Preface

The entrepreneurial history of handloom production in the country has been traced
back to even as early as Rig Veda, when the hiranya (gold cloth) existed in the
society. Village industries and handlooms were well integrated into the rural
economy and the whole organisation was a part and parcel of socio-cultural fabric
of the society. The social traditions, ethos and values were reflected in the
handloom products. The handloom products, which have survived against the
competition from machine made cloth, represent the rich artistic traditions of our
country. Globalised economy has contributed to the ever-increasing competition
among the developing nations. Due to this, the traditional crafts of the country are
under threat from the neighboring countries by way of replication of the traditional
items. Trade Related Intellectual Property Rights (TRIPS) as a part of agreement
signed under the World Trade Organisation (WTO) show a way to safeguard the
interest of the producers. The study has been arranged in nine chapters the
Chapter-1 principally elaborates the overall handloom sector of the country and
Orissa. The Chapter-2 brings about the craft history. The Chapter-3 identifies the
geographical location wherein the craft exists at the district level. Chapter-4
discusses the production process involved in making the world famous Ikat sarees
and fabrics. An attempt has been made to cover all parts of the production process
and to provide the illustrations. An in-depth profile of the artisans and their
lifestyle in Maniabandh based on the survey done is discussed in Chapter-5. The
impacts of globalization on the craft are detailed in Chapter-6.

Contents
 Preface
 Acknowledgement
Chapter 1: Handloom Sector in India –An Overview 05
 Handlooms in India
 Handlooms in Orissa
Chapter 2: Origin and History of Maniabandh Handloom 06
 Evaluation of Maniabandh Cluster
 History of Maniabandh
Chapter 3: Geographical Location
 Location of the Cluster
 People Lining in Maniabandh
 Organizations
 Significance of the Products made there
Chapter 4: Production Process
 Pre-Production
 Production
 Post Production & Marketing
Chapter 5: Research Analysis and Survey of the artisans and their Lifestyle
 Maniabandh Artisans
 Challenges Faced while Continuing the Craft
 Socio Economic Profile
 Survey
Chapter 6: Impact of Globalization
 Changes Due to Globalization
 Impact
 Threats Faced
 Conclusion
 References
 Acknowledgement
I would like to take this opportunity to thank my subject teacher Ms. Zia Gulshafan
for giving me this opportunity to research on such a topic, the research on which
have immensely helpful. It has not only made me more knowledgeable about the
lifestyle and the work ethics of the artisans living in Maniabandh but also an in-
depth understanding of how the age old industry of handlooms are working in
Indian today,their condition, their utility and their importance. I would like to
thank my mentor Mr.Neeraj Sinha for guiding me through the process and would
like to extend my heartfelt gratitude to the artisans in Maniabandh for showering
their love and allowing me to experience a journey, so insightful and full of
learning about their life, their work and their culture. I thank my parents for their
moral support and the Director of NIFT Bhubaneswar for his overall supports to
make this journey possible.

Chapter – 5
Research, Analysis and Socio Economic Profile of the
Artisans

1.0 Introduction:
The adoption of a focused, yet flexible, holistic approach for the handloom sector
has been long felt in an environment of free trade opportunities and growing
competition from the machine woven fabric industry. A need has also been felt to
empower weavers to chart out a sustainable way for growth and sustainable way
for growth and diversification, in line with the emerging market trends. Orissa's
rich & diverse cultural heritage is aptly reflected in is hand-woven. Vibrant and
innovative, the design elements revolve around the purity and simplicity of life of
its people. Orissan hand woven is known around the world for the tie and dye
technique, fine fabric and vegetable dyes. Hand weaving as practiced in different
parts of the state are uniquely distinct and inspiring.

1.1 Handlooms in India:

Of all the arts and crafts in India, hand-woven textiles are probably the oldest and
most widely recognized. Providing direct and indirect employment to more than 30
lakh weavers, handloom industry is the second largest economic activity in India
next only to agriculture. Handlooms contribute to nearly 23% of cloth production
in the country. On the other hand it plays a major role in Indian economy in view
of its significant contribution to GDP and foreign exchange earnings. However,
with the increasing onslaught of changes in fashion, the handloom sector has been
suffering significantly being relatively isolated and constrained for incapability to
adopt required technology, improve productivity and access to market in an
efficient manner.

Handlooms play a significant role in the Indian economy

owing to their rural employment potential, next only to
agriculture, and also for their contribution to exports from the
country. Since 1960 and up to 95, the share of handloom
production in the total textile production remained more or
less constant at about 23%. However after 1995, it started
declining and is pegged at 13% during 2004-05. The tradition
of handlooms is so strong that the entire country is dotted with
places famous for some or the other handloom product.
Handloom products have been a major part of export basket of
the country. Madeups, Dhotis and furnishing have been the
major contributors to the Handloom exports basket.
1.2 Handlooms in Orissa:
The distinctive feature of the Orissa handloom industry is the ikat design, which
finds ancient linkages in the cross-cultural influences with the maritime activities
of South East Asia. The tradition of producing hand woven textiles is one of the
major activities next to agriculture in the coastal region.
Orissa is the land of handloom and handicrafts. It has a special recognition in the
country's textiles scenario, for its exclusive Handlooms. It is an important craft
product and comprises the largest cottage industry of the state. Thousands of looms
across the state are engaged in weaving cotton, silk and other natural fibers. There
is very rare village where weavers do not exist, each weaving out the traditional
beauty of Orissa's own precious heritage.
Handloom industry, in Orissa is cottage-based industry, whereat all the members of
family are apart of the production, taking place on the looms. The handloom sector
is classified as the organised group of the Primary Weavers Cooperatives and the
un-organized weavers, working either independently or with the master weavers,
the traders and some NGOs. Handlooms are a key element of the Orissa's
economy. The Handloom Census of 1987-88 indicated Orissa's population of
handloom weavers at 4,15,000. Of this, almost 30% were members of the poorer
and relatively disadvantaged Scheduled Castes (SC). Amongst the population of
weavers almost 40% worked on a full-time basis as weavers, and the industry
provided direct employment to 244,000 persons. However, Handlooms census
(1995-96) shows that Orissa's handloom sector generated employment for 208,000
persons. Further, a more recent survey undertaken by the Textiles Committee
suggests a total population of just under 100,000 handloom weavers. About 55% of
these weavers were found to be from Orissa's western region. About 85% of the
weaver households had only a single loom, while less than 1% had more than four
looms. The bulk of weaver households came from the other backward castes
(76.4% of all weaver households) and scheduled castes (17.5% of all weaver
households) communities providing ample evidence of a correlation between
weaving and the low incomes and asset base of weaver households.
In this dynamic era, fast changes in fashion trend have also led to the increasing
demand of handloom re challenges on the other hand. Even though the situation
would prevail, handlooms will survive, as it has the immense design potentiality,
diversities with less cost effective according to the customer's requirement and
fashion trends. The industry will have to look for competing & surviving purely on
its intrinsic strength & competitive edge in a holistic & integrated manner.

Chapter – 2
Origin and History of Maniabandh Handloom

2.1 Evaluation of Maniabandh cluster:

Maniabandha villages are unique in the entire hand woven craft culture of Odisha.
Maniabandha with a population of 3500 has a total number of 384 looms.
Maniabandha, has a long historical background of weaving typical ikat, tie-dyed
cotton fabrics spanning over a few centuries. The villages are situated in Athagarh
sub division of Cuttack district in the state of Odisha. The fabrics mainly sarees,
have been not only functional but also are ritualistic and artistically woven by the
handloom weavers with a visual display of excellence in craftsmanship and skill
brought down from generations as like any other Indian hand woven textiles. In
course of the survey, the past is mined out and a reflection is made on the
economic and social condition of the weavers. The study reaches at the conclusion
that neither there is much diversification in the craft process or product, nor there is
a qualitative leap in the plights of the weavers. This creates a major challenge to
the sustainability of the craft and the livelihood options of the weavers in the long
run and the export potential of the state.
Maniabandha villages are unique in the entire hand woven craft culture of Odisha.
The place is being interspersed with numerous weavers’ cottages accompanied
with the rhythmic beating sound of working handlooms, stretched warp yarn in the
streets, colorful dyeing of yarn and open sun drying of multicolor dyed yarn, with
typical country side unpretentious surroundings, offer an exhilarating experience
devoid of urban clumsiness but with full of natural beauty. Almost everything in
the hamlet and household of the villages has a story to tell. It is mesmerizing to
listen the simple explanation given by the family of the artisans, more excitedly by
the ladies of the family, showcasing the artistically skilled and innovatively
executed hand woven products so painstakingly preserved in their small house for
the last seven generations. They don’t show these products to anybody but only to
the connoisseurs, patient listeners and lovers of traditional crafts. No wonder, the
visiting tourists even from very advanced countries like Japan, Italy found to be
awestruck and sighted to be hobnobbing in the most beauteous sojourns across the
valley of Maniabandha area.

2.2 History of Maniabandh :

The inhabitants here trace their descent to the Buddhist following, who migrated
from West Bengal, 5000 years ago. Advocate Ajith Chowdhury, secretary of
Buddhist sangha, believes in this historical narrative. Their forefathers are
supposed to have come from Nandipur or Nandigram in the Purba Bardhman
district of the adjacent state. Known as Śrāvaka or Śhrābak, they follow the
Hinayana school of philosophy. In the light of their songs, which refer to
Nandigram and migration to their present destination, this contention holds water.
Moreover, most have typical Bengali surnames like Chowdhury, Das, Dutta
and Majumdar. A few followers of both these ancient religions are found in the
Bardhaman district of West Bengal, including a place called AshasthoopaTill the
previous generation there was a custom, whereby new-borns would be taken for
naming ceremony to Nabadwip, a city in Nadia district, also in Bengal.

The first wave of migration is supposed to have occurred in the 7th century AD.
Under the reign of the 12th century Hindu king Ballal Sen, persecutionof
Buddhists hit a peak spurring migrant outflow. The last exodus from Bengal
resulted from Muslim atrocities on Buddhists. It happened when Prataparu
Devacharakan ruled Odisha in the 15th century.
Termed as one of the oldest “living Buddhist sites” in the country, where weaving
is continuing for centuries, Maniabandha was mentioned in Chinese traveller and
writer Hieun Tsang’s narration when he visited India in the 7th Century AD.
According to “Madala Panji” of Lord Jaganath, the tie and dye technique in this
area, as per history belongs to Ramchandra King th of Puri in 1719 A.D. and also
Jaydev the great poet. During 12 century, Jaydev desired to offer this Gitagovind to
Lord Jaganath .He find the silk fabric as a medium. He decided to write the lyrics
of Gita Govind using the tie and dye technique at this village Kenduli Birth place
of Jaydev) and advocated them to Lord Jaganath, Balabhadra and Devi subhadra.
The art of weaving in this area is more than 800 years old and is linked with the
temple of Lord Jagannath at Puri.
 Chapter - 3
Geographical Location

3.1 Location of the Maniabandh cluster

The village of Maniabandha is about three kilometers away from Nuapatna and is
also well connected with good road. The area of production consists of four blocks
of the districts namely Baramba, Tigiria, Banki and Athagarh. Maniabandha in
Baramba block under Athgarh sub-division in Cuttack district.

3.2 Significance of the products:

Maniabandha’s saris are famous for their unique designs though traditionally they
originated from the “ikkat” class (tie and dye). According to legend, Hieun Tsang
was offered a sari, which was packed inside a hollow bamboo pipe. He was so
happy with the weaving artistry that he mentioned this in his travelogue back home
in China. Presently, Maniabandha saris are among the many items which are
exported to various countries. Other products include dupattas, stoles and
accessories for women, all weaved by locals. Maniabandha saree is famous for its
intricate tie-dye sarees and Khanduapata.\

5.1 Maniabandh Artisans:

According to the survey made, the artisans admits that each saree takes about an
approximate of 5-10 days sometimes even 15 days depending on the intricacy,
detailing and the amount of work done on it.The Maniabandha cluster artisans
specialized in Single Weft Ikat.One of the youngest Artisans Lipun Mahapatra,
20years old have been practicing the craft for the past 6 years now, from his
teenage years, Weaving 1 meter of fabric takes about an hour while it takes a full
day to complete a meter alone with tie and dye.He has been trained under his elder
brother Mr. Chittarangan Patra for 8 months in house before joing Antaran ,an
initiative by Tata Trust to uplift the skills and Design innovation the artisans. For
most of the families here the craft has been carried along for over a 50 years.They
are currently producing Sarees and Yardage, mostly, some going a level higher
with the help of cooperative societies to produce Dupattas, Stoles, and Cushion
covers undergoing training for the same.The artisans passes onto the skills to the
younger generation in their family.Mr. Lipu Mohapatra is currently training 7
people under him to level up their skills.

Challenges faced while continuing the Craft:

1. Newer Designs , Newer Techniques and Improved Color Combinations are

unwelcome and Unappreciated in the Local Market.The local market
Demand generally lies in the traditional designs so newer developments or
Increased Intricacy fail to fetch their appropriate income from local
 customers , hence these artisans need to travel far and wide often outside the
city in cities like Bombay, Delhi & Bangalore to sell their Products in the
Exhibitions in their designated price
2. Secondly there is a widespread use of napthol as a common Dyeing agent
which is a Lot Cheaper than Vat Dye.Napthol poses a serious health threat
causing skin diseases onto the hand that uses them , crippling the bearers of
tradition forever.
3. Also there is non-availability of a variety of colors of the dyes in the market,
because of which the artisans are bound to mic 2 or three different colors to
create a new one often the portions go wrong for which they have to create
again leading to a lot of waste of time adding on a baggage to their
overworked days.
4. Sometimes Raw materials are not readily available in the local markets for
which they are made to wait which further delays the production process.
5. The presence of Middleman/Agents adds on their problems while marketing
the products who increases or decreases the value of the same product and
profits out of it on the basis of market of demand leaving the artisans
helpless.

3.3 People Living in Maniabandha:

Maniabandha is a village full of artisans who practice craft weaving ikat. But
along with fabric weaving they also weave bonding and emotions to the
visitors. People of Maniabandha are very pure hearted and treat everyone
with their kindness. They feel happy to address people to their places.
Even if they earn a little, they try to serve in every possible way they can.
They never feel inferior to treat people and do things with devotion. Most of
them follow Buddhism and serve others following the foot steps taught by
Lord Buddha.
 They are very simple, works from morning 6am to 12pm, then some rest
time and again starts working after 3pm to night 7pm. After 7pm its all
friends and family time. They do a lots of hardwork along with it they enjoy
their life and most importantly give time to others and have a very good
bonding with everyone.
Maniabandha people are probably the only traditional Buddhist left in India.
They want to spread Buddhism so that influence their little birds. There is a
school which is operated by the contribution of Buddhist society weaver of
the region. The used to give primary education along with Buddhism moral
knowledge by which kids get inspiration and follow the Buddhism same as
their parents. To make a major and managed school they have requested
government to help them out in construction of a proper primary school.

Chapter - 5
Production Process

PRE PRODUCTION PROCESS

5.1 IKAT Weaving Process of Orissa:
Orissa at one time called “UTKAL”, the land of excellence of art and craft. It
possesses numerous and glorious traditional arts and crafts like woven textiles,
pattachitra, applique, silver filigree, and wood craft etc., which no doubt have
gained distinction of its own, nationally and internationally. Of all these, history of
woven textile craft is stretched long back to the past. Much have been spoken and
till more have been written about the hand woven textile craft of Orissa.
The art of IKAT weaving is practiced, over centuries, and the skill is being
inherited, through generations. The Orissa IKAT weaving is a much older tradition
that Andhra Pradesh or Gujarat, and their more popular motifs as such are a
stylized fish and the rudraksh bead. Here the colour is built up thread by thread.
The 'Ikats' of Orissa stand apart from the rest other 'Ikat' traditions due to the
unique design range that they possess, derived from nature and religious themes.
Thus while Ikats of Orissa have a wide range of flowers, trellis patterns, animals,
gods and goddesses and images from day to day life as their motifs, most other ikat
patterns have either geometric or diffused abstract forms as their motifs. The fine
nature of these difficult-to-weave motifs is possible due to the fine tying and
dyeing skills and thereafter weaving skills of the weavers of Orissa who do not
allow any distortions in these motifs during the course of weaving.
 5.2 Raw-material used for Production:
The different stages involved in the process of production can be summarized as
follow:
YARN

Description(gsm) Price per bundle (per Place Of Procurement

4.5kgs) (in Rs.)
Cotton 2/10 1600 Local Market, NHDC, Boyanika
Cotton 2/20 1800 Local Market, NHDC, Boyanika
Cotton 2/30 2200 Local Market, NHDC, Boyanika
Cotton 2/40 2400 Local Market, NHDC, Boyanika
Cotton 2/50 2600 Local Market, NHDC, Boyanika
Cotton 2/60 3000 Local Market, NHDC, Boyanika
Cotton 2/70 3400 Local Market, NHDC, Boyanika
Silk (Mulberry) 2 ply 3600/kg Local Market, NHDC, Boyanika
Silk (Mulberry) 3 ply 4000-4200/kg Local Market, NHDC, Boyanika
Local Tussar (Geecha) 2800-3000/kg Local Market, NHDC, Boyanika
DYES AND CHEMICALS

VAT Dye 3000-4000/kg Local Market

Azoic Dye 300-500/kg Local Market
Acid Dye 350-550/kg Local Market
Caustic Soda 15/kg Local Market
Hydro 200/kg Local Market
COST OF DYEING
VAT Dye 800
Azo Dye 250-350
Problems encountered while procuring the raw materials are:
1. Only yarns of count 2/80 and 2/100 are readily available in the local
markets, the remaining varieties take up to a week’s time to be arranged,
leading to the delay in the production process.
2. Azoic Dyes which is easily affordable and readily available are a threat to
the health of the weavers leading to various skin diseases.
3. A variety of colors are not available in the local markets, red and black
colors beings the ones most readily available, leading the artisans to mix
different proportions of different colored dyes for different bundles to
produce a single piece of fabric of single color often leading to slight color
differences in different bundles for the error in while mixing proportion of
dye each time a bundle is dyed.

HAZARDOUS TO HEALTH
DISAGREED
24%

Tools Used:
AGREED
76%
The age-old tradition of Ikat weaving is being survived today at the skilled hands
of the interior rural handloom weavers and that Ikat process of weaving in the
Local Names: Maniabandh area of Cuttack district.
Reed Pania The raw materials are brought from
Warp Tana the local market and are stored in
Weft Bana cupboards.
Shuttle Manku
Loom Tanta
Tie & Dye Frame Dhada
Small Bobbin Wali
Winder Arat
Bobbin Nall
Spindle Nattai

5.4 Dissolution of dyestuffs:

As per the desired shade percentage and material weight to be dyed, weight of
dyestuff is calculated and dissolves in warm water to form a paste and then diluted
with poured boiling water up to a measured quantity.
5.5 Dye Bath:
Dye bath (still vessel) is set at 40 C approximately with M: L (material to liquor
ratio) of 1: 20. The volume of dye solution is deducted after calculation of liquor
ratio. Chemicals like 10% of Glauber's salt, 1 2 % glacial acetic acids are added
separately.

5.6 Preparation of material:

The tied yarn is wetted in water for 4 6 hours with 0.5 1% of TR oil and squeezed
gently before entry to dye bath. This is very important because uneven shade will
be developed if the material is not properly wetted.
PRODUCTION PROCESS

5.6 Dyeing Process:

The material in hank form entered into the dye bath with desired liquor, dye
solution, Glauber's salt and acetic acid at 40 C. The temperature is gradually
increased 0 to 9095 c within 45 minutes. The material is run continuously by steel
rod for further 45 minutes. For effective exhaustion 1% of formic acid is added and
worked for 15 minutes. After complete exhaustion, the material is withdrawn,
squeezed mildly, washed in warm water followed by cold water then squeezed
dried in open air. However for better fastness properties winch dying machines of
10kg capacity should be introduced here. Here the skill of the dyer/weaver is very
much essential to get the desired design which woven in the fabric.

5.7 Winding:
The process of weaving involves a number of activities like winding, warping
design setting drafting, denting and weaving. The artisans used traditional
charakha for winding the yarn in notai or bobbin. There is no winding M/C. for this
process mostly done by the ladies. They get Rs. 3.00 for winding a hank.
5.8 Warp Preparation:
After getting silk yarn (2 ply mulberry silk) by the weavers the yarn is soaked in
cold water for at least 12 hours before degumming. Generally, for production of 16
pieces of sari, 2 Kgs of silk yarn is required. Then Degumming is carried out for 1
hr. After rinsing the yarn in hot water and then in cold water, the yarn is dyed with
desired shade. Then stick cage winding (Hank stand or shift and stick cage or
Natai) of dyed yarn is carried out which takes 8-10 days. The hanks so obtained are
passed through sizing process (using, fried rice) and wound to a stick cage, which
takes further 8-10days. The yarn on the stick cage is dried. This stick cage process
is too laborious, it adds a lot to the cost price of the product. Automatic winders
can be introduced to do this job, first in experimental basis and then in commercial
basis till subgrouping of ikat process.
Using horizontal warping Drum carried out the warping process:
This process takes about 4 days.
After getting the warp and the
Warp beam, the Drafting &
Denting processes are taken
up which takes 2 days. Then
the warp is taken to the loom
and other arrangements such
as head tie-up, Harnessing of
coloured yarn for border using,
dobby/jacquard are carried out
on the loom which take 4 days.
5.9 Weft preparation:
Mulberry charkha silk (filament Malda) are used for weft. For16pcs. Of sari, the
weaver get yarn about 5Kgs. but the processes are carried out in phased manner. In
the cluster, for designing the sari, Tie & Dye is the traditional process. For getting
design prominently & exact to the desired motif, the weft yarn is processed in
phased manner, i.e. for 2 pcs. 600 gms and for 4pcs-1200 gms). The weft yarn is
available in single form in the market. So, yarn is first plied to 3-4 threads by
winding onto a stick cage in two stages, which takes 5-8 days.
Then the yarn twisted in a local process, which takes one day. The process
followed here is purely traditional, manual and laborious also. It is interesting that
though the plied weft yarn at present is available in the open market, these weavers
do not use it in order to avoid duplication in quality of raw material. Plying or
blending process has ample scope for adulteration in the quality of silk yarn, which
is not noticed in the naked eye. If low quality silk yarn is mixed in this plying
process, protrudes in the resultant yarn develop pilling effect during end use.
Therefore it is better to procure single yarn in pure form. But automatic plying
machine here also can be experimentally introduced to reduce the too much add on
labor cost. The yarn is soaked in water for 8-10hrs before degumming. The
degumming is carried out for 1 hr. followed by rinsing with hot water and then
cold water. Then yarn is left for drying within one two days.
The yarn is again made to 2 ply by winding on to a stick cage which takes two
days and after that the yarn treated with sizing material (fried rice-lia) in a day and
again plied by rewinding on to a stick cage which also takes one day and then left
for drying.

5.10 Manual Tying Process:

The yarn is then taken for preparation of tie & dye with the help of these patta (for
ensuring the width & length of the desired fabric) and wooden frame. The yarn is
arranged in kera form in the wooden frame and tied with twisted yarn the portions,
which need to be left white in the design. This process is repeated depending upon
the number of colors required in the design. Then dying of yarn is carried out.
Mostly Direct, Acid and Metal complex dyestuffs are used in the cluster during tie
and dye process. However Metal complex dyes are now widely used for its good
fastness properties and wide range of sales. All dyestuffs are water-soluble. As the
name indicates, metal component is incorporated into Acid dyes to form Metal
complex dyes. Dying is carried out in acidic bath.

Here, the weavers have a practice of doing the tie-dyeing on the Weft i.e Bharani
in their local language. The Warp beam yarn is generally a single colour plain dyed
one, which is done independently at each and every household. But the main art
and skill is in generating a good tie-dye design on the weft. The Tie & Dye activity
for some of the routine normal traditional motifs are being practiced by almost all
the weaver households but the activity of tie & dye for some specific designs has
been taken up by persons as a full time work on cost basis. There are 20 different
exclusive Warp dyers and 20 Different Weft Dyers. The charges for dyeing
activities changes as per the Colour, Season and the tie-dye pattern.
 The material in hank form (degummed silk yarn) entered into the dye bath with 0
desired liquor, dye solution. The temperature is gradually increased to 40 c within
5 minutes. Then Glauber salt is added and the material is stirred continuously by
steel rod 0 0 for further 45 minutes at a 90 -95 C. For effective exhaustion 2% of
acetic acid is added and worked for 15 minutes. After complete exhaustion, the
material is withdrawn, squeezed mildly, washed in warm water followed by cold
water then squeezed dried in open air. However for better fastness properties dying
machines should be introduced here. Here the skill of the dyer/weaver is very
much essential to get the desired design which woven in the fabric. They also use
Vat & Azoic dyeing process for cotton dyeing.

5.11 Design Setting:

According to the design made in the graph paper, which in reflected on the
selvedge of the saree the dobby pegging done by the designer. The dobbies are
making by the local carpenter. There is no modern dobby used here.

5.12 Drafting and Denting:

Drawing the yarn through the heald and reed is carried out manually. Mostly
Nylon heald and wooden reed (made up in bamboo) are used. So after a long use
reed mark is reflected on the surface of saree. (Not equally spacing of the warp
yarn in the saree).
PRODUCTION
5.13 Weaving:
The process is very much significant in the chain. 70% weavers are using flying
shuttle frame looms and 30% pit looms are used. On an average cost of these loom
ranges from Rs.2500Rs. 4000/-. During weaving process of tie-dye fabrics the weft
yarns usually set on the fall of the fabric after each beating. So, it is slow process
around 25 30 picks/mnts.
Women are mostly involved in the winding process and making tassels whenever
needed. The men are majorly involves in the tie and dye process and the weaving
process. Most of the weaving is done inside the houses of the artisans. The dyeing
and tying process is done outside.

WORK RATIO IN A WEEK (IN HOURS)

WOMEN
42%

MEN
58%
Distinguishing a Good Product from a Bad One:
 The finishing is kept in mind, there is a notable
difference in the finesse of the design w.r.t to
the master line or the pattern.
 The color combination is kept harmonious
 While weaving Picks per Inch i.e. how much
yarn will come in inch of the fabric is
considered for a good product
POST PRODUCTION & MARKETING
• Starching- Most of the sarees are starched using rice water (water that is left
after boiling the rice). The starched sarees are tightly wrapped over a wooden roll
and left to dry in the sun. This gives the fabric some stiffness and sheen. Then
these are carefully folded and sent to the buyers.
• Quality check- once the saree is ready, it is carefully examined for its quality and
any defects.
• Calendaring- At this stage the pieces are ironed out again for the final time. In
this process there is a set of two heated rollers above and below a beam roller. As
the beam roller rotates, the heating roller rotates as well, which facilitates the
passing of the material across the roller and is hence pressed by heating rollers.
The products are then sold in local markets with products made according to the
local market demand with the help of Mahajans. However few artisans associated
with Antaran, a training house for the artisans developed by Tata Trust, the artisans
trained there have already taken their next step and have been selling their products
in exhibitions held in Delhi, Mumbai and Bangalore with product designs that are
trendy and appealing to the market outside their locality.

MARKETING
DIRECTLY TO
TRADE FAIRS
CUSTOMERS
18%
20%

LOCAL MARKETS
13%

MELAS AND
FESTIVALS
15%
EXPORTS
8%

DEALERS/MAHAJA
NS
26%
 List of products:
Name of products Product particulars Price(in rs.)
Stoles 2/80s 700-2000
Handerchief 2/80s 60
Tablecloth 2/10s;2/40s 1200
Cushion Cover 2/10s 6020
Dress Material 2/80s;2/60s 400-650

Saree Cotton Varieties

BRAND BODY AANCHAL BORDE WARP WEFT REE PIC AVG.
R D K COST
Body Bandha Tie & Dye Tie & Dye Tie & 2/120 2/100 72 70 420
Dye
Jharana Tie & Dye Tie & Dye Tie & 2/100;2/80 2/80 64 58 1200-1400
Dye
Pasapali Tie & Dye Tie & Dye Tie & 2/100 2/80 64 62 850-1000
Dye
Kargil Tie & Dye Tie & Dye Tie & 2/100 2/80 64 58- 850-1000
Dye 62
Kumbha Tie & Dye Tie & Dye Tie & 2/100 2/80 64 62 850-1000
Dye
Scot Tie & Dye Tie & Dye Tie & 2/100s;2/8 2/100 66 64 800-1100
Computer Dye 0s
Hycco Tie & Dye No Tie & Tie & 2/100 2/80 64 62 850-1000
Dye Dye
3D Tie & Dye Tie & Dye Tie & 2/100 2/100; 64 62 200-1500
Dye 2/80
Thaka Tie & Dye Tie & Dye Tie & 2/100 2/80 66 64 850-1000
Dye
RekhaButi No Tie & Tie & Dye Tie & 2/100 2/80 64 62 950-1050
Dye Dye
(Warp
wise)

Organisations:
The exquisite sarees, salwars and other material produced here are elegant
creations clad in beauty. It is through nearly thirty-seven co-operative societies,
mostly profitable, that these artifacts are sold. One such society is named after the
Dalai Lama, after he visited that institution. Its members still recall with gratitude
the financial help from the venerable one to construct a building. The Odisha-
government run ‘Boyanika’ chain markets the produce.

Motifs:
Motifs are the decorative intricate images or designs and a recurring idea in an
artistic work. In Maniabandha, Ikat sarees motifs are developed from generations
by following traditional tie and dye techniques. Each motif carries its own
authentic,historical story which adds more emphasis to the product developed. The
technique used to develop motifs is commonly known as ‘bandha’. There are
different famous motifs which have continued throughout the ages but nowadays
some artisans are making changes to it and coming up with the fusion of traditional
and present demand of market i.e. design intervention. The price of sarees varies
according to the intricacy of the design and time consumed.
The master artisans usually uses the traditional motifs in their design .Newer
motifs developed are inspired from the houses , leaves ,the surroundings and also
influenced by those having high demand in the market.The craft was traditionally
religious. Khandua sarees were specially made to gift Lord Jagannath.With passing
time it has been used for socio cultural reasons too, like gifting in marriages
(Tarabani sarees).In most recent times it is used for day to day utility.

Some of the most famous motifs that are being implemented are : Jhoti motif
(inspired from the wall art of odisha), Kumbha motif (inspired from the
architectural silhouette of temples), Khandwa motif variations, Zig-Zag motif,
Chess motif, Tree motif ,Pasapalli motif, Box motif with line, Matsya
motif(inspired from fish), Jhili motif, Tira bandha(inspired from arrow), Patra
(inspired from leaves), Floral motifs, Boonti, Rudraksh motif, Chakki phul,
Brahmakami, Bari bandha and many more.
5.3 Socio Economic Profile :
 The average working day of a weaver is 280 to 300 days per annum.
 The Weavers earning vary from Rs. 5000 to 7500 per month an average
wages per day is Rs. 50 to 60 per loom.
 Majority of the population are illiterate and semi-literate.
 Most of the families among weavers have more than five members.
 50% of the weavers belong to BPL category.
 30% of the weavers cover by Health Insurance Scheme.
 There is no water supply to the cluster, and the water available is hard water
that affect on dyeing.
 Most of them leaving in Katchha house. The main problem in rainy season
that there are some leakage on the roof so that they can't work.
 60% of the weavers are well connected in electricity and rests are depending
upon Sun for their work.
 25% are connected by telephone.
 Due to continuous weaving and chemical dyeing most of them suffered in
eye diseases and skin diseases accompanied by backache..
 Some of them have landed property they get themselves engaged for
agriculture and partly weaving during rainy season.
 Maximum weavers are belong to OBC category, approximately 98
percentage.
 It is found that more than 42 percentage male are working in the in this area
in weaving, pre-weaving and post weaving activities.
 More than 36 percentage female are also helping in the above three
mentioned categories of activities.
 Out of the total children 22 percentages of children are helping to their
parents in the pre loom activities.
 LITERACY LEVEL
Primary School
13%
College Graduates
33%

Secondary School
54%
 LANGUAGES KNOWN

Hindi
30%
Odia
46%

English
24%

MONTHLY INCOME
2500-5000
More than 10000 7%
20%

5000-7500
27%

7500-10000
46%
 TYPE OF HOUSE OWNERSHIP

Constructed
44%

Inherited
56%

TYPE OF DESIGN WORKING ON

MARKET DEMAND
18%

LATEST DESIGN
39%

TRADITIONAL
DESIGN
43%
 SKILL LEVEL

MASTER SEMI SKILLED

CRAFTSMAN 31%
38%

SKILLED
31%

TRAINING INITIAVES

NOT RECIEVED
44%

RECEIVED
56%
 AREA REQUIRED TO BE TRAINED IN

SKILL
MARKETING DEVELOPMENT
32% 32%

BETTER QUALITY
4%

DESIGN
INNOVATION
32%

PRICING
LOCAL MARKET
DEMAND
23%

SELF
50%

MAHAJANS
27%
 DESIGN IDEA
DESIGNERS
5%

OLD PATTERNS
33%

SELF
52%

MAHAJANS
10%

Chapter – 6
Impact of Globalization

6.1 Changes due to globalization:

Orissa have earned national and international reputation since a few centuries for
their exquisite and unique style of weaving and designing. The state has rich
tradition in handlooms and its products especially “IKAT” are all well recognized
all over the country and also abroad for their artistic designs, colour combinations
and durability. But due to the fast change in consumer taste , demand of eco-
friendly and quality fabric with zero defect , fashionable fabric etc. our handloom
industry have entered into a crucial stage to compete not only in the domestic
market , but also in the international market. On the other hand the new
technological improvements constantly take place in handloom weaving in the 19
century especially after phase out of quota system. Now a days fly shuttle looms
has been introduced replacing the traditional throw shuttle which increases the
productivity, but it is very much rare in the state like Orissa. New technologies
should serve the interests of the producer as well as the user of the product and that
is also cost effect to implement it in the handloom sector of this state. In the era of
globalisation, implying both transparency and participation, the policy making
exercise of Government relating to handloom sector should involve responsible
producer ,organization and be based on detailed studies to save the handloom
sector from the problems of globalisation The impact of globalisation on handloom
sector particularly for this state in many cases it is trouble shooting.

The impacts are can be discussed precisely as weakness of Orissa handloom sector:
1. Orissa handloom designs are not branded /patented, ethic is very much
essential in this globalisation competitive market.
2. Craft of tie and dye needs high skill.
3. No sufficient literature' publications area available to reach it to new
weavers even if to technologist.
4. Process is with very low productivity.
5. Process is less scientific, having less or no control on the quality of product
with no assurance on fastness properties like colour, rubbing, washing and
light fastness.
6. Bleeding of one colour over other is a common problem.
7. Production with matching colour is impossible which limits the bulk
production and also exportability.
8. No after treatments are done to improve the fastness properties of Ikat
fabrics.
9. Handlooms are placed indecent realized manner in different remote areas of
Orissa.
10.Closure of most of spinning mills provides hindrances on availability of raw
material as it is bound to purchase yarn at higher price from Madurai,
Coimbatore, Kolakat etc.
 11.No. Information technology system and design package are applied in the
industry till date.
12.Dormancy of most of handlooms& PWCS due to dearth of working capital.
13.Not a single garment/ apparel house is established to make the products
garment oriented.
14.Uniform quality control system for the products of the state and awareness
of ISO9000 is not established.

Threats:
1. Duplication of design patterns by the printing industries influences harshly
to Ikaat designs.
2. The present product level does not satisfy the quality norms to compete in
international market during quota free post WTO period.
3. The continuance of Ikat textiles production without after treatments and use
of banned dye-staffs having carcinogenic effects will be more fatal to
foreign market.
4. Production of handloom fabrics in Orissa is with less scope in absence of
textile policy by Govt. of Orissa including financial assistance for
a) Liberalization of raw materials (in absence of spinning mills)
b) Price competitiveness
c) Compensation to stat export business.
d) Setting of Apparel park
e) Research & development cell for handloom industry.
To sum up it may be said that there is scope for the growth of handloom sector in
the state especially in the cotton production, yarn production and processing units.
Only steps are to be taken to overcome certain hurdles. Also efforts need to be
given to educate human resources through various training programme, workshop
and meeting, publication local language journals, magazines etc. to motivate them
regarding the present needs, upgradation of technology, management of financial
resources required to set up industries.
 Conclusion:
Maniabandha areas have a rich tradition of hand weaving single Ikat designs in
cotton. The governmental assistance appears to be insufficient as per the survey
data reveals. Thus, the study reaches at the conclusion that neither there is much
diversification in the craft process or product, nor there is a qualitative leap in the
plights of the weavers. This creates a major challenge to the sustainability of the
craft and the livelihood options of the weavers in the long run and the export
potential of the state. More financial assistance, regular supply of quality raw
material, adequate marketing support, technological and design intervention with
plans for product development are some of the areas along with strengthening of
the cooperative sector which need urgent attention for sustaining the craft and to
preserve the culture and tradition of the hand weaving craft of the area.