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“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.
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.
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.
“ 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.
For seven centuries, the identity of the city of Leiden was determined by woollen cloth fabric. The last cloth manufacturer closed in 1977, and with it the long tradition of woollen cloth ended.
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.
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.
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.
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.
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.
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.
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.
Apottamkulam Pottamkulam wrote The lisp of children as part of the workshop session on Reading/Writing/Re-writing/Telling/Re-telling using prompts, 20 December 2019.
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.
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.
This story is shared by Neerja Palisetty, founder of Sutrakaar Creations, on how she and her team of weavers adapted after the nationwide lockdown was imposed in India on 25 March 2020.
There are many souvenir shops near the U Pein Bridge. In the west side of U Pein Bridge, we found souvenir shops selling hats, bags and cotton clothes and there are many shops, visitors and restaurants than the east side.
The orange-lined text in the figure is a decree which was issued by King Bodawphaya (1782-1819) in Konebaung dynasty. The original text of it has not been found until now. This is an excerpt from the article written by Ms. Nu Nu Kyi who wrote in Saunders Weaving Institute’100 anniversary magazine. In a decree, the lay men from the different regions had to wear pasoe (the nether garment of Myanmar males) by weaving cotton and satin threads only. Moreover, they didn’t allow wearing the turban, nether garment, and shawl which make with gold and silver threads with a fly shuttle loom.
Luntaya acheik originated in Konbaung dynasty (1752-1885) and could be worn only by kings and queens. If this new fabric was presented respectfully to the king and queen, a prize would be awarded to the giver. Commoners were not allowed to wear a new one but it could worn the king’s hand-me-downs which is awarded to the outstanding person in the service of the king.
The techniques of weaving industry including luntaya acheik could be woven the locals proficiency. It was the most flourishing period in Konbaung dynasty (1752-1885). In later times, the people had less interested in wearing acheik garment due to the political and economic difficulties.
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