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CONTRACT NO. 450007187
EMPOWERING WOMEN
THROUGH CRAFTS
UNESCO-NORWAY FUNDED PROJECT: MAPPING OF
CULTURAL ASSETS IN DISTRICTS MULTAN &
BAHAWALPUR
END OF ASSIGNMENT REPORT
7-12-2010
43 G, GULBERG III, LAHORE. TEL: 042 35880822, FAX: 35847651 EMAIL: sajidavandal@gmail.com; thaapcas@gmail.com
CONTENTS
1. BACKGROUND/ INTRODUCTION
1.1
Project Aims & Objectives
1.2
Methodology
1.3
Project Team and Management of Project
2. RAPID SURVEY TO SELECT THE CRAFTS AND IDENTIFY ARTISANS IN
EACH OF THE DISTRICTS
2.1
FIRST STAGE: Identification of Villages & Crafts
2.2
SECOND STAGE: Formation of Training Clusters & Crafts for
Inclusion in Project
2.3
Training Clusters
2.4
Findings and Crafts Selected For The Project
3. CAPACITY BUILDING
3.1
Training
3.1.1
Training Workshop: Sample; First Training Workshop
3.2
Issues Regarding Training
3.3
Villages/Participants & Crafts
3.4
Management of Cultural Products
3.5
Akaths: Thematic Areas
3.6
Design Development
4.
5.
6.
7.
8.
9.
CRAFTSWOMEN
CRAFT TRAINING CENTERS &THAAP-CRAFT CENTERS
EXHIBITION
ACHIEVEMENTS
NATIONAL AWARD OF EXCELLENCE FOR HANDICRAFTS
THE WAY FORWARD: CHALLENGES AND OPPORTUNTIES
10. ANNEX
UNESCO-Norway Funded Project “Empowering Women through Crafts in Dist Bwp & Multan”: End of Assignment Report 1
1
BACKGROUND
In March 2010, THAAP-CAS was awarded the Project “Empowerment of Women
through Crafts” within the framework of the Norway funded Project “Mapping of
Cultural Assets in District Multan and Bahawalpur” to demonstrate the benefits of
cultural mapping for communities. The Project is identified as Contract No. 450007187
of March 2010. Work in the two districts was initiated in March 2010, with the Work
Plan submitted to UNESCO on 15 March 2010. The above mentioned Contract contains
a component for a parallel/similar project in District DG Khan to be carried out
simultaneously through UNESCO funds. The Norway funded Project was scheduled to
end on 15 Sept. 2010 giving a period of six months for the work to be carried out as
delineated in the Terms of Reference (Annex 1). The project has been delayed due to the
floods 2010 and unprecedented heavy rains in South Punjab, which all affected some of
the villages where the Project was being carried out, thus through force majeure.
1.1
PROJECT AIMS & OBJECTIVES
Within the scope of the overall objective of demonstrating how Cultural Assets which
have been identified by communities and mapped can be used for the benefit of
communities to provide economic opportunities for them; the specific of the Project are
as below and TORs are attached as Annex 1
a)
b)
c)
d)
e)
f)
g)
Employ/ Use local craft traditions as a means for alleviating poverty
Develop Cultural Products to enhance economic opportunities for
craftswomen
Train women to develop innovative contemporary design
Train women in marketing and management skills
Provide functional literacy to project participants
Establish a National Award of Excellence for Handicrafts, based on
UNESCO’s regional program on the same lines
Organize an Exhibition to introduce the crafts of Southern Punjab to potential
market through an Exhibition in October 2010. (the proceeds of which would
go directly to the women beneficiaries to sustain their efforts)
The Project required that 100 women be trained (20 women from 5 villages) in each
district and a total of 10 Master Trainers be developed.
1.2
METHODOLOGY
The Methodology employed was designed to achieve the Project’s aims and objectives
this required that sufficient information would be available regarding crafts and
craftswomen in the Districts of Multan and Bahawalpur which would provide the basis
to move forward. Information available from the UNESCO-Norway funded Project of
Cultural Mapping in Districts Multan and Bahawalpur (2009) was useful for identifying
the locations where various crafts were noted as assets.
The methodology involved the following
1. Assembling Project Team and personnel at District Level and setting up offices.
Recruitment of Local Resource Persons.
2. Rapid Survey of villages, identified in the Cultural Mapping, in each district to
identify crafts and artisans willingness to participate in Project.
3. Enlisting Project Villages based on crafts, artisans interest and logistics.
Formation of Training Clusters and central points for joint training.
4. Training including training methodology, material etc. for training in
development of new innovate cultural products, marketing, management and
functional literacy
5. Training of Trainers and establishing quality standards
6. Preparation of Craftwork for Exhibition
7. Establishing standards of Fair Price for Cash-for-Work
8. Packing and Finishing of Cultural Products
9. Planning of Exhibition
1.3
PROJECT TEAM & MANAGEMENT OF THE PROJECT
THAAP-CAS Core Team: The Core team was established including designers, with
management/marketing and skill training and others trainers for basic training in
functional literacy. The Team Leader was THAAP-CAS Executive Director, Sajida
Haider Vandal. Other members of the Team included THAAP Principal Designer,
Aisha Imdad, Mobeen Saeed (Textile Designer), Sadia Farooq (Product Designer);
Muhammad Ali Wasti (Craft Designer/Management and Promotion) and Saba Samee
(Exhibition Design). Each of the core team members brought onto the Project their
particular expertise. The team designers are well known and experienced in
teaching/training for 10-30 years and have been working for the promotion of crafts.
The Head Office Project Coordinator appointed was Saira Yasir.
Local Resource persons: One Resource Person was identified and appointed in each
district to act as Field Team Leader (FLT). The selection was based on previous
experience in community work, a good knowledge of local crafts and willingness to
travel to remote/different parts of the district whenever required. Other criteria
included ability to organize training sessions as and when required and liaise with
designers and head office (HO) in Lahore; Experience of Computer programs relevant
to the Project, electronic, oral and written communication skills. Women selected as
Field Team Leaders were Bushra Sagar & Muzamal Yasin for Multan and Bahawalpur
District respectively.
Field Unit Office: THAAP Office in Bahawalpur at 4-A Satellite Town Field was used as
the central office for the Project, while a small sub-field office was established in
Multan inner city at Keera Wala.
PROJECT TEAM
Team Leader
Sajida Haider Vandal
Principal Designer
Aisha Imdad
Designer (Exhibition/Management)
Saba Samee
Designer Crafts/Management/Marketing )
Muhammad Ali Wasti
Designer ( Textile)
Mobeen Saeed
Designer ( Leather & Palm Leaf Products)
Sadia Farooq
Field Team Leader ( Multan)
Bushra Sagar
Field Team Leader ( Bahawalpur)
Muzamal Younis
Head Office Coordinator
Saira Yasir
2. RAPID SURVEY TO SELECT THE CRAFTS AND
IDENTIFY ARTISANS IN EACH OF THE DISTRICTS
A two stage Rapid Survey was carried out. In the first stage the location/villages and
crafts were identified along with the endangered crafts. In the second stage villages
indentified through the first stage were revisited to establish those which had the
potential for inclusion in the Project based on interest and availability of
craftswomen to enable clusters to be formed.
2.1
FIRST STAGE: Identification of Villages & Crafts
Based on information attained from the UNESCO-Norway funded Mapping of
Cultural Assets Project a Rapid Survey of villages in both districts was carried out
and crafts with potential for inclusion in the Project were selected. The Rapid
Survey was planned on the basis of tehsils in each district. In Bahawalpur these
ranged from Yazman, which includes the Cholistan Desert while in Multan, Jalalpur
Pirwala and Shujaabad and villages in Multan tehsil were visited by the core team
members and local resource persons. The bazaars in each of the district/ tehsil
headquarters were also visited as well as some of the local bazaars which were
identified as the areas where local crafts and artisans were operative. The procedure
followed was the filling in of a simple form, focal group discussions, evaluation of
local craft products and availability of skilled crafts persons. The Tables below
indicate the findings from the First Phase of the Rapid Survey which was completed
in 10 working days
CONSOLIDATED FINDINGS FROM RAPID SURVEY BAHAWALPUR (WOMEN CRAFTS)
March 2010
CRAFT
MOST KNOWN LOCALE
HAND EMBROIDERY
IN ALMOST ALL VILLAGES OF THE
DISTRICT. BHELI, ABBASS NAGAR, DNB
110, DNB 112, DERA BHAKKA and others
CHUNRI MAKING
ABBASS NAGAR and some others
PIT-LOOM
ABBASS NAGAR, HEAD RAJAN,
RAIZABAD, BC 33, BASTI GADAN
PALM LEAF WEAVING
ABBASS NAGAR, BC 1, BHELI & OTHERS
AVAILIBILITY OF SKILLED
WOMEN ARTISANS
Each Village has about 30-50
women involved in Hand
Embroidery. Some experts
available in all villages. Best
potential in DNB 110.
Abbass Nagar well known
traditional center. Quality
deteriorating because all
products being prepared on
Commercial basis
BC 33 most promising. Master
Trainers available. About 4
Skilled weavers and spinning
experts.
Abbass Nagar has one
extended family preparing fine
products. In other areas
commercialization has taken
root
CARPET WEAVING
AHMED PUR SHARKIA
Limited extent.
POTTERY
AHMED
PUR
SHARKIA,
ABBASS Potters villages were found
NAGAR
making products transported
all over Pakistan. Women
engaged in decorative work on
pottery pieces
RALLI
CHOLISTAN
Most exquisite. Large number
of craftswomen. Two different
types of ralli craft seen. Deep
Cholistan cannot be included
because of logistic problems
BEAD WORK
CHOLISTAN
Prevalent in Cholistani villages
and also with some Abadkars.
DNB 112 has best potential
FALASI (Sheep Wool CHOLISTAN
Mostly prepared in Deep
Carpet)
Cholistan. Cannot be included
because of Logistics
KHUSSAS
UPPERS MADE IN SOME VILLAGES
Some fine quality craft skills
available. Women bonded to
Contractors. Maybe difficult to
compete. Other products can be
prepared using same skills.
An analysis was also carried out to help in deciding which crafts should be taken up in
the Project. It had been decided that the most prevalent and popular would be taken up
however the intent was to also identify those which were endangered and there were
artisans who could be located with the skills needed for their revival. The following
table gives the salient information regarding Endangered Crafts
ENDANGERED CRAFTS BAHAWALPUR March 2010
CRAFT
NATURAL/VEGETABLE DYES
PIT-LOOM
PALM LEAF WEAVING
REMARKS
SCALE OF POTENTIAL
(high, moderate, low)
ONE WOMAN IN ABBASS NAGAR Difficult. Only one woman
located in Abbass Nagar.
METHOD OF MAKING FINE SILK Low: Can be done at a later
EXTINCT
stage.
Would
involve
Ustads to take up revival
High: Skills exist. Develop
LIMITED PRODUCTS
Abbass Nagar and train
others
CARPET WEAVING
QUALITY HAS DETERIORATED
JEWELRY
TRADITIONAL METHODS
STYLES NOT POPULAR
LIMITED PRODUCTS
RALLI
BEAD WORK
BUILDING DECORATIVE
CRAFTS (FRESCO &
NAQASHI)
Low: Not many women
AND Low: No women artisans.
Outside the scope of Project
High: New Products can be
developed
Moderate: New Products
LIMITED PRODUCTS
can be developed
VERY LIMITED, LOSS OF QUALITY Low: Can be done at a later
stage.
Would
involve
and
develop
Master
Trainers.
The consolidate Fact Sheet for District Multan is as below
FINDINGS FROM RAPID SURVEY MULTAN (WOMEN CRAFTS)
March 2010
CRAFT
MOST KNOWN LOCALE
HAND EMBROIDERY
IN MOST VILLAGES OF THE DISTRICT.
PIT-LOOM
MULTAN VERY LITTLE
PAPER CRAFT
MULTAN CITY
PALM LEAF WEAVING
CARPET WEAVING
BLUE POTTERY
CAMEL SKIN WORK
BLOCK PRINTING
AVAILIBILITY OF
SKILLED WOMEN
ARTISANS
Very
prevalent.
Most
villages have 40-60 artisans
No women artisans
Very exquisite. Limited to
two nomadic clans. Women
and men both involved
KHAN BELA VILLAGES
Five women. Best available
in Dhup Seri (2 km from
Khan Bela)
MULTAN
Limited extent. Reputed to
be mostly in District Vehari
where women artisans are
working in cottage industry
MULTAN CITY, NAQASHI BY WOMEN About 12 women in Multan
ALSO
City. Most have given up
this work
MULTAN CITY, LAYERING BY WOMEN
Potential exists in Multan
city only.
MULTAN CITY
Earlier very popular. Now
artisans have given up
because
they
cannot
compete with the market.
Some women are eager
relearn
and
set
up
businesses
MULTAN CITY, NOT VERY POPULAR
Not much interest shown.
Abbass
Nagar
and
Khairpur seems to have
taken the lead
UPPERS MADE IN MULTAN & SOME Several Women engaged in
VILLAGES
this work. Under contract
to market.
Other products can be
prepared using same skills.
CHUNRI MAKING
KHUSSAS
ENDANGERED CRAFTS MULTAN : March 2010
CRAFT
REMARKS
NATURAL/VEGETABLE DYES
GOOD METHODS EXTINCT
PIT-LOOM
VERY LIMITED, METHOD OF
MAKING FINE SILK EXTINCT
PALM LEAF WEAVING
LIMITED PRODUCTS
CARPET WEAVING
QUALITY HAS
DETERIORATED
JEWELRY
TRADITIONAL METHODS
AND STYLES NOT POPULAR
VERY LIMITED, THOUGH
MASTER CRAFTMEN
AVAILABLE. LIMITED USAGE
BUILDING DECORATIVE CRAFTS
(FRESCO & NAQASHI)
AVAILIBILITY OF
SKILLED WOMEN
ARTISANS
Difficult. Keror Pucca was
visited. Haji Amer Buksh ,
reputed to be best could
not prepare acceptable
products
Low: Can be done at a later
stage. Would involve
Ustads to take up revival of
traditional weaves.
Deyaieh, tehsila extinct.
Moderate: Can be explored
Low: No market and no
women weavers found in
any village
Low: No interest shown by
women
Low: Can be done at a later
stage. Would involve
and contemporary usage.
High Potential for future
2.2
SECOND STAGE: Formation of Training Clusters & Crafts
for Inclusion in Project
After the first round of visits, the core team analysed the data and identified those
villages which appeared to have the most potential. This was followed by a second
round of visits to these villages to select the participants and explain the next phase, i.e.
the Training component. Suitable locations for the training had to be determined based
on accessibility for the communities and suitable arrangements for the training. In both
districts the possibility of carrying out the training in one central location was explored
but this was not acceptable for the participants for the first session. It was resolved that
the initial training would be held in atleast three different locations in each district and
then efforts would be made to move towards collective training sessions so that benefits
accrued through exposure to crafts and craftwork from other areas could be reaped.
2.3
TRAINING CLUSTERS
Locations for Decentralized Training Workshops was as follows
Bahawalpur : Bheli, Basti Menghwaal, Basti Khangah, Derawar; Abbass Nagar;
DNB 110, DNB 112, Dera Bhukka, Yazman, 28 BC,
Multan: Chah Bajay Wala, Multan, Village Khan Bhela, Kera Wala, Paper Craft work
at Lodhi Colony, Multan City
Locations for Joint Training
Bahawalpur: Bahawalpur City
Multan : Chah Bajay Wala, Keera Wala
2.4
FINDINGS AND CRAFTS SELECTED FOR THE PROJECT
A brief on each of the Craft was prepared for use of the trainers and is reproduced
below. The potential of each was also indicated
1.
PIT-LOOM: Bahawalpur & Multan region were famous for its pit-loom
industry but now it is on the verge of extinction, having been replaced by the Kasuri
loom. In BC33, Abbass Nagar, and Basti Gadan traditional pit-loom crafts persons have
been working in this profession for last 4 generations and could be involved as trainers,
the first appears to be more promising. The shift to the larger loom has affected the
traditional designs. With pit loom the weavers are producing three different kinds of
products i.e., Khais, (bedspread) Shawls and Cloth. The finer silk cloth weaving
methods are extinct.
Khais: There are two types of Khais being produced i.e. Saada Khais and Majnu Khais.
Saada khais is plain with strips on the borders of varying sizes, whereas Majnu Khais is
more intricately designed and is based on two mutually contrasting colors. The pitloom craftsmen family from a village in Yuzman (largely consisting of Hindu
community) creates beautiful Khais in Saada and Majnu designs. Bhera Ram explained
that his expertise is in three traditional designs of Khais, which are traditional designs
and have been in his family for generations. He can make designs in Majnu Khais called
Maky Khori; Kamal Khori and Diwani Dabi Khais on the pit-loom. Khais is made in two
“puth” (parts) of about 24” each, later sewn together to get the size of a bedspread. This
is due to the limit of width on the pit-loom.
There is potential to develop cultural
products which the trainers need to assess. Samples of each have been procured.
Cloth: The cloth made on the pit-loom can range from the course to the very fine cloth
made in a variety of designs. Among these, Susi, weaved in straight lines is the most
famous and popular. The coarser version called “tehsila”, traditionally made with white
pinstripes in a few colors (indigo, blue, green, red, and sometimes brown) and of small
width (about 10 to 12”) is extinct as are the fine varieties of susi earlier made in cotton
and silk yarn. (available in personal collection of the Team Leader). A silk variety
famous at one time, prepared with silk worm thread is now also extinct. Susi is
extensively made in the villages of Punjab and Sind but now mostly on the larger
Amritsari or Kasuri loom which allows cloth to be weaved in a larger width than the pitloom where the width is restricted to a maximum of about 30”. The cycle of preparing
cloth on pit looms traditionally involved both men and women. It was the women who
prepared the yarn on “charkas” (spinning wheels) whereas the tana was mostly prepared
by the men while the weaving was done by both by women and men. Multan district
was also famous for “deriye” which was prepared with silk thread on the pit-loom with
two colors woven together and popularly referred to as “doop- shaun” (sun-shade). This
is now extinct. No weavers could be found who knew the technique any longer.
Samples of all extinct cloth mentioned above are in the personal collection of the Team Leader
and trainers can assess the possibility of reviving some weaves.
Shawl: Traditional shawls are very popular in the Multan and Bahawalpur region. A
traditional weaver Ghulam Hussain (father) and Riaz Hussain (son) make warm shawls
and desi khais on pit-loom. They can make 8-10 yards of thick woolen shawl cloth in one
day, thus one woolen shawl in two “puths”(parts) can be completed and two can be
completed in 2 days. The material used in the woolen shawl is called Pasham (Sheep
wool yarn). Ghulam Hussain is able to sell traditional design shawls in his villages. He
proudly asserts that he sells all his products in the village, as people still prefer to buy
his shawls rather than go to city for modern products.
An entire family of weavers from 33 BC in Bahawalpur is probably the only weavers
left who can make shawls in silk. These shawls are called Salari. The mother makes the
thread on the traditional charkha and the sons make the shawls on pit-looms. The shawls
are plain with colorful borders. They sell their work to the locals of the area and do not
need to take their products to the market since a lot of people from the surrounding
areas place orders for salari, which is used at weddings and other occasions to welcome
guests and the bridal party. The silk weaving is an extremely difficult process as the
thread is very thin and it takes longer time to make one shawl. According to Nadeem
(one of the son) they can make one shawl in one week approximately. Trainers need to
assess the potential for transfer of knowledge to women artisans and develop products which can
be sold in an exclusive market.
In spite of repeated visits no fine pit-loom weavers
could be located in Multan.
The major issue in pit-loom industry is that is rapidly
being replaced by the larger loom (Amritsari/Kasuri)
where cloth of a wider width (1.25 yards) can be
prepared which is more suitable for apparel. The
exquisite cloth prepared on pit-looms is thus an
endangered craft and the traditional motifs are being
forgotten and some of the more intricate weaves and
cloth now either extinct or nearing extinction. The art of
pit-loom needs to be promoted by opening new avenues for
the product, finding buyers and a market for this most finely
made material and an exceptionally rare craft. Possibility of
revival of varieties now facing extinction can be taken up.
Nur Khatoon, BC 33 Bahawalpur District
2.
PALM LEAF WEAVING: Palm Leaf weaving is done with the dried leaves
of date-palm known as ‘Khajji’ locally. Date palm is considered to be the third major
fruit of the country and abundantly grown in South Punjab. It is used to make various
items such as baskets, ropes, hand fans, prayer mats etc. Products are either utilitarian
objects or for decorative purposes only and prepared by women in their free time. They
have come up with many innovative designs in colorful dyed palm leafs. The color
range is still restricted to a few colors, yellow, green, red, shocking pink which is
because these appear to be more popular colors. In the beginning color was not used
but the weave produced a variety of patterns which is still made in some villages.
The palm leaf and wheat stalk craft is a traditional and seasonal craft. Products are
usually made in the late summer when the raw
material has been dried and prepared for weaving.
Most young women learn the skill when young
from their mothers and grandmothers, but all
villages invariably have some women who are
acknowledged masters and are much sought after
to prepare a range of products for a girl’s dowry
and other special occasions. Safia Bibi of Basti
Changar from Uch Sharif, Bahawalpur District
Majnon, Abass Nager, (District Bahawalpur) along
with her elderly mother, Mithan Mai, makes floor
mats, (Chatais), hand fans and praying mats, fruit
bowls of varying sizes and platters. The mats made
for daily use are generally plainer while others are
more colorful. Mats are weaved in puths, (parts) of
about 10”width and then sewn together with palm
leaf. The family has been well known for
generations for the fine products that they have
been making and the innovation that has been
brought into it by each generation. This is also the
Mat from Khan Bela, Multan District
case of Mariam and her family of Abbass Nagar and
of others in the various villages of the districts. Palm Leaf products have been sustained
by the demand from village communities and have thus survived for generations but
are now threatened due to the commercial products which are usually cheaper and
rapidly replacing these hand made products. Mithan Mai and Safia Bibi assert that they
get enough work from their own community and thus do not need to sell any of the
products in the market. The potential of these objects for the contemporary market, however,
needs to be explored since it is also facing problems, as craftswomen don’t get enough return for
the hard work put into the making of a palm-leaf product. The palm leaf products are unique and
rare and a bigger market needs to be tested for new cultural products. Trainers need to examine
the possibility of developing new products beyond the traditional “changhar” which had limited
use.
HAND EMBROIDERY: Hand Embroidery is a prevalent craft throughout
3.
the two districts and found in all villages. It is an art in which designs or patterns are
stitched on the fabric with needle or an ar (awl). Few of the stitches/tankas, which are
popular, are Kacha Tanka, Katcha Pucca Tanka, Aari Tank, Salma Sitra, Gota Kinari, Chicken
Kari
Hand embroidery has found a commercial market with the ensuing problems of loss of
quality and exploitation by the middlemen/contractors. Most villages also have local
sub-contractors who hand out work to the various embroiders in their village, thus, the
craftsperson faces exploitation at two levels and ends up by being paid very little for the
lovely products that they prepare. Although some women are working full time on this
craft usually it is a spare time activity
since it fetches little returns. It is
common to find young girls preparing
embroidered products for their jehaz
(dowry). This is usually of fine quality
and often very exquisite and intricate
compared to the products prepared
for the market which is almost always
course and restricted to a few popular
designs provided by the middlemen.
Traditionally the embroidery was
Katcha Pucca Tanka
taught to the young girls by their
elders or by the traditional teacher who taught them the Quran as well as survival skills
but now there are Dastakri (handicraft) centers run by some of the enterprising women
of the village where the craft can be formally taught. Men too are increasingly involved
with embroidery work usually working at an “adda” (large frame) for the commercial
market.
Village Theghar, Multan District
Khan Bela, Multan District: Shawl with Ar work for
which Rs 18 is paid for embroidery
Bushara Hafeez, of Faizabad, Chak No 29 BC, trains girls at her own house. She learnt
the art of embroidery from her mother and other female members of her family when
she was young. She usually takes 3-4 days on one suit (shirt & dupatta) and 3-4 shirts in
one day. She works on orders from different people in her locality. She knows 40
different stitches. Bushra has taught more than 50 girls by now and she is
acknowledged as the Ustad (master teacher) by her community. She proudly speaks of
her shargids (students) who have got married and gone away from the village to spread
this craft amongst more communities.
Mariam Ayub is an expert of Ari Tanka and in her spare time does embroidery to
supplement the income of her family. Ari Tanka was adopted in cloth embroidery from
tilla work on leather uppers, an embroidery technique used in making of Khusas (leather
slipper). Its implements are a hook like needle called ar. Ar is of various sizes to achieve
more refinement in the embroidery. Mariam learnt ari tanka from her mother, as is the
usual practice in the villages of South Punjab. Embroidery is a good way to pass time
and does not require any major tools and all women do embroidery after finishing their
daily chores. She makes beautiful shirts and duppattas.
The potential of the extensive hand embroidery sector has not been fully appreciated
due a variety of reasons amongst which is the prevalent view that women are often
confined to their homes through this work. This may well be true in the current scenario
but the possibility and potential of women setting up their own small enterprises as has
happened in the urban areas exists which is the direction that needs to be considered and capacity
of the village embroider enhanced to be equipped for the modern business world. At present there
are two levels of contractors operational and exploiting the artisans, one is the market contractor
and the other is the village based sub-contractor. Trainers need to be conscious of the village subcontractor and ensure that fair price criteria are used throughout when CFW is being considered.
CHUNRI MKING: Chunri or the art of tie
4.
and dye is a famous craft of the Saraiki speaking
region as well as Sind. Bahawalpur ranks high as a
center of Chunri making with the presence of villages
like Abbass Nagar which have been preparing
products for the market since ages. Multan also have a
tradition of Chunri making but on the decline.
Chunri from Abbass Nagar
process involves the cloth being first starched to
provide a b The etter grip while tying the tiny knots which have been traced on the
cloth in the form of dots according to the pattern. Small grains of wheat are tied in the
fabric on each dot with the help of a special needle like tool. This process is called
bandhini. The dye was traditionally done in different bright colors popular in the
Cholistani area of Bahawalpur. Earlier natural dyes, referred to locally as “Matka”
colors, named after the earthenware urns used in the process were popular but now
chemical dyes are mostly used. There are very few women who know this ancient way
of preparing natural dyes since chemical dyes are easily procurable and the constraint
of time and resources has almost made the traditional knowledge of “matka” colors
extinct.
The
preparation
of
a
Chunri,
a
predominantly women’s craft, involves the
tasks of bandhini making and dying which
are usually done by different persons.
Fazalan Bibi, of Majnoon Basti, Abass Nager
district Bahawalpur, binds the Chunri
designs on orders for the Chunri dyers. It is
an extremely difficult task and the nails get
badly injured. She has been doing this work
for as long as she can remember. She said
that it takes her around 3-4 days to
complete a pair of clothes.
Chunri from Abbass Nagar
Nusrat Bibi and her entire family of Abass Nager make Chunri’s on a professional basis.
According to them Chunri is a traditional craft of all the Saraiki families and most
women of the village know the art; some of whom are considered experts and prepare
the work for special orders. Most of these women know the fine and intricate
traditional designs and patterns since this is the family heritage, however new designs
have evolved which are coarser and easier to prepare thus more suitable for a market
which pays low prices for this work.
The market for good quality Chunri needs to be created and the crafts persons should be
encouraged to go back to their original intricate and refined traditional designs, and make new
products which appeal to the modern buyer. A Challenge for the trainers to take up!
RALLI MAKING: Ralli making is synonymous with the Cholistan desert,
5.
where it is widely practiced and most intricate although it is found in other parts of the
region as well. The craft is thought to have had its origins in the need to strengthen old
clothes which were stitched together with finely done running stitches for utilitarian
household use and then started being a treasured item for a variety of products,
especially prepared for trousseau and special use. In the desert ralli are also called rindhi
or gindhi. Mostly the colorful cheeth (cotton cloth), which is the commonly used cloth for
apparel is used to make ralli. The cheeth cloth is cut in a traditional design pattern and
then stitched together with a needle. Once all the pieces are stitched together; two to
three layers of cloth are placed under the patchwork cloth and attached together with
running stiches. The very minute stitches are done in straight lines on all the ralli used
as bedspreads, floor covers, pouches, storage bags, camel saddle cloth and saddle bags
and such other usages. Sometimes appliqué work is rendered on the borders and at
times embroidery of stylized birds and plants can also be found on some rallis. The
process is time consuming and painstaking and done by women in whatever time they
can get from their daily toil. Appliqué work rallis with patch work borders can also be
found.
Ralli from Basti Bodiwalla
The term ralli derives from “rallana, which means
to connect”. The women of Cholistan make these
rallies for their daughter’s trousseau. They say
that the day their daughter turns ten year old
they start making the rallies for their dowry.
Various kinds of rallies are created for different
occasions in her married life, the most intricate
being for the marriage day. Sons too get their
share of rallis for their married life.
These rallies are very versatile in their use for
local people. If they are traveling they put it on
the ground to rest. It they feel cold in the cool
desert night it can be used as a cover. If they are
in the house they use as bedspreads on their
charpais (cots). In every way the colorful rallies
bring brilliant color in their lives with a variety
of bright yellows, reds, shocking pinks, bright
greens and blacks.
Bags and others such
objects made out of cloth
creates
the
needed
versatility for people of the
desert who are by force
nomadic and having to
travel large distances in
search of water.
Ralli from Basti Mojgarh
Tobacco Pouch from Basti
Menganwal
Ralli from Basti Khangah
6.
GHOGHOO GHORA: The Ghoghoo Ghora or a toy horse is a traditional craft
and one of the oldest in Pakistan. Traditionally ghoghoo ghora was made in terracotta
with hole in its back. When air is blown in it the ghoghoo ghora would make a sound and
that is how the toy horse got its name. It has been part of our cultural heritage for a
longest period. Ghoghoo ghora’s made of terracotta have been found in the Indus Valley
sites and considered to be children’s toys. It remains as a part of the rural culture of
South Punjab. The design of the toy horse varies from place to place. Over a period of
time the ghoghoo ghora material has also evolved. In the Multan region a special kind of
the toy horse has evolved, made of rags and paper. Every year before Eid festival
colorful ghoghoo ghoras are seen near Eidgah of Multan which are sold to celebrate the
Eid festival. Ghoghoo Ghora’s are made by the khanabadosh (gypsy tribes), who are
nomadic and roam around in the region in search of work and come to Multan at the
Eid Festival. One particular tribe is now squatting in Multan working as scavengers.
The making of the ghoghoo ghora is an interesting and fascinating process. The entire
family works together as a team to create this exquisite craft. The wonderful thing
about their art is that everything used to make a ghoghoo ghora is made out of recycled
material. They use old clothes, paper, toori, (wheat chaff) and kana or reed stalks to
make the ghoghoo ghora structure, a paste made out of atta (wheat flour) and powder
color is used to create traditional colors used on the ghoghoo ghoras. The paper is colored
in purple, shocking pink, yellow, red and white.
The structure is constructed with old cloth stuffed with crushed wheat and the legs are
made of Kana, reed stalks. Once the structure is sewn together the basic body color is
applied. The color is in the form of a lai; a paste made out of color dye and atta (wheat
flour), mixed together in the form of a thick paste. The traditional body color of a
ghoghoo ghora is purple; hence purple color is applied all over the body. Once the body
is colored, the reed stalks legs are attached to the body. White paper is pasted on the
upper portion of the legs to keep the legs secure and in place.
In the next step yellow paper is used to make the decorative neckband for the ghoghoo
ghora. Neckband of ghoghoo ghoras are further decorated with red and green paper cutouts in the shape of a frill. The front legs are covered with shocking pink paper to create
a decorative costume for the ghoghoo ghora.
Metallic pani or silver paper stripes are used to further decorate the horse. The silver
paper is cut out in thin strips and is used to give the costume of the ghoghoo ghora a
more formal look. The face of the horse is decorated with green paper and eyes are
made of yellow paper. The head is decorated with a feather made of white paper. The
seat of the horse is made of yellow paper cut in the form of a saddle. The back of the
horse is again covered in green paper to create an illusion of a costume worn by the
horse. The white paper is cut out in a form of its tail, which shows in contrast through
the green costume covering the back. The costume is decorated with thin strips of paper
pasted in contrasting colors to create decorative motifs.
The leash of the horse is decorated with paper flowers
in red, yellow and shocking pink. Parrots are also now
being made.
While the horse was the traditional form and gave the art its
name, ghoogo ghora, it may be possible to make an array of
animal forms which will bring in a new impetus for this
Ghulam Fatima
craft. The parrot, camel, peacock and elephant are some
possibility. Maybe some product can be thought of that may be needed throughout the year as
well such as shopping bags?
Ghooga Ghoras of Multan
7.
BLOCK PRINTING In Multan block printing has been done for many
centuries. Due to lack of buyers most block printers have left the craft and started doing
other work. Keror Pucca (district Lodran) a known center of this craft produces
sufficient for the demand of the market. The designs for the blocks are selected or made
on paper. After that wood is selected on which the block master/carver carves the
design. The block carving is a very intricate job and must be perfectly prepared since
the quality of the product will depend on the block itself. The block is prepared
according to the motif; one block for each of the colors used in the motif thus sometimes
three to four blocks are prepared for a single motif. Once the blocks are carved and
before starting with the block printing the blocks have to be made ready for printing.
The blocks are soaked in mustard oil for about three days to take away the rough edges
and make it more receptive to the paint. Traditionally organic colors were used for the
printing but due to the work and time involved in making organic dyes the printers
have stopped using natural dyes and are now relying on chemical dyes. There are two
different kinds of colors that can be used on cotton in block printing. One is Alka Binder
color which is used on light base cloth preferably
un-starched cotton. The other is called paste color,
which are used on dark based, thick cloth. The
color used on the silken cloth is called Proshan. The
aim is to have the color when applied to the cloth
come out smooth and even and completely
absorbed in the cloth so as to get a sharp image of
the motif. The block printer’s table is specially
prepared, its size is equivalent to the material to be
printed, and thus about 3 yards length and about Crafted by Haji Abdullah about 20 years ago
1.25 yards wide to accommodate the size of the dupatta/ shirt to be printed in one go.
The table’s surface is affixed with 60 layers of bori (sack) cloth on it. The block printer
fixes the cloth on the table and starts using different blocks dipped in the desired color
to start printing various design patterns. The patterns can be varied of a single or
multiple colors dependent on the skill of the block printer.
The quality of block printed material has considerably deteriorated and even in Keror
Pucca the quality is not up to the mark.
The age old craft of Block Printing is facing difficult times with several of the crafts persons
leaving their family trade in search for more lucrative likelihoods, often moving away from the
village abodes to the cities, thus the extinction of skills which had survived for centuries seems
imminent if a market is not found for this age old craft. Trainers need to find out how to revive
the traditional techniques and assess whether some women artisans can be trained. If need be
visit other known areas of block printing to see whether better quality work is being produced.
8.
BLUE POTTERY: The blue pottery of Multan is famous all over the world. It
is considered as one of the hallmark of Multani crafts. The Sultanate period monuments
in Multan and elsewhere in the region bear testimony to the skills of the Multani
Kashigars (tile makers). It is believed that the craft of making blue tiles came to Multan
from Central Asia in 12th Century during the rule of the Ghaznavids and the Delhi
Sultanate. Some scholars are of the view that “The use of foliage branches and leaves of trees
and superb richness of colors (main blue) in Kashi work is an evidence of Persian influence. As
Persian arts themselves have been under Chinese (Mongol) influence, therefore some historians
are of the view that Kashi work had originally come from Kashghar, China.” From its origin, “
Over a period of centuries Multani Kashi work has matured and developed a unique and
distinctive style of its own” 1.
The exquisite kashikari at the Shrines
of the Sufi Saints of Multan, Shah
Rukh-e-Alam, Baha’ud din Zakariya
and the Ismali Saint Shah Shams-uddin Sabzwari are some examples of
the high quality of the tile work that
the kashigars of the time had achieved.
“But later, due to a lack of patronage,
standards began to decline, until the
craftsmen started switching over to other
work. However, there are still handful of
craftsmen who are sticking to their
Kashi Kari at the Entrance of Shrine of Shah Shams Sabzwari
ancestral trade”. 2 Among these are
Ustad Mohammad Wajid and Mohammad Zafer. Both live and work in the old city’s
Mohalla Pir Pathan and prepare not only the tiles but various decorative and utilitarian
objects such as vases, lamp shades, crockery etc using age old techniques and methods.
Ustad Wajid’s family has been in this profession for over 500 years but now due to lack
of a clientele his sons have found other livelihood. Ustad’s Zafer family has been in this
trade for 300 years and now none of his children want to continue with this work. This
illustrates the problems being faced by the crafts people throughout the region. This
craft continues to be endangered inspite of the efforts made by the government to set up
Blue Tile Center in Multan and elsewhere the craft continues to suffer due to lack of
good marketing and promotion.
This traditional art of Kashikari in Multan is different from other pottery styles in the
country because of its process. The traditional clay which was used was a special type
1
Hashmey, Hira; Blue Pottery in Pakistan. A cluster information Report. Unpublished report, AHAN –
Pakistan
of clay found never the rivers of Multan which was prepared and refined through age
old techniques to give it’s the fine quality that Multan blue pottery is famous for.
Increasingly the red clay has been replaced by the commercially available clay which
does not require much preparation. The two kashigars ustads Muhammad Wajid and
Muhammad Zafer are amongst the very few who continue to use the red clay. Various
natural materials are used to give it its famous blue glaze. Cobalt is used for dark blue
now, but earlier Lajwant stone was used to acquire the color, and copper oxide is used
for ferozy (turquoise) color, traditionally called sabzi. The white color of the background
is obtained from the sandh rock. Before applying the color on the product a layer of aster
has to be applied on the surface of the clay to enable the color to show as the brilliant
blues of the Multan blue pottery. The Nakash draw the fine patterns on the unbaked
pieces, this part of the work is sometimes rendered by women. Firing of the Multan
blue pottery is at 900 degrees Celsius. Designs rendered as naqashi have evolved and
developed giving a much larger design palette from the traditional designs. The color
palette remains the traditional range of blues, yellow, green and sometimes red.
The Kumhar (potters) of South Punjab have fortunate to have a market in the villages
throughout Pakistan and thus the craft has survived and grown with products being
continuously innovated to cater to the present day needs. The traditional gharas and
matkas have their modern counterpart in the clay water cooler fitted with a tap to make
it easy to pour water and the old shape of the clay flower pots have been transformed
into a variety of shapes and sizes. There are potter’s villages found in the districts
whose creations find a market through the length and breadth of Pakistan and beyond
into Afghanistan while the blue pottery ustads await a clientele which will increase
their earnings beyond the Rs 20,000/= and Rs 15,000/= which is the monthly earning of
Ustad Muhammed Wajid and Ustad Muhammed Zafer respectively.
The exquisite and brilliant hued blue pottery made
with age-old techniques embedded in the history of
Multan region. These techniques need to be
protected and promoted and the kashigars and
nakashs encouraged to maintain the old techniques
which left a lasting and indelible mark on the
Multani culture. There were only 14 women who
are involved in Naqashi work in the blue pottery.
Contemporary Handi
The Challenge is to locate them and persuade them to be a
part of the Project. Some way needs to be thought of how these women artisans can set up their
own small businesses otherwise it will be difficult to take this forward.
These eight Crafts can be the first to be taken up. However as the Training starts
continuous exploration of other skills that the participants may have need to be
noted and built into the process. One such craft is beadwork of Cholistan.
Basti Khangah Sharif
Basti Bodiwaal
Khangah Sharif: Bags crafted with flat
crepe and machine
Crochet work in several bastis
Changher with Palm Motif
Basti Gaddan-Shawl
Border
DNB 112- Bead Work
Basti Gaddan Khes
CAPACITY BUILDING
Training and Capacity Building was at the core of the Project objectives which were
the central concern throughout the project period. These objectives were
a) Development of cultural products, contemporizing design to inculcate design
innovation methodologies and development of Craft products.
b) Development of marketing and managing skills, and,
c) Provision of functional literacy to the Project participants
These were met through intensive training
sessions using a methodology which
allowed group training sessions as well as
individual sessions through THAAP
designers as well as peer review and
collaboration
with
Master
Trainers
developed as the Project progressed.
Opportunity to meet participants from
other districts and areas was also built-into
the training sessions with some joint
sessions held at a central location. Sharing Training Bheli
and learning from each other’s work and
experience appeared to be a good way for collective development of the group. Thus
work prepared by one group of women was shown in other districts so that the
isolation which is so often the fate of women and crafts women could be challenged.
Many of the Training sessions were organized using the home of a community
member taking recourse of a familiar setting where women usually collect to share
their lives and learn crafts from their elders. When it was felt appropriate some of
these were converted into Craft Centres which allowed for these to be in areas where
the crafts were rooted thus its natural/traditional home.
The training sessions were designed to provoke and tease the imagination. The lesson
plans and the resource material assembled for sharing and referencing was
continuously assessed and if and when the need arose modified, to allow local needs to
be integrated in the capacity building processes. Examples of the most exquisite and
fine works were collected to provoke the mind, some of these were old pieces made in
the very same villages by the artisans ancestors. These provided the bench mark that
was possible to attain; at times invoking disbelief that some article or the other could
indeed have been done by hand for some of the techniques are not known any longer.
At one of the training session, the Chunri artisans when shown an old gharjola with
finely done bandhini insisted that this was factory
produced but later tried to match this work by tying
the chunri in fine knots themselves. They have not
quite got to the stage of preparing the finest chunri
but it is possible that with continuing support and
encouragement of a discerning clientele they may still
achieve the heights that this region’s chunri had in the
past.
Color Coordination Workshop
At one of the training sessions, the women developed
patterns using various stitches of their liking and a colour scheme that would fit the
themes, the mood and the design pattern. The designers asked them for the names of
the stitches and soon enough names were given, usually named after the husband, or an
animal. Black became “Bhanis” (water buffalo) and others named after political
figures….so there was a Benazir tanka and a Nawaz Sharif tanka! The meaning of
colours for the local communities was explored, those that brought good fortune and
others which were taboo were noted. Books and reference material/patterns/drawings
were particularly popular with the participants and
eventually photocopies had to be made and left at the
Centres. With a spirit of camaraderie and collaboration
the Project moved forward.
Management skills are difficult to impart unless truly
an attitude of “Theory & Practice go hand in hand” is
instilled. Thus the management skills came out of the
Training Basti Mengawal-Cholistan
Project components themselves with Master Trainers
tasked to work and organize a group of their village artisans and supervise the Cashfor-Work cultural products being prepared by the group. Quality assurance has to be
at the village level itself if women are to be empowered and livelihood opportunities
through crafts engendered to alleviate poverty in villages. Thus, the Project
endeavoured to impart skills and techniques for management and quality check as the
Project progressed.
Marketing is the single most difficult area for it presupposes a market out there and a
clientele eager to buy hand crafted cultural products. This is an area where
government support is most essential
for there is a need not only to promote
crafts but a firm support and
commitment to the Craft Sector. The
need for a Craft Museum to showcase
the work of artisans and other
mechanisms to bring Crafts on the
Priority List is dearly needed. This has
to be a continuing endeavour and
focused on “Reviving Crafts in the
Villages”
to
provide
economic
opportunities for alleviating poverty in Field Team Leader Muzamal Younis at Basti Khangah, talking to
villages. Crafts are the most prevalent Razia Bibi
means of non-farm livelihood in villages and that needs to be recognized. Basic
marketing skills such as how to achieve “fair price” for cultural products were
imparted but without efforts by government, the commercial sector and the public at
large this is an onerous and fairly meaningless task.
3.1
TRAINING
Training was carried out through Cluster Training and Joint Training at locations
mentioned above carried out by THAAP designers. Training at Villages held by
THAAP designers and Training by Master Trainers in villages as an ongoing process
of peer review and evaluation.
Training Curricula Developed by Designers : Key Features
-
Design Training through references from immediate environment
-
Introduce Reference material (Books, Samples etc) and Contemporary Market
demands
-
Challenging & Innovative design development
-
Skill Development
-
Quality Control techniques
-
Marketing & Management Techniques
-
Functional Literacy Techniques to be refined and targeting purposeful training
Designers
Date
Venue
Participants
Outcome
All identified
Initial Collaboration for
craftswomen from
design and development
Cluster
/Joint
W’shop
1
April
Multan (Keeri
15-19
Wala, Chaj Baja
Wala)
various villages
of products
Bahawalpur (
Selection of Potential
Derawar, Bheli)
Master Trainers
Sample preparation
initiated
Functional Literacy
lessons started (on a
need basis)
2
May
Multan, Bwp
4-9
Master Trainers & a
few participants
Discussion on
Contemporary Design,
Quality Control &
Management
Checks for Quality
Control initiated
3
May
Multan
30- 3
Master Trainers &
Local Designers, Cutters,
Participants
embroiders identified &
June
trained
Exhibition Thematic
Areas resolved and
Orders placed for CFW
June
Bahawalpur
15-18
June
22- 29
Master Trainers &
As above
Participants
Multan
Master Trainers &
Participants
Block Printing
Techniques
August
Bahawalpur
8-12
Stitching & Cutting
Cadre of trained women
Master Trainers &
Participants
Sept 15-
Bahawalpur
25
Handloom Master
Trainers &
Handloom weavers
trained
Participants
Oct 10-
Multan (Khan
Embroiders Master
12
Bela)
Trainers
Oct 20-
Multan
Block Printing
24
Oct 2630
Master Trainers
Bahawalpur
Packing & Finishing
Local artisans trained in
fine work
Refinement of
Techniques
Cadre of Trained women
Products
Fortnightly visits by THAAP Principal Designer to Project villages for Capacity Building
Weekly visits by Field Team Leaders to Project Villages in their District
Fortnightly Visits by Head Office Coordinator from Sept-to date for continuing training in Finishing &
Packaging to Bahawalpur THAAP Offices & Multan Block Printing & Craft Center
Below is a brief report compiled after the First Training Workshop and annexed are
the detailed reports of the first and second training session to show how the training
was carried out and the management of the capacity building component. Such
reports were prepared for all Training Sessions by the Designers to review the
outcome and determine the next steps.
3.1.1 Training Workshop: Sample; First Training Workshop
Dates: April 15-19 2010
Locations: Bahawalpur- (Derawar, Bheli) & Multan Walled City
Preliminary Work
The First Workshop entailed a lot of Preparatory Work by the Team of Designers,
since they were now confronted with developing a methodology to contemporize
design in close collaboration with the crafts women. All the core team designers
came with teaching experience at the tertiary level but had little experience on how
to go about teaching to a group with high level of skills who had little knowledge of
the contemporary market. An initial visit was made to the districts and accompanied
with the FTLs they were given an opportunity to observe, discuss and learn
following which the lesson plan would be developed.
The locations and participants were selected by the relevant FLT who paid a number
of visits to the various villages identified with potential. In some cases repeated
visits were made trying to explain the aims and objectives of the Project. There was
initially a lot of distrust mainly in the areas where similar projects had been carried
out earlier. The prevalent view was that people come and built their expectations
and then disappear, so they were naturally reluctant to go through yet another
experiment. In other cases women wanted promises of sewing machines before they
would agree to participate. The Core Team decided that this was not the right way
forward and thus we would
a) Refrain from creating unrealistic dreams
b) Built in sustainability insofar as possible
c) Pay Cash for Work (CFW) for the products produced under the Project
d) Explain fully that if products are sold at a higher price at the exhibition at the
end of the Project, the fair sharing formula would be worked in which the
major beneficiary would be the craft person.
After having resolved such key issues, the task of developing the teaching program
was taken up by the team of designers/management and literacy personnel. The
first one day sessions held at different locations entailed developing an
understanding of color and coordinating colors, meaning of motif’s in the traditional
designs, surrounding environment & developing design based on local motif’s and
discussions on samples taken from various familiar sources.
Workshop Sessions:
Interactive Lecture Sessions followed by an exercise was the format adopted. The
Report of Mobeen Saeed, designer; appended as Annex 4 and Aisha Imdad,
Designer/Artist at Annex 5 detail out the events in Bahawalpur and Multan.
Major Outcome
a) Master Trainers were selected from the Participants by the participants
themselves. These women were already acknowledged leaders of their
communities in their particular craft.
b) Work was given out to all participants to prepare which FTL would
collect. All participants were informed that timely delivery and quality
was the key, an essential aspect of management skills
c) Basic discussions on management and marketing skills and initial spade
work of these important skills were initiated.
3.1.1
ISSUES REGARDING TRAINING
a) In the first two training sessions attended by a large number of women participated
in the Cluster Training the designers came to the understanding that there was some
changes that were required to spark the imagination and interest of the women. It had
been noted that some of the expert artisans were actually working as sub-contractors
themselves for the market contractors and were thus a part of the chain of exploitation
to which the craftswomen were being subjected. To enable bringing the disadvantaged
artisans into the loop it seemed important to move quickly into the CFW mode to
demonstrate benefit for all participants. Rates of Payment needed to be settled with the
artisans themselves and paid directly to them.
b) Women were subjected to a lot of control exercised by the family thus it may be
difficult to get them all at one place. It was felt that the economic benefits from the
Project could help in this. Thus the CFW incentive could be used
c) Most critical was how to get new innovative ideas developed in the training process.
Experience had shown that something needed to be brought into the training sessions
which would help spark the imagination so as to propel it forward.
At the third Joint Training Session on May 30-June 2, 2010 in Multan the idea of using local
references was congealed and Thematic Areas were developed. Contemporizing Design
which is one of the key aspects of the training requires a high level of involvement & a
highly motivated participant. Thus as preparation for the Third Training Session, the
response from the earlier training sessions, the samples prepared were assessed to
determine the level of engagement with design development by the participants. It was
noted that as the methodology required some modification it would be best to perhaps
define thematic areas based on the immediate environment of the participants.
The training focused on how a theme is developed and carried through and controlled
through a color palette, designs etc to read as a single entity. Products for each theme
were determined and distributed amongst participants and prices fixed based on level
of quality.
The Salient Facts regarding outcome of the Training is as below
3.2 VILLAGES/PARTICIPANTS & CRAFTS
Location
Multan
Bahawalpur &
Cholistan
Final No of
Villages
Multan City
(Chaj Baja
Wala )
Shujabad
Jalalpur
Pirwala
Khan Bela
7 Villages
No. of Participants
who participated in
training (1-3
Sessions)
244
350
Final List of
Participants
177
311
CRAFTS
Palm Leaf
Embroidery (Ar & Goota)
Block Printing
Handloom
Leather Work
Naqashi
Camel Skin Products
Embroidery
(Katcha
Tanka, Shadow Work,
Pucca Tanka
Palm Leaf
Handloom Fabric
Chunri
Ralli
Ralli & Embroidery
Bead Work
Khan Bela- August 2010
Khan Bela August 2010
The Attrition was due to a number of reasons, mainly the harvesting season which is
viewed as a good opportunity for the village women to earn money as well as the
yearly stock of grain (wheat and rice). Women at the cotton picking season earn about
Rs 500 per day which is way beyond their earnings through the crafts. In Multan
district the rain caused havoc, particularly in Khan Bela villages, in Shujaabad and
Jalalpur Pirwala and several of the participants were dislocated temporarily. They have
all since returned and most are eager for opportunities to enhance their livelihood
through craft related work.
Bahawalpur, Bheli June 2010
Cholistani Women at Workshop April 2010
3.3
MANAGEMENT OF CULTURAL PRODUCTS
A system of managing the large number of cultural products being prepared had to be
devised. These were means of imparting management skills to the participants who
were given note books to develop their own log books to include designs, orders of
cultural products and patterns using “cheepe”. The evolved format is annexed for
reference
3.4
AKATHS : THEMATIC AREAS
The themes in the four collections derive their spirit for designing from local sources
rather than motifs that do not belong to the area. Thus, these collections, developed in
the training sessions through designer-artisan collaboration, gave the artisans a design
palette that they could relate to their daily lives, the familiar rather than the alien. In this
way they could evolve and improvise the design in their own individual ways, using
familiar references. To adopt this way forward, the THAAP Design Team of the Project,
carried out many training sessions with the local crafts women to revive and improve
their craft techniques and to develop design motifs for the various cultural products
that they were planning to make. The sessions made it clear that the local design palette
held more appeal for the women artisans rather than the designs imposed from outside
their realm, the way adopted by market contractors. The excitement that this created in
the training sessions was palatable because now the women were a part of the design
development, improvising the design, using colors from the palette of the four
collections, matching the color to develop schemes which would look good, looking at
each other’s work, developing a comradeship and recognizing the leaders amongst
them. The themes for the exhibitions were selected after much deliberation on their
content, photographs were examined, resource material consulted and the artisans were
juggling their memory to capture something from what they had seen or remembered
their mothers and grandmothers making. The process gave significance and strength to
the design themes and the craft products that were planned and eventually prepared.
The following four thematic collections based on various cultural aspects of the region
have been developed in the Project. The collections are called Akath meaning putting
together or getting together in Saraiki, the language of the region. All the four themes
derive their conceptual spirit from the various cultural aspects of Southern Punjab.
1.
Jiwan-Rukh Akath (Tree of Life Collection)
Tree of life Collection derives its conceptual spirit from the fresco paintings on the walls of the Sufi shrines,
the tombs, mosques and havelis of Southern Punjab. This is a rendering of the indigenous, prevalent and
enduring motif in the Sultanate, Mughal and Mughal inspired buildings and in the Craft products.
The motif of the tree, representing and symbolizing sometimes life- the terrestrial garden, and sometimes
the universe or the heavens, the garden of paradise - the celestial life, symbolizing the concept of hereafter
and good fortune for life to come is a familiar and popular motif found in the mosques, shrines, tombs and
havelis of the three districts; in the Nakashi on wood and camel skin, embroidered motifs and other crafts.
2. Tooti-Nama Akath (Tales of Parrot Collection)
This collection celebrates the design motif of the bird form in the folk arts of South Punjab. This prevalent
motif, sometimes in the shape of peacocks, parrots, herons, pigeons, doves, myna, hens, roosters, and
occasionally the crow, make their appearance in embroidered pillows and “rummals”, block printed cloth,
household accessories as well as the earthenware blue pottery of Multan and the rallis of Cholistan. Its
origins are embedded in antiquity and the meaning has been lost however the motifs survive in the folk and
popular arts of South Punjab.
Among the variety of bird forms, is the parrot, Mian Mitho of folklore, with its poetic connection to
women’s lives, symbolizing the need for a benign friend and companion with whom secret thoughts can be
shared. The Akath derives its name from “Tooti Nama”; the exquisite book prepared for the young Emperor
Akbar which is based on 52 stories narrated to Khojasta by her pet parrot. One story every night to amuse
her for the 52 nights that Khojasta’s husband was away on his travels. The book is illustrated with
exquisite miniature paintings to enhance the interest of the reader. Tooti Nama Akath while making
connections with the traditional folk culture of Punjab is an opportunity for the women for rewriting and
reviving these folk stories through their crafts.
3. Neel Akath (Indigo Collection)
The inspiration is from the famous turquoise and deep blue or indigo colored glazed tiles of the Sultanate
Period Architecture, the Blue Pottery traditions and the plant “indigo” which is grown in the region. It
honors the skills and art of the kashigars, the matka dyers, the nakash, the embroiderers, the block printers
who have made this hue synonymous with South Punjab.
By adopting the colors as well as the design patterns into their crafts from the rich references from their
region, the women artisans, through this palette celebrate and engage with the mystic traditions and colors
which are indigenous and familiar.
4. Rohi Akath (Cholistani Collection)
The Collection portrays the spirit of Cholistan and it colorful design palette. The vibrant colors which the
Cholistani women wear in their traditional choli and ghagra are the colors of this collection. The folk art
designs, which are made on the rallis, clothes, bags and even on the surface of their mud plastered houses,
are the references for the designs for the Akath in this theme. The “Rohi Akath” conveys and connects the
Rohi women in celebration of their ancient culture that is buried in the sands of time and the living arts
and crafts which are embedded in the everyday life.
Thematic Concept
Inspiration
Indigo Collection
Sultanate Period Architecture & Blue Kashi Kari
prevalent in South Punjab
Tootti Nama
Birds are a widely used motif. The Parrot has a
multiplicity of meanings in folklore. The Tuti
Nama was the first illustrated manuscript
prepared for the Emperor Akbar
Jewan Rukh (Tree of Life )
Tree of Life a common motif in frescoes, tile work.
Of note is the mango tree in full bloom
Cholistan Collection
The vibrancy of colors of Cholistan is the ultimate
palette for crafts. This collection explores the
potential of local colors and crafts to develop new
products for the contemporary market
Palm Leaf Cholistani Akath
Parrots made in BC 28
Cholistani Akath
Neel Akath
Jewan Aktah in Chunri
1.1
DESIGN DEVELOPMENT
The Design development required that a color palette be developed for each collection
and reference material for developing motifs. Stitches/Tankas for embroidery, color
scheme for each products and costs had to be established and the marketability of each
product determined. Quality standards were critical, so samples had to be prepared and
discussed through peer review and with designers. Thus before a product was
implemented these stages had to be covered and MTs trained to ensure quality in the
products being crafted in their Center
The Color Palette for the Indigo Collection is explained to demonstrate how design is
controlled to be legible as a single collection. The shades of color are restricted within
the palette however leaving room for improvisation by the craft person. Anchor brand
which is a familiar thread is used to define the shade and each participant is given the
palette
INDIGO COLLECTION: COLOR PALETTE
1
Indigo Blue
127
Anchor
2
Cobalt Blue
134
Anchor
3
Turquoise
1089
Anchor
4
Green
230
Anchor
5
Yellow
298
Anchor
6
White
1
Anchor
The Collection is then built up based on the skills of the group and products developed
some which are new and others which are taken from the traditional items. The
products for each collection are encapsulated below
INDIGO COLLECTION: ITEMS TO BE CRAFTED USING DIFFERENT CRAFTS
BLOCK PRINT SUITS
On Handloom fabric being prepared for the
Project in natural Dyes
CLOTHING
Scarf, Kurtas,
Pouches
HOUSEHOLD ACCESSORIES
Khes & Khes Products e.g. File Covers, Camel
Skin products. Boxes with Nakashi , Palm Leaf
Products
Saris,
Handloom
Shawls,
4.
THE CRAFT WOMEN
For those of us who are familiar with the Saraiki Waseeb, they will know where to go to
get the best made in any of the crafts. Bahawalpur would be the place if goota work is to
be done and for the “uppers” or “panas” you would head towards village Khangah in
district Muzaffargarh where all the village women are preparing the most exquisite
khusas uppers which find their place on the feet of almost all the Pakistani women. For
Ar work you would head towards Multan and for katcha tanka to Chooti Zarin. Chunri of
Abbass Nagar is what you would want if you were looking for the best and nothing can
beat the block printing of Keror Pucca and Multan. Camel skin is confined to mainly
Multan, the art having been lost in the desert sands of Cholistan but the rallis
(appliqué/patch work and embroidery) and falasi (carpet woven of sheep and camel
skin) survive. Many of us would not know the craftsmen and women, who prepared
these exquisite products, remain faceless and unsung.
Almost all the women we met during the course of the few months of the Project are
involved in some form of craft. Many spoke about how their crafts supplements the
family income and many spoke about the pride that they have in their work. Some
spoke about the sense of identity and acknowledgement that they received from their
community. Satho Mai of Cholistan was declared the leader by her community while
others found similar recognition in their communities.
The total of 488 women have been imparted training during the Project. Of these 311
belong to Bahawalpur, 177 are from Multan Districts. Most of the participants live in
villages while some are from the low income settlements of the cities. All these women
had been involved in some form of craft work, mostly in embroidery and other such
crafts used for the embellishment of textiles and clothing such as patchwork, gotta
kanari, salma sitara, chunri. A large number of these women worked for middlemen who
brought them work from the market and was distributed through a local sub-contractor
often a craftswoman. This work is lowly paid and exploitative. Most spoke of the
exploitation and the low wages that they get for this work. It was decided that the
Project would build upon the craft work already being done by the artisans and efforts
would be made to organize this very disorganized and exploitative sector. In this
process new products would be developed which have greater appeal and new crafts
and skills would be introduced to strengthen the craft work.
The Narratives of the Craftswomen in their own words best explain the position of
these artisans. Some extracts are reproduced below
TAHIRA BIBI (Born 1981)
CHAH BAJAY WALA; MULTAN
“I went to school till my primary but after that I stayed at home. My mother died when I was seven years
old and my siblings and I were sent to relatives. They could feed us and look after us but obviously would
not pay our fees, so all my brothers and sisters are uneducated. My Khala (mother’s sister) whose house I
was sent to taught me how to embroider on the khussa uppers and I started helping her in this business. I
make about Rs 3000 per month for which I really have to work day and night. My work is seasonal mostly
near Eid. There are lots of khusa factories in our mohalla and they contract us to make the uppers for
them but we can’t take any other orders just work for the contractor that we are attached with. “
MARIAM AYUB (Born circa 1985)
MULTAN
“I am the eldest child in my family. I never had a chance to go to school because girls in our family are not
given the chance to get education. I started working in the house helping my mother with chores and
looking after the babies. There were 4 girls and 3 boys who followed me. My mother lives in Budla Sant, a
village near Multan, where my father has a small tent shop. I now live with my brother in Multan. There
are 4 of us there in the house and my parental grandparents. I did not get married and neither do I want
to. I got polio when I was six months old. I do not want to get married.
I learnt Ari Khusa making from Budla Bola Khan about 8 years back. I was paid very little, just Rs 12 for
a dozen uppers. It seemed to be a waste of time. I like to do any craft work. I am here to learn some other
crafts. I like to do some work and earn money…..otherwise the day seems like a mountain.”
MARIAM, (Born circa 1980)
DERA BHUKKA, DISTRICT BAHAWALPUR
I told my father to find other work. He was an excellent weaver but everyone called us “Pauvali”
(weaver). I felt embarrassed…..pauvali is a derogatory term. Now I want to learn how to weave. I will
join the training session. My mother and I became experts at “Tar Kashi”(type of embroidery). It is easy
for us to do this work. See I have this small child…just 3 weeks old. I can sit with her and keep working at
this kurta but now I want to also make cloth on the handloom. This was our family craft so now I feel why
should we give it up? I want to be as good as my father
MASI BACHAL MAI, (Born circa 1945)
CHAK 36 DNB; YAZMAN TEHSIL, BAHAWALPUR
We are here now in 36 DNB but our home is in DNB 112. We have 10 acres of land of Dr. Taqi
Shah to till and harvest. We will get 1/8 share of the crop. Lets hope that can take care of our
needs for some time. We have no spare money so it is difficult. All of us are here now. It is
actually my daughter Surraya’s house. She is actually my niece….she is my daughter’s friend so
she is my niece. My daughter is Papli Mai. My husband died so here I am with my children at
our niece’s house
You see we are making these changars( wheat stalk & palm leaf platters). These hardly fetch us
any money. People give us palm leaves and we prepare changars and mats. They take half and we
get to keep the other half. Sometimes we are given some embroidery work. We get paid for our
labor, money equivalent to the cost of the material. The bead work we do is just for ourselves,
nobody has ever asked us to prepare any.
We are under debt of Rs 25,000. Last year we were at Chak 23. You see we have to keep roaming
about but our home is in DNB 112
NUSRAT BIBI (Born 1985)
ABBASS NAGAR, BAHAWALPUR
“I wanted so very much to go to school. I am just educated till Class 4. I was the eldest and had
to look after the house. My mother was ill and I needed to stay in the house. I really wanted to go
to school but……I used to cry so much. I would work and cry all the time.
I am now married, 8 months back. It was a “Wata Sata” marriage. My brother is married to my
sister-in-law. Chunri is our family craft and my business. I am really proud of my work. I can
work the most difficult pattern….everyone in Abbass Nagar knows that….they come to me for
the most difficult task.
I have never calculated how much money I earn. I keep the accounts in my family business. I pay
for the material and pay the girls who do the bandhini (tye). There were only five women who
were experts in bandhini but now we have many more. Our business was very good but our
work was for the market so it was mota mota, not fine work like you want. Sometimes we sent
work upto Khairpur for bandhini but now we can prepare anything ourselves. There are several
of us and we can take care of any order.
I can immediately think of 14 women who are now expert bandhini makers….there is Azra,
Shahnaz, Nazia, Nasreen, Abida Parveen, Mehwish, Ama Gulan Mai, Amna, Ulfat, Nasreen,
Zarina, Shamshad, Najma, Riffat. I will make a list and give it to you.”
“Abbass Nagar was known for its fine crafts but we have lost our position because we
started making commercial work for the market. We are responsible for this state
ourselves, now we have a chance. We will recover are position and make sure everyone
gets to know that we at Abbass Nagar are experts”. Nusrat’s remarks sum up the entire
experience. These are the shared views of all the participants; the engendered pride in
their craft work propels them to reach an excellence, which at one time was the
hallmark of this region of South Punjab.
Bandhini Artisans at Abbass Nagar
5.
CRAFT CENTERS
TABLE SHOWING NUMBER OF TRAINED WOMEN ARTISANS & MASTER TRAINERS
DISTRICT
MASTER
CRAFTSWOMEN TOTAL THAAPTRAINERS/EXPERTS
CRAFTS
CENTERS
Bahawalpur
Multan
Grand Total (2 Districts)
46
18
64
265
159
424
311
177
488
3
2
5
The Project established 10 Craft Centres during the process of the Project to enable
collaboration and capacity building of the participants. In Bahawalpur, 7 Centres were
established while Multan 3 Centres. Of these 5 are designated as THAAP-CRAFT
Centres which THAAP-CRAFT will continue to support. Working with the artisans the
endeavour will be to revitalize and revive the endangered crafts of South Punjab and
continue to develop new cultural products, in collaboration with THAAP-CRAFT
designers, to sustain the artisans. All the centres were established with the view of
providing a pivotal point for craftswomen to develop small business enterprises.
Centres have been equipped with the tools necessary to the relevant craft and trained
human resource and master trainers, envisaged the asset to propel the work forward.
THAAP field office and resource cell in Bahawalpur city, with lend support to this
endeavour. The overall goal will be to establish fair price systems, capacity building
and finding markets. The tables below give some salient facts and figures of the
Centres.
DISTRICT BAHAWALPUR CENTERS
THAAP-Craft Chunri Center Abbass Nagar
11 Master Trainers, 46 craftswomen and 14 expert Bhandhini/tie artisans
and 3 Handloom + 2 Palm Leaf MT artisans
Master Trainers
Age
Nusrat Saleem Bibi
Education
25
Class 5
Craft
Chunri
None
Chunri , natural dying
24
Middle
Chunri Work
Zahida Bibi
20
None
Bakthu Bibi
50
None
Zebu Bibi
55
None
Chunri (bhandhini/tie)
Palm Leaf & Wheat Stalk
products
Palm Leaf & Wheat Stalk
products
Zeba Bibi
BA
Block Printing
Irum Bibi
Matric
Block Printing
Nasreen Bibi
Class 5
Handloom
Mariam Bibi
Class 5
Handloom
Saira Bibi
Class 5
Handloom
Abudallah Mai
about 80
Zareena Aqeel
Basti Menghwaal Craft Center, Derawar
7 Master Trainers & 22 Craftswomen
Jamna Maai
35
None
Ralli with Embroidery
Lakhmi Maai
20
None
Meraan Maai
40
None
Jawi Maai
35
None
Rami Maai
35
None
Ameraan Maai
40
None
Bakhti Maai
22
None
THAAP-Craft Center Basti Khangah, Derawar
Razi Bibi
35
None
Satloo Maai
40
None
Saroo Bibi
40
None
Patch work, Stitching,
Beadwork
Patch work, Stitching,
Beadwork
Patch work, Beadwork
Roqaia Maai
30
None
Safia Maai
30
None
Craft Center 28 BC Bahawalpur
4 Master Trainers & 20 Craftwomen
Shagufta Pervin
24
Inter
Samina Kausar
29
Matric
Shabana Kausar
25
Diploma
Robina Kasuar
32
B.A
Rag Toy Making, Ceroshia,
Embroidery
Rag Toy Making, Ceroshia,
Embroidery
Embroidery & Ceroshia
Craft Center Bheli, Khairpur Tamewala
2 Master Trainers & 35 Craftswomen. Nucleus for surrounding villages
Kulsoom Bibi
Mariam
38
35
Matric
Class 5
All Type of Embroidery
Ar work , Shadow Work
Craft Center 110 DNB Yazman
Adeeba Bibi
25
Class 5
Different Embroidery, Master
Cutter, Stitching, Ceroshia
Yasmeen Kasur
22
Middle
Nazia Pervin
34
Middle
Embroidery , Stitching,
Ceroshia
Gulshan Ashraf
24
Middle
Embroidery
Nasira Ghulam
27
Matric
Embroidery
THAAP-Craft Center Dera Bhukka
12 Master Trainers & 38 Craftswomen. Nucleus for surrounding villages
Tar Kashi, Embroidery, Goota
work,
Stitching,
Ceroshia,
mirror work, Ar
work, Stitching, Ceroshia,
mirror work, Ar
Ralli, Embroidery, Ceroshia,
Ar, product development
Mariam Rashid ( Master
Trainer)
24
5 Class
Sugrah Bibi ( Master
Trainer)
50
none
Salma Bibi (Master
Trainer)
35
none
Naseem Bibi
20
none
Mukthar Bibi
35
none
Nargis
35
none
Stitching
Manzoor Bibi
35
none
Goota work, mirror work, tar
kashi, embroidery
Amna Bibi
36
none
Parveen Bibi
38
none
work, Ceroshia, mirror work,
Ar
Chunri, bandini and dying
Qaim Khatoon
24
None
Rashida Bibi
26
Matric
Palm Leaf products, decoration
pieces
Master Cutter & Stitching
Mussarat Bibi
40
Matric
Master Cutter & Stitching
Resource Center Bahawalpur
Tar Kashi, Embroidery,
stitching,
Ar work , Woolen Changar,
mukesh, embroidery
Khaadi at THAAP Center Bahawalpur
DISTRICT MULTAN CRAFT CENTERS
THAAP CRAFT Center Chah Bajay wala, Multan
8 Master Trainers, 28 Craftswomen
Master Trainers
Zakia Bibi
Age
35
Education
None
Craft
Embroidery variety, Ar
Nagina Bibi
29
None
Marriam
20
Primary
Amna
39
None
Embroidery variety, Ar,
Sheesha Kari
Embroidery variety, Ar,
Sheesha Kari
Shazia
42
None
Primary
Embroidery
variety,
Khussa Making
Embroidery
variety,
Stitching
Embroidery
variety,
Stitching
Tahira
29
Qamar Waheed
Primary
45
Naheed Begum
35
None
Ar,
Ar,
Ar,
Craft Center Khan Bela, Jalalpur Pirwala, Multan
Kalsoom Bibi
35
None
Ar, Embroidery
Maqsood Bibi
39
None
Ar, Embroidery
Allah Bachai
55
None
Ar, Embroidery
Bhiravaan Mi
46
None
Ar, Embroidery
THAAP-Craft Block Printing Center, Keeri Wala, Multan
Najma Zafar
45
None
Block Printing & Embroidery
Najma Bibi
35
Primary
Embroidery &Sewing
Shabana Mai
29
Primary
Embroidery &Sewing
Nusrat Khadim hussain
31
Primary
Block Printing &Embroidery
Ghoogo Ghora-Paper Craft Center Multan
2 Master Trainers, 40 artisans
Ghulam Fatima Mai
None
35
Manzoor Malang
None
40
Paper Craft &
Toys/Decoration items
Paper Craft &
Toys/Decoration items
THAAP Center
THAAP Block Printing Center Multan
THAAP will continue to work with the Centres which have been adopted by the
organization and continue with the effort of revitalizing and reviving the endangered
crafts in the districts. Although it would have been possible to continue with the 10
Centers established for the Project but financial constraints do not allow that all can be
taken up at present. All Centres have been equipped with the human resources of
master trainers/artisans (MT) and members ranging from 40-70 women and the tools
necessary for a particular craft as well as the essential equipment for the craft. The
village based centres will pay a pivotal role of assisting in Design Development through
Designer-Artisan Collaboration. With the skills and wherewithal prompted through this
Project and the hope of continuing support it can be expected that the women artisan in
the villages in the two districts will indeed be empowered. THAAP will endeavour to
have the THAAP-CRAFT Centers organized as self sustaining insofar as possible.
5.
ACHIEVEMENTS
MASTER TRAINERS
The most noteworthy achievement of the Project is the development of a skilled human
resource poised to take the next leap by contributing to the development of cultural
industries in Pakistan. The training of 488 women and the availability of 64 Master
Trainers and expert artisans in the two districts of Multan and Bahawalpur surpassed
the TOR requirement of 100 women per district and 10 Master Trainers. The situation in
Bahawalpur was remarkable with 46 Master Trainers while Multan has 18 Master
Trainers/ experts. They have enhanced their craft skills and have learnt the basics of
designing new cultural products. This is the first step that the Project set out to achieve.
Chunri Center Abbass Nagar
CRAFT CENTERS
Craft Centres have been established to support the continuing development of a variety
of crafts. These are viewed as self-sustaining and it is hoped that the business they
engender will provide them the means to continue with craft making. One centre in
each of the districts will act as the nucleus, the resource base, which THAAP will
continue to support for some time with the developmental work and assist with
training and marketing. In the long term Local artisan groups will be made
independent and sustain themselves. THAAP will endeavour to network artisans as
collectives.
CRAFT DEVELOPMENT
Crafts which were the core areas with which the Project engaged and met success are
listed below. Others such as Blue Pottery which had been identified as having potential
did not come up with the expected results. Firstly, it was difficult to find women who
could view this as a livelihood opportunity. Much of this had to do with their
experience at the Government Blue Pottery Institute at Multan where at one time about
14 women naqash had been working. The nature of the craft requires infrastructure of
kilns, potter’s wheels etc which none of the women were able to establish
independently thus restricting their inputs to mere jobs at the Institute with no earning
opportunities at home during leisure hours. None could develop their own businesses.
There is no demand for home based women naqash. Mansoor Shah, who is a well
known blue pottery expert was asked to involve some of these women in the craft work
in his workshop and he did manage to make some headway but not sufficient to be
noted as an Achievement. The successful endeavours are as below
1.
PITLOOM
Construction of the floor installed pit looms; a new arrangement for the traditional pitloom was developed during the Project by Master trainer Ijaz Abbassi. The earlier
version which is in a pit in an earthen floor was being disused because it had limited
cloth width, was easily damaged due to dampness and also the artisans complained of
back aches. The pit-loom had been effectively replaced by the Amritasri/ Kasuri Loom
which allows cloth to be woven in a larger width than the maximum of 30” wide pitloom product but requires the “tana” to be prepared on a machine, which the NRSP
possesses but can be commercially done in Multan city only. This had created a
problem for all the village weavers who had been purchased the Kasuri loom through
micro-finance by NRSP. Almost all were no longer being used since NRSP stopped
buying from the village weavers. This has had a devastating effect on traditional
weaver’s villages like in Village Riazabad where about 40 weavers are no longer
working.
It seemed most appropriate to go back to the earlier pit-loom which enables the weavers
to prepare the entire product themselves while also safeguarding the exquisite weaves
which can best be prepared on pit-loom. The floor-installed pit-looms were constructed
at the THAAP office at Bahawalpur and training of 20 women artisans from Dera
Bhukka was carried out. In Basti-Gadan and Abbass Nagar traditional handloom
artisans were found who were making khais (bed spread), shawls and cloth. These
artisans became the master trainers for the Project. The hand spun yarn from local sheep
wool and local variety of cotton was produced on charkars (spinning wheels) during the
Project. This has been traditionally prepared exclusively by women whereas both men
and women are involved in the weaving process. A THAAP Pit-Handloom Center has
been established at Abbass Nagar and Dera Bhukka with about 15 artisans each while
support has been extended to the weavers of Basti Gadan. In the process of this work an
interesting fact emerged which can best be explained in the words of Mariam Bibi from
Dera Bhukka. She told us in an interview that “My father was an excellent weaver but
everyone called us “Pauvali” (weaver). I felt embarrassed…..pauvali is a derogatory term. Now I
want to learn how to weave.” This brought into perspective another reason perhaps why
so many have given up this trade. The most striking example is Thatta Pauvalian, now
Sadiqabad, in District Khanewal which was known to be a center of the handloom
cottage industry but now there are no more than of handful of women weavers and its
old name has also been changed.
2.
BLOCK PRINTING
A THAAP-CRAFTS BLOCK PRINTING CENTER has been established in the Old City
of Multan. This was to enable craft families who had left the ancient art of Block
Printing for which Multan was famous to re-establish their business and relearn the
craft that they had abandoned. A case in point is of Najma and her husband Ustad Zafer
who belong to a lineage family of block printers and had a flourishing business till
about 10 years ago but due to lack of clientele they had since abandoned the family
trade. They took up the challenge and re-learnt and recreated the process through their
own persistence and the several workshops that were held to assist them and the other
25 women who are the nucleus of the Center. The Block Printing has generally
deteriorated in the entire region with just a handful of printers now available. For some
aspects of the training a Block Printing Ustad, Zahir Shah provided critical input on
procedures to be followed to get the color to penetrate the cloth properly and also ways
and means to get sharp edges on the motifs. Through the THAAP-CRAFTS Center the
training will need to be continued. Discussions with Lok Virsa are underway to invite
master block printers from India where the craft has been very well developed.
Traditional organic dyers have been found in the Project districts who will be involved
in the endeavor.
3.
EMBROIDERY
The prevalent craft of embroidery poised a challenge since it appeared to be stuck in a
rut with just a few patterns repeated industriously. Developing a new repertoire of
designs and patterns was a difficult task. The women had got so used to the patterns
that they had been mechanically working at for the market contractors that any change
appeared problematic, particularly when it involved developing patterns themselves.
This was successfully carried out and pursued with great interest by the artisans. There
are now 209 women embroidery artisans trained in the districts.
4.
CHUNRI
Chunri or the art of tie and dye is a famous craft of the Saraiki speaking region as well as
Sind. Bahawalpur ranks high as a center of Chunri making and villages like Abbass
Nagar are known centers of this craft and most sought after. Chunri making is a
predominantly women’s craft which involves the tasks of bandhini (tying) and dying
which are usually done by different persons. Chunri was being made mostly for the
market contractors and losing the finesse of the traditional products. The project took
the challenge to bring back the high quality and fine work of the earlier days. This was
successfully implemented and a large number of women in Abbass Nagar have been
trained to produce high quality products as well as new uses found for this exquisite
craft. These new products which they had not tried before were developed. This
includes bags, saris, chunri and ralli work combined to make exquisite bedspreads.
A THAAP-Craft Center has been set up in Abbass Nagar and 66 women are attached to
it under supervision of 11 Master Trainers and the 14 bhandini experts. The Center
wants to extend its craft work to include handloom and block printing which was
earlier done in the village but had been discarded. Training in handloom was carried
out and palm leaf artisans are also attached to the Center. There is potential of including
other crafts such as pottery, long since abandoned but potential and desire of
expanding their work to make it truly a craft centered village is palatable. Nusrat Bibi,
the Manager of the Craft Center speaks of the progress during the project in these terms
“I can immediately think of 14 women who are now expert bandhini makers”. This credit goes
to the UNESCO-Norway funded Project.
5.
PALM LEAF
The palm leaf and wheat stalk craft is a traditional and seasonal craft practiced by the
women, usually in the late summer when the raw material has been dried and prepared
for weaving. All villages invariably have some women who are acknowledged masters
and are much sought after to prepare a range of products for a girl’s dowry and other
such special occasions. Safia Bibi and her elderly grandmother Mithan Mai of Basti
Majnon, and Mariam of Abass Nager, (District Bahawalpur), makes floor mats,
(Chatais), hand fans and praying mats, fruit bowls of varying sizes and platters with
dried date palm leaves. These products are sustained by the demand from their
communities and have thus survived for generations but are now threatened due to the
commercial products which are usually cheaper and rapidly replacing these hand made
products. The Project created attention to the marketability of palm-leaf and wheat stalk
craft by developing new products which will be exhibited to test the response of the
urban buyer. The most successful were the place mats and fruit bowls which were
developed. This craft has the potential of providing livelihood opportunities but a
bigger market needs to be created through development of new products. The craft has
been included in the THAAP-Craft Center at Abbass Nagar. Khan Bela Palm Leaf work
did not come up to expectation because of the commercial and cheap tinsel which was
increasingly used.
6.
THE TRADITIONAL-CUT KURTA
In Bahawalpur some of the old Kurta styles, which are not in vogue any longer were
revived. Thus, the 28 Kali (panelled) Kurta to the 10 Kali Kurta and others which are still
worn like the 4 Kali and 8 Kali Kurtas were used. The method to increase the kalis from
to more than 14 Kali was taught, the artisans are now Training was carried out by our
Master Cutters and Master Tailors for the artisans from all the districts. Patterns were
prepared on “buckram” locally called “cheepe” so that this would be available in all the
Centres for reference. Products were developed using the 28 Kali Kurta.
7.
RALLI
Ralli is synonymous with the Cholistani desert, where it is widely practiced and most
intricate although it is found in other parts of the region as well. The Cholistani artisans
have used this exquisite craft to prepare new cultural products such as cross slung
computer bags, bags, patties (borders) for apparel, bed spreads. The THAAP-CRAFT
Ralli Center at Khangah Sharif, Derawar has 5 Master Trainers and 18 women attached
with it; with an additional 29 women at the nearby Basti Meganwaal. Artisans from
these two villages and village Derawar were trained jointly. The Art of Ralli making has
great potential and needs to be further explored.
8.
GHOGHOO GHORA
The Ghoghoo Ghora or a toy horse is a traditional craft and one of the oldest in Pakistan.
Its origin can be traced back to the Indus Valley civilization, and the clay toy horse.
Over a period of time the ghoghoo ghora has evolved and different styles adopted. In the
Multan region a special kind of the toy horse is being made of rags and paper by the
khanabadosh (gypsy tribes), who are nomadic and roam around in the region in search of
work and come to Multan at the Eid Festival. The men and women of Malang’s
extended family of about 40 persons were challenged to prepare other decorative toy
objects such as the parrot, camel, elephant and such others which they successfully
prepared. A total of 42 persons participated in the Project.
OVERALL: Achievements in Bahawalpur have surpassed those in Multan for a variety
of reasons. Bahawalpur achieved more than expected targets because of the interest of
the women artisans and their large numbers who earn a livelihood through craft related
work. Given that there is no large urban center in the district the communities are
basically agrarian living in villages and crafts products continue to be used by them.
Much of this may have to do with the fact that the erstwhile rulers of the Bahawalpur
state were supporters/ promoters of crafts and arts and had brought in several craft
families to the state. Entire village of craft persons can be found such as Abbass Nagar,
Dera Bhukka. In the case of Multan, the city is where most of the craftwork is centered
and due to its urban character, industrially produced products have replaced the
handicrafts. This was noted in the British period gazetteers (See Multan District
Gazetteer 1922) and since then with growing urbanization the crafts are seriously
compromised. The famous crafts of Multan such as blue pottery and fresco painting
have very few practitioners and children of lineage families have already abandoned
the family craft and no new adherents seem to have been trained. The Block Printing
experience is an indicator of the situation with the other traditional crafts.
Exhibition of Cultural Products
An Exhibition of Craft Products had been organized in Islamabad to showcase the
products prepared in the Project, scheduled on 6th December 2010. This has been in
avertedly delayed due to the cancellation by the high profile Chief Guest, the Prime
Minister. A new date has been now scheduled for 21st December 2010. The Exhibition is
to be held at the Pakistan National Council of the Arts galleries for which all
arrangements are in place and cultural products ready for display and sale. The
exhibition is viewed as an opportunity for the women artisans to experience the
response to their work and to see the demands of an up-market clientele. Orders for
products being displayed will also be taken to allow the benefits of the Project to
continue for the artisans. The exhibition is designed by THAAP designers in the
following manner.
The Exhibition: Connecting People through crafts
RALLI…..Rallana….to connect….
The Exhibition takes its name from the exquisite Rallis which the nomadic tribal women of the Rohi
(Cholistan) continue to make. Scholars opine that the name is derived from the Saraiki word “Rallana”
meaning “bringing together or to connect”.
The exhibition focuses on the cultural products prepared through the UNESCO funded
Project in District DG Khan and the UNESCO- Norway funded Project “Empowerment
of Women through Crafts in District Multan and Bahawalpur” which was
simultaneously carried out in the three districts. Training and capacity building of the
women artisans was central to the Project. The effort throughout has been to
contemporize the traditional crafts while training the craftswomen to learn ways and
means to eventually manage and set up their own enterprises. Collaborative training
sessions were carried out by the THAAP design team over a period of about 6 months
emphasising on design development and preparation of cultural products based on
traditional craft skills, which are able to compete with the modern-day products of the
market. The Exhibition is a means to promote and market the cultural products from
South Punjab and promote the over 500 craftswomen who played a pivotal role during
this period.
The crafts included in the exhibition are those which are prevalent in the districts and
mostly done by women. The exhibits comprise of various forms of embroidery stitches
(tankas) and palm leaf products from all the three districts, appliqué work and
patchwork (Ralli work) from Cholistan, Tie and dye work (bandhani or chunri making),
beadwork and hand-woven shawls and cloth from Bahawalpur; block printing and blue
pottery from Multan district.
The setting where these crafts are made and the craftswomen reside, will also been
presented to highlight the ambiance and richness of the area as well as the problems
faced by these women and their communities. The tangible heritage of the region will
be showcased including a section on the archeological heritage of the region. Pottery
pieces from Hakra- Indus civilization (3500 -1500 BCE) are showcased in this segment.
The reconstruction drawings of various pottery pieces have been made showing the
kind of pottery used in the ancient world. Beside the pottery pieces from antiquity there
are maps of the area to show where these treasures are located and a photographic
display of the medieval forts in the Cholistan desert. South Punjab has a unique and
rich cultural history which has been captured in the panels and objects on display. Its
heritage of music is offered as a DVD of the river songs of the Mors, prepared by local
people themselves. The exhibition brings to life the richness of the unique Saraiki
culture seeped with the mysticism of the Sufi saints for which South Punjab is famous
as well as the different eras which left their indelible mark on the culture of the region.
The Exhibition is a reminder of the extremely rich cultural history of the Pakistani
people as embodied in the living culture of South Punjab. The display of various arts
and crafts is a story of an unexplored region waiting to be told and heard. It is an
endeavor to present a region worthy of record.
8.
NATIONAL AWARD OF EXCELLENCE FOR
HANDICRAFTS
Recognition of Crafts and Artisans is very much needed at the national level. At present
the only award is the Lok Virsa award and the President’s Pride of Performance given
to artisans occasionally. An assessment of these two awards shows that they have had
limited impact basically because the process is based on exclusivity and nominations
are made through a “word of mouth basis” rather than a rigorous evaluation and wider
invitation process. Similar is the case of the Pride of Performance, which per se is a
prestigious award but has not had any impact on the craft sector. Some Pride of
Performance laureates were met in South Punjab and some were requested to be
trainers, but soon it was found that they really did not the skills for which they had
received this recognition. In some cases it was found that they had been unable to grow
and appeared to be caught in a rut. Their craft skills were being compromised on the
vagrancies of the modern clientele who were unable to assess the value of the
traditional techniques and were going on for cheaper material for example the fresco
being done in oil paints and what is alarming the old frescoes rendered on the walls of
heritage buildings particularly shrines and mosques being replaced/repaired with oil
painted version.
The UNESCO award of Excellence for Handicrafts, earlier the “Seal of Excellence for
Handicrafts” (established 2000) has not had much of an impact in Pakistan either,
although the reasons for the award are laudable. Of particular note is that it is given to a
product rather than a person, thus the reason to excel has been inbuilt. However what is
important is that a lead up to this award requires that a National Award should be
instituted on a yearly basis.
Based on the UNESCO award the following is recommended. Language and text where
needed/relevant has been taken from UNESCO document
PREAMBLE
i)
The National Award of Excellence for Handicrafts serves as a quality-control
mechanism and as a marketing device that guarantees the quality of handmade,
traditional and innovative craft products from the region.
ii)
The Award is a “stamp of approval” and validates that the cultural product
meets the highest standards of quality and has been produced with careful regard to
cultural authenticity and environmental conservation.
iii)
The National Award of Excellence will be given every two years. (Alternating
with UNESCO award years)
iv)
Awards will be in the form of a “Certificate of Authenticity” jointly given by
UNESCO and a government (Lok Virsa) and non-government partner organization.
Objectives (same as UNESCO with one additional objective)
The National 'Award of Excellence for Handicrafts' aims to encourage artisans to
produce handicrafts using traditional skills, patterns and themes in an innovative way,
in order to ensure the continuity and sustainability of these traditions and skills.
Objective 1: Establish rigorous standards of excellence for handicrafts
The National “Award of Excellence for Handicrafts” aims to promote quality crafts that
upholds rigorous standards of excellence. It aims to ensure that when consumers buy
awarded handicrafts, they are buying high quality, culturally authentic products that
have been manufactured in a socially-responsible manner with respect for the
environment.
Objective 2: Encourage innovativeness
While it seeks to promote the continuation of traditional skills, the National Award also
encourages product innovation in order to ensure that handicrafts remain relevant,
valuable, and marketable in modern life.
Objective 3: Offer training and support services
The program aims to provide capacity-building and training workshops to assist craft
producers in the improvement of their product design and marketing, development of
their markets, and protection of their intellectual property rights.
Objective 4: Provide new opportunities to ensure sustainability of handicraft
industries
The handicraft sector plays an increasingly significant role in local economic
development and poverty eradication. By providing new market opportunities, the
program aims to enable handicraft producers to establish sustainable livelihoods. This
will be achieved through developing networks of handicraft producers and buyers,
including the higher-end of the market, and through exhibitions and trade fairs.
Objective 5: (Additional Clause) The Award will especially support village based craft
production and offer training and marketing opportunity for long term sustainability of
livelihood and craft development in villages.
EVALUATION CRITERIA
A product that is granted the 'Award of Excellence' meets the highest level of craft
excellence and is distinguished as a benchmark for craft production.
•
•
Excellence
Demonstrated excellence and standard–setting quality in craftsmanship: determined by
the use of high quality materials, a high standard of technique and the special
attention to manufacturing and finishing details.
Authenticity
Expression of cultural identity and traditional aesthetic values: demonstrated by a
well-achieved application of aesthetic and cultural expression or traditional
crafting techniques.
•
•
•
•
Innovation
Innovation in design and production: demonstrated by an effective and successful
blend of traditional and contemporary, or inventive and creative use of material,
design, and production processes.
Marketability
Marketability of the craft products with potential for the regional and/or international
market: related to the functionality of the product, the safe use by potential
buyers, a balanced price-quality relationship or the sustainability of production.
Eco-friendly
Respect for the environment in materials and production techniques: Exemplified
through the sustainable use of natural dyes, natural fibers, recycled materials
and the use of materials and production processes that are environmentally
friendly
Fair
Social responsibility: The producer must affirm that no labor law or copyrights
was violated and no individual or group exploited unfairly at any stage in the
production of a handicraft submitted for the Award program.
A product which meets all of the criteria will be granted with the 'National Award of
Excellence'. This recognizes the highest level of craft excellence and distinguishes a
product as a benchmark for craft production.
PROCEDURES (RECOMMENDED)
JURY
i)
ii)
iii)
iv)
iii)
iv)
A Jury of Selectors will be formed for two cycles of the National Award of
Excellence in Handicrafts
The Jury will comprise of 9 members and one Chairperson. The criteria for
selection will be of individuals who have been engaged with the Craft Sector
either having worked or published scholarly books/papers/reports and enjoy
good repute.
The Jury will be assisted by Assistant Jurors who can be as many as needed on
the basis of knowledge of the particular craft and the region within Pakistan
An examination of Assistant Jurors may be held for purposes of identification of
suitable persons
All participating organizations will be involved in the nomination process.
UNESCO will have the deciding vote.
All Jury positions are honorary.
PROCEDURES FOR NOMINATIONS
i)
ii)
iii)
iv)
A nationwide invitation will be sent through the print and electronic media
announcing the awards.
Local language newspapers will also carry the award announcements
Government administrations at the District Level will be sent the announcements
with a request for wide publicity in their districts
Government and NGO Sector will be requested to send in nominations
JURY PROCEDURES
i)
A two stage Jury will be held. In the first stage a short list of craft products will
be generated.
ii)
Second Stage of the Jury will examine all short listed products for purposes of
awarding the “National Award of Excellence in Handicrafts”
iii)
There will be no restriction of the number of products recognized however each
must meet the objective and conditions of the “National Award of Excellence in
Handicrafts” as laid down earlier
iv)
The products awarded will be publicized on UNESCO website and partner
organizations website
FOLLOW UP
i)
The winning entries and the artisans will be facilitated through training,
networking and capacity building to prepare products for submission to the
“UNESCO Award of Excellence in Handicrafts” held on a two-yearly basis
Fresco : Zain ul Abadeen Shrine, Multan
THE WAY FORWARD: CHALLENGES & OPPORTUNITIES
It is now widely acknowledged that crafts are a resource which can be harnessed for the
economic well-being of communities and through livelihood opportunities can alleviate
poverty particularly amongst the village communities. Craft making is the single most
prevalent non-farm livelihood that communities in the villages of Pakistan. A large
number crafts persons; particularly women are supplementing the family income
through craft related activities. Crafts as a means of livelihood needs to be brought at
the core of the development agenda. Ways and means to strengthen the CRAFT
SECTOR AT THE VILLAGE LEVEL is and should be the Central Concern for
developing the Future Strategy.
Interventions and a strategy can be formulated which addresses the needs of the Village
crafts persons at the Village level itself. Some villages have been identified in South
Punjab which are truly traditional Craft Villages with over 80% of the population
involved in some form of craft making as the primary source of livelihood. These
villages need attention and a holistic, all encompassing, strategy needs to be developed
which targets the improvement of the socio-cultural and physical environment of the
traditional habitat of craft persons. Rather than dislocating communities to urban
centers where craft villages are now being made, this strategy recognizes that crafts
persons are an integral part of communities which succors and provides them support
and as such this structure must not be disturbed. Through the upgradation of the
traditional Craft Villages in districts, immediate importance to Crafts and craft persons
is achieved, their status is enhanced and others are encouraged. This will bring crafts to
the center of the development agenda and assist as well in the development of cultural
industries which will empower the multitude of craft persons in the villages.
Additional support to the crafts is needed through setting up Craft Museums and
Design and Enterprise development centers at the district headquarter level.
Establishing collaborative linkages between designers and artisans needs to be an
ongoing activity to assist the development of new cultural products. Bahawalpur has
the potential of being considered under UNESCO “Cities of Craft & Folk Arts” which
should be the aim and development of a Traditional Folk Art and Craft Village will be a
step towards this.
As the first step, a Pilot Project, the integrated development of Abbass Nagar, District
Bahawalpur is envisaged. This can be followed by similar interventions in, District
Multan. A Museum of Crafts & Enterprise Development Center in the district
headquarters of Multan and Bahawalpur is the next essential step.
The following projects are envisaged
1. CRAFT & FOLK ART VILLAGE ABBASS NAGAR:
INTEGRATED AND ENVIRONMENTALY APPROPRIATE DEVELOPMENT
Abbass Nagar is 20 miles from Bahawalpur City on the Khairpur Tamewala Road. The
community of 800 houses (about 6000 persons) has more than 80% of the population
involved in craft making. Majority of the people have small farm holdings of about 1-2
acres thus a large number earn livelihood through craft making. In the proximity of
Abbass Nagar is the Lal Soharana Wild Life Park, a tourist destination and a number of
villages. This together with the majestic palaces of the erstwhile Nawabs of
Bahawalpur, the imposing forts and archaeological sites of Cholistan and the desert
experience knits together as a cultural tourism circuit in which the Craft and Folk Art
Village will be embedded.
OVERALL GOAL:
The overall goal is to support the Social, Economic and Cultural Development of a
Traditional Craft Village.
BRIEF OVERVIEW OF ABBASS NAGAR
ASSETS

Existing strong traditional base of crafts
(Chunri, Handloom, Embroidery, Palm Leaf
& Wheat Stalk, Block Printing, Khusa making,
pottery)

Strong presence of Craft persons including
Traditional House Form at Abbass Nagar
large number of women (800 households
involved with Crafts)

Connected to the Market : Small Business Enterprise exists and has potential for
development

Capacity for development of Contemporary Crafts Products

Training Centers Established (THAAP- CRAFTS CHUNRI & HANDLOOM
CENTER) with 8 Master Trainers

Compact Settlement (800 households) with surrounding villages involved in
craft production e.g. Dera Bukka 1BC and 33 BC Sardar Wali




Local Expertise of constructing the traditional gopa house (sal) exists and people
continue to build using traditional methods and material.
Educational Institutions ( Two Government Primary/Middle School for Girls &
One High School for Boys) available
Locational Advantage : 22 miles from Bahawalpur, Transport Network adequate
Cultural Tourism Potential: Close to Lal Sohanara Wild Life Park, and other
cultural sites of Bahawalpur e.g. Thul at Dera Bukka.
ISSUES & LIABILITIES

Very poor physical infrastructure, sanitation,
and lack of clean drinking water, no piped water
supply, no solid waste disposal system etc.

Disorganized craft sector

Exploitation by middle men/contractors

Potential for cultural industries not fully used.

Low education in adults: improvement in
Village Street, Abbass Nagar
education highly desirable.

Health facilities need improvement. No First level health facility (BHU) available

Quality of education needs enhancement

Cultural tourism potential remains unexplored
PROPOSED INTERVENTIONS IN THE INTEGRATED DEVELOPMENT PLAN:

Empowering communities specially women through Livelihood and Economic
Opportunities and Development of Cultural Industries & Farm Related Activity.

Community driven and participatory Up-gradation of Physical Infrastructure
(water supply, sanitation, street paving, environmentally conscious solid waste
management, tree plantation, biogas, solar street lights (pilot); energy efficient
development. Removal of Cattle Sheds to a common enclosure managed by the
community. And creation of community meeting spaces such as Jhok Sanj.

Quality Improvement of Education & Health facilities and provision of adult
literacy.

Strengthening of THAAP-Crafts Design and Business Resource & Training
Center & Museum managed by women artisans.

Provision of Business opportunities and showcasing through Annual Mela
/Festival of Crafts in Abbass Nagar.
Chunri Making at Abbass Nagar
Village Shoe Maker at Abbass Nagar
Pottery from Abbass Nagar
Palm Leaf Products at Abbass Nagar
2. The THAAP CRAFT Centers for South Punjab
Artisans need to be networked through an organizational structure of village based
craftsperson to create strength and voice of the artisans. THAAP can assist in this
endeavor while continuing with capacity building and enterprise development
work. Ideally a mobile design unit needs to be established to reach the remote areas
of the districts. Such a mobile unit will facilitate the artisan-designer collaboration
which was the main strength of the Project. In the long term a South Punjab Craft
Council needs to be established harnessing all artisans presently working in villages
and home based craft activity.
3. CAPACITY BUILDING IN BLOCK PRINTING CRAFT &
NATURAL DYES
Block printing techniques have deteriorated at an alarming level while natural
dyeing techniques are almost extinct. There is thus a great need to revive these
crafts which were at one time the back bone of the Craft Sector in these two
districts. It may be necessary to get input from the region particularly India and
Japan where these have survived.
4. CHOLISTAN ARTS AND CRAFTS: CULTURAL TOURISM
AND EMPOWERMENT OF COMMUNITIES OF CHOLISTAN
Cholistan could easily be one of the richest cultural zones of
Pakistan but remains largely ignored and inhabited by the
poorest of the poor. It’s potential derived from its immensely
rich living culture and its archeological sites remains
unexplored. Some parts of the desert are difficult to assess and
are very remote but extremely rich in their craft traditions.
These could provide the basis for livelihood opportunity and
alleviate the abject poverty of the communities. Considering
the terrain and logistics it needs a separate Project targeting
communities living in the remote parts as well as on the
periphery of the desert.
Ralli from Basti Bijnot. The
isolation of the area has preserved
the craft skills. Rallis are mostly
made for family use and rarely
sold
because
of
lack
of
opportuntiy
Child at Basti Bijnot, Deep
Cholistan. There are no
schools, health facility,
clean drinking water.
Traditional Gopa Settlement in Deep Cholistan
Artisan of the Blue Ralli
Interior of House, Basti Bodiwal, Deep Cholistan
Interior Art, Basti Bijnot, Deep Cholistan
Raja Mai at Workshop April 2010
Raja Mai with the Community children who wanted to
be photographed
Collection of Rallis at Basti Khangah, Derawar
ANNEX
1.
2.
3.
4.
5.
6.
TERMS OF REFERENCE & PROGRESS
SAMPLE REPORT FROM FTL
SAMPLE REPORT: FIRST TRAINING WORKSHOP
Report: Mobeen Saeed, Designer
SAMPLE REPORT: FIRST TRAINING WORKSHOP
Report : Aisha Imdad, Designer/Artist
SECOND TRAINING WORKSHOP
Report : Sajida Haider Vandal, Executive Director THAAP-CAS
MANAGEMENT SAMPLE: ORDER AND TRACKING FORM
TERMS OF REFERENCE
TERMS OF REFERENCE
1.
PROGRESS/STATUS
Devise and finalize a work plan and strategy for
Achieved
selection
Work Plan submitted on 15 March 2010
and
training
of
women
from
local
communities in districts Bahawalpur, Multan for
Budget Breakdown submitted on 15 March 2010
employing local craft traditions as a means for
alleviating poverty. The workplan, along with a
budget
breakdown
for
the
activities
shall
be
submitted to UNESCO Islamabad by 15 March 2010,
at the latest;
2.
Identify at least 20 women from each of the selected
Achieved
villages
Women identified from Selected Villages in each
(five
villages
per
district)
practising
traditional craft/s and organize training workshops in
district.
development of cultural products, contemporizing
Crafts identified
design to inculcate design innovation methodologies;
Three Training Sessions Held
marketing and managing skills, with a functional
literacy component woven into the programme;
3.
Train at least 10 Master Trainers for upscaling the
Achieved
initiative;
10 Master Trainers will be trained by end of Project
for upscaling initiative
4.
Establish a National Award of Excellence for
Handicrafts,
based
on
UNESCO’s
In Final Report
regional
programme on the same;
5.
Maintain separate financial records and submit
Separate records maintained
separate progress report on the two activities;
6.
Submit progress reports on Empowering Women
Submitted
through Handicrafts to UNESCO Islamabad by 10
July 2010, at the latest
7.
Submit to UNESCO Islamabad a final report on the
Submitted. Delayed because of the Flood situation and
Norway-funded
villages affected under Project. UNESCO informed and
project,
“Empowering
Women
through Handicrafts” by 15 September 2010 at the
requested for extension. Extension allowed
latest
8.
Introduce the crafts of Southern Punjab to potential
Exhibition was to be held on 6th Dec 2010. Prime
market through an Exhibition in October 2010, the
Minister of Pakistan was invited as the Chief Guest.
proceeds of which would go directly to the women
Exhibition delayed due to foreign trip of PM and asked
beneficiaries to sustain their efforts;
to give new date. Requested date 21st December 2010.
Products prepared under the Norway funded Project will
be exhibited along with those of DG Khan component
ANNEX 2: SAMPLE REPORT FROM FIELD TEAM LEADER
Report Writing
Report by: Field Team Leader
Bushra Saghar
Date of Report: 3rd April 2010
District : Multan
Movement Plan of Field Work
Place of Visit: Kotla Tolley Khan
Objective: Introduction of Project and purpose of Training.
Meeting with women khussa workers / khussa making /Embroidery Worker
on the upper of khussa
Meeting With Persons
Names of persons
1. Shareefan Mai
6. Muhammad Hussain
2. Shazia Hussain
7. Tahir Ali
3. Rubina Bi Bi
4. Salmaa
5. Safia
Comments
• How Many women are eager for training?
02 Women are agreed for Training.
•
Why they are not interested in training?
According to them, they are working in a part of Khussa making. Payment depends on
the work they are able to produce so if they give time for training they will lose income.
Factory owner are very possessive since they benefit out of it and the women are not
willing to take any risks. The Factory Owners were asked to allow women to participate
in this workshop since they will also benefit from improved skills of their workforce.
•
Is Visited Place suitable for workshop?
Yes
Discussed Issues
 Different fields of work in Khussa making, like embroidery on
upper side of khussa. Potential for further developing this for
producing other products
 Discussion about the need of training on Khussa Making, it will
enhance the skill which will help them increase income
 Payment on the basis of quantity of manufacturing
Outcomes:
•
•
•
Key person , Mr. Tahir and Mr. Muhammad Hussain agreed to make us sure that
they will arrange a meeting with women who will participate in Training.
Innovative Ideas:
Training should cover all aspects of Khussa Making and potential use of skills for
other products
•
Lump sum amount for spending time in training should be given to each
participant.
ANNEX 3: SAMPLE REPORT
FIRST TRAINING WORKSHOP : REPORT BY MOBEEN SAEED, DESIGNER
Venue: Multan
Date: 17th April 2010
Coordinator: Ms. Bushra Sagar (FTL)
Workshop Timings: 10.30am till 3.00pm
Participants: 20 Women
Proceedings of the Day
The workshop was started with a brainstorming session regarding “what is your skill
and talent?”/” what are you good at?”
The participants shared that most of them are good in making “puni of the khusa” ,
“kinari of chapel” .
The workshop was started with color combination as day 1. After this lecture the
participants were praised for the kind of work they have already been involved in
making like kohla puri chapal. The participants were encouraged to share the
information regarding their worth in the market, like what they charge for their labor
and what they expect and what they are paid etc. It was amazing and surprising for our
team to know that they were paid very less for their labor. For instance they were
getting Rs. 20 for stitching of khusa, Rs. 5 for kinari, and Rs. 45 for “tilay ka Kaam”. They
got Rs 90 for preparing 12 pair of shoes. The more the light, the lower the prices, if the
work is a bit heavy, only a few more bucks are paid.
7 women were selected as Master trainer as follows:
1. Tasleem
2. Manzoora
3. Hanifa
4. Yasmin
5. Ambreen
6. Iffat
7. Naseem
The team admired the coordination of Ms. Bushra as she very well handled her job and
her responsibilities.
•
Highlight:
The group was highly motivated to work with us as they realized that we will pay them
their worth and were eager to join hands with us.
•
They were keen to share the hand embroidered clothes they brought with them.
•
Very simple women, the idea of getting orders and money inspired them a lot. They
were keen for working and improving their living standard.
•
They usually don’t work for the market but they start making their daughters dowry
when they turn 9. At the same time they also start training their daughters in the skill
they know at that time when she turns 9.
•
I personally discovered that multani women used “chaawul tanka” which was very new
to me.
•
Lowlight:
One of the lowlight of this workshop was that the group was a mixture of different skills
and was not all related to Khusa making.
After Multan workshop we visited the Sawi Mosque, though most of it was broken but
we enjoyed the preserved architecture.
Day 3: Workshop
Venue: Bhawalpur, Bheli
Coordinator/FTL: Ms. Muzammal
Workshop Timings: 11 am till 4.00pm
Day 3 workshop started in a better mood as when we entered the workshop room, we
were surprised to see all women sitting in lines and they had their work displayed on
the tents wall. The presentation of their work was impressive. They displayed all types
of work they were good at like “Koroshia, Gota, Embroidery, Chabia and Pukhia made
from palm leaves”. Their specialty was palm leaves product.
Day 1 lecture about colors was delivered. Same activities as day 1 were repeated with
participants.
The one interesting activity the participant enjoyed that day was when Ms. Mobin asked
them to market their product on the stage. They were asked to tell about the material
they used, the color combinations, their inspiration, what they would charge for the
product. It was a very interesting and interactive session and all girls enjoyed and
clapped for each other. Even the shy ones gathered courage and market their product.
From this workshop we selected following Master Trainers:
1. Sadai Batool
2. Zarina Khan
3. Sana
4. Irum
5. Naseem
6. Rubina
7. Munira
Highlights:
1. Most of the women were literate. They understood what we communicated. They
were organized and were keen to learn from us.
2. They were eager for more academics and skill up gradation processes. They wanted
us to organize more workshops for them in skill up gradation
3. Highly motivated group of young women eager to learn and explore new
dimensions like Sadia who wanted to open up her own venture to teach young girls
like her different skill and trades.
4. I personally admired the ribbon work and “pipalgira tanka”
Lowlights:
1. Very hot climate.
The very day we visited the pit loom master Haji Atta Ullah. We saw designed ‘khais’.
He was too old and one sad thing was that he had no students or shagard even none of
his family members were interested in learning his skill. They were all going to schools.
Day 4: Workshop
Venue: Darawar fort
Coordinator/FTL: Ms. Muzammil
Workshop Timings: 1.30 pm till 4.30pm
The day started with a surprise. When we arrived at the workshop there were no
participants present. Even the tent was not put and no arrangements were made. We
waited till 1.30 till all participants gathered. The reason was that they were not duly
informed about the workshop time and venue. When they were informed they reached
in 30 minutes time. We started with 10 women participants in open field. Slowly the tent
was put and other participants joined us.
Ms. Mobeen was started the workshop. The interesting fact about that group was that it
was a mixture of two communities, Hindu and Muslims. The strange thing was that they
sat in two different groups as per their religion and did not want to communicate with
each other. So the trainer’s firs t challenge was to relax the mood and start group
communication through combine’s interest topics. It was a big challenge to make them
understand that they have to work in collaboration in the workshop. The hindu women
were found more cooperative than Muslim women.
The hindu participants were dressed in ghagra, choli and chadar on head where as
Muslim women were dressed in Paksitan shalwar kameez. The trainer made each Hindu
woman stand in front of a Muslim woman and share their color combinations they were
wearing and significant things about their dressing with each other.
After that mutual sharing session to break the barrier of communication, they sat
together and looked at the collateral brought for them. They saw the designs, and
product and discussed their values and importance and what they can make and
produce. They shared that they are good at making ‘Rulies and Eplic work”.
The day 1 activity of making something out of colored cloth was started. They made
rulies and eplic using the sample cloth.
It was a very backward community. Especially Hindus wed their daughters when they
are born. They live with their parents till they are young and then sent with their
husbands.
Following are the master trainers selected form this group
1. Najma
2. Sachal
3. Sattu mai
4. Zakia
5. Naheed
6. Meera
7. Bachul
8. Raja mai
9. Azra bibi
10. Perveen
11. Shamim
12. Shamshad
Highlights:
1. Though conservative and isolated in the beginning the workshop changed the
mood and brought the participants closer to each other.
2. We can have them make rilies and appliqué work, mobiles, rag dolls, file cover,
wedding/gift boxes, ghagra and choli
3. Eager to learn and work with us
Lowlights:
1. Their language is difficult. It is difficult to communicate with them.
My Recommendations:
1. All master trainers should be invited for training at one center point where they should
learn from trainer as well as from each other.
2. For embroidery, gota etc we concentrate
a. First on material (fabric) then
b. color combinations
c. embellishments
d. patterns/contemporary designs/motifs
e. provide feedback at every step
f.
start final product
3. visit Kheror paka near Multan for block printing
4. the relies and appliqué work at Derawar fort should also be tried on female dresses, it
will be a new trend for the people, on them we can have embroideries on them from
Bheli
5. the Kroshia work at Bheli should also be tried for trendy casual college bags
6. Kroshia and appliqué work should be combined together for dress shirts.
It was a wonderful session where a lot of learning took place at both ends.
ANNEX 4: SAMPLE REPORT
FIRST TRAINING WORKSHOP APRIL 15-19, 2010: REPORT BY AISHA IMDAD,
DESIGNER/ARTIST
Daily Report from the Project:
Development of Traditional crafts of Southern Punjab
By Aisha Asim Imdad
From 15th April 10 to 19th April 10
15th April 10: Arrived from Islamabad to Multan by air around 2 o’clock in the
afternoon. Reached the Rest house and was joined by the rest of the team by 4 o’clock in
the afternoon. After settling down the team members had a meeting in which they all
discussed their developed strategies for the workshop. It was decided that all of us
should work together in the workshop. I was to start the workshop and then involve
Mubeen and Sadia with me during the lecture.
16th April 10: Started from the rest house at 7:45 for DG Khan. We arrived at the
workshop venue at around 10 o’ clock. The workshop coordinator Ms. Shagufta met us
and introduced us to the women who had come to attend the workshop from main DG
Khan city as well as Choti a surrounding village famous for its embroidery. There were
around 55 women present for the workshop. I started the workshop with the lecture,
which I had specifically prepared for the workshop. The lecture was planned to develop
and improve the color sense and their approach towards their design, which they have
been making all their lives. They were told various concepts of colors so that they could
look at colors with a new approach by explaining about primary, secondary and tertiary
colors. Then they were also told about the color and harmony and color and moods. The
lecture also intended to improve their designing sense by looking at other finished
traditional crafts produced by other countries especially India. That was done by
showing them real products as samples and also pictures in the books and slides on the
computer.
We did various small exercises with them during the lecture to practically make them
understand the theoretical ideas. While I was talking about the colors and harmony I
asked them to make their own color schemes, which had harmony between them. For
that I gave them strips of various color cloths. They all made their own color schemes
and then we picked up few of the good color schemes and few of the bad color schemes
and discussed about them. This exercise helped them in learning about how to mix
various color schemes more successfully in their embroideries.
While I was talking about colors and moods I asked various participants as what various
colors remind them of. They all talked of various things that they related various colors
with. Like one participant thought that blue reminded her of a sky while the other
thought that it reminded her of coolness. One woman said that black color reminded her
of a buffalo as they are all around them in their environment while the other thought
that it was used as a nazar batto – to ward off evil. Hence they all gave their various
impressions on various colors. This exercise helped them in designing their color
schemes according to various seasons as well as various occasions.
Mubeen and Sadia showed them the designs through various reference books and
samples they were carrying with them. I showed them samples which I had selected for
them. After showing them all the samples and books and slides we asked all the women
to choose one small square colored cotton cloth of 1x1’. And choose their own color
scheme and develop their own design, which they have never done before. They all
made their own designs first on the A4 paper then transferring it on the cloth. The
exercise was a big success as they all tried to create something from their own
imagination.
After this exercise the lunch was served to all the participants. After the lunch I chose
the best pieces and talked about them to the participants. It helped them in
understanding what were the good points in their designing and what were the faults
that they had made.
Mubeen and Sadia sat with Ms. Shaghuta and chose the master trainers, which were 7 in
number. These women are tentative candidates for master trainers from DG Khan.
At around 4: 30 pm we left DG Khan and reached Multan at around 6:00 pm.
17 April 10: We started from the rest house to conduct our workshop at around 10 o
clock and reached the Basti in one hour as there was a huge traffic blockade. Ms.
Bushara who was coordinating this workshop for us was waiting for us on the spot. This
basti consists of women who make embroidered uppers in tilla for khoosas and kolapuri
chappals. The workshop venue was at one of the woman’s house. Around 20 women
participated in the workshop.
As the aim of the workshop was to contemporaries the work of these women and help
them in applying the same skill to other products beside shoe uppers. Hence we started
the workshop by explaining our goal to them and also explaining how it will help them
in improving their circumstances. I enquired about their education status. They told me
that all the older women were not educated but they were making sure that they
educate their daughters. One woman told me that she had nine daughters and she is
working hard to educate all of them. Her elder daughter had studied till 12th grade and
was now working as a teacher. She also told me that she is teaching all her daughters the
skill of embroidery and stitching so that they have multiple skills in their hands. All the
women were very emotional about their lack of education and one woman said that she
feels very bad that her parents did not make any effort to educate her.
After this discussion we explained to them that we are going to talk about developing
their color senses as they all told me that they all use the colors in the tilla and ar
embroidery themselves, as they have to buy the thread. We started by explaining
various stages of colors; primary, secondary and tertiary colors. Then we talked about
the effect of color on our moods and how the same colors also effect out customer
moods like they will buy certain colors in certain weather and certain colors are
associated with certain occasion. Then we asked them to select their own color scheme
and explain why they did it. Most of them came up with good color schemes. And
applied the concepts they had been taught in their color schemes. Then Mubeen and
Sadia showed them pictures of handbags, belts and other leather products that they can
make out of their same skill.
The women after looking at all these images started to say that they are workers and if
we want them to make these products for them then just bring the cut out items to them
and they will make them why show them these items. Then we explained to them that
we want to give them exposure to what the women are doing in other parts of the world
and we want them to improve their design building sense and also want to help them in
developing these products on their own and be able to sell them in the market on their
own. For this purpose we will help them once in developing their products, show their
work in big city like Islamabad and then it is up to them how much they work and
develop their own businesses. Then they were all excited and were ready to cooperate
with us but kept on saying that they are not all making shoe uppers but are also doing
embroidery and are ready to work with us. When I asked about this fact to Bushara she
said that she is herself confused by this fact because they all told her that they make shoe
uppers. In the beginning many of them had also told me that they were paid very little
by the Khoosa factory makers. They said that for putting the edging on the shoe they are
paid Rs. 5 per shoe and for tilla embroidery they are paid Rs 90 for 12 pairs of shoes.
This sudden change of stance that they were not making shoe upper was bit confusing
for all of us. Then Saba came back from her exploration of the area and told me that she
has found out from local people that all the people of this mohalla work for Khoosa
factory owners and are not allowed to work for any body else. She tried to see some of
the factories from inside but most of them were not very welcoming. I think that is why
these women were afraid to commit to us publically.
Then we served them lunch at 1:00 pm and then they all went home and brought their
various embroidered products to show us. Mubeen selected five women from this
Mohalla. We departed from the Mohalla at around 2:00. The arrangements made by Ms.
Bushara were very good she followed the time to the dot and gave every woman their
lunch boxes in their hands. Every thing went smoothly due to her good and efficient
arrangements.
After leaving the workshop we left for Sawi Masjid. Sadia was already at the site making
a sketch of the masjid. We sat by her side and talked to local people. They were all
saying that they want the masjid restored, as it is an important part of their lives. Then
Saba and I talked to the local children on how to take care of the masjid and they were
very interested in learning about it. We left the masjid site at around 4:00 pm. We did
not get any lunch as the lunch boxes finished so we went to Zenzibar for our lunch.
Then girls went for shoe shopping and we reached the rest house at about 6:00 pm.
18th April 10: We started out at around 7:30 to reach Khairpur Tamiwalla, village Bheli.
We got delayed as Sameer forgot to buy the missing supplies for the workshop. So first
we went to the Bazaar and looked for threads and colored cloth for the workshop. We
could not find any shop in Bahawalpur selling these items so early in the morning. We
started for Bheli at around 8:00. We stopped in the main city and Sameer got all the
supplies. We reached the village by 10:30. The women were waiting for us at the house
of Zameer’s sister. She is a very organized woman. She had displayed the work of
various women in the tent house we were supposed to conduct our workshop.
We started our workshop as usual by explaining why we are giving this workshop.
Then I asked the women their education status and there were only few girls who were
educated. There was one girl who had given her metric exam and was awaiting her
result. She wanted to be a beautician. Another girl who had studied till 7th was very
intelligent and was interested in learning from us. We started by explaining about the
colors and then I asked them to make their own color schemes. Once all the women
made their color schemes I talked to them about their various chosen color schemes.
Then I told them about various products which they can make with their same skills.
Then I showed them various product samples, which we were carrying with us. Then I
asked Mubeen and Sadia to show them various contemporary designs books so that
they can see what kind of work is being carried out in other parts of the world. Once
that exercise was done with them I asked all the women to take one small handkerchief
of their own choice color and make a small embroidery design which is their own design
and their own color schemes. They took to this exercise with great enthusiasm. All the 25
participants started making their own design patterns and tried to work in more
thoughtful way. It took them around two hours to finish their embroidery. At around
2:30 lunch was announced and all the women left for the lunch. They returned by 3:15
and we sat with them and discussed various aspects of their designed embroideries.
Then Mubeen, Sadia and Saba announced the best designed embroideries to the rest of
the women and selected the master trainers from these women. After that we said
goodbye to all the ladies and left for the house of the weaver who can weave in silk
thread at around 4:00. We reached the weavers house and found that he was extremely
old and was walking with the help of walking sticks. We sat with him and he told us
that he has been making khais for last 50 years. But his children were not ready to take
up this as their profession. One of his daughters was M.A. in Islamiyat and she said that
it was a very bad profession and they are happy that they don’t have to carry it on. The
weaver said that he used to make silk cloth but due to its expensive thread he has
stopped making it but offered if we buy him thread he will make a sample for us. Hence
I asked Muzamil to take money from Saba and buy the silk thread for the weaver and
get a sample made for us. We left the house of the weaver at around 5:00 for
Bahawalpur. We reached the Bahawalpur cit at around 7:00. I immediately collected my
luggage and started for Multan by 7:45 with Afzal. I reached Multan by 9:00 pm. I was
told by the rest house people that Sameer has taken their room key with them and they
cannot let that room to anyone as it has no key. Hence I asked Afzal to ask Sameer to
return the key to them somehow. I called Saba and asked her to make Sameer TCS the
keys to them.
19th April 10: I left for the airport next day at 8:00 am. Reached the airport by 8:30. My
flight for Islamabad was at 9:30. Flight got delayed by one hour and left 10:00. We
reached Islamabad at 12:00 in the afternoon.
ANNEX 5:
SECOND TRAINING WORKSHOP
Report : Sajida Haider Vandal, Executive Director THAAP-CAS
Dates: : 1-7th May 2010
Objective: Follow on training with Master Trainers and discussions on
outcome/response to First Training Sessions
Distribution: All Core Team Members
BAHAWALPUR
Visit 2 May 2010 by Car
Team- Imtiaz Lashari, Muzamal Yasin, Sajida Haider Vandal
Bastis visited : Basti Khangah, Basti Derawar and Chak 28 (place where persons
from Basti Menghwal were located for the harvest) and Chak DRB 110
BASTI KHANGAH
Master Trainers (MT) met
1. Razia Mai,
2. Satho Mai,
3. Shamshad,
4. Parveen,
•
•
Najma, the fifth MT could not be met, she had had a fight with the others
and would not come to their house. Later Muzamal went to her house but
Najma was not available.
Another good craftswoman was Farzana d/o Satho Mai
Razia Mai
Satho Mai
Shamshad
Parveen
Farzana d/o Satho Mai
Venue
Family House of Razia Mai ( First/Corner House in the Basti)
Proceedings
Deliberation
a)
b)
c)
d)
e)
f)
Tried speaking with just the MTs but
unsuccessful. Our visit had generated too
much interest and curiosity but the
crowd was manageable about 20 women
and children
Avoided buying anything. All items
shown were of low quality. Tried to
impress that quality is what we were
looking for
Women had prepared samples of
appliqué (28” long and 6” wide) as
decided in the last joint meeting of
Working Group. Material had been
provided by FTL Muzamal. The samples
lacked quality basically problem was in
the cutting of design which is first
prepared by cutting the cloth and then
stitched onto another piece with fine
hand stitching. Being geometric patterns
it is difficult to maintain the geometry
thus there were problems in keeping
shapes intact, keeping borders straight.
The samples were rejected for the
purpose that they had been made for, as
borders for shirts. We however decided
to pay the agreed upon amount of Rs 100
per border with the proviso that in future
only acceptable standard work will be
paid for.
A Design Kit (standard sized Copy book,
box of Color pencils, one HB & one 2B
pencils, rubber, sharpener) was handed
over to all the MTs. They were asked to
use the paper freely and try and develop
designs and motifs in the book from
which we can select to use. They were
also asked to prepare small samples on
cloth if they so wanted. Muzamal will
follow this through with them
Razia Mai cuts the designs out for the
group. Muzamal will give her a pile of
old newspapers so that she can practice
cutting patterns
Satho Mai is considered the leader and
Actionable point
Resp. Persons
Continuous effort of crowd All
control needed
Instill that no low quality
stuff will be accepted/ paid
for
All
Improvement
critical
Muzamal will check
work in progress.
Send samples to
Mobeen (MS) for
her comments and
communicate
the
same to the MTs.
(Satho Mai’s contact
no : 03472044972 if
MS wants to talk to
her directly.
of
quality
Muzamal to follow
up
and
send
drawing book to
Lahore via Courier
when some work
has been done
Muzamal to supply
lots of newspaper to
Razia Mai
Need to work with Satho Mai
Designers to follow
g)
the one as the with the best design sense
by the group.
Satho Mai showed us the embroidery
work of her daughter Farzana which was
of acceptable quality although could be
improved. She was also asked to develop
some designs in her mothers book. We
gave her some ideas but left it to her.
There were two tankas used, Benazir
tanka and Sindhi Tanka
through
Need to work with Farzana.
See if motifs can be used as
embellishments
Designers to check
Farzana’s drawing
book to see potential
Mubeen to check if
sizes are OK and
inform Muzamal for
onward
communication
h)
Some more material was handed over to
the group which had been purchased
from the bazaar in Mithra
for
developing more borders which will be
paid for if good workmanship is
maintained. Two sizes were decided ( 3”
width and 6” width of length 36”, 28”,
22” and 18” respectively covering range
of large to extra small.
Agreed Prices : Rs 120 for 36”/28” border,
6” width
Rs 70 for 36” , 3” width
Less by Rs 20 for shorter
lengths (22” and 18”)
i)
Context: Basti has 18 households/family each of 40-50 persons e.g. Razia’s
family enclave has about 50 persons. They belong to a Pathan tribe which
came with the Abbasi Nawabs from Shikarpur Sind about 5 generations
ago.
Razia started learning the craft much before she was married at about 10
years old. She was married at about 17 years of age. She never went to
school but learnt the Quran. Now there is a primary school for girls and
boys but the teachers only come about twice a week so there is not much
that the children learn
Benazir Tanka
Sindhi Tanka
Muzamal to prepare
a database of all the
various tankas with
photographs
and
names.
Saba to note
Sameer
to
give
coordinates of all
locations to Saba,
wherever available
Muzamal in dialogue
BASTI DERAWAR
Venue : House of Zakia
Master Trainers
1.
Zakia (Contact 0344 2200679)
2.
Naheed
Both girls did not want their photographs taken. They were both very young
maybe 19 years old and very much under the control of the family which
appeared to be conservative
Proceedings
S
Deliberations
Actionable Points
Resp. Person
a)
The girls showed us some work
which they were preparing on
order. It was neatly done. For
the front of the shirt they were
being paid Rs 500.
A long discussion ensued re
color coordination, what other
products could be prepared,
quality control, time involved in
preparing a product etc.
They were not sure whether
they will be allowed to
participate in the Workshop.
Lashari may be able to help. The
girls appear to work for his aunt
who lives in Dera Nawab and
has a boutique
Potential exists
Muzamal
to
follow
Designers to note
Cloth was left with the girls for
preparation of samples.
Set a budget for the items
to be purchased from each
place for the Exhibition
b)
c)
up.
Muzamal to follow through
Designers Note that we may
face some difficulty in geeting
all the MTs in Bahawlapur
because of cultural practices.
Muzamal feels that we should
try our best and her previous
experience
proves
that
eventually when families see
the benefits women are
allowed to participate in such
events, sometimes chaperoned
by men. We will keep track
and see how it develops
BASTI MENGHWAAL
This is the Hindu community. They were all engaged in harvest and relocated at
Chak 28 on someone’s farm. That is where we met them. They were planning to
go back to their Basti next day
Master Trainers
1. Raja Mai
2. Bachal Mai
3. Sachal Mai
4. Mirah Mai
5. Roopa Mai
6. Kamu Mai
Raja Mai
Bachal Mai
Sachal Mai
Mirah Mai
Roopa Mai
Kamu Mai
Venue : Chak 28
Proceedings
The family including women and some men were met at the aforementioned
Chak where they were working as daily workers harvesting wheat at the farms.
They showed some of the rillis they were preparing. Bachal Mai’s was an
exquisite piece which she was preparing for her son’s trousseau. The patriarch of
the family is a skilled khusa maker, who prepared shoes from start to finish
including the tilla work on the uppers.
Khussa placed on Rilli
Back of Khussa
Front upper of Khusa
Chak DNB 110
New Location introduced by Mehboob Khan Baluch of Small Industries
Handicraft Shop, Bahawalpur
The Gohar Shaheen Center is run by two friends and they have about 37 girls
working for them. The Center had participated in an earlier UNESCO project
with good results
Master Trainers (selected)
1. Adeeba (0343 7178292)
2. Rubina Kausar
Adeeba
Rubina Kausar
Proceedings
S
Deliberations
The MTs showed us the work
that they had been doing ranging
from embroidery, shadow work
and appliqué work on dupattas.
Work was of fine quality with
potential of developing further.
In our assessment both MTs were
Actionable Points
Both were willing to
come to Bwp for Training
Session
Resp Person
Muzammal to include
both MTs for training
Workshop
skilled and one of them was also
a “cutter”
The samples that we were
carrying were shown to them and
they were asked to develop some
designs which would be suitable
for these.
A Design Kit was given to both
the MTs and they were asked to
develop some motifs and transfer
some of them onto cloth. Two
designs prepared by Mubeen
were also given to them for
preparing samples
Designs
will
be
developed by the MTs
Muzammal to collect and
send them to Lahore
Office
for
Designers
review
Potential for design to be
explored
Muzammal will visit
them again and follow
through; collect samples
and design books when
ready to transmit to
Lahore office
Embroidery at DNB 110
Dupatta displayed by Rubina
BHELI & 2 Others, DISTRICT BAHAWALPUR
Tour Group- Muzamal Yasin, Sajida Haider Vandal
Basti visited : Bheli, Riazabad, Abbass Nagar
BHELI
Venue : House/Industrial Home of Kulsoom
Master Trainers
1. Kulsoom Hasan (owner of Industrial Home)(03067741477)
2. Bushra Bashir
Bushra Bashir
Kulsoom Hasan
Other MTs identified by Kulsoom
3. Rubina (not present)
4. Munira (not present)
5. Nasreen (not present)
6. Irum (not present)
7. Sana (not present)
Proceedings
S
Deliberations
1. Center was set up 5 years back by
BRDB. Kulsoom has received
training and works for Nur.
Showed us some work. Finely
done on designs supplied by
designers. At full strength there
are 15 girls in the Center.
2. Showed our design samples.
Gave both design kits and left
two designs developed by
Mubeen + the Shirt front with
instructions to first prepare a
color sample of one corner for
approval. Two pieces of cloth
were also left with them to work
out design. One shell pink/peach
cloth was left for preparing shirt
in large size as per design shown
(in self shadow work). Cloth was
not sufficient for 48” length so
more cloth for dupatta will be
purchased and given to them by
Muzammal. The cloth saved from
the cloth piece will be used later
for a scarf
3. Design Kits were given to the two
MTs. Others will be given the
same later by Muzamal
Actionable Points
Resp Person
Muzamal to purchase
and dye thread for
shirt/dupatta ordered
And
When samples are ready
the same will be sent to
Lahore for review of
designers.
Muzamal
to
follow
through
Send Design books to
Lahore when ready
RIAZABAD
The village specializes in Handloom cloth. This is the NRSP project area where
weavers have been trained on the Amritsari/Kasuri loom (8pedals).
Master Trainers (Potential)
1. Muhammad Ramzan (0342-5902136)
2. Jan Muhammad (uncle of 1 above)
Possible to get some women master trainers as well
Muhammad Ramzan
Jan Muhammad
Proceedings
S
Deliberations
Met one family which has been
trained by NRSP but work is very
much reduced with a lot of
weavers sitting idle. They cannot
prepare the cloth on this loom
without the help of NRSP who
prepare the waft on some sort of
a machine. Weavers are still
retain the skills to work on pit
looms.
Exquisite pieces made on pit
loom were shown as well as
samples that they had prepared.
Weavers were asked to prepare
sample of muslin cloth of fine
quality as substitute for the
Indian malmal which is currently
being used for dupattas and
shirts throughout the district.
This will be done on pit loom
thus of width about 15-20”. They
will
need
thread
which
Actionable Points
Explore potential of pit
loom cloth
Resp Person
Designers
Explore potential of pit
loom cloth
Muzammal to follow
through
Designers to see sample
to ascertain whether an
order can be placed with
weavers to fulfill need of
project in Bwp area
Muzammal will procure and
supply to them
A sample of sheep wool “looee”
(chadar) prepared on pit loom
was shown this was in two pieces
which are to be stitched in the
center thus the red borders are on
three sides. An order was placed
for preparation of two pieces of
the chadar with the red edging on
all sides which could be used as
stoles.
Discussion on developing silk
hand woven cloth resulted in the
possibility of getting a sample
prepared which the weavers
agreed to do. The yarn for this
needs to be procured from the
Multan market.
Some samples of palm leaf work
were shown.
Sheep wool Chadar in two pieces
Muzammal to follow
through and get the
sample prepared asap.
The potential needs to be
explored as a product for
Project
Muzammal to take one
weaver with her to
explore
the
Multan
market and buy suitable
yarn. Sample to be
prepared for approval
This can be included in
the
Project
if
the
handloom materializes.
Sample Stole
Palm Leaf Work
Samples prepared for client selections
Sheep wool woven chadar-close up view
Abbass Nagar
S
Deliberations
1. Saw some of the samples. Showed a piece
which we were carrying.
2. Order placed for the two suits which
Muzamal had already given them earlier.
They were asked to prepare the finest
work that they could do which if
approved would follow through with
more orders. Prices were also settled
1.
2.
3.
4.
5.
6.
7.
8.
Actionable Points
Resp Person
and send samples to Lahore
for approval.
SUMMARY
Centers/ Villages to participate in the Project from Bahawalpur
Basti Khangah, Derawar
Appliqué/Patch work
Basti Derawar, Derawar
Appliqué/Patch work
Basti Menghwal, Derawar
Appliqué/Patch work, embroidery,
khussa making
Chak DRB 110, Derawar
Embroidery, Appliqué/Patch work
Behli
Embroidery
Riazabad
Handloom
Abbass Nagar
Chunri
BC 28
Palm Leaf Work
1. The above situation reflects that an effort is being made to interlink the various
villages in a joint program and inter dependency which will eventually offer the
possibility to create an organizational structure to strengthen the crafts persons
and sector.
2. All persons met were informed about the formula that if items procured sell at
higher rates in the Exhibition their share in the profits would be assured i.e.
between MT, craft person, overhead costs, seed money for common fund with
the assurance that the major benefit would be of the craft person. This needs to
be thought through as the Project proceeds.
3. Budget needs to be determined for each place as we proceed with Project
4. Design Kits are to be provided to all MTs and dispatched to Lahore when ready
for review of Designers.
5. Follow up Training of MTs by Designers needs to be finalized with dates and
program. The training will be in Bahawalpur. Expected number of MT
participants is 25-30 persons. Most were willing to attend. Muzamal needs to
follow with those still doubtful and determine final number.
6. Examine Potential to train women in weaving in some of the villages where as
yet there are only men weavers.
MULTAN 5 May 2010
Tour Group- Bushra Saghar FTL Multan, Sajida Haider Vandal
Bastis visited : Basti Mooluk, Chah Usmani Bajay wala Near Chungi #09 Multan
City
Note : On 4th May 2010, I visited Thatta Pavelian,
(now Sadiqabad) and now in Dist. Khanewal.
Accounts and records show that this was a major
center of handloom in the region, (pavelian means
handloom workers in the local language, Saraiki).
I had been informed by Lashari and others that
there were several persons still weaving cloth and
the NRSP had also included this in their Project
area. I found that by now most people had given
up the craft and only about 10 houses existed Khais on Pit Loom
which still prepared hand-woven cloth. It appears that this is primarily a women’s craft
now. I met two old women who were weaving khais. They were selling these for Rs 200
and Rs 250. On enquiry it appears that their daily wages turn out to be Rs 25 per day.
None of the younger women I met showed any interest in this because now they were
involved in low quality embroidery work for contractors (labor paid for shirts Rs 100Rs150). Considering that we are purchasing cloth from the market I think we need to
explore whether we can get some made from these women weavers. Bushra Saghar FTL
Multan, has been asked to visit the Basti and explore potential and interest and get
some samples made.
Attached below is the Report of the FTL Multan, Bushra Saghar with my comments
added at the end
FIELD VISIT-MULTAN (REPORT BY BUSHRA SAGHAR FTL MULTAN)
CHAH USMANI BAJAY WALA NEAR CHUNGI #09 MULTAN CITY
Master Trainers (MT) met
5. Sughraan Mai,
6. Khurshaid Bibi,
7. Yasmin Basheer
1. General information
Type of Activity
Objective achieved
Meeting with the Master Trainers of Multan City
•
•
•
Follow up Meeting with Master Trainer Of Multan
Visit of Basti Malook for meeting with Khussa Makers
Order for producing the sample work to the master
trainer
Date of Meeting
May 5, 2010
Duration
9;30AM -4PM
Report by
Bushra Saghar
Date of report
May 8, 2010
Location
Chah Usmani Bajay wala Near Chungi #09 Multan City; Basti
Malook
Madam Sajida Vandal,Project Manager Miss Bushra Saghar ,
Field Team Leader, Sughraan Mai, Khurshaid Bibi, Yasmin
Basheer, Master Trainers in Multan
Muhammad Khadim, Jeweler, Haji Naveed Allah Bakhash,
Khuusa Maker and Yasmin Bibi Embroidery Worker in Basti
Malook
Participants
2. Meeting Detail
•
Introduction of the participants
•
Follow up of the Training
•
Discussion about the Skills of the Master Trainer i.e. Embroidery on Upper of Khussa
and Aarr work
•
Shared the Samples of the Aar work , kinari / Gotaa with the workers and discussed the
quality of the embroidery in Detail
•
The Chain of Pearls and Leather with Aar work were shared with Madam Sajida Vandal
•
Seen the Variety of Khussa
•
Discuss about the Areas of Khussa making
3. General Discussion
Participants showed their interest to work in the new style and good quality. They
shared that they are working on order by the local outlets, where their work is not much
acknowledged in regard to their hard work. They showed their willingness to do the
work with us. On the suggestions of the advancement and improvement to their work,
they said that they want to do more good work if they will be paid better and in time.
With the bulk order and limited time, it’s very difficult to maintain the quality.
Follow ups:
 Sample of Block print with new designing on khaddi cotton /lawn will be given to the
workers for manufacturing
 Sample of Aar Work with Gotta / Kinari will also be given to the manufacturers
 Order will be placed for manufacturing of the Khaddi Cloth
 Distribution of Master Trainer Design Kit to the master trainers of Multan
 Conducting the 10 Days Training of Organic Color die for the women of district Multan
and D.G Khan in Multan City
 Identify the Manufacture of the products of Camel Skin and Arrange a meeting with
them
 Meeting with the Mr, Chuhdary Sajjid Nadeem, Community Development Officer of
Jalal Pur Peer Wala and Shuja Abad District Multan (formerly PVA Supervisor Cultural
Mapping Multan)
 Collect the Sample of lacquer work from Jaam Pur
 Mapping of Cultural Assets D.G Khan and taken the Coordinates of G P S.
ADDITIONAL COMMENTS/ INFORMATION (SV)
1. Mr. Muhammad Ali Wasti, Director Arts Council offered to help in the Project. He is an
excellent contact and has been working in the crafts for a considerable period. I had
detailed meetings with him. He is now going to get some samples prepared. I gave him
some seed money for the same. Bushra FTL needs to meet him asap and follow this
through with him
2. The following Crafts had potential of inclusion in the Project
S
a)
Craft
Khussa making crafts for use
in different objects
Follow on Action
a) The samples prepared by
the women following the
Training Session 1 by
designers are ready and
can be collected from SV
b) Designs as examples by
Sadia need to be sent to
the craft women
c) Need to prepare training
program for Session 2
Ghugoo Ghoras
Ar & Gotta Work
Block Printing
a) Samples were shown to
the women to discuss how
these two have been used
in
the
contemporary
designs. Bushra has been
given a sample for future
use as well
b) MTs were asked to
develop same designs and
suggest what can be
highlighted
in
gotta
within that. This needs to
be follow
a) Bushra has been given a
sample suit for discussion
when crafts women are
identified.
Muhammad
Ali Wasti is helping with
this
b) Organic
Dyeing
techniques
will
be
imparted to identified
master block printers.
Responsible Person
a) Sadia to collect samples
and
convey
further
instructions
b) Sameer
to
forward
Sadia’s email to Bushra
for onward discussion
with craft women
c) Sadia to prepare training
program
Bushra to see when the
objects can be prepared
Designers to see whether
these women can be included
in a training program
Designers to see what othr
a) Bushra to show sample to
other MTs not met by SV
and pursue discussion
b) Bushra to check progress
and when some patterns
are ready send these to
Lahore for review of
Designers
a) Bushra
to
meet
Muhammad Ali Wasti,
Director Arts Council
who had located some
block printers and get a
sample prepared.
b) Bushra to follow through
with Wasti Sahib re
organic dying workshop.
Camel Skin
Palm Leaf Objects & Toys
Naqaish Kari Boxes (Trunks)
and Ozek Kari shopping bags
with THAAP-Crafts Logo
Examine Potential in Jalalpur
Pirwala and Shujabad
Training will be given by
Ustad from Keror Pacca.
This will be a one day
workshop. Other MTs
from Bwp and DG Khan
can be asked to participate
if they so want. Mr. Wasti
will request Ustad and
Bushra is to make the
necessary arrangements
a) Mr. Wasti is going to get a
sample prepared using
traditional techniques but
new forms.
a) Bushra needs to locate
areas where this can be
done
a) Mr. Wasti is going to get a
sample
prepared
for
approval of the boxes and
costs etc. Only to be used
for carrying exhibits and
display to enable orders to
be placed
b)Shopping bags (~200) need
to be prepared. Mr. Wasti
has been asked to get a
sample done using recycled
paper using in some way
the paper cutting craft used
by khussa makers.
a) With
our
former
Supervisor Sajid posted in
the
Social
Welfare
department the potential
of seeing whether women
from here also needs to be
explored
a) Bushra to keep in touch
with Mr. Wasti and keep
SV informed
a) Bushra to follow through
a) Bushra to follow through
a) Bushra will visit both
places and send here
report.
1. Please note that we need to plan for the follow on Training Session with MTs asap.
All designers are requested for their inputs. The Session will be held in Multan and
some or all MTs from DG Khan will also attend. We can expect about 25-30 women.
2. Bushra to prepare a list of villages/mohallas from which participants are expected and
a List of MTs
ANNEX 7
MANAGEMENT: WORK ORDER & TRACKING FORMS
This is a Consolidated Form but for the Report has been shown in two parts. The form is shared
with the craftswomen to ensure transparency and fair price to all
Consolidated Form
No
Locale
Material
Color
Scheme
Material
(Nos+
D t il) d
Tanka
REF
CODE
Item
I
D
Collection
PART 1: WORK ORDER FORM
SARI
2
Abbas
Nagar
Silk @ Rs
440 per
yd
Indigo
Turquoise base
(1089) with indigo
(127) and white (1),
green (230). Add
other colors if design
demands
7 yds
Chunri
Style: SAB
2
Abbas
Nagar
Tooti Nama
Red Base color (46)
with black (403),
gold (304). Add
other colors if design
demands
8.25
Chunri
BWP-CH003
Style: SAB
2
Tooti Nama
Black
Base (403)
with green(238) and
red (46).Add other
colors
if
design
demands
8.25
Chunri
BWP-CH004
Style: D
Silk
(Grip
Silk
80
grams) @
Rs
440
per yd
Silk
(Grip
Silk
80
grams) @
Rs
440
per yd
Chiffon
@ Rs 185
per yd
Tree of Life
Orange base with
Shocking pink
3
Chunri
BWP-CH005
Style: D
Chiffon
@ Rs 185
per yd
Tree of Life
Green
Brown
3
Chunri
BWP-CH006
BWP-CH006
Style: D
Organza
Tooti Nama
Orange Base
Organza
Tooti Nama
Purple Base
BWP-CH001
Style: SAWB
BWP-CH002
Style: D
Dupatta
1
Abbas
Nagar
1
Dupatta
2
2
Abbas
Nagar
base
with
3.5 *2
yds
3.5 *2
yds
Dyeing Cost (Border)
Ironing Cost
Courier
Pack & Tag
Cost
Total Labor &
Material
Style:
SAWB
Style:
SA-B
3080
1000
105
0
100
100
30
10
20
5390
7545
3630
1000
105
0
100
100
30
10
20
5940
3
BWPCH003
Style:
SA-B
3630
1000
105
0
100
100
30
10
20
4
BWPCH004
BWPCH005
BWPCH006
Style:
D
555
350
300
80
60
0
10
Style:
D
555
350
300
80
60
0
Style:
D
525
350*2
300
*2
80
0
BWPCH006
Style:
D
525
350*2
300
*2
80
0
2
5
6
7
Dates
Craft person
18-Jul
22Jul
8315
19-Jul
22Jul
5940
8315
20-Jul
22Jul
Nusrat MT,
Zarina,
Parveen
20
1375
1925
18-Jul
22Jul
10
20
1375
1925
18-Jul
22Jul
0
10
20
1205
1675
28-Aug
12Sep
Nusrat MT,
Zarina,
Parveen
Nusrat MT,
Zarina,
Parveen
Nusrat MT,
Zarina,
Parveen
0
10
20
1205
1675
28-Aug
12Sep
Order
Approval Date
Border St. Cost
BWPCH001
BWPCH002
1
Final
Rate
(40%)
Completion Date
as agreed
REF
CODE
Border Cost
S.
Material Costs
ID
Chunri Cost
PART 2: WORK ORDER FORM
18Jun10
Nusrat MT,
Zarina,
Parveen
Nusrat MT,
Zarina,
Parveen
Nusrat MT,
Zarina,
Parveen

For a detailed report click here

Transcription

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