visit a handloom factory near locality and write a report of it please help
Answers
Answer:
Weaving or knitting of fabric from my observation -
Explanation:
Yesterday I have visited one of the famous textile industry which is present in our locality. There were various workers which were present there working. They were knitting the sarees in a table. Since the advancement of Technology this type of Handloom workers are suffering a lot because new technologies are being introduced in this sector where they can work in a very faster rate. This Handloom workers knit fabrics which were used by the people for producing various types of clothes. Handloom is an older form of weaving. I have seen tribal community in Assam still use Handloom to weave their traditional wears. Handloom is a wooden machine, where shaft is lowered down to weave. But in a power loom the whole concept is modernized. Powerloom is run by a motor machine, where threads can be combined to weave clothes.Down country roads
“[Weaving] clusters are small villages in the interiors. They are green and serene, and on a walk, all you hear is the sound of the shuttles from pit looms,” shares Sashikant Naidu. The Hyderabad-based designer, who works extensively with weavers, says he began his career thanks to such walks. “I went off on my own and discovered talented clusters about 10 years ago, in Ilavaram, Peteru, Rajolu and Bhattiprolu of Guntur district [in Andhra Pradesh], well-known for the thickly-woven, seven-yard Guntur saris, in the counts of 60s and 80s.”
Today, such ‘discoveries’ are available on demand. From day trips to short packages, the tours, led by lovers of handloom — think Co-optex or textile researchers like Chennai-based Sreemathy Mohan — explore the ethos of weaving, looking at the craft in conjunction with the local culture, food and sources of inspiration, such as architecture. For example, a trip to Kanchipuram would also feature temple tours (to draw a parallel between the mankolam motif and the sacred mango tree at the Ekambaranathar temple or the lions that stride down sari borders and along the walls of the Vaikunta Perumal temple) and a food trail to see Kanchipuram idlis steaming in brass vessels.
“Immersion” is the only way to do it, says designer Sanjay Garg, of Raw Mango. “While studying at NIFT Delhi, I remember visiting a textile cluster in Paithan, where we explored the anthropology of weaving. Everything from the food, the drapes, to the rituals were connected to the weaving in some way. It left a big impression on me, reminding me that everything is connected,” he says, adding that he’d like to replicate this in Kanchipuram soon.
The flip side
With the good comes the bad, and sometimes walks can do harm, with designs stolen and weavers poached. “Occasionally, when we bring textile enthusiasts, they promise the weavers a lot but never deliver. It is disappointing at many levels, and it takes time to rebuild the trust,” says Deepa Anish, of Thiruvananthapuram-based store Karalkada, which is known for its kasavu saris.
A numbers game
One of the challenges (to reconnect with our weaving tradition) is the dwindling number of clusters. Deborah Thiagarajan, founder of DakshinaChitra, the living history museum, remembers putting together a trail in which designer Ritu Kumar also took part. “It was a research trip, and we drew up an itinerary that began in Madras and included Kanchipuram, Kalahasti, Salem, Rasipuram, Karur, Bhavani and Erode. It was a vibrant scene two decades ago,” she says.
“It should not just be about how ‘beautiful’ things are, but also about understanding the nuances of the weavers’ lives, how government policy affects the second largest occupation in the country, etc.” We speak with designers and textile warriors who’ve gone on these trips, and those who organise them, to help you understand why you need to give weaving holidays a try. Weaving holidays aren’t just for the handloom hunter . The design maven, renowned for her use of handloom and work with weavers, still remembers a 10-day textile trail she did with Deborah Thiagarajan, to Chirala and Machilipatnam. “I remember waking up before dawn and watching the printers roll out fabrics soaked in myrobalan liquid and draping it over rice roots to dry — the start of kalamkari’s three-week printing, painting and dyeing process, and one of the most recognised printing schools from India. The long process of Machilipatnam kalamkari was an eye opener, and made us appreciate the genius of that area and its control over vegetable dyeing,” she reminisces. Kumar also did a trip to Chidambaram two years ago, as research for a book she is working on. “What we have in India is rare. Nowhere else in the world do you have a connect to the garment you’re wearing, like we do here. So, go on a textile trip. See its roots, where it comes from, who makes it. This should be nurtured.”
Answer:
thanks
Explanation:
thanks for giving me the answer