensifying the Price - Rs- 10 -15 for 100 for imparting red colour to the red colour in the steaming grams fabric. In block printing, it is process. specifically used to make red Price NA-- printing pigment, Price - Rs- 100-110 per kg 58

List of Products 59

. BAGRU HANDBLOCK PRINT GEOGRAPHICAL I Geographical Indication NDICATION TAG Fig 4.21 GI Certificate Source: Google 60

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Wood block making • The printer or the Chippa • Wooden blocks can be classified decides the number of colours into three categories based on and shapes involved in the print their usage. The outline is given design; wooden blocks are carved by a block called ‘rekh’, the accordingly. A minimum of 3-5 background is printed by a block blocks is needed to create a single called ‘gadh’, and the filler blocks print pattern. As the complexity of are called ‘datta’. Permutation and the design increases, the number combination of these three blocks of blocks required to make a complete the print design. Bagru print pattern also increases. • These blocks are carved using • A specific community of Muslims seasonal wood. For intricate called ‘Kharaudi’ has been and detailed motifs, ‘Sheesham’ engaged in block making for (Indian Rosewood) is prefered; centuries. They master the craft when a little softness is required, and prosses the utmost level of ‘Sagwan’ (Teak ) is used,’ Rohida’ perfection. (also known as Desert Teak / Marwar Teak) is another variety used for carving blocks. • Once the printer finalises the design, motifs are sketched on a piece of paper. Wooden slabs are cut, and then motifs are directly transferred onto the wood. Fig 4.22 Wood Carving Source: Self Illustrated 63

• The woodcarver uses multiple Fig 4.23 Sketching Pattern tools like a chisel, Iron nails, Fig 4.24 Carving out the design hammer and sometimes a drill to achieve the desired results. The file is used to clean and give shape to the block. • The standard size of a block is 5X5 inches, while the height varies from 1- 1.5 inches. It is ensured that there is a handle called ‘athada’ to hold the block from the top. • Cylindrical holes (pawan sar)are left intentionally in certain places to allow air passage and release excess colour from the block; these also serve as guidelines for facilitating repeat printing. • Before these blocks are used for printing, they are soaked in soybean oil for 10-15 hours to remove excess grains. • Woodblock carving is a tedious process and demands immense precision. It takes 4-5 days to make one single block. Fig 4.25 Drilling holes for air Source: Google 64

Fig 4.26 Block Source: Self Illustrted 65

Cutting Fabric into Pi eces • The first step is to cut the fabric Fig 4.27 Fabric Scissors Source: Self Illustrted into smaller pieces depending upon the size of the end product ( for instance, 6 meters for saree, 2-2.5 meters for dupatta, 1-2.5 meters for scarves.) • Only natural fabrics or natural blends are used as the base for printing. • Initially, printing was restricted to only cotton fabric.Nowadays, other natural fabrics such as Tussar silk, Erie silk and blends of cotton & silk are also used catering to the market’s demand. These fabrics can be mill made or handwoven. • A fabric of width 44” or 48” is prefered. If the width exceeds, the printing process is carried out in parts (as the table size is fixed), creating defects in the print. • There are multiple ways of sourcing the fabric. If a brand /designer or a company places the order, they send their fabric rolls ( called thans) to the printers through intermediaries. However, if the printing units decide to create samples for their stock, they source the fabric from local vendors. • Bhiwandi & Nagpur in Maharashtra, Chander and Maheshwar in Madhya Pradesh, Bhagalpur in Bihar are the leading centres for sourcing natural fabrics for Bagru printing. 66

Hari Sarna Once the fabric is cut into pieces, fabric dries, it is again put in a impurities like oil, starch & dust copper vessel with boiling water. are removed to make the fabric Industrial soap called ‘tercoid oil’ more penetrable for printing. It is is added, and the fabric is kept achieved through a process called immersed in the solution for 3-4 Hari Sarna or Scouvering. hours. Traditionally the printers use Some artisans do not use boiling it to make a liquid solution of water; instead, they keep the cow dung(gobar), caustic soda fabric immersed in soap solution (chuna or lime) and sesame oil overnight. (til ka tel). The grey fabric was The fabric is then beaten soaked in this solution of natural against the floor and thoroughly ingredients for two days; then, it washed in plain water to remove was washed thoroughly with plain contaminants. This process is also water to remove impurities. This calledof dhulai ( washing) carried method was laborious and time- out by dhobis in washing units. consuming. Currently, artisans wash the grey fabric in plain water. Once the 67

Fig 4.28 Hari Sarna Source: Self Illustrted 68

P eela Karna The prewashed fabric is treated with one kg of powdered Harda and 4-5 litres a Harda solution. Harda is a natural of water to make a consistent tanning mordant extracted from the myrobalan solution. tree, which has high levels of tannic acid. The fabric is soaked in the solution Since fabrics like cotton do not have an for 2-5 minutes, taken out and rinsed. affinity to natural dyes, Harda facilitates The mediating agent is responsible the fibres and printing paste link and for imparting the characteristic yellow helps the fabric become colourfast. This colour to the base fabric, and thus, the process is known as tanning or Harda process is also called Peela Karna in the Rangai. local language. Harda is crushed into a powder state, The tannic acid in Harda also acts as and a solution of Harda and water is a mordant to the iron in the black prepared. Powdered Harda is like wheat printing pigment (syaahi); when the two powder and easily soluble in water. On react, oxidation happens, resulting in average, 30-35 meters of fabric requires characteristic Bagru black print. 69

Fig 4.29 Fabric After Peela Karna Source: Google Fig 4.30 Harda Powder Source: Google Fig 4.31 Harda treatment Source: Google 70

Sukhai Excess water is squeezed out, and the fabric is stretched open on the fields to dry out.This process is called Sukhai (drying) The fabric is not hung vertically because then Harda would shift downwards towards gravity,and the dye would stick in variably on the fabric, resulting in poor mordanting. The side of the fabric, which gets more exposure to sunlight, turns out to be dark in the shade and becomes the right side for printing. Once the fabric is completely dried, it is beaten against the floor (or cemented surface) to eliminate excess Harda powder and dust. The fabric is now ready to undergo printing. 71

Fig 4.32 Scene of Sukhai from Bagru Village Source: Self Illustrated 72

Syaahi & Begar Fig 4.33 Syaahi Preparation Source: Google The black printing pigment, locally known as Syaahi, is a fermented mixture of iron extracts (sometimes iron ore ), Jaggery (Gur) and water in definite proportion and stored in plastic containers. [ 10 kg of Iron nail + 500-600 grams of Jaggery + 20 litres of water] These containers are sealed and left untouched for around 15-30 days. During this period, the fermentation occurs, and the resulting solution is called Syaahi pa paani. To check whether the solution is ready for printing, a drop of fermented solution is applied on a Harda treated fabric and left exposed to air for 2-3 minutes; the part of the fabric where a solution is applied starts turning Black. It happens because Harda has tannic acid, which reacts with the iron content of the solution; in the presence of oxygen in the air, oxidation takes place, and black colour is retained. 73

MAKING OF THE PRINTING PIGMENTS Fig 4.34 Preparation of Dye Source: Google The red colour, locally known as Alum is white; the light red colour Begar, is primarily a mixture of comes from red soil. Gond gum Aluminium sulphate and Gond acts as a natural binding and gum. A thick paste of Fitkari (Alum), thickening agent. Originally, Gond gum (Acacia Arabica), Geru Babool gum was used; nowadays, (Red soil) is mixed with water in a artisans substitute it with Guar definite proportion. gum due to difficulty in sourcing. For instance - 100 grams gond This pigment, however, imparts gum + 50 grams alum + 50 grams a light red colour to the fabric— geru + 800 litres of water. the vibrance and saturation of This mixture is kept overnight in a the red print increase in the post- plastic container, and the following production treatment day, red pigment is ready. 74

Bindinng paste Syaahi and Begar are merely Different color shades that can be made using colours/pigments. A binding or a traditional material for Bagru block printing fixing agent is required to ensure that these pigments stick to the fabric and the fibres absorb colours. Tamarind seed powder, locally called Chhiya ka Aata, is used for this purpose. For black colour-tamarind seed powder, the fermented iron solution is mixed in a definite proportion (2-2.5 litres of water for 1/2 kg powder). It is not a very thick paste, so it is heated over Bhatti for half an hour with continuous stirring. On cooling, Syaahi ka Paani is added to bring the paste to a required viscosity to be applied to the fabric. A similar process is followed for red colour, except that plain water is used instead of Syaahi ka paani. Brown can also be made by adding Potassium Dichromate (locally known as Laal Kassis)with tamarind seed powder through a similar process. It is ensured that there are no lumps in the paste. If lumps are found, it is filtered out before applying on fabric. Print pigments are made one day before printing and can be used for the following two days. 75

Fig 4.35 Ingredients used in the making fo Dye Source: Goo- 76

B lock Printing The first step in printing is to lay out an entire piece of fabric onto the printing table (Rangai Maez) (20 ft long, 4 ft wide, and 3.5 ft high). This table is padded with either multiple layers of fabric or jute mats. It is done to provide a base for fisting impressions on the cloth. It also allows printers to hold the fabrics in place and pin the edges with all pins deep into the padding. The printing tools, primarily the wooden block and printing paste, are kept in a revolving stool (gaadi). This stool has tyres at the base, allowing the printers to move it along as they print the fabric from one end of the table. The printing paste is held in a tray (Saj) made of either wood or plastic. It cannot be made out of iron because the colouring pigment reacts with the iron, becoming blackish (due to oxidation). The required amount of coloured pigments are The printer holds the wooden hand block from filled in a tray, and then a wooden frame with a the handle (Athada), dips it into the colouring tray net of plastic wires called Taati is put on top of it. and slams it hard with a fist against the fabric to Then another layer of fabric called Parat/Kambli/ register the impression. Gaddi that can either be jute or thick cotton fabric is placed over it. The printing starts with a gadh block for the background; once the entire fabric is printed for Parat and Taati together prevent excess printing the base colour, it is left untouched for 15-20 mins paste from sticking to the block while dipping. to dry. 77

Fig 4.36 A crafts women printing using block Source: Self Illustrated The second round of block printing is done by The printed fabric is left for one day to dry. The marking the outlines of the motifs using the rekh following day it is sent to the washing centres block. When the fabric dries, the datta block is where extra printing paste and pigments are used for filling the inner motifs. rinsed out thoroughly. There might be more than one filling block required depending on the number of colours used in the print design. 78

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Fig 4.37 Bhatti Source: Self Illustrated Pakai Once the fabric returns to the production unit from washing centres, it is given a steaming treatment to increase the colour fastness. A copper vessel (with a capacity to hold 20-30 pieces of fabric, each 5m long) is mounted with cement walls from all four sides; below, there is the place where wooden sticks are burnt to provide heat to the copper vessel. This entire setup is locally called Bhatti. The copper vessel is filled with a sufficient amount of water, and it is boiled to a temperature of 90-110 degrees Celsius. The printed fabric is put inside the vessel with alizarin (Aal ka Rang) and Fire flame bush (Dawadiya flowers). While alizarin facilitates sufficient penetration of colour into the fibres, Dawadiya flowers help remove extra pigment to avoid printing defects; it also brings more clarity to the print design. 80

Fig 4.38 Pakkai Source: Self Illustrated 81

Copper is preferred because it is a good conductor of heat. Even if the fire goes off, the vessel remains hot, and the steaming process can be carried for 1-2 hours. The fabric is continuously stirred with either an iron rod or by hand to avoid burning. This entire process in the local language is called Paakai - or fixing colour. After the steaming process, the fabric is dried and rewashed in water. The excess water is released onto the ground or in fields for natural infiltration. The copper vessel is cleaned for the next round of steaming. The last and final step is to soak the fabric in a solution of Harda powder and water again to make the base fabric look brighter and vibrant. 82

DIFFERENCE BETWEEN DABU & BAGRU Dabu vs Bagru WHAT IS DABU ? Dabu is the name of a different printing technique used by the Chippa community to create an exceptional piece of hand block printed fabric. This technique involves impregnating or resisting certain fabric parts, intending to keep them in the background colour. The fabric is resisted using local mud (Kaali mitti), natural gum, and other elements. When the cloth is dyed in natural colours, the dyes do not penetrate the restricted area. Exciting patterns and textures can be achieved on the fabric using the Dabu technique. 83

Fig 4.39 Dabu Source: Google 84

The Poduction Units Most of the people in Bagru are either directly or indirectly related to the craft. People have been practising the craft for more than six generations. Fifty per cent of the production units that operate in the region are medium-scale, employing around-10-25 people at a time. Twenty- five per cent of the units is large enough to employ 30-55 people at a time, While 25 per cent of the units are small-scale, where a limited number of workers carry out limited production activities. Micro industries are running within the house of people where the family (primarily joint families)members are the only workers. Most of these units have an ancestral lineage. Some production units are large enough to carry out all three- dying, printing, and washing activities within the same area. There are also separate Dhobi centres or washing units that assist many small and medium scale units. The production activities in these units are carried out based on orders placed by retailers, exporters, brands/ designers associated with that particular unit. At times the products and designs are developed to be kept as stock and not for the market. The final product is sold locally as well as in national markets. Many Haats (fairs) and Melas are organised by the government and NGO, where a selected few craftsmen (lottery system based) go to showcase their work. Some units also provide training to domestic and international design students about their craft. 85