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The Social Life of Khadi: Gandhi's Experiments with the Indian
The Social Life of Khadi: Gandhi’s Experiments with the Indian Economy, c. 1915-1965 by Leslie Hempson A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History) in the University of Michigan 2018 Doctoral Committee: Associate Professor Farina Mir, Co-Chair Professor Mrinalini Sinha, Co-Chair Associate Professor William Glover Associate Professor Matthew Hull Leslie Hempson [email protected] ORCID iD: 0000-0001-5195-1605 © Leslie Hempson 2018 DEDICATION To my parents, whose love and support has accompanied me every step of the way ii TABLE OF CONTENTS DEDICATION ii LIST OF FIGURES iv LIST OF ACRONYMS v GLOSSARY OF KEY TERMS vi ABSTRACT vii INTRODUCTION 1 CHAPTER 1: THE AGRO-INDUSTRIAL DIVIDE 23 CHAPTER 2: ACCOUNTING FOR BUSINESS 53 CHAPTER 3: WRITING THE ECONOMY 89 CHAPTER 4: SPINNING EMPLOYMENT 130 CONCLUSION 179 APPENDIX: WEIGHTS AND MEASURES 183 BIBLIOGRAPHY 184 iii LIST OF FIGURES FIGURE 2.1 Advertisement for a list of businesses certified by AISA 59 3.1 A set of scales with coins used as weights 117 4.1 The ambar charkha in three-part form 146 4.2 Illustration from a KVIC album showing Mother India cradling the ambar 150 charkha 4.3 Illustration from a KVIC album showing giant hand cradling the ambar charkha 151 4.4 Illustration from a KVIC album showing the ambar charkha on a pedestal with 152 a modified version of the motto of the Indian republic on the front 4.5 Illustration from a KVIC album tracing the charkha to Mohenjo Daro 158 4.6 Illustration from a KVIC album tracing -
Suicide Deaths and Quality of Indian Cotton: Perspectives from History of Technology and Khadi Movement Author(S): C
Suicide Deaths and Quality of Indian Cotton: Perspectives from History of Technology and Khadi Movement Author(s): C. Shambu Prasad Source: Economic and Political Weekly, Vol. 34, No. 5 (Jan. 30 - Feb. 5, 1999), pp. PE12-PE21 Published by: Economic and Political Weekly Stable URL: http://www.jstor.org/stable/4407604 . Accessed: 13/06/2014 06:16 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Economic and Political Weekly is collaborating with JSTOR to digitize, preserve and extend access to Economic and Political Weekly. http://www.jstor.org This content downloaded from 130.92.9.57 on Fri, 13 Jun 2014 06:16:17 AM All use subject to JSTOR Terms and Conditions Suicide Deaths and Quality of Indian Cotton Perspectives from History of Technology and Khadi Movement C Shambu Prasad The suicide deaths of farmers is a failure of agricultural science and the historical nature of the crisis needs to be appreciated. This paper seeks to retrace the route by which the present connections between Indian cotton and the mechanised textile industry were first established, a direction that has led to the present crisis on the fields of the cotton jflrmers. -
Evaluation Study on Khadi and Village Industries Programme
Evaluation Study on Khadi and Village Industries Programme Programme Evaluation Organisation Planning Commission Government of India New Delhi-110001 March 2001 1 CONTENTS Preface i Executive Summary iii I. CHAPTER 1. Background - Khadi and Village Industries Programme ………. 1-4 I. Introduction ……………………………………………………. 1 II. Special Employment Programme for 50 Selected Districts through KVI …….. 2 III. Implementation Methodology ……………………………………………….. 2 IV. Need for the Study ……………………………………………………. 3 2. Evaluation Study – Objectives and Methodology ……………..………… 5-9 2.2.1 Objective of the Evaluation Study…………………………………………… 5 2.3 Methodology ………………………………………………………………. 6 2.4.1 Instruments ………………………………………………………………. 6 2.5.1 Selection of Sample …………………………………………………………… 7 2.6.1 Selection of Beneficiaries ………………………………………………… 7 2.7 Selection of Individual Beneficiaries (Employees/Key Persons) …………….. 7 2.8 Coverage ……………………………………………………………… 8 2.9 Reference Period ……………………………………………………… 8 2.10 Orientation of the Field Teams ………………………………………….. 8 Annexure – I …………………………………………………………………………… 9 3. Administration - Planning, Implementation and Monitoring…….. 10-18 3.1 Administrative Structure …………………………………………………… 10 3.2 Directorate of REGP …… …………………………………………………… 10 3.3 KVI Boards …………………………………………………………………. 11 3.4 District Administration ……………………………………………………… 11 3.5 Coordination between KVIC & KVIB ……………………………………. 12 3.6 Planning ……………………………………………………………………. 12 3.7 Implementation ……………………………………………………………… 13 3.8 Certification Committee ……………………………………………………. 14 3.9 Quality -
Textiles for Dress 1800-1920
Draft version only: not the publisher’s typeset P.A. Sykas: Textiles for dress 1800-1920 Textile fabrics are conceived by the manufacturer in terms of their material composition and processes of production, but perceived by the consumer firstly in terms of appearance and handle. Both are deeply involved in the economic and cultural issues behind the wearing of cloth: cost, quality, meaning. We must look from these several perspectives in order to understand the drivers behind the introduction of fabrics to the market, and the collective response to them in the form of fashion. A major preoccupation during our time frame was novelty. On the supply side, novelty gave a competitive edge, stimulated fashion change and accelerated the cycle of consumption. On the demand side, novelty provided pleasure, a way to get noticed, and new social signifiers. But novelty can act in contradictory ways: as an instrument for sustaining a fashion elite by facilitating costly style changes, and as an agent for breaking down fashion barriers by making elite modes more affordable. It can drive fashion both by promoting new looks, and later by acting to make those looks outmoded. During the long nineteenth century, the desire for novelty was supported by the widely accepted philosophical view of progress: that new also implied improved or more advanced, hence that novelty was a reflection of modernity. This chapter examines textiles for dress from 1800 to 1920, a period that completed the changeover from hand-craft to machine production, and through Europe’s imperial ambitions, saw the reversal of East/West trading patterns. -
Globalization, Youth and Khadi
6 Globalization, Youth and Khadi Upinder Kaur* and Hitender Singh Rathore** Khadi is hand woven, hand spun fabric made with natural fibers. Unique features like zero carbon footprint make Khadi, India’s truly indigenous textile. There is a strong demand for fashion apparels in the Indian market.The buying behaviour of Indian apparel sector is affected by the existence of young population, globalization, higher buying power, and self-image. This paper investigates the perception of the brand image of Khadi and preference of Khadi textiles/apparel among the youth in Delhi between the age group 20-35 years. Purposive sampling was conducted through structured questionnaire and observation of 168 young consumers at malls and shopping centers. The Major Statistical tool used for analysis was ANOVA.This study finds the inclination of the youth is more towards International and other domestic fashion brands in comparison to the brand Khadi. Based on the findings, recommendations are suggested to Khadi textile industry so that it could become youth-centric. [Keywords : Globalization, Youth, Khadi, Brand awareness, Brand perception, Self-image]. 1. Introduction In Mahatma Gandhi’s own words Khadi is defined as “Hand-woven cloth made of hand-spun yarn is of course khadi, however fine it may be. It may be made of cotton, silk or even of wool. One should wear whichever of these one happens to find convenient. The khadi from Andhra is very fine. In Assam, one can get some khadi made of silk. Woollen khadi is made in Kathiawar. In other words, the only criterion of khadi is its being hand-spun and hand-woven” (Gandhi, CWMG, Vol 28, 1925). -
Sharing the Magic of Indian Handspun, Handloom Cotton
Fumie Kobayashi Born in Osaka Prefecture in 1973, Kobayashi developed an interest in cloth as a child through the influence of her grandparents, who worked in textiles. After graduating from Sophia University in Tokyo, he history of handspun, Today, the textile industry is she started her career in media and later switched to consulting. Now she is president of CALICO LLC, handloom cotton in India one of India’s major industries, which serves as a sales agency for Indian handspun, handloom cotton and its products. T goes back very far. It is said that employing around 35 million people. people have been making such cloth The handloom industry, which is in the Indus Valley Civilization since part of it, accounts for 95 percent around 2000 BC. Fumie Kobayashi, of the entire world’s handloom president of CALICO LLC, is fascinated production, with an estimated 4.3 by the texture and beauty of Indian million or so handloom weavers in traditional handspun, handloom India. Surrounding a single artisan cotton. While working in the Delhi weaver are many men and women office of a consulting company, cooperating in various jobs, such she started dreaming of “further as spinning yarn, preparing warps Above: CALICO has made its own original brass printing plate and uses Ajrakh spreading the skills and promoting and wefts and dyeing, washing and block-print techniques to replicate the patterns of hand-printed sarasa cloth with a contemporary flair. an appreciation of Indian handspun, selling the cloth. “India’s father of Right: A beautiful embroidered and appliqué Rabari tote bag. -
The Products That Buyers Are Actually Buying
WHAt’s SELLING NOW THE prODucts thAT buYErs ARE ActuAllY buYING Denim Denim Knitwear and Yarn n Cotton concept with n Textured, marble- Demin-look yarn in super softness and is effect denim from 71% cotton/29% rope dyed from Artistic Tat Fung Textiles Ltd. polyester from Denim (Pakistan) (Hong Kong) has an Winning Textiles Ltd. MOQ: 8,000 yds (flexible authentic vintage look (Hong Kong) Price: US$2.8-3.6/yd with a very soft hand. MOQ: in-stock This is a soft, heavy Price: US$7.2/kg “We use special spinnng 11.4 oz cotton denim from 71 cotton 29 polyester techniques and mix dif- 100 cotton 6oz denim weight (11.4 oz) Tat Fung (Hong Kong) “Cotton is very important. from Winning from Artistic Fabric Mills denim in 98% cot- It’s a natural fiber and ferent cotton, plus play (Pakistan) with the fabric finishing ton/2% elastane, that offers comfort stretch. buyers like it. Adding poly- to achieve the special hand feel “Brands like this fabric because ester gives the yarn more stabil- – this what buyers really like it is very soft and works for the ity. Armani Jeans and many US about it.” new silhouettes that are looser customers are buying this.” — Henry Wong fitting, like boyfriend jeans.” — Samson Lam, director at Artistic Denim — Sam Chan, sales manager Knitwear Denim Knitwear and Yarn n Hybrid Chino, which and Yarn n Glam shadow offers ‘denim with Chino n Mohair blends yarn from Huafu Top sennsibility’ in a two-ply from Best Leader Dyed Mélange Yarn construction. -
KHADI Emma Tarlo “This Is Sacred Cloth.” M. K. Gandhi Khadi Or
KHADI Emma Tarlo “This is sacred cloth.” M. K. Gandhi Khadi or khaddar is the term conventionally used in North and Central India to refer to varieties of coarse cotton cloth hand woven using hand spun yarn. This was the cloth commonly worn by peasant and artisan groups in pre-industrial India. It was made from locally grown cotton which would be harvested by peasants and labourers, spun by local women and woven into cloth by men from various specialist weaving castes. The precise technology involved in the production of khadi would vary from region to region, as would the techniques used for its decoration (dying, embroidery, printing etc.) Although hand spun hand woven cotton cloth of this kind was common throughout India, it was not until the early 20th century, when its production and use were in severe decline that the term “khadi” entered nationalist vocabulary and the cloth became a key visual symbol of India’s struggle from colonial rule. The effectiveness of khadi as a visual symbol of the Indian freedom struggle cannot be understood without examination of the critical role played by M. K. Gandhi (known by many as Mahatma – Great Soul) in elevating it to the status of a national cloth imbued with quasi-sacred properties. Gandhi’s success lay in his capacity to pick up, embody and develop existing political and economic critiques of colonialism and rework these through his own clothing practices and through his elaboration of the symbolism of cloth – a simple everyday material form to which people from all backgrounds could relate. -
Weavers , Iron Smelters and Factory Owners
6 Weavers, Iron Smelters and Factory Owners Fig. 1 Fig. 1 – Trading ships on the port of Surat in the seventeenth century Surat in Gujarat on the west coast of India was one of the most important ports of the Indian Ocean trade. Dutch and English trading ships began using the port from the early seventeenth century. Its importance declined in the eighteenth century. This chapter tells the story of the crafts and industries of India during British rule by focusing on two industries, namely, textiles and iron and steel. Both these industries were crucial for the industrial revolution in the modern world. Mechanised production of cotton textiles made Britain the foremost industrial nation in the nineteenth century. And when its iron and steel industry started growing from the 1850s, Britain came to be known as the “workshop of the world”. The industrialisation of Britain had a close connection with the conquest and colonisation of India. You have seen (Chapter 2) how the English East India Company’s interest in trade led to occupation of territory, and how the pattern of trade changed over the decades. In the late eighteenth century the Company was buying goods in India and exporting them to England and Europe, making profit through this sale. With the growth of industrial production, British industrialists began to see India as a vast market for their industrial products, and over time manufactured goods from Britain began flooding India. How did this affect Indian crafts and industries? This is the question we will explore in this chapter. 65 2019-200 Indian Textiles and the World Market Let us first look at textile production. -
NEW AGE KHADI Khadi Is the Only Indian Feelgood Fabric As It Gives Employment to Thousands As Well As Boosts the Economy and Sustains Indigenous Artisans
Arup Datta NEW AGE KHADI Khadi is the only Indian feelgood fabric as it gives employment to thousands as well as boosts the economy and sustains indigenous artisans. Supporting khadi is one way of encouraging the talented artisan to live in his ancestral village rather than give up in despair and flock to an urban slum for an alternative employment. But khadi is far from fading away, thanks to the fillip given to the fabric by the Prime Minister himself. MEHER CASTELINO writes on the state of khadi affairs and how some designers are moulding it anew. he name may have changed over Gandhi chose khadi as a symbol of his dreams the centuries but the weft and for India when he returned from South Africa. the warp have not. Khadi, as we The charkha was selected by him as a sign of call the handwoven fabric made non-violence and self-sufficiency and the material legendary by Mahatma Gandhi, woven from it – khadi – epitomised the nation’s Thas been around since times immemorial. Its feelings of patriotism and nationalism. The revival timeline is its own hurrah: among the greatest of the charkha was symbolic of the nation’s quest achievements of the Harappa and Mohenjo-Daro for freedom and self-reliance. civilisations were the mastery over hand-spinning In 1921, Gandhi thought of a strategy and and hand-weaving. Every pre-Aryan home had came up with the charkha as an icon of the its own charkha or spinning wheel. Invaders struggle for India’s freedom. That revived the came and went but khadi wove its way through moribund hand-spinning and hand-weaving the Vedic period, the Mughal and Medieval ages. -
Table of Contents
1 Table of Contents 2 Letter Words .................................................................................................................................2 3 Letter Words .................................................................................................................................3 4 Letter Words .................................................................................................................................5 5 Letter Words ...............................................................................................................................12 6 Letter Words ...............................................................................................................................25 7 Letter Words ...............................................................................................................................43 8 Letter Words ...............................................................................................................................60 All words are taken from OWL 22 HOW TO USE THIS DOCUMENT Have you ever wanted to maximize your studying time? Just buzzing through word lists do not ensure that you will ever play the word….ever. The word lists in this document were run through 917,607 full game simulations. Only words that were played at least 100 times are in this list and in the order of most frequently played. These lists are in order or probability to play with the first word being the most probable. To maximize the use of this list is easy. Simply -
FINISHING 1 POLYBOND VDI Gives Bulkiness and Fullness Without Stiffness 2 ACZASOFT Acrylic Base Softner for Cotton, Synthetic and Their Blends
PRODUCT LIST Be assured for quality Processing Range SR. PRODUCT APPLICATIONS NO. FINISHING 1 POLYBOND VDI Gives bulkiness and fullness without stiffness 2 ACZASOFT Acrylic base softner for Cotton, Synthetic and their blends. 3 POLY BOND - SNI Finishing agent for imparting high stiffness & body to net fabric. 4 SOFTEX : 100% Reactive softener DYEING & PRINTING 5 LASER – 99 Solvent base Stain Remover setting assistance for polyester Fabrics 6 LASER – SNP One step dyeing and scouring agent for jet WASHING, BLEACHING, MERCERISING, SCOURING ETC. 7 TEXPOTL-AD Anionic wetting Agent & detergent 8 TEXPOL-AWD Anionic wetting & rewetting agent & detergent 9 TEXPOL-NSD Nonionic wetting cum scouring agent 10 FEXCER CCL Fixer for Khadi and Pigment printing useful in achieving Excellent fastness. 11 MICRO AMINO Dispersible concentrated softner. SILICON EMULSION SPECIALTY CHEMICALS 12 IMROL SBI One step dyeing (all in on dyeing) 13 PRINTEX – C Strength improver with pH adjustment (all in one printing) 14 WHITE-ON-1000 Khadi Powder, Replacement of Titanium Dioxide 15 ALKALIDYE Soda Replacement 16 DESPROL VX – D Dis. Agent (Con.lig) 17 NEW – WASH VDI Washing off agent with protective collide, silicate 18 FIBROACID Eco prendly and alternative to acetic Acid. PAPER ADHESIVE 19 LOTUS - 231 Lamination Gum for Bopp & P.V.C. film 20 SUPERFIX – V For matt & P.V.C. Film 21 LOTUS - 131 Sticker Gum 22 LOTUS – 999 Pasting Gum for Box pasting. POLY BOND–VDI FOR MEDIUM SOFT FINISH ON FABRIC & CO-BINDER FOR KHADI PRINTING Poly Bond-VDI is a highly plasticized homopolymer of vinyl acetate in the form of milky white flowable viscous emulsion.