Apprenticing with the Last Makers of the Milkman's Dress L Ghai Ma 2014
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DON’T CRY OVER SPILT MILK: APPRENTICING WITH THE LAST MAKERS OF THE MILKMAN’S DRESS L GHAI MA 2014 DON’T CRY OVER SPILT MILK: APPRENTICING WITH THE LAST MAKERS OF THE MILKMAN’S DRESS LOKESH GHAI A thesis submitted in fulfilment of the requirements of the Manchester Metropolitan University for the degree of Master of Arts (By Research) Manchester Institute for Research and Innovation in Art and Design (MIRIAD) 2014 i Abstract The kediyun is an upper garment worn by men in pastoral communities in Kutch, West India. The garment is always white, attracting one's attention with its dramatic and elaborate cut. Traditionally, local women make them for the men in their family, more recently however, tailors have started making them. The research investigates the technique of constructing the kediyun. During the research I initiated three apprenticeships as a method of gaining a comprehensive understanding of the making of the kediyun. This allowed me to hand-make the kediyun and to immerse myself in the domestic environment of traditional makers. Traditional methods of measuring the body for garment construction, which had not been previously detailed, were studied during the apprenticeships. This led me to understand that each kediyun is specific to the maker’s body. The practice-led study of the kediyun, documented in the thesis in the form of still photographs and film, illuminates how the construction of a traditional Indian garment is an extension of the maker’s culture. This notion had largely been ignored in previous publications of stitched Indian garments. During the research, cultural aspects such as folk songs and religious and spiritual beliefs were recognised as informing the making process of the kediyun. Within the context of social groups, individual variations in kediyun construction are analysed. This highlights the creativity of the makers as individuals and the richness of the craft. ii Acknowledgement This research is a result of guidance, advice and encouragement of several well- wishers. I want to express my deep sense of gratitude to my supervisor Alison Welsh, Amanda Ravetz and Nigel Hurlstone for their consistent guidance that has enabled me to complete the thesis. I thank Judy Frater, founder of Kala Raksha Vidhyalaya (KRV) for encouraging me to understand and appreciate the rich craft culture of Kutch. While teaching at KRV, I was pleasantly surprised by the creativity and skills of the craftswomen that motivated me to apply for the research. I dedicate this thesis to Judy Frater and the four makers from whom I learnt the making of the kediyun: Jamnaben, Bhaddiben, Puriben and Jivaben. The research would not have been possible without the fellowship awarded to me by Manchester Institute for Research and Innovation in Art and Design (MIRIAD). I thank MIRIAD Director John Hyatt and research degree coordinator Jim Aulich for their support. I thank Shamji Vishramji Vankar and Diyalalbhai Vankar for their kind support while I was in Kutch. They introduced me to the local communities and travelled with me. I also extend thanks to Lakhabhai Rabari (from KRV) for helping me with the translations of the folk songs and Jumo Patel for allowing me to travel with his camels. I thank Harkuben Rabari for suggesting the name of this thesis. She was unhappy to have demolished the traditional family Bhunga and build a concrete house to live in. Although the new house was not as suitable for the desert heat, Harkuben said there was now no point in crying over spilt milk. I am grateful Anne Morrell for showing an interest in my research and for guiding my translation of the stitching technique into text. Moreover, I appreciate greatly that the Gallery of Costume, Manchester, for giving me a platform to showcase my research. I thank Patrick Baxter for helping me editing and Joe Henry Wilson for post-sound production for the film I made. Writing the thesis has been a challenge for me. English is my second language and I consider myself a visual rather than a textual person. I have benefited immensely from the research support provided by Barbara Rawlings and the writing support of Helen Bowman and Tilo Reifenstein. I would like to thank Amanda Ravetz for setting up the writing group that I was part of and all my colleagues who made writing such an enjoyable process. I thank Manchester Metropolitan University staff Phillip Sykas, Jane Webb, Alice Kettle and Myna Trustram for their valuable advice. I thank my friends Barney Hare Duke, Cathy Greenhalgh, Sarah Lawton and Shweta Dhariwal for encouraging me at various stages of my research. Finally, I thank my brother Vinayak and my parents for their emotional support while I travelled between India and UK. iii Contents Abstract i Acknowledgement ii List of Illustrations iv Introduction to the research 1 The meaning of ‘traditional’ in context to the thesis 3 Chapter 1 LITERATURE REVIEW 1.0.0 Introduction of Literature Review 4 1.1.0 Relevance of traditional craft and its maker: India 4 1.2.0 Dynamics of traditional clothing 6 1.3.0 Status of craft skills and the traditional maker in design education 6 1.4.0 The kediyun: How to categorise it? 9 1.4.1 A Possible origin of the kediyun 9 1.5.0 Kutch region: Communities, land and earthquake 11 1.6.0 Rabaris of Kutch: Historical background to origin and subgroups 11 1.6.1 Rabari embroideries and changing customs 13 1.7.0 Ahir of Kutch 14 1.8.0 Literature on traditional garment making processes 15 1.9.0 Conclusion of the literature review 16 Chapter 2 METHODOLOGY 2.0.0 Introduction to methodology 17 2.1.0 Introduction to the research and reasoning for choosing the kediyun 17 2.2.0 The approach of studying the making of the kediyun 18 2.3.0 Apprenticeship as method 18 2.3.1 Additional methods 21 2.4.0 Defining who is a traditional maker of kediyun; selecting makers for apprenticeships 22 2.5.0 Ethics 24 2.6.0 Media of field research 25 2.7.0 The Apprenticeship environment 26 2.8.0 Selection of the fabric 26 2.8.1 Selection of thread for stitching 26 2.9.0 Stitching of the kediyun 27 2.10.0 Material collected and analysis 28 iv 2.10.1 Presentation of the construction of the craft of the kediyun making 29 2.11.0 Conclusion of Methodology 29 Chapter 3 FINDINGS 3.0.0 Introduction to findings 31 3.1.0 The craft of making the kediyun 32 3.2.0 Unit of measurements 32 3.2.1 Changes to traditional measurements 37 3.3.0 The properties of fabric 37 3.4.0 Measuring the body 37 3.5.0 Fabric layout for cutting the pattern of the kediyun 40 3.6.0 Cutting the fabric 42 3.7.0 The stitching of the kediyun 43 3.8.0 Kediyun, the complete attire 60 3.9.0 Front and back 61 3.10.0 The stitched kediyun as a result of the apprenticeship 62 3.11.0 Reflection on the technique of kediyun making 68 3.11.1 Personal reflection on my practice of making the kediyun 70 3.12.0 Why could I not stitch a kediyun with Jivaben? 71 3.13.0 Social and cultural elements rooted in the construction methods 72 3.13.1 Social identity 72 3.13.2 Religious/cultural beliefs 74 3.14.0 Folk Songs ‘a cultural’ element that constitutes construction of the Kediyun 74 3.15.0 Making knowledge 77 3.16.0 The makers of the kediyun 85 3.17.0 Conclusion of findings 89 3.18.0 The film “Kediyun” 90 4.0.0 Research Conclusion 91 Reference 93 Appendix 101 Film DVD 120 v List of Illustrations Page 1. The diagram depicts the subgroups of the Ahir community in Kutch 14 2. Map of Kutch 23 3. The diagram shows the belief of community identity preceding individual identity. 31 4. The diagram depicts the prominence of finished products and their wearers over making processes. 32 5. The lists of measuring units. 33 6. Chaar unglee 33 7. Aath unglee 33 8. Ek tasu 34 9. Ek tasu ane tran unglee 34 10. Ek tasu ane chaar unglee 35 11. Ek tasu ane saat unglee 35 12. Val 36 13. One metre 36 14. Bhaddiben stretching the selvedge of the fabric to measure the centre back of her son Lakhabhai. 38 15. Bhaddiben stretching the selvedge of the fabric to measure the sleeve length. 38 16. Bhaddiben stretching the selvedge of the fabric to measure the sleeve length. 39 17. Jamnaben measuring the back of her husband by her using her hands directly. 39 18. Layout for cutting the fabric 41 19. Selvedges folded to mirror the markings 42 20. Notches made on either side of the selvedge. 42 21. Neckline being folded after shoulder attachment. 43 22. The back bodice and the two fronts. 44 23. Shoulder joined with a running stitch. 44 24. A small rectangular piece cut from each sleeve. 44 25. Symmetrical sleeve pattern shape. 45 26. Kachli attached to the sleeve 45 27. Kachli’s edges shaped as shown in the diagram 46 28. Kachli being shaped by cutting the inside edges. 46 29. Sleeve tacked on to bodice with a long running stitch 47 30. The end of the kachali folded to form triangular shape 47 31. Sleeves tacked on to bodice with a long running stitch 48 32. Sleeves attached with backstitch 48 33. Raw edge 48 34.