Innovation Description
Profile
Vinayak Bhai Salvi: The family comprises three brothers, Vinayak, Bharat
and Rohit and their wives, a cousin Jaya settled in Patan and children.
Vinayak Bhai’s son, a trained architect, has now taken to this tradition full
time. They claim that they use vegetable dyes in dyeing the yarns for some
colours (depending upon the demand from consumers). Since they live in the first
house in the lane called Shalviwada, they attract the maximum customers.
Sevantilal Salvi: The family includes two sons, Ashok and Vijay, and three grandsons
Viral, Ujjwal and Nirmal. They have been teaching the craft to people outside
the Salvi community also. They have used PVC pipes instead of traditional
wooden frames in their looms.
Satishbhai Salvi:
The family comprises two brothers, Paresh and Satish, who get a portion
of their work done by people who are not a part of the Salvi community. They
claim high quality and perfection in their work.
Kanubhai Salvi:
His father, Mafatlal, and his two daughters, Neepa and Hetal, are
carrying on this tradition. They migrated to Baroda about twenty years back and
have been practising the craft since then. They claim to have the highest
production among the four families, but face problems in marketing their
products. The family says that it uses natural dyes.
Description
Patan Patola, a traditional form
of silk textile that is more than 750 years old, is on the verge of extinction.
This ‘dying’ art is currently pursued by only four families in Gujarat. Can it
be saved and can the production of this kind of intricate silk textile be
encouraged by people living in Patan? Will the protection of this tradition
under Geographical Indications help these producers in commanding a better
premium in the market place and thus attract more workers and producers to this
tradition? What are the problems that SRISTI faced while trying to bring these
families together to protect this tradition? What are the lessons that others
wanting to extend similar support to other traditional, regionally known and
reputed products (agriculture or otherwise), can draw from the experience of
SRISTI? Efforts have been made to address some of these issues in this article.
SRISTI initiated the process of documentation of the patola tradition a
few years ago. Some students from IIMA also studied various implications of
Geographical Indications (GI) for preserving the Patan patola tradition, as a
part of their course. Recently, all the four families that are currently
involved in practising this art were invited by SRISTI to a meeting held at
IIMA. The purpose of this meeting was to evolve an association so that they
could take responsibility for protecting their traditional skills, rights, and
markets. Prior to this, all the documents related to GI protection were sent to
them so that they could familiarize themselves with the subject. It was apparent
that the application of GI not only required establishing a link between the
production process and the natural and human factor in the region where the
tradition has evolved or continued but also creating a body that will protect
GI in the future. SRISTI also wrote to the Gujarat government so that it could,
if it wished, take initiative in this matter. SRISTI would help in preparing
the case and pursuing the matter with a pro bono legal firm willing to help in
filing the GI. However, the responsibility for maintaining the tradition and
enforcing GI would rest on the shoulders of the four families collectively. GI
cannot be protected by one or two producers. It is a collective right and has
to be protected in that manner. However, consensus on what constitutes the
collective tradition of Patan patola and how it should be managed still remains
to be achieved. Meanwhile, the Gujarat government has also shown interest in
supporting the process.
The historical context of Patan patola
Patan, founded by Vanraj Chavda in 746 AD, is situated 130 kilometers
from Ahmedabad on the banks of the River Saraswati. It was the capital of
Gujarat f r o m 746 AD to 1 4 1 1 A D. Three major Rajput clans the Chavadas (
7 4 6 - 942AD), Solankis (942-1244 AD) and Vaghela's (1244-1304AD) — ruled from
here. The Solanki rule is considered as the golden age; prosperity peaked
during the reign of King Kumarpal. Patan became a center of patola weaving
during his reign (1143-1173AD). Kumarpal had a deep respect for Jain
traditions. He was very scrupulous about his attire and always used new patola
clothes while going to temples. The ‘patola’ worn by king Kumarpal used to be
specially imported from South India. One day, the temple priest barred Kumarpal
from entering the temple by saying that his clothes were ‘impure’. An inquiry
into this led to the finding that the king of Jalna was exporting the fabric
after first using them as bedspreads. Deeply offended, Kumarpal fought and
defeated the ruler of Jalna and brought 700 Salvi craftsmen to Patan so that he
could be assured of procuring unsullied fabrics. It is believed that some
weavers also came from Karnataka in addition to those that came from
Maharashtra. At a later date, Kumarpal converted the Salvi families into
Shwetamber Jains. Today, this tradition is being practiced by only four
families. One of them has moved to Baroda, but some of their work is still done
at Patan. The four Salvi’s are Shri Kanubhai Mafatlal Salvi, Shri Satish
Chandra Kantilal Salvi, Sevantilal Lehar Chand Salvi, Vinayak Kantilal Salvi.
Features of Patan Patola
- At least 500-600 g of silk
is required to make one patola sari. The silk is bought from Bangalore or is imported from China, Japan, Korea or Brazil. The silk costs around Rs
2,000 per kg and the dye cost (per sari) is about Rs 2,500. In the case of vegetable dyes, the cost is likely to be much higher. A single Patan patola sari with synthetic dyes would cost a minimum of Rs 90, 000.
- Both sides of the sari
display the same design; if a sari has a geometric design, it can be worn from any of the four corners. Each sari can survive for about 300 years and even maintain the colour of the shuttle.
- The designs are drawn on
graph paper and then copied into the yarn. The number of threads required is calculated according to the design which must remain constant until the entire weaving of the sari. The measurement is made with a tape with the smallest measurement being 1/100th of an inch.
- Eight silk threads are
enmeshed into one. Raw silk threads are thinner than hair and hence eight
such threads are woven together and bleached.
- Next, they are twisted to
make it strong. The process of dyeing the threads takes nearly 75 days.
The dyed threads are then mounted on the loom in a sequence so that the design becomes visible. The threads of the wefts are wound on to bobbins and kept in the bamboo shuttle for the weaving process. It takes
approximately 5-6 months to complete a sari with the help of 3-4
assistants. If a single person handles the entire process, it may take almost a year.
- Patolas cannot be woven in a
humid climate. This is because when the humidity is high, the yarn tends to tangle. During monsoons, a heater is kept under the loom.
- Starch is applied after
every 8-10 inches of weaving so that the yarn does not get tangled.
- The traditional loom is
operated only by hand, has no leg paddle and is slanted at one end.
- Maintenance of the tension
of weft (tana) and warp (vana) is monitored during the weaving process.
- Both sides of the sari
display the same design; The design is refocused after approximately 6-7
inches of weaving by tugging the warp yarn with an iron rod. The bobbin thread has to be passed from one side to the other manually at every step with the support of the vee made of sesame wood. The inclination of the loom makes it easier to move the shuttle.
- Losing ground Because of the
high cost, most people could never afford to buy patola. The demand for patola, thus, kept receding. During the second world war, as many as ten to fifteen families were engaged in making patola in Patan. As the raw
material (i.e. silk) had to be imported from countries like Brazil, China,
Japan and Korea, the war had an adverse impact on the industry and there was an acute shortage of raw material. There was a significant decline in production. But for the efforts put in by Vijaybhai’s grandmother Motiben
Damodar Thakarsi and Shri Vallabhadas Jethabhai Kapadia, the craft of weaving Patola would not have continued. They continue to inspire the four families that are trying to preserve the art of patola.
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Given the extreme complexity and time-consuming process, very few
weavers continue the practice. Those who have continued, do so mostly out of a
sheer passion for their work. For preparing a patola, skilled labour, precision,
calculation, and patience are of utmost importance. At the end of the day, it
is not possible to weave more than 8-9 inches of the cloth. And for the same
reason, it’s difficult to get persons who could be trained to weave a patola.
Though each member of the Salvi family is quite familiar with all the processes
and do help in making the saris, yet many of the children are reluctant to earn
their living through this trade (particularly after having acquired higher
education).
Also, the changing times have prompted simplification of many of the
intricate motifs. Due to contemporary market demands, weavers have slowly
evolved their own style of motifs and designs that are being used in designing
salwar kameez, dupattas, tie and accessories like bags, purses, file covers,
and home furnishings. Designers believe that such attempts will help in
retaining traditional skills and also appeal to modern tastes. However, those
who are familiar with patola believe that there is a need to rediscover and
retain some of the old designs to prevent these from fading away forever.
Geographical Indications (GI): context The Indian Law on The
Geographical Indications of Goods (Registration and Protection) Act, 1999
defines GI as:
“Geographical Indication, in relation to goods, means an indication
which identifies such goods as agricultural goods, natural goods, or
manufactured goods as originating or manufactured in the territory of a
country, or a region or locality in that territory, where a given quality,
reputation or other characteristics of such goods is essentially attributable
to its geographical origin and in a case where such goods are manufactured goods,
one of the activities of either the production or processing or preparation of
the goods concerned takes place in such territory, region or locality as the case may be.”
The relevance of Geographical Indications
“We need to develop a brand… so that people know that they can get real
Patan patola only from us. Perhaps this could be achieved if the government or
any other institutions came forward to help us,” says Kanubhai Salvi.
The basic idea is to encourage the producers to label their products to
indicate quality and reputation that originates from that region. Consumers
also benefit as they then get information about quality, authenticity and
genuineness from these labels. Producers get protection from infringement and
unfair competition. Nobody else can use these labels and thus mislead consumers
or take advantage of the reputation of the original good manufacturers or
growers. GI is part of the Trade-related Aspects of Intellectual Property Rights
(TRIPs) and is operational in India since September 21, 2003. However, it is
important to note that an instrument of intellectual property rights is valid
only when it is enforced. That requires monitoring wrong use, issuing of notice
to such parties and if necessary, filing cases against infringement of one’s
rights. In some cases, conflict may arise on account of unfair competition.
Emerging Problems
Location and production process
Each of the Salvi families would be interested in involving their family
members who are staying elsewhere in the same profession. If members migrate to
another place after the identification process (as part of GI), then this could
lead to complications. In a recent discussion with all the four families at
IIMA, three regions have been identified so far where family members of
existing practitioners reside. These are Patan, Baroda, and Surat.
Availability of vegetative dye plants and processes
Given the rise in demand for naturally dyed fabrics throughout the
world, the availability of plants for making vegetative dyes in good quantity
is likely to be a problem. Many of the processes for making such dyes also have
to be revived.
Ensuring quality control
How do we ensure that, if the entire process of manufacturing Patola is
shifted elsewhere, the same quality and authenticity will be retained? One
option could be that at least one step in the entire process is done only in
Patan. This could be the tie and dye stage or the weaving process.
Cooperation among four families
Misunderstandings are not uncommon in a family-based tradition. Salvis
are no exception. Some of the less prosperous weavers feel that they have not
received as much exposure as some of the others have. It was suggested that
once an association came about, it could have a web site and display all
addresses at one place ( SRISTI has done this at sristi.org/research./
patola.html). This association could also file the GI application, monitor
infringements and file cases against offenders.
Lack of trained workers
This is reported to be a major constraint in increasing supply and
expanding manufacturing base. Wages have also been quite low because it takes a
long time for a worker to get properly trained and master the skills. The
result is that most labourers are essentially apprentices.
Variation in the tradition
Given the change in the tastes of consumers, it is important to look at
the issue of how much variation in the design should be considered within the
boundaries of traditional repertoire.
Suggestions for keeping this tradition alive
Developing standards of authenticity: All four families have to work
together and develop minimum standards of production, colour, design, process,
etc., which would ensure that the product qualifies for GI.
Training of workers: Schemes that provide incentives to train new
workers so that the perpetual shortage of skilled workers can be avoided and
emerging demand can be harnessed, need to be devised.
Demonstration of this unique tradition in various trade shows and
exhibitions: Central and state governments can encourage demonstrations
showcasing the use of the Patan patola tradition in both conventional products
like saris and also in new products like other dress materials, scarves, etc.,
to stimulate demand.
Exhibition in Patan as well as elsewhere: Tourists visit Patan to look
at this tradition and the Salvi families have to spend a lot of time showing
and explaining. A privately managed, but publicly funded, a museum could be set
up at Patan. People who own Patan saris that are 100 or more years old, could
be asked to display these at the museum.
We hope that with this small beginning, many more traditional
knowledge-based textile, crafts, agricultural varieties, food products,
beverages, etc., will qualify for GI protection which could translate into
increased demand for such products, encourage authenticity and quality in
market place and thus help improve the livelihood of producers and give greater
satisfaction to customers. Patan patola must survive, even if some of the
families that are trying to keep the tradition alive, are unsure of its
eventual fate.
Ikat’s journey
Ikat is a piece of cloth woven from fibres that have been dyed prior to
weaving. It is an ancient form of silk fabric. It has been woven throughout
Central Asia and other parts of the world wherever textiles are woven. It
evolved in different cultures and has even migrated to different regions.
The term ‘ikat’ seems to have originated from the Malay- Indonesian
expression ‘mangikat’, meaning ‘to bind, tie a knot or wind around’, whereby a
motif or a pattern (generally geometrical in nature) is dyed into the threads
of cloth before weaving it. The ikat or resist dyeing generally, “involves the
sequence of tying and dyeing sections of bundled yarn to a predetermined colour
scheme prior to weaving. Thus, this dye penetrates into the exposed sections,
while the tied sections of the yarn remain un-dyed. The patterns on the yarn
get expressed in the woven fabric”(Ota, 2002).
The three basic types of ikat that are well known are: Single ikat
(either warp or weft yarns are tied and dyed.), Combined ikat (warp and weft
Ikat may coexist in different parts of the fabric) and Double ikat (both warp
and weft threads are tied with such precision that when woven, threads from
both axes mesh exactly at certain points to form a complete motif or pattern).
The double ikat sari is so woven that the design looks exactly alike on both
sides.
Various examples of diverse Ikat processes have been found throughout
history in different parts of the world such as p r e - C o l u m b i a n Peru,
Ecuador, M e x i c o , G u a t e m a l a , Colombia, Chile, Peru, Argentina,
Turkey, Syria, Egypt and Persia; throughout Central Asia, in India, Burma,
Thailand, Cambodia, Indo-China, South West and South China, Laos, Japan,
Malaysia, Indonesia; Africa and in many parts of Europe. In Bali, double ikat
‘geringsing’ is produced in the Bali Aga village of Tenganan on the east coast2
and ‘Kasuri’ at Okinawa in Japan.
In India, ikat weaving is prevalent in Gujarat, Andhra Pradesh, and
Orissa. Many of the ancient cultures around the world weave the single ikat.
But the more complex double ikat exists only in Bali, Japan, and India. Patola
is the name given to the double ikat silk from Patan, Gujarat. Patola is also
called “reshmi chir” by Nagar Brahmin and Vora communities.
Designs, motifs, and dyes
Ikat is not only precious but it is also symbolic in many ways. Certain
designs have got associated with and owned by certain social or religious
classes, achieving in the process, a sacred presence. Like in many other
cultures where certain textiles, dyes, and designs are considered appropriate
for particular positions within society, ikat holds tremendous significance,
particularly in terms of hierarchy. The patterns indicate the different
situations and creativity of each country. Some of the designs were created in
warp ikat (single ikat), some in Weft ikat (single ikat) and some only in
double ikat. (both warp and weft).
Among the main designs, the popular ones are narikunjar, ratanchawk,
navaratna, voragaji, chhabdi bhat, chokhta bhat, chanda bhat, pan bhat, phul
bhat, laheriya bhat, tarliya bhat, zumar bhat, sankal bhat, diamond bhat, star
bhat, butta bhat, sarvariya bhat etc. Besides saris, handkerchiefs, tablecloth,
lace etc, are also prepared from the patola cloth.
Traditionally, pure silk and natural dyes were used for ikat. Before
chemical colours were invented, colours were made from plants. The natural
colours used include indigo, pomegranate bark, katho, majith, kapilo, kirmaj,
harsingar, bojgar, iron rust, alum, logware and turmeric. Nowadays, chemical
dyes and colours are in great use. Each region invented dyes and used them in
its own way.
Red or vermilion is normally the background colour. The other colours that
are used along with red are yellow, orange, pink, green, blue, purple, white
and black. The most common motifs in patola are parrots, elephants, plants,
ladies, flowers, trellis, baskets, leaves, etc. These are used in many
different permutations and combinations for the body, border and the pallav.
