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Home , Zardozi

Catalogue Vol-1

THE ORIGINS OF “ TA ANK A” aanka is a social enterprise established by Community World Service improved livelihoods for marginalized, rural women through the Asia and its partners, to promote the finest handcrafted amalgamation development of market access and linkages to urban markets. It is of contemporary designs with traditional stitches, produced by rural expected that the remunerative value of crafts will be enhanced by Twomen artisans from interior Sindh, . developing additional design varieties, which appeal specifically to the urban market. Sindh is a socially diverse province with a history of conflicted communities. Notably, many of the conflict drivers which culminated at the time of partition Taanka was launched for these women to collaborate with urban designers, have never satisfactorily been resolved. design students and commercial textile companies and fashion brands, to reflect consumers’ demands in ethnic designs. With this, the rural artisan The trends of income inequality between the affluent groups and the women, have been empowered to realize their right to cultural participation destitute groups; comprising of native Sindhis who inhabit the rural areas, is and creativity, as well as the opportunity to establish linkages with urban increasing with each passing day. Umerkot, in interior Sindh, ranks second creative industries of traditional production. at the provincial level in terms of poverty with 46.2% of the population below the poverty line. Gender disparities in this region prevent women from Rural artisan women, primarily from districts of Thatta and Umerkot, have participating in household decision-making. Taanka’s work helps to create been identified, clustered into Women Enterprise Groups under the umbrella an enabling environment to reduce gender barriers and improve knowledge, of Taanka and then, trained and coached by popular national fashion attitudes and practices on gender-related issues affecting the households designers on using varied and complimentary color combinations, introduced and local communities in this region. Taanka’s endeavours helps mitigate new stitches, enhanced skills on finishing and tidiness of products. frictions and reduce obstacles to behavioral changes to ensure that women are allowed to participate in skill-building trainings, delayed early marriages, As a social enterprise, Taanka acts as a link between rural artisans and intervenes in cases of gender-based violence and has led to an increase in girl urban buyers. Taanka puts in effort to get orders from retailers; once an enrollments in schools. order is received, specifications are shared with Taanka’s team who then ensures the processing and completion of orders by the artisans in Umerkot To enhance economic growth at the domestic level, it is vital to promote and Thatta. 01

Pakistan has inherited a rich cultural heritage from technique. True to its name, Taanka artisans its history which is as old as 7000-9000 years apply and work with many different stitches to and with time the breathtaking artisanship of ensure that their craftsmanship is unique, truly Pakistan has become overwhelmingly renowned as representative of the Sindhi culture and yet offers its cultural identity. The color, the shape or style a diversity in its range. of a craft item instantly evokes its region. These ethnic are particularly popular for Every purchase and order enables the artisans their intricate embellishments, enticing hues and behind Taanka to use their talents to support appealing textures. themselves and their families, and combat poverty.

The province of Sindh in Pakistan is particularly popular for its unique hand . Various sorts of threads, twisted silk, or cotton is used in different types of embroidery from this region. Moreover, highlighting the traditionalism of Sindhi hand embroidery, the handicrafts produced are mostly in bright, festive colors such as maroon, red, yellow, orange, blue and green.

However, Sindhi embroidery has a huge scope of being contemporized. Sindhi handicrafts are not just embroidered in one specific method, but apply a variety of different stitches to its production. Each stitch is different in its KARAK harak is a popular embroidery technique originated in Rajasthan, . It derives its name from the fruit of the desert, the date, which is locally called kharak. Its characteristic feature is its clusters of Knarrow bands or bars of . Popular patterns of Kharak embroidery include bewari kharak and ghinghro wall kharak. The people in Sindh use Kharak mostly on apparel, and more commonly on shawls. 03

PAKKO akko technique is known for its sturdiness and longevity. Pakko is derived from ‘pakka’, which means, permanent. The motifs used in Pakko are both geometric and floral. These are Pfirst shaped out with a chalk like substance and then worked mainly in shades of red, dark green and gold or yellow with a characteristic black. Sometimes yellow or white borders are used a lot. Mirrors, called tika are used as the centres of the flowers and to make border designs. Though embroidery threads of silk can be used, cotton is usually favored. Trimmings like mirrors, beads, buttons and tassels enhance this embroidery style to produce richly ornamented Shawls, shirts, cushions and other apparel. KACHO his embroidery technique is specially originated from Tharparker in Sindh and has historically been linked to the areas surrounding Diplo and Mithi in central Tharparker. This area is popularly linked with the TSodah Rajpoots of the nineteenth century who used this form of embroidery in their apparel, and home interiors. 05 RUNNING STITCH he running stitch or is the basic stitch in hand-sewing and embroidery, on which all other forms of sewing are based. The stitch is created by inserting the needle in and out of the fabric. TRunning stitches may be of varying length, but typically more thread is visible on the top of the sewing than on the underside. So, a running stitch runs through the fabric. The running stitch is mainly used in making Rallis, men and women’s wear casual . APPLIQUE

here are two types of appliqué techniques that are carried out by Amongst the wide legacy of handicrafts that it has gained the traditional and the new craftswomen; under-laid appliqué and pride for, Sindh is particularly renowned for its unique over-laid appliqué. Appliqué, on its own, refers patchwork quilts called Rallis. Coming Tto small shapes stitched onto fabrics, which are not from the Sindhi word “ralannu”, it means cut out as in a traditional Ralli pattern. This is termed to cover, join and connect. as over-laid appliqué, in which cutting out solid shapes of the accessory fabric that are laid onto a ground The lives of the people who make this fabric out of the fabric. is simply the result textile are woven into each piece. These that is achieved when a pattern or motif has been cut quilts held great significance in the out of the fabric. Once this pattern or motif is placed province of Sindh and still do. They were on a fabric to form a decorative design, it is called originally made for the purpose of being under-laid appliqué . Sewing the necessary fabric under used as blankets or covers, as protection a ground fabric that has cutwork done on it produces from the harsh winds of the deserts. an under-laid appliqué pattern. This can also be termed However, the creative endeavour that was as reverse appliqué. Cutwork appliqué (tukwari; tuk put into making a Ralli quilt is what gave it jo kaam), whole, is the name given to the decorative such importance in the eyes of the maker technique of applying a shape, design or motif of one and the beholder. Presenting a guest with fabric onto a background made of a different fabric1. a Ralli was a portrayal of unparalleled Sindhi hospitality and respect. The entire History of Appliqué work in the subcontinent can be community would gather around to traced as back as the times when the women folk of make a Ralli; specifically, the ones that the native communities of north Gujarat; the Kathis (the land owners), the they had to present to their daughters for their dowries. The Mahajans (the businessmen), the Rabaris (the nomad camel herders) and knowledge about designs and techniques were passed down the Muslims produced large canopies, hangings, friezes, bullock-covers from mother to daughter, generation after generation, dating (Jhul), tents for ox-carts with human and animal figures stitched on them2. back to the civilization of MohenDaro & Harappa3.

1 http://www.indusvalley.edu.pk/library1/2009/Textile/Hina%20Abbasi.pdf 2 gaantha.com 3 http://www.indusvalley.edu.pk/library1/2009/Textile/Hina%20Abbasi.pdf 07 AND ZARDOZI

ardozi is a form of embroidery that came from Persia. Its literal translation, “zar” meaning gold and “dozi” meaning embroidery, refers to the process of using metallic-bound threads to sew embellishment Zon to various fabrics. This heavy and intricate style of design is particularly popular in countries like Pakistan, India and .

Zari (or Jari) is an even thread traditionally made of fine gold or silver used in traditional Bengali, Indian, and Pakistani garments, especially as brocade in . This thread is woven into fabrics, primarily made of silk to create intricate patterns. It is believed this tradition started during the Mughal era and the Surat pot being linked to the Haj pilgrims and Indians was a major factor for introducing this craft in India. During the Vedic ages, zari was associated with the grand attires of Gods, kings and literary figures. Today, in most fabrics, zari is not made of real gold and silver, but has cotton or polyester yarn at its core, wrapped by golden/silver metallic yarn. Zari is used in various forms such as Zardozi, Kataoki Bel, Mukaish, Tilla or Marori Work, Work, Kinari Work. PATCHWORK atchwork or “pieced work” is a form of that involves sewing together pieces of fabric into a larger design. The larger design is usually based on repeating patterns built up with different fabric shapes (which can be different Pcolors). These shapes are carefully measured and cut, basic geometric shapes making them easy to piece together.

QUICK FACT:

Evidence of patchwork—piecing small pieces of fabric together to create a larger piece and layers of textile fabrics together—has been found throughout history. The earliest examples have been located in Egyptian tombs and also in early age of China about 5000 years ago. 09

HURMUTCH he Hurmutch stitch is used and practiced widely by the women of Southern Sindh. Hurmutch is the ethnic name of this embroidery technique, however, in English it is also referred to as the stitch. This stitch is primarily produced with the help of wooden blocks with Tdesigns carved out. Once the carved blocks are imprinted on the fabric, the thread and needle work is done on top of it to complete the embroidery. Hurmutch is known to be one of the toughest forms of embroidery and requires more time and commitment from the artisans.

The great Italian merchant QUICK FACT: traveler, Marco Polo was one of the secret admirers of mirror work embroidery. (MIRROR WORK)

hisha or mirror embroidery is traced back to the 17th century in Iran and it is said to have been brought to the Subcontinent through various travelers during the Mughal era. The mirrors are Saffixed on to the fabric by special cross stitch embroidery that encloses the mirror, and provides it a casing. This cross stitch embroidery is not only relegated to affixing the mirrors, but they are also used on the garment as well to enhance the overall appeal of it. Although the most popular shape of the mirror that is used commonly is circular, there are other geometrical shapes such as square, triangular, hexagonal and polygonal that are used for embroidery4.

The term derives from (Persian) shisheh for ‘glass’. In recent times however, mirrors have been replaced by reflective luminescent metal pieces of different shapes and sizes, particularly on apparel. Mirror work is used on various fabrics such as georgette, crepe, cotton, silk, chiffon and many more which are then turned into attractive apparel and accessories ranging from sarees, to cushion covers and belts.

4 Textile Research Centre https://www.trc-leiden.nl/trc-needles/techniques/ applied/shisha-work/utsavpedia.com/Wikipedia 11 MUKKO he Pakko Mukko embroidery is considered of a very high standard. This embroidery uses silver and gold metallic threads. This Tmakes Mukko difficult to render and demands high skill and dexterity of the craftswomen. Even so, this embroidery is enjoyed a lot by the artisans, so much so that they render it not only on ceremonial clothing (for which purpose it was originally invented) but also on their daily wear apparel. MOTI OR KNOTTED PEARL STITCH

his stitch used in hand embroidery is one of those fun, rhythmic stitches that works up fairly quickly. The moti stitch is worked from right to left and has a wider base with the knot Tfalling on the stitch line. It looks like a barbed .

So the knotted pearl stitch ends up just a bit more “knotty” than the Palestrina stitch. Often, you’ll see the knotted pearl stitch called the “reverse Palestrina stitch,” but in fact, it isn’t actually the Palestrina stitch reversed – it has one additional step to it. 13 OTHER TECHNIQUES indhi embroidery celebrates the big, bright and bold. Therefore, it is often also ornamented with colorful accessories such as pompoms, S beads, tassels, sequins and metallic discs. With time the Sindhi artisans have mastered their traditional stitches, but have also adopted practicing newer ones, such as the Balochi stitch (which is native to the Baluchistan province) Kaaj stitch, and the Nawaz Sharif stitch. These artisans are also often experimenting with mixing a variety of stitches to produce the most exquisite handicrafts products.

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