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    The Making of a Street Market

    The Shadipur Shani Bazaar, known for the cheap and affordable stitched and pre-stitched fabric it offers, is one of the main attractions of the Shadipur neighbourhood. Spread entirely by word of mouth, the low prices at the market attracts customers from other parts of West Delhi, India. Hi-end boutique owners from Karol Bagh come here as well to buy fabric and bling to accessorise their products.

    According to Bobby, a resident who sells children’s clothes in the market,

    Modernity with Tradition

    “Laken” means woollen fabric or cloth. Weaving became the main economy for Leiden in the 17th century and the city became the working center. The city was populated due to the availability of works in the weaving industry. During the Dutch Golden Age, Leiden cloth was imported via Amsterdam, made quality cloth, national uniforms and the process was carried out by people of all ages of the city, from as young as 4 years old to and old person. To secure the quality of products which was the prestige of the city, they built the Lakenhal in 1641.

    Comparing Leiden and Amarapura (Myanmar): Handloom weaving

    There are many old buildings and records in Leiden. Weaving was the main economy in the 17th century and the city was known for its quality. But now there are only about 15 weavers. They weave using eight looms. Weavers, though few in numbers, keep the practice alive through different ways – efforts of the volunteers, group meeting, preservation of buildings like Weaver’s House, Museum De Lakenhal, publication in weaving magazines etc.

    Three terms that tell something about craft

    While visiting the craft beer brewery, Benjamin, one of the co-founders of the brewery, was the tour guide for our visit. I find three terms were used frequently in his talk: 'to be honest,' 'but' and 'the beauty is.' The image been built from these word choices breaks some stereotypes on craft in my mind, but also proves some imaginations I had. 

    Time in the craft

    “ Pronck” is one of the brewing company in Leiden, Netherlands, which was founded in 2014. Today we have Benjamin, one of the founder, who was a tax lawyer before guided us. His love and enthusiasm toward beer inspired him to start the brewery without the background of brewing ancestors, but with his university friends. 

    To Image Blue Through Making: Preparation Vat of Indigo in School

    Many of us may have seen or bought indigo products from market. Seldom do we have the privilege to explore the beauty and hardship of a craftsmanship, know the process and knowledge of it from school. For the semester of Spring 2019, there is a course "Blue Across Boarders", which provided students a brief understanding of indigo, from plants, process of making indigo dye to dyeing, also provided them a chance to witness the process and experimented with dyeing by themselves in school. 

    Indigo as Pedagogy

    Starting 2012, the TNUA Centre for Traditional Arts (CTA) initiated a series of field courses, including indigenous boat making, bark cloth making, banana fiber crafts, ritual parades etc.; the course of ‘Natural Dyeing’ was one of them. These courses aimed to bring students out of the classroom to learn from the soil and different people who give life to traditional arts, and to learn how traditional arts are related to the society and their generation. The 2013 course of ‘Natural Dyeing’, conducted with many partners, was divided into three main stages.

    Luntaya acheik: The Making of Myanmar's Traditional Dress

    In the first figure, the governors of Myanmar are being awarded the cloth as a mark of honour. Luntaya acheik was the sacred cloth of the ancient Myanmar royals. But under the colonial rule everyone could wear this acheik.

    To know the preferences of the people of Myanmar better, the governemnt conducted a survey after which the acheik became the national costume.

    Weaving luntaya acheik (1): Modernising Traditional Craft Practice

    The Saunders Weaving and Vocational Institute (SWVI) is situated in Yay-twin-nyi-naung ward, Lay-su quarter, Amarapura Township, Mandalay Region on the side of Mandalay-Sagaing road.

    Till 1910, the local weavers used the hand throwing loom which could weave 24 inches only. When Mr. L. H. Saunders, Judicial Commissioner of Upper Burma, found that the technology of hand loom in Myanmar was old, he introduced in 1910, a fly shuttle loom used in England.

    Building Vocational Skills

    The Saunders Art, Gallery and Museum were opened on the August 2, 2004 to commemorate the 90th anniversary of the Saunders Weaving and Vocational Institute. It was supported by the Small Scale Industries Department (Myanmar) and Kanasarwa College (Japan). The objectives of establishing the museum were to develop vocational school studies and small scale industries in rural area. There are three rooms: museum, demonstration room and gallery.

    Weaving luntaya acheik (2): The Making of Myanmar Traditional Dress

    The Saunders Weaving and Vocational Institute accepts trainees on per year/per month basis. There are regular as well as other vocational training options. In case a local organisation wants to set up a training school, then it can get in touch with the Institute. The educational qualification requirements of the Institute are limited to matriculation, middle and primary school levels. The trainees must be single and under 25 years of age. The numbers of trainees accepted vary between 5-50 depending on the course.

    The Network of Women: Weaving Freedom

    A popular success story of the North-East Network (NEN) is Chizami Weaves where the NEN together with a network of 600+ local women from Chizami and the neighbouring villages of Phek district in Nagaland built ‘Chizami Weaves’  an enterprise that aimed to preserve and promote the rich textile weaving tradition of Nagaland. While empowering rural women economically, it also gave them a voice and agency to bring about positive changes in their families and communities. Gender relations within homes are changing.

    Lunyakyaw-kyo-gyi acheik: Snippets From the Book

    This photo is from a book, Lunyakyaw-kyo-gyi acheik / လွန်းရာကျော်ကြိုးကြီးချိတ်, written by U Shwe Htun about the textile industry and textile design. It is a good source to understand the history of acheik, its evolution, the process and preservation till 2005. One of the interesting part of the history, as mentioned in the book, is the different attitudes of the reigning regime towards this weaving practice. For example, while acheik  was not allowed to be woven in the Bagan period, but in the Innwa period  (1346-1526 C.E.) only a lower quality was woven.

    Dyeing thread

    The locals did not dye before 1988 because the cooperative department gave out the ready-made dyed threads. But later on they permitted the private businesses to undertake dyeing. They dye yarn for themselves as well as for sale.

    There are two kinds of dyes: natural and chemical; and two types of dyeing techniques: hot dyeing and cool dyeing. For the dyeing process, warm or hot water, cold water, glue-liquid, dye and glove are required. The dyeing process follows the cycle of cleaning (purifying), dyeing, wringing, shaking off, and putting out to dry.

    Luntaya acheik: Then and Now

    The weaving of luntaya acheik  or the wavy rope pattern created through the use of hundred shuttles loom and silk thread, is mainly based on seven elementary designs and thirty-three ropes. In the Konbaung period (1752 to 1885), it was a royal fabric that only the kings, queens and high officials were allowed to wear. Now everyone can wear luntaya acheik. People wear this luntaya acheik for special ceremonies like novitiation, wedding, state level events, and convocation. It is a valuable fabric.

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