“Arts and Crafts Renaissance” as conceptual approach in designing an indigo dyeing curriculum

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.

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. 

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 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.