A Survey on Traditional Designs and Colors of Telia Rumal

Current Journal of Applied Science and Technology

32(1): 1-8, 2019; Article no.CJAST.45403 ISSN: 2457-1024 (Past name: British Journal of Applied Science & Technology, Past ISSN: 2231-0843, NLM ID: 101664541)

Sushma Duguta1, Sirisha Deepthi Sornapudi1, Khateeja Sulthana Shaik2* and Padma Alapati2

1PJTSAU, Saifabad, Hyderabad, Telangana, India. 2PJTSAU, Rajendranagar, Hyderabad, Telangana, India.

Authors’ contributions

This work was carried out in collaboration between all authors. Authors PA and SD designed the study. Author SD performed the study, statistical analysis. Authors PA, SDS and KSS wrote the protocol. Authors SD and KSS wrote the first draft of the manuscript. Authors SD and KSS managed the analyses of the study. Author SD managed the literature searches. All authors read and approved the final manuscript.

Article Information

DOI: 10.9734/CJAST/2019/45403 Editor(s): (1) Dr. Wen Shyang Chow, Professor, School of Materials and Mineral Resources Engineering, Engineering Campus, Universiti Sains Malaysia, Malaysia. Reviewers: (1) Hafeezullah Memon, Donghua University, China. (2) Zlatin Zlatev, Trakia University, Bulgaria. (3) Carlo Santulli, Università di Camerino, Italy. Complete Peer review History: http://www.sciencedomain.org/review-history/28095

Received 24 September 2018 Accepted 14 December 2018 Case Study Published 03 January 2019

ABSTRACT

Handloom weaving is one such art, which requires immense workmanship following spinning, dyeing, finishing, etc. activities. In India Ikat, a unique technique of fabric construction where yarns are tie and dyed before weaving to obtain designs on textiles, is one of the most important textiles which has mounting markets at Gujarat, Orissa, Andhra Pradesh and Telangana State holding their respective styles of heritage in ikat designs. Puttapaka, a place in Telangana is famous for Telia Rumals also called Asia Rumals, one of an Ikat kind was marketed in the name of Pochampally. The main focus of this article is to portray the Traditional motifs and colour combinations of the Telia Rumals. With this regard, data were collected from 30 expert weavers using the snowball technique. According to the collected information nine traditional motifs/designs (Pachhis Kana/Nilam Peka, Uditakallu, Mungi Chakram, Malle Pulu/Nakshtram, Kaya/Muddabanti, Mungi, Mungi kaya, kaya and

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*Corresponding author: E-mail: [email protected];

Duguta et al.; CJAST, 32(1): 1-8, 2019; Article no.CJAST.45403

Badam) and three colors (white, red and black) were identified that are style statement of the Telia Rumals. With the changing trend presently the client interest and fashion forecast is influencing in the change of designs and colour combinations making the product more customised.

Keywords: Telia rumal; handloom; puttapaka ikats; traditional motifs; designs and colours.

1. INTRODUCTION producing this Telia Rumal production on pit loom in Puttapaka and Chirala villages. The India is a land of rich culture, heritage and great fabrics/cloths or Rumals have been exported civilisation for Handloom or textile industry. under the trademark of ‘Asia-Rumal' [3]. The Puttapaka a place in Samsthan Narayanpur main concept of this investigation was to Mandal, Yadadri Bhuvanagiri district of document the Traditional motif/designs of Telia Telangana State, India is famous for Ikat. Ikat is Rumals. a tie and dye technique, which is going through different processes like yarn preparation [1], yarn 2. METHODOLOGY tie and dying, loom preparation, etc. It is one of the oldest forms of decorating textile at yarn The study aimed to know about the percentage stage, to resist yarn from colouring. Ikat of weavers using traditional Ikat motifs, and the technique was widely spread all over the world. percentage of weavers shifted from traditional to contemporary designs. The weavers of Puttapaka, a place well known about producing Telia Rumals, once used to 2.1 Questionnaire Development prepare handkerchiefs of 45" × 45” in double or single Ikat technique [2]. Telia Rumal is a term To get detailed and authentic information about deliberated from its kind and process, where traditional designs or motifs used in Telia Rumal Telia means oil and Rumal means turban woven questionnaire was developed. Questions are by Padmashali community [2]. dealt in different segments like demographic details, traditional designs, problems faced, The unique feature of ikat is a blurred design traditional colours and marketing strategy. edge on fabric produced through plain weave or interlacement. The term ikat is originated from 2.2 Place of Study Malay-Indonesian and was introduced in the European language by Rouffaer, Mang Ikat The study was conducted in the year 2017-2018 which means to bind, knot or wind round. Most of in Puttapaka and Koyyalagudem villages, the traditional Telia designs were geometric Yadadri district, Telangana. A minimum sample patterns [3]. Historically, Ajanta wall painting was of 30 Ikat weavers was selected for the study. found in India as one of the foremost evidence of Ikat [3]. Historians were the first to believe or 2.3 Survey Technique (Snowball) pronounce the Telia Rumal and its technique was spread from Chirala [3], Andhra Pradesh to Snowball sampling method was employed to Pochampally, Telangana State. The demand for th conduct the study. A detailed survey was Telia Rumal was more during 19 century [4], conducted by administering a structured where weavers were unable to meet the targets questionnaire and also through observation of the market. Because of this Chirala weavers method. Fawcett and Arnold (1987) defined extended the skill to Padmashalis and Devangas Snowball sampling as ‘a common approach used in Pochampally [3], Yadadri district to fulfill the by many studies to choose their samples from market demand. At this juncture, many weavers individuals who belong to church groups, social were trained in the traditional Telia Rumal organizations, or other defined groups; use production [2]. snowball samples of individuals referred by

th friends or acquaintances, and/or to focus At the beginning of the 20 century, Telia exclusively on areas of high out-migration’ [5]. Rumals had domestic and export market [3]. Due to its lengthy procedures of oil treatments given 2.4 Statistical Analysis to the yarn during pretreatment process [3], currently, weavers shifted to chemical dyeing Percentages of the data are determined from the methods. At present, 4 to 5 families were collected information.

Duguta et al.; CJAST, 32(1): 1-8, 2019; Article no.CJAST.45403

3. RESULTS AND DISCUSSION being used in modern era depending on customer needs. Form the survey it was noticed that traditionally Telia rumals were woven on the pit loom, a 3.1.3 Mungi Chakram (Fig. 4) narrow Equipment set in a pit in which (as shown in Fig. 1a and 1b) the pedals were fixed to run Mungi Chakram is a circle shaped motif which the mechanism of the loom. It is a traditional form represents Sun, which depicts wealth, strength, of weaving having an intensive and laborious light and ‘Chakram' in Telugu, means wheel of process. Because of plain weave (a basic type of bullock cart which is used by farmers. textile construction), both sides of the Ikat fabric Traditionally red and black colours were used in or Telia Rumal are seen similarly and hence can making this motif for rumals. be used on both sides [1]. 3.1.4 Mallepulu/nakshatram (Fig. 5) Most of the weavers (77%) interviewed were in the age group of 26 to 50 years while 23% ‘Mallepulu' (Jasmine) depict purity, kindness, and were in 51-75 years of age as is evident in marital life and ‘Nakhatram' (star) represent Table 1. shine and night. Traditional background colour for these designs is black or red and the flower is 3.1 Traditional Motifs and Their Significance usually in white. Nowadays the centre and background colours are being changed, but the 3.1.1 Pachhis kana or Nilam peka (Fig. 2 ) flower colour remains the same. Now, this motif found a place on saree, dupatta and dress Pachhis kana is a popular game of Telangana, materials. which has a board on four sides, played by four members with each player having their 3.1.5 Mudda banthi (Fig. 6) representing dials. The traditional colours used to make Pachhis kana were black and red. The ‘Mudda' means group of petals or bunch of black colour was used for background and the flowers, ‘banti' means marigold flower. A variety design details are usually in red or white. of colours are used to make this motif. This Nowadays yellow, pink and blue colours are signifies closeness and fond of. being used. In olden days, rumals were produced with these designs but now sarees, dupattas, 3.1.6 Mungi (Fig. 7) dress materials and furnishing are also being produced. Telia Rumal is characterised by different compartments, which are divided by lines. When 3.1.2 Udita Kallu (Fig. 3) viewed in totality, it appears like a checkered pattern, which is called as ‘Mungi' in Telugu. It is ‘Udita Kallu' is a small motif used in Telia rumal grid-like structure that can appear solely or in which means Udita ‘squirrel' and Kallu ‘eye' in combination with any type of traditional Ikat Telugu. In general, the colours used for this motif motifs. Mostly two colours are being used for are red and black while different colours are making mungi.

a B

Fig. 1(a) Image of Pit loom- front view, 1(b) Images of Pit loom - side view

Duguta et al.; CJAST, 32(1): 1-8, 2019; Article no.CJAST.45403

Table 1. Distribution of weavers based on their Age group

S.no Age group of the respondents Frequency Percentage 1. 26-50 23 77 2. 51-75 7 23

3.1.7 Kaya (Fig. 8) and warmth. Background colour used was black, and the foreground (design) is in red. Although ‘Kaya’ means, according to the weaver, diamond various changes were made in the background shape and its variations, which has eight sides. colour, the shape of the design still remains the Fig. 7 is also called Mungi dabbalu, where the same. diamond pattern is in between the grid or compartments. In this, the diamond shape is 3.2 The Frequency of Usage of separated with lines and is traditionally woven Traditional Motifs in Telia Rumals using white, black and red colours. In recent times, colours have changed depending upon Ikat motifs or designs were inspired with consumer orders. daily life chores, flowers, fruit and games. One can observe many motifs in Telia Rumal. 3.1.8 Mungi Kaya (Fig. 9) From the study, it was found that nine motifs were traditionally used by the weavers; each of It is a diamond shape formed through checkered them has its specific meaning and significance. pattern with colour combinations. Each and every motif is divided by square checks border [2]. Locally, checked pattern, the 3.1.9 Badam (Fig. 10) weavers call it Mungi. All the nine motifs are named after their local names are given in The heart shape motif is known as badam. It is Table 2. depicted as almond (badam seed) signifying love

Fig. 2. Pachhis kana or Nilam peka Fig. 3. Udita Kallu

Fig. 4. Mungi Chakram Fig. 5. Mallepulu/nakshatram

Duguta et al.; CJAST, 32(1): 1-8, 2019; Article no.CJAST.45403

Fig. 6. Mudda banthi Fig. 7. Mungi

Fig. 8. Kaya Fig. 9. Mungi Kaya

Fig. 10. Badam

Table 2. The frequency of usage of traditional motifs in telia rumals

S.no Name of the motif Frequency Percentage 1. Pachhis kana/ Nilam peka 19 63 2. Udita kallu 13 43 3. Mungi chakram 21 70 4. Mallepulu/Nakshatram 27 90 5. Kaya/Mudda banthi 15 50 6. Mungi 13 43 7. Kaya 17 57 8. Mungi kaya 20 67 9. Badam 22 73 All the motifs have multiple responses, ie, more than one motif is selected by every weaver

Duguta et al.; CJAST, 32(1): 1-8, 2019; Article no.CJAST.45403

From the survey, Mallepulu/nakshatram is most natural as well as synthetic colours are being commonly used motif in Ikat with around 90% of used by weavers to get a good colour range or weavers followed by Badam (73%), Mungi combinations. Apart from common colours, chakram (70%), Mungi kaya (67%), Pachhis Depending on the trend and orders, weavers are kana/ Nilam peka (63%), Kaya (57%), portraying Ikats with revised colour combinations Kaya/Mudda banthi (50%), Udita kallu and Mungi like blue, yellow, pink, green, gold, rama green, (43% each). The traditional motifs, which were and others. predominantly used for rumals, are now being used for a wide range of diversified products like 3.5 Present Senario sarees, dupattas, dress materials, scarfs and furnishing materials to widen the market for the From the gathered data, the majority of the weavers and better marketability. weavers were involved in the weaving of saree with around 36% and the same percent weavers 3.3 Combination of Traditional Designs were involved in making both sarees and Use dupatta. About 6% of the weavers were involved in the weaving of sarees, dupattas and fabric. Among six combinations of traditional designs, Almost 4% of weavers were involved in the Mungi and Muddabanthi motifs were popular with preparation of sarees, curtains and dress 80%, followed by Udita kallu and Mallepulu material. Remaining five categories were in (50%), Badam, Mungi and Mallepulu (53%), around 3.6%, as shown in Fig. 11.

Pachhis kana and mallepulu (47%), Mungi and 3.6 Present Designs Kaya (47%) and Mungi Chakram and Badam (33 5). The weavers were asked about the types of designs or motifs they prefer while weaving 3.4 Traditional Colours Used in Weaving various product. It was evident from the Fig. 12 of Telia Rumals that, for weaving saree, 53% weavers were using the conventional design or motif on Black, white and Red were the traditional colours contemporary (modern). For making yardages, used for weaving of Telia rumals [3]. These 33% weavers use a combination of conventional colours were extracted from Alizarin [6,7], Alum, and modern designs, which are used as apparel Erra Kasu. To produce a red dye [4], Alizarin and and furnishing materials to increase the Alum were used and for black, a combination of marketability. Alizarin and Erra Kasu were used. Of late,

Present Production of Puttapaka

40% 35% 30% 25% Sarees 20% 15% Sarees, Dupattas 10% Sarees, dupattas, bed sheet 5% Sarees, dupattas, fabric 0% Sarees, dupattas, lungis

Door mats, dupattas

Sarees, Dupattas, lingis, dress materials

Sarees, Dupattas, dress materials

Sarees, curtains, dress materials

Fig. 11. Present production of puttapaka

Duguta et al.; CJAST, 32(1): 1-8, 2019; Article no.CJAST.45403

Table 3. Popular traditional design combinations use by the weavers n=30

S.No Name of the design/motif Frequency of designs used on textiles (%)* 1. Pachhis kana and Mallepulu 47 2. Udita kallu and Mallepulu 50 3. Mungi chakram and Badam 33 4. Mungi and Muddabanthi 80 5. Mungi and kaya 47 6. Badam, Mungi and Mallepulu 53 *All the motifs have multiple responses

Designs used by weavers

conventional % modern % both % 97

60 53 40 33

0 0 0 0 0 0 0 0 0 0 0 0 0 3 0 0 4 3 0 0 0 3 0 0 4

Fig. 12. Designs used by weavers

Table 4. Present products of puutapaka woven by weavers

S.no. Product/combinations of products Woven by weavers* (%) 1 Sarees 36 2 Sarees, Dupattas 36 3 Sarees, Dupattas, Bed sheet 3.6 4 Sarees, Dupattas , Fabric 6 5 Sarees, Dupattas, Lungis 3.6 6 door mats, Dupattas 3.6 7 Sarees, Dupattas, lungis, Dress Materials 3.6 8 Sarees, Dupattas, Dress Materials 3.6 9 Sarees , Curtains, Dress Materials 4 All the motifs have multiple responses

4. CONCLUSIONS such as red, black and white were used with natural dye sources like Alizarin, Erra Kasu To recapitulate, Telangana state has a vast zone (Catechu in English) and Alum and in modern for Ikat production. Traditionally three colours days they were substituted with synthetic dyes

Duguta et al.; CJAST, 32(1): 1-8, 2019; Article no.CJAST.45403

like Naphthol, Vat and Reactive dyes. Only 2. Chelna Desai. Ikat textiles of India. countable weavers are using traditional dyeing Published in United States; 1988. method in the urge of participating in and 3. Khurana P. Telia Rumal, Double Ikat representing for awards. Among nine traditional Fabric of Andhra Pradesh. Indian Journal designs, Mallepuvu is the most popular design of Traditional Knowledge. 2016;167-172. and Udite Kallu, and Mungi has the lowest 4. Available:https://www.livemint.com/Leisure popularity in production. In the beginning, Telia /qRS6yM8Ps84WJMbOwYQwcK/How-the- Rumals were produced in the 20s and 40s (s – Phulia-Tangail-went-from-boom-to- yarn count), but in modern era 60s to 120s cotton bust.html yarn was being used. Ikat culture can be 5. Fawcett, James T, Fred Arnold. The role of continued by encouraging weavers to do more surveys in the study of international diversified products, developing new designs that migration: An appraisal. International are according to the trends and easily adaptable Migration Review. 1987;21(4):1523-40. by the clients to increase the production and 6. Schweppe H, Winter J. Madder and marketing of handloom ikats. Alizarin, in Artists’ Pigments. A Handbook of Their History and Characteristics. E.W. COMPETING INTERESTS Fitzhugh (Ed.) Oxford University Press. 1997;3:109–142. Authors have declared that no competing Available:https://en.wikipedia.org/wiki/Aliza interests exist. rin 7. (Indian Council of Forestry Research and REFERENCES Education, Dehradun. Khair (Acaciacatechu). Dehradun, Forest 1. Gopika Nath A. Labour of love; 2003. Research Institute. 24p). Available:file:///D:/journals/New%20folder/ Available:http://www.frienvis.nic.in/WriteRe 3rd%20revision/indian_design_&_interiors adData/UserFiles/file/pdfs/Khair.pdf _aug-sept2003_(Labour_Of_Love).pdf ______© 2019 Duguta et al.; This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

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