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Name:Kumar Age: 53 Sex: Male Contact number: 9092437597 Education level: Primary Languages known: Tamil, Saurashtra, English Skill: Master craftsmen Self-employed: No Name: R.Lakshmi Age: 49 Sex: Female Contact number: 9940914505 Education level: Primary Languages known: Tamil, Saurashtra Skill: Skilled Self-employed: No National Institute of Fashion Technology, Chennai 101

NLSCSESSSANCELASeekekeaaooddggaaxxlliinnffeennuumllm::ll--gg::::cctteeMMuuaaee45aaSSmmcc::aatt07kkaaiittggDLppooiilllleeeennallnnll.oossVeeuukddyyllsmmkkieeeejhnnavvddbbmyooee::eeallwwiNNrr:: K::NSCnnoo98e::uoa98cTTmrl48olaaae30nyammg93raden53iiall40a,rTny40e75l35ugu Name:Lalitha Age: 58 Sex: Female Contact number: 9994807362 Education level: Primary Languages known: Tamil, Saurashtra Skill: Semi skilled Self-employed: Yes 102 Thugil | Fashion Design Department, 2019

Name:T.R.Laskshmanan Age: 33 Sex:Male Contact number: 9092913065 Education level: Secondary Languages known: Tamil, Saurashtra Skill: Skilled Self-employed: No Name: Vasu Age: 45 Sex: Male Contact number: 9042408912 Education level: Secondary Languages known: Tamil, Saurashtra Skill: Skilled Self-employed: No National Institute of Fashion Technology, Chennai 103

Name: Manjula Age: 46 Sex: Female Contact number: 8682094811 Education level: Primary Languages known: Tamil, Saurashtra, Sanskrit Skill: Skilled Self-employed: Yes Name: Manohar Age: 55 Sex: Male Contact number: 9994546248 Education level: Secondary Languages known: Tamil,Saurashtra Skill: Master craftsmen Self-employed: No 104 Thugil | Fashion Design Department, 2019

Name: Venkatesh Age: 44 Sex: Male Contact number: 9790343894 Education level: Primary Languages known: Tamil, Saurashtra Skill: Master caftsmen Self-employed: No Name:Venkatesh Age: 40 Sex: Male Contact number: 9245631696 Education level: Secondary Languages known: Tamil, Saurashtra Skill: Master craftsmen Self-employed: No National Institute of Fashion Technology, Chennai 105

Name:N.Prakash Age: 47 Sex: Male Contact number: 9365831683 Education level: Primary Languages known: Tamil, Saurashtra, Telugu Skill: Skilled Self-employed: Yes Name:L.N.Rajan Age: 36 Sex: Male Contact number: 7845703302 Education level: Illiterate Languages known: Tamil, Saurastra Skill: Skilled Self-employed: No 106 Thugil | Fashion Design Department, 2019

Name: Rajendra Age: 40 Sex: Male Contact number: 9597904598 Education level: Secondary Languages known: Tamil Skill: Skilled Self-employed: No Name: Rajeshwari Age: 37 Sex: Female Contact number: 9500884829 Education level: College Languages known: Tamil,English Skill: Semi skilled Self-employed: Yes National Institute of Fashion Technology, Chennai 107

Name: Rama Bhadran Age: 56 Sex: Male Contact number: 8526604450 Education level: Secondary Languages known: Tamil,Telugu Skill: Master craftsmen Self-employed: No SSSLACENekeaodgaxlinfenuml:l-ASLNESCSg::ctekeeuaea6aFoMdgmaxlc:iant4feenumlit:gTl-agpo:m:cteMens.uael4naMRmotsacu:at2eayl.itlgSmkaperRoeleeenesnvlncdabotskuoerem:eyalmalkwreNr:erfin:vcldPntbaoose9r::ermalw0iNrT:mf9:eSntaos29naem:m97rcTy1i5oela3,0nnm0S6d6a6ialu57,rry6Sa2asu0hrtarsahtra 108 Thugil | Fashion Design Department, 2019

Name:Saraswati Age: 41 Sex: Female Contact number: 9894740513 Education level: Secondary Languages known: Tamil, Saurashtra, Telugu Skill: Skilled Self-employed: Yes Name: Saravanan Age: 37 Sex: Male Contact number: 9789520268 Education level: College Languages known: Tamil, Saurashtra Skill: Skilled Self-employed: Yes National Institute of Fashion Technology, Chennai 109

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Analysis of collected data National Institute of Fashion Technology, Chennai 111

Analysis On Problems Faced By Artisans Problem 1. About 20 years ago, the demand for silk sarees was high, so the weavers received ample amount of work from the society. Now, demand for these sarees is significantly low which leads to piling up of stocks in the society. To overcome this problem, society has restricted the weavers to weave only one saree per month. But the weavers have the capacity and are willing to weave more. 2. Cost of living has increased in the recent years, but their wages have remained same from about 20 years. 3. As the number of sarees to be weaved reduced, income has also reduced. 4. Because of low income from weaving, weavers have started doing other jobs. 5. The weavers don’t want their children to continue this craft because of low income, less growth and problems faced by them. Reasons For The Problem 1. The government has allotted 23 varieties of silk sarees that are supposed to be weaved only by the silk handloom. But people prefer power loom silk sarees from Salem which have a similar design but are available at lower costs because they don’t use pure zari. 2. Usually people aren’t aware of the difference between pure zari/silk and duplicate zari/silk. So, they don’t realize the importance of silk sarees and also lack awareness about Thirubuvanam sarees. 3. Incompetence of the society. 112 Thugil | Fashion Design Department, 2019

Solutions And Suggestions 1. Creating awareness among people about •Importance of silk sarees •Identification of which is pure zari silk saree •More information about Thirubuvanam silk sarees 2. Clearing dead stock through clearance sales. 3. Development and improvement marketing strategies. 4. Make sure the subsidies and schemes provided by the govern- ment reach each and every artisan. 5. Apart from weaving only silk sarees, the government or the so- ciety should encourage the weavers to explore more and develop new products using traditional silk weaving technique. 6. Provide training to the weavers for further development of their skills. 7. Make more technological developments like electronic jacquard, hydraulic press. National Institute of Fashion Technology, Chennai 113

Glossary Tamil Words Acchu katradhu -the process of making reeds and heddles for the loom. Also known as vadigatradhu. Eenai- are the small bamboo strips after being cut and smoothen out. Ellai -yarns. Indha -set of 100 yarns. Jangla -is a type of saree which has zari throughout the body . Kanji- is the starch obtained from cooked rice water. Korvai -The word ‘korvai’ in Tamil means ‘in sync’.Korvai is used to interlace the borders with the body of the sari. The contrasting colours of the borders in the weaving of the weft are interlinked with the body of the weft with each throw of the shuttle. Two weavers are required, one to operate the threads for the central portion and another to operate the border colours. Kunjam -tassels. Manennai-kerosene. Mundukatradhu-is separating the set of yarns by tying rubber tube across them while dyeing two different colours for korvai type of sarees. Naada-shuttle. Oodu or vaatu-weft Paava-warp. Paava neetal-beaming -is the process of winding the warp threads at a tension around the cylindrical warp roller and holding them out to the same width on the roller as the width of the cloth one desires to make. Pannai -reed - is a part of the weaving loom, and resembles a comb in structure. 114 Thugil | Fashion Design Department, 2019

Pattu-silk. Ponaikardhu - Piecing is locally called “ponakirathu”, where the warp for the next sari is joined through this tech- nique. Porai ellupu- the pallu of a Thirubuvanam Silk sari is woven continuously on the loom and the pallu simply runs on from the body of the sari, the attachment of weaving have no sign of unevenness by splitting the warp yarns part- ly and adjust the tension and woven again provides the sufficient strength for its durability, this process of weaving technique is locally called “porai ilupu”. Porai poradhu-is the process of removing excess threads which peeps out while weaving . Rappu - darning is the process of repairing and rectifying the worn out yarns. Rattinam-spinning wheel (chakra)- the yarn received in the form of bundles and the threads need to be freed from tangles and stretched in order to make it lighter. Then this is taken through a process of reeling by using a chakra. Sedugali -is tool used to make sure that the fabric does not shrink while weaving which results in a uniform width. Thapa katta – are two bamboo rods which are placed parallel to each other on which the yarns are wounded from the silk skeins. later from here it is transferred to the thiruvattam. Thar-spindle: these are used to hold the weft yarns that later goes in the shuttle for weaving. they are made out of plastic and wood. Thari -loom Thiruvattam – instrument or tool used to spin weft yarns. Villai- is a wooden plank which is used to tie the threads of heddles. Vetrum (tuqni -bengali term)-is a tool with blade fixed on a wooden rod, which is used to cut and trim the bamboo sticks. Visiri madippu - folding of traditional hand held palm fan like folding of Angavasthiram. National Institute of Fashion Technology, Chennai 115

TERMS USED Beaming the warp on the roller: winding the warp threads at a tension around the cylindrical warp-roller and holding them out to the same width on the roller as the width of the cloth one desires to make. Beater of the loom: part of the loom structure which is moved back and forth to pack the weft rows taut; composed of two vertical side pieces and horizontal end pieces for holding the reed, the whole device working back and forth in an arc from its pivot at the base or top of the loom; also called batten. Borders(in weaving):those sections of the draft or woven fabric planned to frame or set off the main portion or center of the pattern: may be vertical, running lengthwise of the fabric ,or horizontal, woven across the warp from selvage to selvage. Breast-beam: the smooth wooden or metal bar at the front of the loom above the cloth-roller and parallel to the reed, the harnesses, and the back-beam and over which the finished cloth passes on its way to the cloth-roller ;also called front-beam. Centering the warp in the reed: finding the planned width of the warp and spacing it at the center of the reed so that there is the same amount of empty space at both the right and left sides. Chain method of warping : method in which the warp threads are wound one by one or in small groups on a warping frame or revolving cylinder equipped with pegs on which to secure their “cross”being chained off by the hand preparatory to beaming and threading. Chaining off the warp: the process of removing the groups of wound warp threads with their cross from the warping frame and making of them a chain similar to a crocheted chain to keep them from tangling. Cloth-roller : the smooth roller of wood placed beneath the breast-beam at the front of the loom and around which the finished cloth rolls; corresponds to the warp-roller at the back of the loom. Comb : a name used for the raddle or Reed through which the warp threads are evenly distributed for warping. Harness : the wooden or metal frames holding the heddles through which the warp threads are threaded and being hung at the center of the loom about Midway between the front-beam and back-beam. Heddles: cord or wire loops attached to bars called heddle-bars in the harness frames their purpose being to provide openings for thread- ing through the warp threads so that the latter may be lifted to make the shed for weaving. Heddle ropes :ropes or straps connecting the harnesses with pulleys,rollers or Jack’s which in turn provide for the lowering or raising of the harnesses. Shuttle: the stick or the boat-like container which holds the thread when weaving. Shuttle -race : a smooth narrow shelf or ledge placed at the front of the heater and at the base of the Reed to act as a support for the shuttle as it passes rapidly from selvage to selvage and to prevent it from slipping through the warp threads ;not an essential part of the loom,but convenient. 116 Thugil | Fashion Design Department, 2019

Silk :a fiber found already made by nature in the twisted silk filament which the silkworm spins and emits from its mouth by means of the spinneret,a tiny device like a corkscrew,on its lower lip. Spinning :the process of twisting fibres together to make continuous thread. Dent :any one of the vertical opening in the loom Reed ;reeds are named according to the number of dents per inch they carry ,such as 16- dent reeds and 24-dent reeds. End :another name for warp thread . Dressing the loom :the process of warping ,beaming and threading the loom. Piecing : starting a new thread where an old one has ended ;when piecing weft,the new and old ends usually being overlapped or spliced instead of being tied ,although the square knot may be used to connect weft ends temporarily;in the warp ,the pieces threads being joined with a Weaver’s knot . Reed: a steel or wood device having separate openings or dents spaced at the even distances through which the successive warp threads are threaded to keep them parallel and properly spaced,being used also to pack the weft rows taut. Tasseled fringe:a fringe in which additional threads are added to the warp ends or loops already at the end of a piece and are finished in the form of tassels. Warp :the name given to the series of threads stretched length wise of the loom. Warp -roller : the cylindrical device at the rear of the loom around which the warp threads are wrapped taut for future storage. Warping a loom:stretching the threads for the warp to a desired length,beaming them,threading them,sleying them through the Reed and tying them down ;sometimes called dressing the loom. Weaver’s knot :the knot used for the piecing of warp threads ;known as the bowline on the night when used by sailors. Weaving :the interlacing of two sets of threads at the right angles to each other in various ways to form a fabrics or cloth. Weft: the name given to the weaving thread used crosdwise of the warp through the sheds made by the harnesses ;also called the filler or wool. Weft row : one passage of the thread between the warp threads from selvage to selvage also called a row of weft ,a pick or a shot. Weft threads :the threads that are laid through the warp threads in various ways to produce woven cloth ;also called filler threads ;woof threads or weaving threads. Warp around loom :. A frame or a board around which thread is wrapped to provide warp for weaving ,generally having some arrange- ments for keeping the warp threads speed evenly apart and parallel. National Institute of Fashion Technology, Chennai 117

CRAFT DEVELOPMENT INITIATIVE GENERAL INFORMATION 1. Artisan’s Name- 2. Contact Number- 3. Artisan’s Address- 4. Artisan’s Age- 5. Artisan’s Sex 1)Male( ) 2) Female ( ) 6. Education level of artisan 1) Illiterate ( ) 2) Primary( ) 3) Secondary ( ) 4) College ( ) 7. Languages known- Comprehend ______Read_______Write______ 8. Size of the family unit – Male ( ), Female ( ), Children (below 13 yrs) ( ). 9. What craft are you associated with? 10. For how many years the craft has been practiced by family? 0-5yrs ( ) 5-10yrs ( ) 10-25yrs ( ) 25-50yrs( ) beyond 50 yrs( ) 11. Family members participating in craft - Male ( ), Female ( ) 12. Average number of hours devoted to the craft per week – Male ( ), Female ( ) 13. No. of months for which artisan is involved in craft related activity: 1) 3 – 6 months ( ) 2) 6 – 9 months ( ) 3) Throughout the year ( ) 14. Are you engaged in any other activity apart from the handicrafts? 1) Yes ( ) 2) No ( ) If yes, specify the occupation _________ 15. Any month /months in the year that is high in demand for craft - 16. Has there been a change in the location or area of the craft? If yes, specify original ¬___________ 17. Are you a member of any of the following organizations? 1) SHGs ( ) 2) Cooperative ( ) 3) Society ( ) 4) any other ( ) 5) None ( ) 18. Are you planning to train your children in your traditional craft practices? 1) Yes ( ) 2) No ( ) Give reasons for your choice _______________________________ INCOME RELATED QUESTIONS 19 . Current monthly income of the artisan: 1) Rs. 2500 – 5000 ( ) 2) Rs. 5000 – 7500 ( ) 3) Rs. 7500 – 10,000 ( ) 4) More than Rs. 10000 ( ) From other source _______________ 20. Do you have a saving account in the: 1) Bank ( ) 2) Post Office ( ) 3) Any Other ( ) 4) No ( ) ASSETS 118 Thugil | Fashion Design Department, 2019

21. Dwelling 1) Own House ( ) 2) Rented House ( ) 22. Type of House 1) Kachha ( ) 2) Pucca ( ) 3) Semi-Pucca ( ) 23. If own house, did you 1) Purchase ( ) 2) Constructed ( ) 3) Inherited ( ) 24. If rented house, what is the monthly rent _______________________ 25. In the last two years, have you purchased/changed or added any of the following: • Land ( ) • Cattle ( ) • Two-wheeler ( ) • Four-wheeler ( ) • Electronics (TV/Radio/Mixer/Grinder/Music System/etc) ( ) • Mobile ( ) • Gas Connection ( ) • Computer ( ) • Any other item ( ) • None MEDICAL FACILITY 26. Are there any occupational health hazard/diseases, linked with your craft practice? 1) Yes ( ) 2) No ( ) If yes, please specify ________________________________ 27. Do you have health/ life insurance policy? 1) Yes ( ) 2) No ( ) DESIGN & TECHNOLOGY 28. Are you working on- a) Traditional Design ( ) b) Latest Design ( ) d). Market Demand Design ( ) 29. Who gives the design? 1) Own ( ) 2). Trader/Agent ( ) 3) Old Patterns ( ) 4) Designers 30. Has there been an adoption of new techniques in development of craft because of any change of location? If yes, specify_____________ 31. Have you developed any new products in last two years? a. _______________________ b. _______________________ c. _______________________ 32. Have you explored new raw materials other than traditional? Yes ( ) No ( ) If yes specify reason – 1) Better pricing ( ) 2) Non availability ( ) 3) Creative persuasion 4) Market Demand ( ) 5) Any other __________ 33. If yes, are the new products more profitable than the old products? 1) Yes ( ) 2) No ( ) National Institute of Fashion Technology, Chennai 119

34. Identify the skill level of the artisans (as per the artisan’s perception), with respect to the handicraft only: 1) Unskilled ( ) 2) Semi-skilled ( ) 3) Skilled ( ) 4) Master craftsmen ( ) 35. Are you self employed - Yes ( ) No ( ) If no, specify place ______________ 36. Which are would you like to strengthen for your growth 1) Production ( ) 2) Design ( ) 3) Packaging ( ) 4) Marketing ( ) 5) Any other __________________________ TRAINING 37. Have you received any training recently for upgrading your skills? 1) Yes ( ) 2) No ( ) If yes, specify the kind ___________ 38. Are these kind of training good for your work opportunities? 1) Yes ( ) 2) No ( ) 39. Do you need further training? 1) Yes ( ) 2) No ( ) 40. In which of the following areas would you want to be trained? 1) Skill Development 2) Capacity Building 3) Design Innovation 4) Better Quality 5) Marketing 6) Any other _______________ 41. Do you know how to use Computer? 1) Yes ( ) 2) No ( ) 42. Do you use Internet? 1) Yes ( ) 2) No ( ) If yes, what do you use it for? 1) Personal ( ) 2) Business Purpose ( ) 3) Both ( ) 43. Have you benefited in any way by the use of Internet? 1) Yes ( ) 2) No ( ) If yes, specify _____________ PRICING 44. Who or what decides the pricing of your products? 1) Self ( ) 2) Trader/Agent ( ) 3) Raw Materials ( ) 4) Local Market Demand ( ) 5) Labour Cost ( ) 6) Any other _____________ 45. Are you satisfied with the present system of pricing? 1) Yes ( ) 2) No ( ) If no, then give suggestions ___________________________________________ 46. Where do you procure raw material from? 1) Local Market ( ) 2) Agents ( ) 3) Nearby Markets ( ) 4) Far away markets ( ) 47. Do you have any problem in buying of raw materials Yes ( ) No ( ) If yes then specify – 1) Often ( ), 2) Sometimes ( ), 3) Rarely ( ) 48. How can this problem be eliminated? (Give suggestions). ________________________________________________________ 49. Do you get any subsidy from the Govt. while procuring raw materials? 1) Yes ( ) 2) No ( ) If yes, specify _____________ 120 Thugil | Fashion Design Department, 2019

MARKETING 50. How do you sell your products? 1) Directly to customers ( ) 2) melas & Festivals ( ) 3) Dealers/Agent Network ( ) 4) Exports ( ) 5) Local Markets ( ) 6) Trade fairs ( ) 7) any other __________ 51. Are you facing any difficulty in marketing your products? 1) Yes ( ) 2) No ( ) 52. If yes, what are the main reasons? 1) Distance from your unit to market ( ) 2) Transportation ( ) 3) Middlemen/Agent ( ) 4) Lack of domestic/local market ( ) Any other ( ) ___________ STUDENT’S NAME : ______________________________ COURSE & SEMESTER : __________________________ CLUSTER : ______________ DATE __________________ National Institute of Fashion Technology, Chennai 121

Bibliography - Arts and crafts of India, Nicholas Barnard - handweaver’s pattern book, The essential illustrated guide to over 600 fabric weaves, Anne Dixon - Indian Textiles, John Gillow and Nicholas Barnard - The joy of handweaving, Osma Gallinger Tod Webography - acadpubl.eu/jsi/2018-119-7/articles/7c/60.pdf - allthetropes.fandom.com - artsandculture.google.com - blog.utsavfashion.com/ensembles/tribhuvanam-sarees - en.wikipedia.org/wiki/Thirubuvanam, Thanjavur\\ - Handlooms.nic.in - kumbakonam.info - loomworld.in/thirubuvanam-sarees.html - mediaindia.eu - pinterest.com - shodhganga.inflibnet.ac.in - www.craftsvilla.com/blog/indian-handlooms-from-different-states-of-india/ - www.dsource.in/resource/silk-weaving-thirubuvanam - www.mrane.com - www.researchgate.net/figure/Kumbakonam-timeline_ - www.yatrablog.com/kumbakonam-history-and-culture 122 Thugil | Fashion Design Department, 2019

The team National Institute of Fashion Technology, Chennai 123

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