Crafts – Global InCH- International Journal of Intangible Cultural Heritage

Traditionally created for the purpose of accounting, Bhai are handbound books with yellow and white pages with hand-quilted cover. Production clusters center around Chauda Rasta in Jaipur and Udaipur. Tools such as cardboard, fabric, cotton twine, large eyed needle and sewing machine are used for the crafting process.

Balaposh or perfumed quilt is an example of exquisite artistry. It was rightfully made for the luxurious taste of Nawabs of Bengal. Today it is an endangered craft. A think layer of scented cotton is sandwiched between two layers of silk. It is an example of fine craftsmanship of Bengal crafstmen.

Balaramapuram is a small town 15 km away from Thiruvanthapuram in Kerala. These traditional products are woven with kora white cotton yarn (grey or unbleached or non-dyed yarn) of finer counts like 80's, 100's etc. The saree’s specialty lies in the preparation of the warp threads which are sized (starched) with the help of a brush. The threads become almost round in shape after sizing, giving the saree a very clear surface without any superfluous or extra fibres protruding from it.

About two hundred years ago the weaving technique practiced in a small village called Baluchar in Murshidabad district came to be known as the Baluchari. In 18th century the then Nawab of Bengal, Murshid Kuli Khan shifted his capital from Dhaka to Murshidabad. It was his patronage of the weaving tradition that led to the development of the Baluchari as a luxury textile that was favored by the elite. The magnificence of the Baluchari weave was in demand in the Mughal courts and from other royal families of the country. In the middle of the 19th century the elite in Bengal draped the Baluchari. Rabindranath Tagore's brother Abanindranath wrote that their mother wore a Baluchari on the occasion of "Maghotsava" festivities. The last known weaver of Baluchari was Dubraj Das who died in 1903 and unusually in the weaving trade several saris have been found with his signature - a sign of the high prestige associated with his skill and an exceptional example of ownership of a product among the weaving community. After his death Baluchari weaving languished and the village from which it derived its name, Baluchar, actually was submersed in water because of a deadly flooding of the Ganges. In the first half of 20th century the famous artist Subho Thakur, who was the then director of Regional Design Centre worked to revive the tradition. He invited a master weaver Akshay Kumar Das from Bishnupur, a well known centre for silk weaving, to learn the technique of jacquard weaving. Bishnupur is 110 kilometers from Kolkata and situated in Bankura district. The town is well connected with cities like Kolkata, Durgapur, Burdawan by train and bus. Akshay Kumar wove the Baluchari with the financial and moral support of Bhagwan das Sarda from the Silk Khadi Mandal. This process continued with trial and error. He was joined by Gora Chand and Khudubala a weaver couple from Bishnupur who wove the first Baluchari in Bishnupur using Akshay Kumar's design.

Bamboo and cane, or rattan, are considered as non-timber forest products. Products made from bamboo and rattan are popular the world over; these products have enormous earning potential and bamboo products, along with rattan-ware and reed-ware are a source of income for poor artisans who have been engaged in this craft for centuries. The stems of the giant varieties of bamboo are used for making decorative craft items. The bata or reed, a smaller variety that grows in the southern and western regions, is used for making a variety of baskets. Bamboo and bata are plant varieties whereas rattan is a creeper. Craft areas are located close to the source of the raw materials. Bamboo craft is found mainly in the south-western and central parts of the country, whereas rattan-ware is distributed all over the island-country. It is mostly women who practise these crafts, though entire families are sometimes engaged in this craft as a means of procuring a livelihood. Most of the products are made for the local market.

RAW MATERIALS Bamboo has not been cultivated systematically in Sri Lanka. Though 14 species have been listed for the country, only five are widely used: B. orientalis, B. vulgaris, B. vulgaris, var. vitata, D. gigantius, and O. stridula. Although there are more than 17 varieties of bamboo, yet only a few species are used in the making of craft products. The common varieties are yellow, green, and giant varieties of bamboo. The stem of all these species is useful for conversion into craft items. There is a smaller variety of a reed called bata that grows in the southern and western regions of the country - this is a common raw material for the basket-ware industry. Bamboo and bata are the plant types while rattan or cane is a creeper that grows wild: there are about 10 species, three of a large diameter and seven of a smaller diameter. The canes are split and used for making the body of the baskets while the canes with a larger diameter are used to make the frames and handles. The artisans buy bamboo (Bamboosa Vulgaris) and bata (Ochlanda Stridula) from local suppliers; these reeds grow in abundance along the banks of rivers and streams in nearly every part of the island. The varieties of cane or rattan are as follows;

Thudarena Wel: mainly found in the southern and western parts of the country
Thambotu Wel: mainly found in the southern and western parts of the country
Heen Wewal: mainly found in the southern and western parts of the country
Kukulu Wewal: mainly found in the southern and western parts of the country
Ma Wewal: mainly found in the Dry Zone
Kaha Wewal: mainly found in the Dry Zone
Polonnaru Wewal: mainly found in the Dry Zone

Cane artisans sometimes face a shortage problem on account of government controls. Cane is found in abundance in the crown forests of Polonnaruwa, Moneragala, Ratnapura, and Matara districts. Cane artisans are located mainly in the western part of the country; the transport costs incurred by the artisans is forbidding and hence craftspersons buy from local suppliers or they buy split canes from dealers at Colombo. METHODS, PROCESSES, & EQUIPMENT Traditional methods continue to be used for processing the raw materials and for creating products. Some basic weaving techniques are traditionally used by the weavers. Depending upon the utility of the product, open-weaves or closed-weaves are used. 1. TECHNIQUES

Randing: This is one of the simplest techniques used to make a basket. The sides of the basket are shaped and filled by the use of single rattan or bamboo stakes (stiff longitudinal pieces).
Slewing: This is similar to 'randing'. Two or three strands of the cane or bamboo stakes are used to shape and fill in the sides of the baskets.
Pairing: This technique for weaving cane or bamboo baskets is used when a twist is given to the two softer strands which are interwoven between each pair of stakes of rattan or bamboo.
Upsetting: This technique uses three softer strands at the start of weaving of the basket and this is continued to finish the basket.
Waling: This term signifies the use of three softer strands for weaving which is carried out at parts of the cane or bamboo basket other than where the weaving commenced.

The above weaving techniques are used for either rattan or bamboo baskets depending upon the kind of basket being woven, the way it will be carried by the person, and its end-use. 2. EQUIPMENT The equipment and tools needed for bamboo craft include a barrel or a large vessel for boiling or steaming the bamboo and sharp, strong knives to slit the bamboo into strips.

3. PROCESS(ES) The bases of the baskets are made strong and firm with the shapes being oval, oblong, or square. In the pre-crafting process, the material is seasoned and protected from insect attacks. The bamboo is split vertically or cut into horizontal pieces, which are boiled or steamed with a chemical solution; they are then treated with a wood preservative after which they are sun-dried and smoked. This is then further shaped and coated with paint and then cut into shapes and sizes required for decorative-work. The bata reed is slit into long strips and then cleaned thoroughly; various articles of domestic use are woven with this. The most popular technique for basket-weaving is 'twilling' which is used to weave most articles. Large storage containers are made of bata to store paddy. Tea plucking baskets are crudely made out of this. Bata craftsmen use sharp knives to slit and clean the strips. Rattans are cut into 12-feet lengths and then cleaned and sun-dried. The bark of the cane is carefully peeled off with a knife. This is then slit into six to eight strips and the pith is peeled off. The inner portions are slit and used for making rough articles. When cane is used for basket-weaving, it is first soaked in hot water for softening. The tools required are sharp knives to slit the cane and peel off the pith; a cane-slitting device is made by fixing a sharp blade vertically on a log of wood and drawing the cane against the cutting edge. The weaving usually starts from the bottom of the baskets; two pairs of rigid canes of the required lengths are interlaced at the centre at right angles to two similar pairs of canes of the same dimensions. Through these are interlaced the weaves or the weft elements which start at the point of intersection. In the first round all the warp elements are held tightly together by the weaver. This may be repeated in the second round also. In the third round, the warp elements are separated and in the fifth round they are separated into single stakes. If it is found necessary, additional stakes called bye-stakes are introduced to get a closer weave. Once the bottom of the basket is completed then the stakes are bent upwards and the weaving is continued till the desired height is reached. The ends of the stakes are folded down and pushed into the weave to form a tight edge. The common weave found in cane work is the plain weave; depending on the type of basket, other weaves like satin or twilled are also used. Wickerwork is found in linen and wastepaper baskets.

4. WEAVES Generally, in weaving bamboo, bata, or rattan the warp and the weft are of different gauges. The warp element is rigid and forms the framework around which the weft is woven; the latter is therefore more pliable. The rigid element is a whole cane while the weaving element is a strip. There are certain basic weaves that are commonly used. The weaving patterns depend upon the strength of the final product. Open weaves and closed weaves are adopted for baskets to ensure that nothing drops out. Very detailed and intricate weaving patterns are used by the artisans to make cane baskets, trays, and furniture. Bamboo shafts are wider and sometimes the width is retained for making items like cups, containers, etc. Items like handbags and baskets require wide strips and so the weaving is also a little different.

THE PRODUCT RANGE 1. UTILITARIAN ITEMS Utilitarian items made from bamboo and rattan include boxes for storing paddy, linen baskets, winnowing fans, food covers, strainers, betel-leaf baskets, tea-plucking baskets, and fruit and vegetable baskets. Different types and sizes of cane or cut cane are used, depending on the product to be made. Rattan is mainly used for the heavy baskets, trays, and wicker-work traditionally made by the womenfolk in the rural areas. The methods by which the baskets are carried determines their type and form. Some are carried by balancing on top of the head, some are a pair of items that are suspended on either side on a bamboo stem and there are some other baskets that are carried over the back with a bamboo or fibre strap; an example of this is a tea-plucker's basket made of coarse bamboo splits. The designing element in these products is fairly standardised as these are items that are used on a daily basis.

2. ORNAMENTAL WARE Ornamental ware in bamboo and rattan are being widely made by artisans all over the country; the main motivation for this is that craftspersons are searching for new ideas to produce wares that will fetch them better prices. Bamboo becomes a highly ornamental material when it is processed, painted, and finally lacquered. The wide range of ornamental items in bamboo and rattan includes wall plaques, lamp-shades, lamp-stands, vases, letter racks, letter openers, calendars, table mats, trays, spice jars, jewellery boxes, and fancy toys.

3. FURNITURE The affluent classes are able to afford fashionable furniture made out of rattan and bamboo, seen as high-quality products. Making rattan furniture is a highly labour-intensive activity and entails extremely skilled craftsmanship. This craft has a very recent origin in Sri Lanka and the styles are influenced by those prevailing in the Asian countries where bamboo and rattan are found in great abundance.

PRACTITIONERS & LOCATION This craft is mainly confined to certain social-groups and is predominantly practised by women. Cane artisans are found in the southern and western parts of the country.

Batticaloa district: Cane craft is found in the villages of Puthukudiyiruppu, Koduwamadu, Kathiraveli, Eruvil, and Panichankeny.
Galle district (southern coast of the country): Cane work is found in the villages of Ratgama, Dodanduwa, Baddegama, Kapuwatta, Boossa, and Ahangama villages.
Hambantota district (southernmost tip of Sri Lanka): Cane work is found in the village of Ranna.
Kalutara district (south-western coast of the country) Bata work is found in the villages of Uduwara, Pathakada, Batugoda, Elupitiya, Polgampola, Kumbalwela, Lathpandura, Palapitiyagoda, Anguruwatota, Delgoda, Madampitiya, Badureliya, and Kaduruwela.
Kandy district: Bata ware is found in Handessa village.
Kurunegala district (about 130 kilometres from Colombo): Bamboo and bata work are found in the villages of Kuliyapitiya, Weeranbugedera, Pannala, and Ibagamuwa; cane work is found in the villages of Udagama and Kantholuwa in the same district.
Matara district (southern tip of the island-country): Bata craft is found in the villages of Kitalagama, Tihagoda, Ududamana, Kohugoda, Kolatiyawela, Hakmana, Batadura, Kottegoda, and Ihala Kiyanduma; cane work is found in the villages of Elamaldeniya, Udapasgoda, Koudaowita, and Watukolakanda in the same district.
Polonnaruwa district: Cane craft is found in the villages of Kaduruwela, Seelapura, and Raja-ela; bamboo and bata work are found in the villages of Panawala, Welhena, and Telkumuduwala in the same district.
Puttalam district (on the western coast): Bamboo and bata artisans are found in the villages of Kalaoya and Mankulama.
Ratnapura district (about 215 kilometres from Colombo): Bamboo and bata craftsare found in the village of Kuruvita; cane work is found in the villages of Wikiliya and Minipura in the same district.

PROBLEMS, ISSUES & INTERVENTIONS 1. MIDDLEMEN Middlemen flourish in this craft mainly due to problems like raw material shortages, transport problems, lack of capital, and limited access to credit and marketing. There is a paucity of information on market forecasts and capacity. There are middlemen who buy the craft items from the artisans on a commission basis and this creates payment problems for the artisans. The challenges in this sector today are proper planning of production, organisation of marketing channels, and competitive pricing. 2. DEPLETION OF RAW MATERIALS The constant depletion of raw material resources poses a threat to the artisans' source of income. Government intervention is necessary to ensure that there are enough bamboo and rattan plantations to supply adequate quantities of raw material at reasonable rates. Some areas in Sri Lanka have a ban on the cutting of cane and some jungle areas where the plants and creepers grow are inaccessible. Illegal cutting of cane plantations is causing long-term problems for resource-availability. In recent times the Forest Department has taken note of this problem and has started implementing regular programmes for the propagation of bamboo and rattan. Seedlings are being distributed for planting in various reserved areas under the aegis of the National Crafts Council and similar government bodies. However, the artisans are not involved in these projects. 3. INTERVENTIONS The Radawadunna Rattan and Bamboo Training Centre has been established by the Ministry of Rural Industrial Development and has helped in the evolution of these crafts with expert guidance from foreign advisers and consultants. Experts from Philippines have helped in guiding the artisans with newer techniques in the making of rattan furniture. New tools and equipment have also been made available to the artisans. Rattan of a larger diameter has been used in making chairs, settees and other items of furniture. Craftsmen have learnt the technique of heating and bending rattan poles to obtain the required form, a task that involves a great deal of practice and application. Large size rattan is used for the framework and the splits and cores are used for wrapping round and binding. A certain amount of mechanisation is needed for processing of raw materials and in some other stages of production. 4. SUGGESTIONS A very large proportion of the artisan population in Sri Lanka is involved in these crafts; the shortage of raw material poses a huge threat to these crafts. About 75 per cent are engaged in rattan crafts and about per cent are in bamboo crafts. Improving the tools and technology of the artisans, training them in product improvement and innovative designs, providing better credit facilities, organising better marketing facilities, as well as providing satisfactory infrastructure will seriously boost these crafts.

The bamboo is a perennial grass with woody culms /stems arising from rhizomes - it has innumerable uses and a particular species may be more suited to one craft than another. Bamboo plays a significant and vital role in the life of the Nepalese and is an integral part of their life. For those of the Hindu faith it fulfils numerous ritual requirements from birth to death: rituals like the yangya performed at the sacred thread wearing ceremony and wedding ceremony cannot be accomplished without bamboo. Bamboo groves are found all over Nepal and a majority of rural households have the necessary indigenous knowledge and know-how on how to use the most suitable species of bamboo for specific purposes. The bamboo craft like many others in Nepal is faced with a declining trend due to the production and import of plastic products that are replacing a number of traditional bamboo products.

PRODUCTS Products crafted from bamboo range from bridges, roofs, floors, ceilings, and walls, to mats, trays, water-carriers, filters, sieves, and a wide variety of baskets. Bamboo is also crafted into combs, fishing nets, ladles, furniture, pens, and brushes,. Till today mountain folk living in Shanku Washabha and Bhojpur districts make water pots and household utensils from bamboo, thus maintaining an unbroken tradition of countless generations. The leaves are an important source of fodder and the young shoots of some species are commonly used as a vegetable. The entire culm can be used, or it can be split into sections, crushed into panels, or split and then woven. Construction: A common use of bamboo is in the construction of thatched roofs for homes and bamboo poles and strips are used extensively for the construction of such roofs. Bamboo pipes are used as irrigation canals in the trans-Himalayan zones and other mountainous terrain. Musical Instruments: Bamboo is used for crafting musical flutes like the murali and bansuri. Flute making in Nepal has been practised from time immemorial. The Nepalese flutes are of two types, one in which the flute is blown from a side hole while in the other, the slanting tip of the instrument is held by the lips and is blown. Toys: Bamboo is also used in making toys and games for children. Simple bamboo pumps (pachakka) - consisting of a small bamboo piston fitted in a bamboo jacket - are used to squirting water colour with during the festival of colours (phagu), week-long festivities celebrated at the beginning of spring. Grain Measures: One of the traditional uses of the bamboo was its use as a measure for grain. Nepal had its own system of measurement until a few decades ago and cereals and grains were measured with the bamboo manas and pathis. However since Nepal adopted the metric system of measurement these have become obsolete and are rarely seen.

For agricultural use the winnow (nanglo) is woven out of bamboo bark - it has a circular rim and is somewhat shallow. For sieving grain and flour, a perforated bamboo sieve is crafted from bamboo strips; it is made in different mesh sizes. Utilitarian baskets like the doko, dalo, dali, sholi, thunse, and kharpan, etc. are used for carrying different products and therefore have different shapes and sizes. However, they are basically conical in shape, with a wide opening and a narrow base. The dhoko is woven with a lattice, whereas the dalo, dali, sholi, and thunse have a compact weave, thereby allowing even fine grains to be carried or stored in them. The kharpan is woven in pairs in shallow circular fashion and is used for carrying goods - using a bamboo pole - on the shoulder. The tokari is another bamboo basket with a narrow opening and a wide base and is used as a container for items like potatoes. Baskets: Nepalese hill porters often carry bamboo dhokos. Because of their perfect shape and lightness, combined with strength, the dhokos has remained unchanged for hundreds of years. Most mountain villagers use these baskets daily for carrying food, water, fuel and, when necessary, the elderly or sick. Storage: The Nepalese farmers use bamboo for the storage of grains. While small quantities of rice, wheat etc. are stored in earthenware jars, large quantities of grain are stored in a granary that is made out of bamboo. A large mat is plaited using bamboo strips - this is bent into a circular frame and sewn with jute thread. The circular bamboo sheet is fixed in the dry ground using a mixture of mud and cow-dung. This fabricated granary is given a coating of mixed red clay and cow-dung and allowed to dry. Rice, wheat, etc., are placed in this granary and the top portion is covered with a bamboo straw mat. The whole container is then sealed with a clay and cow-dung mixture to protect it from insects and vermin. Transport: Bamboo is also used in Nepal to provide transport. A traditional stretcher that is carried on the shoulder can accommodate up to four people. During the wedding ceremony, the bride and the groom are separately carried in the ulinkath, which has a strong wooden base and frame and is usually rectangular. One side of this is wide while the other is narrow. A person sits in the ulinkath with their legs stretched toward the narrow side. The sides of the ulinkath are made of a latticed bamboo structure. Only a strong bark of bamboo is used for its construction. This traditional bamboo carriage is disappearing from the urban areas; in the hill regions, however, it continues to be used at weddings, sacred thread ceremonies (upanayam), and also in carrying the sick and disabled to hospital. The khamu (two baskets) attached to a central bamboo are used for carrying children and produce - here the baskets are tied with four twines to the bamboo and balanced by a stout bamboo stick that is carried on the back or shoulder of the porter. According to the Imperial Gazetteer of India (Provincial Series) published on Nepal in 1908: '... the Newars invariably carry theirs (loads) in baskets with a pole balanced on the shoulder.' Bows & Arrows: Archery is a favourite pastime in the high Himalayas. Archery competitions are held every year in the northern part of Nepal. The bows and arrows are made out of the bamboo. The Nepalese bow and arrow has a powerful striking strength and is used not only during competitions but also for hunting. Fans: The Nepalese bamboo fans are square or rectangle in shape and can be rotated along the axis of the handle. The fan is woven out of the inner bark of the bamboo. The edges of the fan are sealed with a piece of coloured cloth. The cloth is either sewn or glued onto the edges. The Nepalese fans are simple examples of braided bamboo sheets. Virtually no embellishment is added on to the fans.

RAW MATERIAL In Nepal 20 species have been recognised; seven are still indeterminate. Two varieties of bamboo are commonly used in Nepal - taru and tama. Taru is a strong variety of bamboo, and is used for making different types of bamboo products; tama bamboo is a soft variety and its young shoots are used for making pickles - it is not used in making products where durability is required. The bans (typified by Dendrocalamus hamiltonii) is a large-statured species with thin flexible culm walls which are good for weaving but not strong or rigid enough for construction purposes. The different species used for weaving may be found at altitudes between 300 and 2,600 m. The malingo includes Drepanostachyum spp. and Arundinaria spp., small-statured species found at the higher altitudes, which produce the highest-quality weaving material. Thev Arundinaria maling is the common eastern species and is occasionally found as low as 2,300 m but is widespread above 2,800 m: it is the most highly valued bamboo for basketwork. Because of the altitude at which the malingo grows few households would have their own stands and they therefore collect material from the forest. PROCESS & TECHNIQUE Whether used for utilitarian or aesthetic purposes the products crafted of bamboo are a combination of skill, deftness, and beauty. The plain weave, and the twill and diamond patterns occur in infinite variety in the mats and baskets in Nepal. Further appeal and an additional design element is added by treating the bamboo with heat and smoke and thereby introducing a tonal effect. While processing the bamboo for use it is cut, dried in the sun, and seasoned for a few years. The naturally crooked shape of the bamboo is straightened by heating it over fire and by applying pressure in the direction in which it needs to be shaped. The seasoned bamboo is cut into strips and the outer bark is peeled off. The bark is smoothened on the inner side and cut into the required width. These strips are then used in weaving baskets. LOCATIONS Bamboo is woven, plaited, and worked on all over Nepal though ethnic groups such as the danuwars living in the mountainous region are expert in making baskets. However Commercial production of such articles has developed in the Kathmandu Valley and some areas of the terai.

Bamboo flute is the simplest of musical instruments. Its legendary association with Lord Krishna makes it a popular Indian musical instrument. In Hindi, bamboo flute is known as bansuri which is made up of two words; baans meaning bamboo and suri that means a musical note. The Indian flute is melodious and a wide range of notes are possible by calibrating the air column in the bamboo. In Pilibhit district of Uttar Pradesh, the community of craftsmen produce bamboo flutes. It is a hereditary family enterprise. The bamboo is sourced from Silchar in Assam. The range of products includes large sized flutes for professional artists to small toy flutes. The professional flutes are made with seasoned bamboo which is carefully selected and stored. The Great musicians source their instruments from here. The large population of craftsmen produce inexpensive small flutes sold all across India. Only few master craftsmen know the secret of indexing musical notes precisely. The indexing is done through piercing the holes in to the bamboo for placement of fingers. Holes are created through red hot metal pokers and all markings are done with special scales and tools. Once the holes are pierced, there is no scope for correction. Careful calculation and precision is required while marking the holes. The craftsmen make small holes initially and then check the notes, then gradually increase the hole to required level. Indian flutes range in length from less than 12 inches (called muralis ) up to about 40 inches (shankha bansuris ). 20-inch flutes are common. Another common and similar Indian flute played in South India is the venu, which is shorter in length and has 8 finger holes (This type of Indian flute is played by the famous Carnatic Musician Shashank Subramanyam).

Bamboo mat weaving is carried out on a large scale in Kerala. This large range of painted and woven mats are in great demand all over India. The main centre for this craft is Irinjalakuda

Splits of cane and bamboo are woven to form products such as baskets, mats and musical instruments.

In Tripura, a number of handicraft items are fabricated out of bamboo mats where bamboo splits form the weft in a cotton or rayon warp. The raw material, found in abundance in the area, are the bamboo splits sold in bundles of a thousand, the length varying from 30cm to 60cm and the price depending on the width and the length of the splits. Bamboo internodes are used for preparing the splits and it is difficult to find bamboo culms with internodes longer than 60cm. It is the outer layer of the bamboo that is used for generating the splits as the inner layer is soft and fibrous. The fine bamboo splits are mainly from the Nalchar village where the craftspersons are very skilled. Fine strips are woven on hand-operated looms and joined with rayon threads in a patterned weave placed close together so that the entire screen takes on the texture and pliability of fabric. As a rule the bamboo mats are flexible only in the direction of the warp as the weft consists of the rigid bamboo splits. Coloured or textured warp is sometimes used for adding colour to the mat; the bamboo can also be dyed to enhance the mat. Several varieties of mats are used in house construction while others are used as floor coverings, for sleeping, as surfaces for drying and processing grains, as door and window screens, and as room partitions. Mats and mat articles like 'chatais' are very popular. Bamboo matting is sold by itself, the price depending on the fineness of the bamboo splits, the width of the mat, and the number of warp threads used. The products come in a variety of colours and designs and are used for interior decoration as well as for making wall hangings, flower sticks, table mats, and tray mats.

This craft is predominantly found in the Kanyakumari district. Apart from banana, other natural fibers used for weaving include sisal, aloe, screw pine and pineapple.

A common practice is to use the fruit and leaves of banana, however, in several regions of India where this natural fiber is abundantly grown, mechanisms have been developed to extract the fiber out of the banana stem which is generally said to be discarded. Minimal wastage, additional income and livelihood opportunities are thus some of the benefits achieved.

The making process starts with extraction of the banana stem, drying and converting initially into individual strands and later into ropes of varying thickness. Some of the common raw materials and tools used - Banana fiber ropes, textured rubber mat, polyester rope and water in addition to auxiliary tools - scissors, measuring tape and steel wire.

The making of the rope is extremely crucial and requires drying, peeling, soaking in water for softening of the stem before 2 to 3 strands are combined together to make one single sturdy fiber, this stage is flexible depending on the thickness of the rope required as per the design of the product. The rope can then be knitted, crocheted or woven to make products from basketry, coasters, bags, mats to textiles. Banana fiber was also once used to make pattu saris, however, the same is rarely being done now.

This craft is predominantly found in the Kanyakumari district. Apart from banana, other natural fibers used for weaving include sisal, aloe, screw pine and pineapple.

Banaras Brocade Sarees are made of finely woven silk and decorated with intricate designs using zari; this ornamentation is what makes the sarees heavy. Their special characteristics are Mughal-inspired designs/elements such as intricate floral and foliate motifs, such as kalga and bel. Other features are gold work, compact weaving, figures with small details, metallic visual effects, “jali” (a net-like pattern) and “meena” work. These are woven on the conventional Banaras handloom jacquard, sometimes with “jala”, “pagia” and “naka” attachments for the creation of motifs.