Jamdani
is considered as one of the most beautiful revelations of artistic talents of
weavers in Bangladesh. It is included in the UNESCO Representative List of
the Intangible Heritage of Humanity in 2013. Only recently it has got the GI
(Geographical Indication) registration.
Jamdani: The Art of Weaving (Bangladesh) (2017) by Saifur RashidICHCAP
The
Jamdani
Jamdani is derived from the Persian word “jam” (meaning floral) and 'Dani' that is a vase or container named after decorative floral patterns found in Dhakai Muslin.
The Jamdani (2017) by Dr. Saifur RashidICHCAP
The traditional way of weaving Jamdani in the handlooms by the weavers in Rupshi village located in Narayanganj, Bangladesh.
The Glorious Heritage and Tradition of Jamdani
Jamdani is the only surviving variety of traditional muslins. In the Mughal period (1526–1707), the finest Jamdani was produced in Dacca, a Bengal state (now Dhaka, Bangladesh).
The Glorious Heritage and Tradition of Jamdani (2017) by Dr. Saifur RashidICHCAP
During the regime (1605-1627) of Mughal emperor Jahangir, the plain Jamdani muslin was decorated with numerous floral designs. The emperor was seen wearing Jamdani muslin swatch around his waist in many occasions.
Dhaka: The Home of Jamdani (2017) by Dr. Saifur RashidICHCAP
The weavers are struggling to survive in approximately 150 villages in Bangladesh. A village called ‘Rupshi’ of Rupganj Upazila is popularly known as ‘Jamdani Village’. Situated on the riverbank of Shitalakhya, it is about an hour drive from the capital city Dhaka to the village.
The Weaving of Dreams
The everyday life and dreams of the Jamdani weavers revolve around their craft. Traditional weaving is such an art made by passion, hooks, and threads. Motifs are woven on the loom, typically in grey and white. There is a particular number of threads used to perfectly bring a design into life. Muslin is made of at least 300 counts of thread, while Jamdani is made of 40 to 120 counts of thread.
The Weaving of Dreams (2017) by Dr. Saifur RashidICHCAP
Women members, in particular, of the weaving communities do the work involving the spinning wheel.
The Weaving of Dreams (2017) by Dr. Saifur RashidICHCAP
Locally made, the spinning wheels are made up of bamboo sticks. Over time they have started adopting some wheels made by spare mechanical tools.
The Weaving of Dreams (2017) by Dr. Saifur RashidICHCAP
House yards are used to prepare and arrange threads for weaving.
The Weaving of Dreams (2017) by Dr. Saifur RashidICHCAP
The weavers collect threads from their local shops. It creates a small scale market network among the weavers, service providers, and producers.
The Weaving of Dreams (2017) by Dr. Saifur RashidICHCAP
Dyers use different types of colors to contrast the threads. Choice of color depends on design and motifs. The weavers have mastered Jamdani motifs.
The Weaving of Dreams (2017) by Dr. Saifur RashidICHCAP
Artistic hands and touch of nature bring the finest Jamdani.
The Loom
During the weaving process, a small shuttle of thread called ‘Maku’ is passed through the weft. Two weavers sit alongside each other at the loom and add every discontinuous supplementary weft motifs separately by hand using a tool called ‘Kandul’. They interlace the supplementary weft threads into the warp with fine bamboo sticks in a zigzag manner using individual spool of thread.
The Loom (2017) by Dr. Saifur RashidICHCAP
The local weavers use bamboo in making the whole structure of the loom; it is locally called “tant”. Wood, jute, or plastic can also be used to make loom.
The Loom (2017) by Dr. Saifur RashidICHCAP
Two weavers can use one loom at the same time to make saree.
The Loom (2017) by Dr. Saifur RashidICHCAP
In addition to looms for two weavers, there are small looms for one person. These looms are mostly used for making cheaper saree, salwar-kamiz, kurta, and panjabee.
The Loom (2017) by Dr. Saifur RashidICHCAP
Weavers set up looms inside a house according to space availability and economic capacity. For poor families that usually have only one living room, their looms are set up in it, too.
The Loom (2017) by Dr. Saifur RashidICHCAP
These weavers are locally called Tantees or Karigors. A village weaving community is generally composed of loom-dressers, dyers, spinners, and master weavers. All of them form a very closely-knit family bounded by enduring unity, distinctiveness, and unique character.
The Loom (2017) by Dr. Saifur RashidICHCAP
Young people of the weaving community specifically get training through a hereditary system of apprenticeship. They start learning Jamdani weaving at a very young age.
The Loom (2017) by Dr. Saifur RashidICHCAP
A disciple is learning how to weave Jamdani from his master.
The Loom (2017) by Dr. Saifur RashidICHCAP
Majority of the loom workers are teenagers. Both boys and girls work together on the same loom.
The Loom (2017) by Dr. Saifur RashidICHCAP
In the looms, weavers are often accompanied by the close keens and relatives; husband with wife, father with daughter or sister with brother.
The Loom (2017) by Dr. Saifur RashidICHCAP
As some Jamdani weavers are also mothers, so the presence of children nearby the looms are very common.
The Art of Weaving: Designs and Motifs
Transmitted from generation to generation, the art of Jamdani weaving is a combination of creativity, imagination, and skills. Jamdani being hand-stitched is its main feature.
The Art of Weaving: Design and Motifs (2017) by Dr. Saifur RashidICHCAP
There is no written document for the innumerable motifs used in Jamdani. The motifs are repeated with remarkable precision and time-tested consistency. Nothing is sketched or outlined. The weavers can easily estimate the time required for weaving a particular motif.
The Art of Weaving: Design and Motifs (2017) by Dr. Saifur RashidICHCAP
A senior weaver is using starch (made from rice) on a part of a Jamdani saree to make it softer, making sure that every ply of the thread is interlinked with each other. Starching continues until the whole saree is completed.
The Art of Weaving: Design and Motifs (2017) by Dr. Saifur RashidICHCAP
Jamdani patterns are mostly of geometric, plant, and floral designs. The Jamdani textiles combine intricacy of design with muted or vibrant colors. The finished garments are highly breathable.
The Art of Weaving: Design and Motifs (2017) by Dr. Saifur RashidICHCAP
Popular motifs of Jamdani include: panna hajar (thousand emeralds), kalaka (paisley), butidar (small flower), fulwar (flower arranged in straight rows), tesra (diagonal patterns), jalar (motifs evenly covering the sari), duria (polka spots), charkona (rectangular motifs), naksha, belwari, nayanbahar, toradar, hazartara mayuri, and others.
The Art of Weaving: Design and Motifs (2017) by Dr. Saifur RashidICHCAP
Based on the variations of threads, four kinds of Jamdani are available: nylon, cotton, half-silk, and full-silk.
The Art of Weaving: Design and Motifs (2017) by Dr. Saifur RashidICHCAP
The price of Jamdani varies from 2,000 to as high as 200,000 BDT depending on the vibrancy of motifs and time spent on stitching.
The Art of Weaving: Design and Motifs (2017) by Dr. Saifur RashidICHCAP
In addition to the sarees, Jamdani motifs and designs are also used for male and female kurtas.
The Market
The weavers sell their furnished products to retailers. The exchange takes place in their house and local markets. The locally set markets are called Jamdani Haat. Haats sit on the river banks early in the morning, where small weaving families bring their sarees to sell at a whole sale price. Businessmen, retailers, and occasionally some urban families come to these Haats to buy Jamdani sarees.
Concept and Direction: Professor Dr. Saifur Rashid, Department of Anthropology, University of Dhaka, Bangladesh
Team: Daloar Hossain, Ratan Kumar Roy, Noor-un-Nahar Weely
Photo & Cinematography: Bulbul Ahmed
Acknowledgement: Weaving Community of Rupganj and Bargaon, Narayanganj
