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Home , Kalamkari, Resist dyeing

Exhibition: October 29, 2017 – February 11, 2018 East-West Center Gallery, Honolulu, Hawai‘i

The East-West Center Arts Program presents

Curators: Yael Rosenfield and Michael Schuster Irresistible Installation Design: Lynne Najita Assistant Curator: Annie Reynolds Coordinator: Eric Chang Resist: Photographers: Gayle Goodman and Yael Rosenfield The Art of Indian and Design

When people imagine , they often envision a Wworld of vibrant colorful with rich and complex designs. This seemingly romantic fantasy is actually based upon reality. South has been producing vibrant textiles with intricate patterns for millennia. Many of the patterns were originally social signifiers of status, community, tribe, occupation, religion, stage in life, or gender, while other patterns are enjoyed for their aesthetic quality. With the expansion of global trade from the 17th to 19th centuries, textiles from the sub-continent could be found throughout the northern and southern hemispheres. In the modern context, artisans from India readily borrow designs from thousands of years of diverse regional images. What then are the secrets of these dazzling textiles? What makes them so irresistible? This exhibition focuses on the resist processes that have made Indian textiles prized by people throughout the world. The textiles in this exhibition will be presented in four distinct categories: block- print, , (hand-painted), tie-, and . Until the late 19th century all dyes used on textiles were derived from natural sources — plant, mineral, and animal, requiring the use of that bind and fix certain dyes to the cloth fiber. Resists, on the other hand, were used to block the dye from penetrating certain design elements on the textile. Mordants, resists, and natural dyes contributed to the creation of these popular textiles, adding to their rich coloring, wash-ability and color fastness. Indian artisans were known as master dyers, and it is thanks to them that India became a leader in textile production. Block-printed and hand-painted textiles share similar techniques used in their creation: the main difference is that block-prints use hand-carved blocks to transfer mordants and resists to the cloth, whereas in kalamkari a kalam , or pen, is used. Diverse regions in India have developed their own methodologies and styles, a heritage that has been handed down over generations. DR. ISMAIL KHATRI BLOCK-PRINTING ON , AJRAKHPUR, BHUJ, GUJARAT, 2015, PHOTOGRAPHER: YAEL ROSENFIELD CARVING WOODBLOCKS FOR , BAGRU , RAJASTHAN, 2016, BLOCK PRINTER, BAGRU , RAJASTHAN, 2016, PHOTOGRAPHER: GAYLE GOODMAN PHOTOGRAPHER: GAYLE GOODMAN Block-printing in Kalamkari in Andhra Rajasthan and Gujarat Pradesh and Telangana A series of blocks is carved for each Gujarat require approximately 15 steps Kalamkari painted and printed textiles design, the number of blocks dependent and that many different hand-carved belong to three distinct categories: on the pattern and number of colors. blocks, to achieve the intricate geometric painted textiles known as that These could include the outline block for patterns and rich colors. With advancing were exported to and Southeast black lines, the block for red technology, chemical dyes and a Asia; painted and printed textiles areas, and the resist block for areas that competitive marketplace, some steps influenced by Persian motifs; and will prevent the indigo blue dye from have been modernized and most often painted temple textiles depicting penetrating the cloth. Resists can include natural madder root (used for red) and episodes from Hindu epics and the mud paste ( dabu ), wax, lime with gum indigo dyes have been replaced by their (ancient literature) written and tar, which are applied with a block synthetic counterparts. Despite the fact with Telugu captions. prior to soaking in the vat. that synthetic dyes are cheaper and The traditional kalamkari process is The block-printing process is an achieve more predictable colors, the very similar to that described for block- elaborate and multi-stepped operation. traditional process of dyeing using prints. Designs are drawn on a cleaned Some block-prints like ajrakh from Bhuj, mordants and resist is still maintained. and myrobalan-mordanted cloth with a charcoal stick made of burnt tamarind twigs. The black outlines are then over- painted with a kalam , made of a bamboo stick with a padded bulb fashioned with absorbent fabric and bound with thread. The artist dips the kalam into the black ferrous sulphate solution and can control the flow of dye with slight pressure of the fingers. A kalam with a thicker point is also used to fill in larger areas with color. Though traditionally red and blue colors were dyed using mordants and resists, the majority of today’s kalamkari are painted with chemical dyes, applied directly to the cloth. To date, the tradition of blocking with resists has been lost.

KALAMKARI PAINTING DETAIL, KALAMKARI RESEARCH AND TRAINING CENTER, SRIKALAHASTI, 2016, PHOTOGRAPHER: YAEL ROSENFIELD DOORMAN IN TIE DYE TURBAN AT SWEETS SHOP, JAIPUR, RAJASTHAN, 2016, PHOTOGRAPHER: GAYLE GOODMAN

LEHARIYA CRAFTSWOMAN, IKRAMMUDIN MOHAMMED SABIR NEELGAR WORKSHOP, JAIPUR, RAJASTHAN, 2016, PHOTOGRAPHER: GAYLE GOODMAN Ikat in Gujarat, Odisha, , and Telangana In other resist-dyeing techniques such and is re-applied for each color. Ikat in as tie-dye and block-print, the resist is India occurs as either warp-ikat, weft- applied to the woven cloth, whereas in ikat, or double ikat (both warps and ikat the resist is applied to the threads wefts are tied) such as the complex and KNOTTED TIE-DYED TEXTILE FROM AZIZ AND SULEMAN KHATRI WORKSHOP, BHADALI, BHUJ, GUJARAT, 2016, PHOTOGRAPHER: before they are woven. (You can see esteemed patola . One of the unique GAYLE GOODMAN vertical threads known as warp in the characteristics of ikat is the blurriness photo below. Horizontal woven threads of the design, which occurs because Tie-dye in Rajasthan are called weft.) The resist is applied by the cannot be aligned and Gujarat binding groups of threads with water - perfectly, but is in fact often prized by (known as bandhani and bandhe j ) proof wrapping into the desired patterns, textile lovers. Images of tie-dye can be found in the fifth century Ajanta caves, demonstrating that this technique has been utilized in South Asian textiles for millennia. In tie- dye technique, areas of the woven fabric are protected by tying tightly with thread. The tied areas will resist the dye, creating designs made of pointillist dots ( bhindi ). The cleaned fabric is folded in half or into quarters which will achieve a mirror imaged design. Since the fabric will be tied through all these layers, it must be thin and easy to dye. Traditionally , wool, or thin and loosely woven cotton have been used for this process. Lehariya in Rajasthan is a complex and elaborate tie-dyed fabric with a zig- zag wave pattern or diagonal stripes and check pattern ( mothara ), often used for turbans and worn by Rajput nobility.

PATOLA IKAT , DHARAMSHI MAHESHWARI WORKSHOP, BHUJ, GUJARAT, 2016, PHOTOGRAPHER: GAYLE GOODMAN Special Events | In the EWC Gallery with free admission Guided gallery tours will be offered Sundays at 3:00 p.m. (no tour January 21, 2018)

The East-West Center promotes better Sunday, October 29, 2:00 –3:30 p.m. Sunday, January 28, 2:00-3:30 p.m. relations and understanding among the people Exhibition Gala Opening including Family Sunday featuring textile and nations of the United States, Asia, and the reception, block-printing demonstration demonstrations and Bollywood dance Pacific through cooperative study, research, and by master artist Sufiyan Khatri, and workshop (suitable for ages 5 and up). dialogue. Established by the U.S. Congress in 1960, walkthrough by exhibition curators. the Center serves as a resource for information Sunday, February 11, 2:00-3:00 p.m. and analysis on critical issues of common Sunday, November 12, 2:00 –3:00 p.m. Illustrated Talk: “Trade Cloth from concern, bringing people together to exchange Illustrated Talk: “Resist Methods for the Coromandel Coast” by Sara Oka, views, build expertise, and develop policy Textile Embellishment: A Global View” Textile Curator, Honolulu Museum options. The Center is an independent, public, by Cheri Vasek, UH Mānoa Associate of Art. nonprofit organization with funding from the U.S. Professor of Theatre. government, and additional support provided Sunday, December 3, 2:00-3:00 p.m. Block-print master craftsman by private agencies, individuals, foundations, Illustrated Talk: “Lighting Design: Sufiyan Khatri will be offering corporations, and governments in the region. Making Careful Choices” by Brian Workshops at the Honolulu Museum of Art School on Monday, The East-West Center Arts Program for S. Shevelenko, UH Mānoa Assistant October 30 and Demonstrations more than 38 years has enriched the community Professor of Theatre. In celebration of at the Honolulu Museum of Art through concerts, lectures, symposia, and the EWC Gallery’s new lighting system, Textile Gallery on Wednesday, exhibitions focusing on arts of the region, supported by the McInerny Foundation. November 1, 10:30 a.m. –12:00 p.m. and by arranging cultural and educational tours Sunday, January 21, 2:00-3:45 p.m. by artists who are skilled in bridging cultures. The Honolulu Museum of Art exhibition Film: “Dhanak” A blind boy crosses the “Trade Cloth from the Coromandel Coast” EWC Arts Team : Karen Knudsen, director, Rajasthani desert to meet the movie star features painted cloths that were highly Office of External Affairs; Michael Schuster, Shah Rukh Khan. Directed by Nagor coveted and traded to from India. Ph.D., curator; Eric Chang, arts program Kukunoor, 2016, 105 minutes, subtitled October 19, 2017 – April 8, 2018. coordinator; Annie Reynolds, arts program and suitable for families. For more information: honolulumuseum.org assistant; William Feltz, adjunct arts specialist; June Kuramoto, program officer; Gary Yoshida, Sunday, November 5, 5:00 –7:00 p.m. Elizabeth Kuioka, development officers; Kisore Doris Duke Theatre, Honolulu Museum of Art Sherreitt, Hunter Kaye, student assistants. Tickets & info: arts.EastWestCenter.org Mahalo: Dr. Ismail Khatri, Sufiyan Khatri, Abdul From Tradition Jabbar Khatri, Ramju Vankar, Ramji Maheshwari (Tana Bana), Khatri Anwar A. Razzak, Aziz and to Innovation Suleiman Khatri, Jalabai Khalifa, Jatin Sharma Brooklyn Raga Massive in Concert (Satayam), Ikramuddin Mohammed Sabir Neelgar, Ramkishore Chhipa Derawala, Suraj Narayan Brooklyn Raga Massive is a collective T itanwala, Raj Kanwar (Ojjas), Rakesh Chippa, of innovative musicians rooted in Indian classical tradition, dedicated Kamaldeep Kaur, Alka Sharma (Aavaran), “…Riveting … Soulful … Preserving the past while to expanding diversity through raga- J onnalagadda Niranjan Shilpjan (Kalamkari blurring genres in an inventive spirit.” Research and Training Center), Bhanodaya — New York Times inspired music. Featuring sitar, tabla, Kalamkari, Sri Vijayalakshmi Fine Kalamkari Arts, violin and bansuri flute along with bass, “Leaders of the Raga Renaissance.” guitar, drum set and other instruments, Bina and Kesav Rao (Creative Bee), Mr. Humane — The New Yorker (Salar Jung Museum), Janina Poskrobko, Rachel the group will perform classical raga, Bracken-Singh (Anokhi Museum), Alice Blohm, “Expanding the notion of what raga — original compositions, and works Midori Sato, Sara Oka, Pauline Sugino, David the immersive, epic form of Indian music — by Ravi Shankar, John Coltrane, and can mean.” McLanahan, Simon Marks, Parvin Dangera, Javed — Wall Street Journal Terry Riley. Ali, Honolulu Museum of Art, Doris Duke Foundation for Islamic Art (Shangri La, Museum of Islamic Art, Culture and Design), Vince Hazen, Indru Watumull, East-West Center Gallery Bethany Banister-Andrews, Leslee Michelsen, John A. Burns Hall, 1601 East-West Road Lana Coryell, Anne-Marie Forsythe, Hui No‘eau (corner Dole St. & East-West Rd.) V isual Arts Center, Lynne Najita, Kennedy & Preiss Gallery admission is free. Graphic Design, Leilani Ng, Colorprints Inc., Hours: Open Weekdays 8:00 a.m. –5:00 p.m. Nancy E. Hulbirt, Brooks G. Bays Jr., UHM SOEST, and Sundays Noon –4:00 p.m. Closed Saturdays, Nov. 10, 23, Dec. 22, 24 –26, 29, 31, Department of Textile Conservation at the Jan. 1 –2, 15. Metropolitan Museum of Art, June Kuramoto, J ennifer Leger, Shayne Hasegawa, Derek Ferrar, Parking on the UH-Mānoa campus is normally free and ample on Sundays. This exhibition is made possible by Phyllis Tabusa, Lucy Kamealoha, Deanna O’Brien, The Hawaii Pacific Rim Society, Free school & group tours available. Tina Tom, Patsy Hiraoka, Marie Ebesu, Reynold Richard H. Cox, Aqua-Aston Hospitality, Balintec, EWC Facilities Management For further information: 94 4-7177 and Friends of Hawaii Charities, Inc. [email protected] Honolulu Museum The EWC Arts Program is supported by EWC Arts Community Partners: http://arts.EastWestCenter.org of Art, Doris Duke Foundation for Islamic Art ‘Ohana members, Barbara B. Smith, Jean E. Rolles, (Shangri La, Museum of Islamic Art, Culture and Find us on Facebook Jackie Chan Foundation USA, and other generous and Instagram: donors. Design), and Hui No‘eau Visual Arts Center EWC_arts Printed with soy based inks on recycled paper