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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.
The luntaya acheik garments have been wearing wemen as well as men since the monarchy times. Concerning with the acheik garment for men, Ms. Sandy Moe who is a MA second year student of Department of Anthropology at University of Mandalay said:
With excitement I have received a Indigo material package, shipped from Taiwan. The package is prepared by one of the HAB Principal Investigators, Prof. Min-Chin Chiang, whose project is focus on the revitalization of indigo dyeing, especially the production process of/with natural dye.
Here is my 8 days trial and error of Indigo Dyeing Kit
His-Chuan, Liu
1ST Day:
In the process of breeding the indigo vat, we noticed a fermented smell unique to indigo, and experienced the process of indigo becoming a dye through fermentation. We also noted the color cange from green to blue in the oxidation process. We used shibori resist dye techniques for the dyeing process. We applied pressure to the cloth using boards or strings and create a resist. We thought it would be ideal to show contrast between the indigo and the white of the fabric to accentuate the beauty of the blue.
“Arts and Crafts Renaissance” as conceptual approach in designing an indigo dyeing curriculum
A weaving workshop is located in Mandalay, Myanmar. Most works are migrants from Shwebo Township and neighbouring places which are located in Sagaing Region near Mandalay. The owner provides lodging and meals to each worker at the workshop.
The innovative designs of the Kachin traditional lower garment since ancient times (Hta-main in Myanmar) are created by the owner and the designer collectively based on the market demands. All products are sent to various local shops in Yangon.
These photos are the innovative designs of the Kachin traditional lower garment (Hta-main in Myanmar) by creation of the owner and the designer collectively in terms of market demands. The first photo combines five lower garments through folded styles and it shows how to evolve and innovate the designs since ancient times. When the Kachin lower garment was created, the width of the line was only three inches and it was worn in behind the waist (the first one, green colour of the Figure (1)). However, nowadays the line is about six inches (the third one of the Figure (1)).
Pottery made by Senegalese women of the blacksmith caste. Competition from manufactured products has led to an innovative reorganisation of their activity: pottery with sophisticated shapes and shiny decorations now rub shoulders with traditional pottery, still using the ancestral know-how.
This photo taken by Bruno Diomaye Faye is selected for the LeidenGlobal Photo Exhibition: Crafting Cultures 2022.
My chosen object is a woven shawl that began from a failure. The weft here, composed of baby alpaca wool, was originally the warp of another weaving. My good friend picked up this soft brown wool in Bolivia some years ago. She has since passed.
Pha hol is the name for an ikat-patterned silk cloth woven among ethnically minoritized Khmer communities in today's Thailand, especially in Surin and Buriram provinces. Hol is "the Queen of Surin silk" many say -- the most beautiful, locally meaningful pattern. Calling hol a Queen draws attention to its creation and use primarily by women.
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This time, the trip to the Netherlands reminds me of my life in Palestine.
The two textiles shown side by side, are Ajraks-- the blue silk one is from Karachi, Pakistan and the blue-red is a wool-silk scarf produced in Bhuj, India. While deeply visually similar, the textiles are produced in two countries, that though border each other, are divided by political conflict that does not allow trade or travel between the two countries-- even to conduct research. The blue silk scarf is mine and the blue-red scarf belongs to Meera Curam.
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