Escolar Documentos
Profissional Documentos
Cultura Documentos
450007187
EMPOWERING WOMEN
THROUGH CRAFTS
UNESCO-NORWAY FUNDED PROJECT: MAPPING OF
CULTURAL ASSETS IN DISTRICTS MULTAN &
BAHAWALPUR
43 G, GULBERG III, LAHORE. TEL: 042 35880822, FAX: 35847651 EMAIL: sajidavandal@gmail.com; thaapcas@gmail.com
CONTENTS
1. BACKGROUND/ INTRODUCTION
1.1
Project Aims & Objectives
1.2
Methodology
1.3
Project Team and Management of Project
2. RAPID SURVEY TO SELECT THE CRAFTS AND IDENTIFY ARTISANS IN
EACH OF THE DISTRICTS
2.1
FIRST STAGE: Identification of Villages & Crafts
2.2
SECOND STAGE: Formation of Training Clusters & Crafts for
Inclusion in Project
2.3
Training Clusters
2.4
Findings and Crafts Selected For The Project
3. CAPACITY BUILDING
3.1
Training
3.1.1
Training Workshop: Sample; First Training Workshop
3.2
Issues Regarding Training
3.3
Villages/Participants & Crafts
3.4
Management of Cultural Products
3.5
Akaths: Thematic Areas
3.6
Design Development
4.
5.
6.
7.
8.
9.
CRAFTSWOMEN
CRAFT TRAINING CENTERS &THAAP-CRAFT CENTERS
EXHIBITION
ACHIEVEMENTS
NATIONAL AWARD OF EXCELLENCE FOR HANDICRAFTS
THE WAY FORWARD: CHALLENGES AND OPPORTUNTIES
10. ANNEX
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 1
BACKGROUND
1.1
Within the scope of the overall objective of demonstrating how Cultural Assets which
have been identified by communities and mapped can be used for the benefit of
communities to provide economic opportunities for them; the specific of the Project are
as below and TORs are attached as Annex 1
a)
b)
c)
d)
e)
f)
g)
The Project required that 100 women be trained (20 women from 5 villages) in each
district and a total of 10 Master Trainers be developed.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 2
1.2
METHODOLOGY
The Methodology employed was designed to achieve the Projects aims and objectives
this required that sufficient information would be available regarding crafts and
craftswomen in the Districts of Multan and Bahawalpur which would provide the basis
to move forward. Information available from the UNESCO-Norway funded Project of
Cultural Mapping in Districts Multan and Bahawalpur (2009) was useful for identifying
the locations where various crafts were noted as assets.
The methodology involved the following
1. Assembling Project Team and personnel at District Level and setting up offices.
Recruitment of Local Resource Persons.
2. Rapid Survey of villages, identified in the Cultural Mapping, in each district to
identify crafts and artisans willingness to participate in Project.
3. Enlisting Project Villages based on crafts, artisans interest and logistics.
Formation of Training Clusters and central points for joint training.
4. Training including training methodology, material etc. for training in
development of new innovate cultural products, marketing, management and
functional literacy
5. Training of Trainers and establishing quality standards
6. Preparation of Craftwork for Exhibition
7. Establishing standards of Fair Price for Cash-for-Work
8. Packing and Finishing of Cultural Products
9. Planning of Exhibition
1.3
THAAP-CAS Core Team: The Core team was established including designers, with
management/marketing and skill training and others trainers for basic training in
functional literacy. The Team Leader was THAAP-CAS Executive Director, Sajida
Haider Vandal. Other members of the Team included THAAP Principal Designer,
Aisha Imdad, Mobeen Saeed (Textile Designer), Sadia Farooq (Product Designer);
Muhammad Ali Wasti (Craft Designer/Management and Promotion) and Saba Samee
(Exhibition Design). Each of the core team members brought onto the Project their
particular expertise. The team designers are well known and experienced in
teaching/training for 10-30 years and have been working for the promotion of crafts.
The Head Office Project Coordinator appointed was Saira Yasir.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 3
Local Resource persons: One Resource Person was identified and appointed in each
district to act as Field Team Leader (FLT). The selection was based on previous
experience in community work, a good knowledge of local crafts and willingness to
travel to remote/different parts of the district whenever required. Other criteria
included ability to organize training sessions as and when required and liaise with
designers and head office (HO) in Lahore; Experience of Computer programs relevant
to the Project, electronic, oral and written communication skills. Women selected as
Field Team Leaders were Bushra Sagar & Muzamal Yasin for Multan and Bahawalpur
District respectively.
Field Unit Office: THAAP Office in Bahawalpur at 4-A Satellite Town Field was used as
the central office for the Project, while a small sub-field office was established in
Multan inner city at Keera Wala.
PROJECT TEAM
Team Leader
Principal Designer
Aisha Imdad
Designer (Exhibition/Management)
Saba Samee
Designer Crafts/Management/Marketing )
Designer ( Textile)
Mobeen Saeed
Sadia Farooq
Bushra Sagar
Muzamal Younis
Saira Yasir
2.1
CRAFT
HAND EMBROIDERY
CHUNRI MAKING
PIT-LOOM
AVAILIBILITY OF SKILLED
WOMEN ARTISANS
Each Village has about 30-50
women involved in Hand
Embroidery. Some experts
available in all villages. Best
potential in DNB 110.
Abbass Nagar well known
traditional center. Quality
deteriorating because all
products being prepared on
Commercial basis
BC 33 most promising. Master
Trainers available. About 4
Skilled weavers and spinning
experts.
Abbass Nagar has one
extended family preparing fine
products. In other areas
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 5
An analysis was also carried out to help in deciding which crafts should be taken up in
the Project. It had been decided that the most prevalent and popular would be taken up
however the intent was to also identify those which were endangered and there were
artisans who could be located with the skills needed for their revival. The following
table gives the salient information regarding Endangered Crafts
ENDANGERED CRAFTS BAHAWALPUR March 2010
CRAFT
NATURAL/VEGETABLE DYES
PIT-LOOM
REMARKS
SCALE OF POTENTIAL
(high, moderate, low)
ONE WOMAN IN ABBASS NAGAR Difficult. Only one woman
located in Abbass Nagar.
METHOD OF MAKING FINE SILK Low: Can be done at a later
EXTINCT
stage.
Would
involve
Ustads to take up revival
High: Skills exist. Develop
LIMITED PRODUCTS
Abbass Nagar and train
others
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CARPET WEAVING
JEWELRY
TRADITIONAL METHODS
STYLES NOT POPULAR
LIMITED PRODUCTS
RALLI
BEAD WORK
BUILDING DECORATIVE
CRAFTS (FRESCO &
NAQASHI)
HAND EMBROIDERY
PIT-LOOM
PAPER CRAFT
MULTAN CITY
CARPET WEAVING
BLUE POTTERY
AVAILIBILITY OF
SKILLED WOMEN
ARTISANS
Very
prevalent.
Most
villages have 40-60 artisans
No women artisans
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 7
CHUNRI MAKING
KHUSSAS
REMARKS
NATURAL/VEGETABLE DYES
PIT-LOOM
LIMITED PRODUCTS
CARPET WEAVING
QUALITY HAS
DETERIORATED
JEWELRY
TRADITIONAL METHODS
AND STYLES NOT POPULAR
VERY LIMITED, THOUGH
MASTER CRAFTMEN
AVAILABLE. LIMITED USAGE
AVAILIBILITY OF
SKILLED WOMEN
ARTISANS
Difficult. Keror Pucca was
visited. Haji Amer Buksh ,
reputed to be best could
not prepare acceptable
products
Low: Can be done at a later
stage. Would involve
Ustads to take up revival of
traditional weaves.
Deyaieh, tehsila extinct.
Moderate: Can be explored
Low: No market and no
women weavers found in
any village
Low: No interest shown by
women
Low: Can be done at a later
stage. Would involve
Ustads to take up revival
and contemporary usage.
High Potential for future
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 8
2.2
After the first round of visits, the core team analysed the data and identified those
villages which appeared to have the most potential. This was followed by a second
round of visits to these villages to select the participants and explain the next phase, i.e.
the Training component. Suitable locations for the training had to be determined based
on accessibility for the communities and suitable arrangements for the training. In both
districts the possibility of carrying out the training in one central location was explored
but this was not acceptable for the participants for the first session. It was resolved that
the initial training would be held in atleast three different locations in each district and
then efforts would be made to move towards collective training sessions so that benefits
accrued through exposure to crafts and craftwork from other areas could be reaped.
2.3
TRAINING CLUSTERS
Locations for Decentralized Training Workshops was as follows
Bahawalpur : Bheli, Basti Menghwaal, Basti Khangah, Derawar; Abbass Nagar;
DNB 110, DNB 112, Dera Bhukka, Yazman, 28 BC,
Multan: Chah Bajay Wala, Multan, Village Khan Bhela, Kera Wala, Paper Craft work
at Lodhi Colony, Multan City
Locations for Joint Training
Bahawalpur: Bahawalpur City
Multan : Chah Bajay Wala, Keera Wala
2.4
A brief on each of the Craft was prepared for use of the trainers and is reproduced
below. The potential of each was also indicated
1.
PIT-LOOM: Bahawalpur & Multan region were famous for its pit-loom
industry but now it is on the verge of extinction, having been replaced by the Kasuri
loom. In BC33, Abbass Nagar, and Basti Gadan traditional pit-loom crafts persons have
been working in this profession for last 4 generations and could be involved as trainers,
the first appears to be more promising. The shift to the larger loom has affected the
traditional designs. With pit loom the weavers are producing three different kinds of
products i.e., Khais, (bedspread) Shawls and Cloth. The finer silk cloth weaving
methods are extinct.
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Khais: There are two types of Khais being produced i.e. Saada Khais and Majnu Khais.
Saada khais is plain with strips on the borders of varying sizes, whereas Majnu Khais is
more intricately designed and is based on two mutually contrasting colors. The pitloom craftsmen family from a village in Yuzman (largely consisting of Hindu
community) creates beautiful Khais in Saada and Majnu designs. Bhera Ram explained
that his expertise is in three traditional designs of Khais, which are traditional designs
and have been in his family for generations. He can make designs in Majnu Khais called
Maky Khori; Kamal Khori and Diwani Dabi Khais on the pit-loom. Khais is made in two
puth (parts) of about 24 each, later sewn together to get the size of a bedspread. This
is due to the limit of width on the pit-loom.
There is potential to develop cultural
products which the trainers need to assess. Samples of each have been procured.
Cloth: The cloth made on the pit-loom can range from the course to the very fine cloth
made in a variety of designs. Among these, Susi, weaved in straight lines is the most
famous and popular. The coarser version called tehsila, traditionally made with white
pinstripes in a few colors (indigo, blue, green, red, and sometimes brown) and of small
width (about 10 to 12) is extinct as are the fine varieties of susi earlier made in cotton
and silk yarn. (available in personal collection of the Team Leader). A silk variety
famous at one time, prepared with silk worm thread is now also extinct. Susi is
extensively made in the villages of Punjab and Sind but now mostly on the larger
Amritsari or Kasuri loom which allows cloth to be weaved in a larger width than the pitloom where the width is restricted to a maximum of about 30. The cycle of preparing
cloth on pit looms traditionally involved both men and women. It was the women who
prepared the yarn on charkas (spinning wheels) whereas the tana was mostly prepared
by the men while the weaving was done by both by women and men. Multan district
was also famous for deriye which was prepared with silk thread on the pit-loom with
two colors woven together and popularly referred to as doop- shaun (sun-shade). This
is now extinct. No weavers could be found who knew the technique any longer.
Samples of all extinct cloth mentioned above are in the personal collection of the Team Leader
and trainers can assess the possibility of reviving some weaves.
Shawl: Traditional shawls are very popular in the Multan and Bahawalpur region. A
traditional weaver Ghulam Hussain (father) and Riaz Hussain (son) make warm shawls
and desi khais on pit-loom. They can make 8-10 yards of thick woolen shawl cloth in one
day, thus one woolen shawl in two puths(parts) can be completed and two can be
completed in 2 days. The material used in the woolen shawl is called Pasham (Sheep
wool yarn). Ghulam Hussain is able to sell traditional design shawls in his villages. He
proudly asserts that he sells all his products in the village, as people still prefer to buy
his shawls rather than go to city for modern products.
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2.
PALM LEAF WEAVING: Palm Leaf weaving is done with the dried leaves
of date-palm known as Khajji locally. Date palm is considered to be the third major
fruit of the country and abundantly grown in South Punjab. It is used to make various
items such as baskets, ropes, hand fans, prayer mats etc. Products are either utilitarian
objects or for decorative purposes only and prepared by women in their free time. They
have come up with many innovative designs in colorful dyed palm leafs. The color
range is still restricted to a few colors, yellow, green, red, shocking pink which is
because these appear to be more popular colors. In the beginning color was not used
but the weave produced a variety of patterns which is still made in some villages.
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The palm leaf and wheat stalk craft is a traditional and seasonal craft. Products are
usually made in the late summer when the raw
material has been dried and prepared for weaving.
Most young women learn the skill when young
from their mothers and grandmothers, but all
villages invariably have some women who are
acknowledged masters and are much sought after
to prepare a range of products for a girls dowry
and other special occasions. Safia Bibi of Basti
Changar from Uch Sharif, Bahawalpur District
Majnon, Abass Nager, (District Bahawalpur) along
with her elderly mother, Mithan Mai, makes floor
mats, (Chatais), hand fans and praying mats, fruit
bowls of varying sizes and platters. The mats made
for daily use are generally plainer while others are
more colorful. Mats are weaved in puths, (parts) of
about 10width and then sewn together with palm
leaf. The family has been well known for
generations for the fine products that they have
been making and the innovation that has been
brought into it by each generation. This is also the
Mat from Khan Bela, Multan District
case of Mariam and her family of Abbass Nagar and
of others in the various villages of the districts. Palm Leaf products have been sustained
by the demand from village communities and have thus survived for generations but
are now threatened due to the commercial products which are usually cheaper and
rapidly replacing these hand made products. Mithan Mai and Safia Bibi assert that they
get enough work from their own community and thus do not need to sell any of the
products in the market. The potential of these objects for the contemporary market, however,
needs to be explored since it is also facing problems, as craftswomen dont get enough return for
the hard work put into the making of a palm-leaf product. The palm leaf products are unique and
rare and a bigger market needs to be tested for new cultural products. Trainers need to examine
the possibility of developing new products beyond the traditional changhar which had limited
use.
Hand embroidery has found a commercial market with the ensuing problems of loss of
quality and exploitation by the middlemen/contractors. Most villages also have local
sub-contractors who hand out work to the various embroiders in their village, thus, the
craftsperson faces exploitation at two levels and ends up by being paid very little for the
lovely products that they prepare. Although some women are working full time on this
craft usually it is a spare time activity
since it fetches little returns. It is
common to find young girls preparing
embroidered products for their jehaz
(dowry). This is usually of fine quality
and often very exquisite and intricate
compared to the products prepared
for the market which is almost always
course and restricted to a few popular
designs provided by the middlemen.
Traditionally the embroidery was
Katcha Pucca Tanka
taught to the young girls by their
elders or by the traditional teacher who taught them the Quran as well as survival skills
but now there are Dastakri (handicraft) centers run by some of the enterprising women
of the village where the craft can be formally taught. Men too are increasingly involved
with embroidery work usually working at an adda (large frame) for the commercial
market.
Bushara Hafeez, of Faizabad, Chak No 29 BC, trains girls at her own house. She learnt
the art of embroidery from her mother and other female members of her family when
she was young. She usually takes 3-4 days on one suit (shirt & dupatta) and 3-4 shirts in
one day. She works on orders from different people in her locality. She knows 40
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different stitches. Bushra has taught more than 50 girls by now and she is
acknowledged as the Ustad (master teacher) by her community. She proudly speaks of
her shargids (students) who have got married and gone away from the village to spread
this craft amongst more communities.
Mariam Ayub is an expert of Ari Tanka and in her spare time does embroidery to
supplement the income of her family. Ari Tanka was adopted in cloth embroidery from
tilla work on leather uppers, an embroidery technique used in making of Khusas (leather
slipper). Its implements are a hook like needle called ar. Ar is of various sizes to achieve
more refinement in the embroidery. Mariam learnt ari tanka from her mother, as is the
usual practice in the villages of South Punjab. Embroidery is a good way to pass time
and does not require any major tools and all women do embroidery after finishing their
daily chores. She makes beautiful shirts and duppattas.
The potential of the extensive hand embroidery sector has not been fully appreciated
due a variety of reasons amongst which is the prevalent view that women are often
confined to their homes through this work. This may well be true in the current scenario
but the possibility and potential of women setting up their own small enterprises as has
happened in the urban areas exists which is the direction that needs to be considered and capacity
of the village embroider enhanced to be equipped for the modern business world. At present there
are two levels of contractors operational and exploiting the artisans, one is the market contractor
and the other is the village based sub-contractor. Trainers need to be conscious of the village subcontractor and ensure that fair price criteria are used throughout when CFW is being considered.
chemical dyes are mostly used. There are very few women who know this ancient way
of preparing natural dyes since chemical dyes are easily procurable and the constraint
of time and resources has almost made the traditional knowledge of matka colors
extinct.
The
preparation
of
a
Chunri,
a
predominantly womens craft, involves the
tasks of bandhini making and dying which
are usually done by different persons.
Fazalan Bibi, of Majnoon Basti, Abass Nager
district Bahawalpur, binds the Chunri
designs on orders for the Chunri dyers. It is
an extremely difficult task and the nails get
badly injured. She has been doing this work
for as long as she can remember. She said
that it takes her around 3-4 days to
complete a pair of clothes.
Nusrat Bibi and her entire family of Abass Nager make Chunris on a professional basis.
According to them Chunri is a traditional craft of all the Saraiki families and most
women of the village know the art; some of whom are considered experts and prepare
the work for special orders. Most of these women know the fine and intricate
traditional designs and patterns since this is the family heritage, however new designs
have evolved which are coarser and easier to prepare thus more suitable for a market
which pays low prices for this work.
The market for good quality Chunri needs to be created and the crafts persons should be
encouraged to go back to their original intricate and refined traditional designs, and make new
products which appeal to the modern buyer. A Challenge for the trainers to take up!
running stiches. The very minute stitches are done in straight lines on all the ralli used
as bedspreads, floor covers, pouches, storage bags, camel saddle cloth and saddle bags
and such other usages. Sometimes appliqu work is rendered on the borders and at
times embroidery of stylized birds and plants can also be found on some rallis. The
process is time consuming and painstaking and done by women in whatever time they
can get from their daily toil. Appliqu work rallis with patch work borders can also be
found.
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6.
GHOGHOO GHORA: The Ghoghoo Ghora or a toy horse is a traditional craft
and one of the oldest in Pakistan. Traditionally ghoghoo ghora was made in terracotta
with hole in its back. When air is blown in it the ghoghoo ghora would make a sound and
that is how the toy horse got its name. It has been part of our cultural heritage for a
longest period. Ghoghoo ghoras made of terracotta have been found in the Indus Valley
sites and considered to be childrens toys. It remains as a part of the rural culture of
South Punjab. The design of the toy horse varies from place to place. Over a period of
time the ghoghoo ghora material has also evolved. In the Multan region a special kind of
the toy horse has evolved, made of rags and paper. Every year before Eid festival
colorful ghoghoo ghoras are seen near Eidgah of Multan which are sold to celebrate the
Eid festival. Ghoghoo Ghoras are made by the khanabadosh (gypsy tribes), who are
nomadic and roam around in the region in search of work and come to Multan at the
Eid Festival. One particular tribe is now squatting in Multan working as scavengers.
The making of the ghoghoo ghora is an interesting and fascinating process. The entire
family works together as a team to create this exquisite craft. The wonderful thing
about their art is that everything used to make a ghoghoo ghora is made out of recycled
material. They use old clothes, paper, toori, (wheat chaff) and kana or reed stalks to
make the ghoghoo ghora structure, a paste made out of atta (wheat flour) and powder
color is used to create traditional colors used on the ghoghoo ghoras. The paper is colored
in purple, shocking pink, yellow, red and white.
The structure is constructed with old cloth stuffed with crushed wheat and the legs are
made of Kana, reed stalks. Once the structure is sewn together the basic body color is
applied. The color is in the form of a lai; a paste made out of color dye and atta (wheat
flour), mixed together in the form of a thick paste. The traditional body color of a
ghoghoo ghora is purple; hence purple color is applied all over the body. Once the body
is colored, the reed stalks legs are attached to the body. White paper is pasted on the
upper portion of the legs to keep the legs secure and in place.
In the next step yellow paper is used to make the decorative neckband for the ghoghoo
ghora. Neckband of ghoghoo ghoras are further decorated with red and green paper cutouts in the shape of a frill. The front legs are covered with shocking pink paper to create
a decorative costume for the ghoghoo ghora.
Metallic pani or silver paper stripes are used to further decorate the horse. The silver
paper is cut out in thin strips and is used to give the costume of the ghoghoo ghora a
more formal look. The face of the horse is decorated with green paper and eyes are
made of yellow paper. The head is decorated with a feather made of white paper. The
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seat of the horse is made of yellow paper cut in the form of a saddle. The back of the
horse is again covered in green paper to create an illusion of a costume worn by the
horse. The white paper is cut out in a form of its tail, which shows in contrast through
the green costume covering the back. The costume is decorated with thin strips of paper
pasted in contrasting colors to create decorative motifs.
The leash of the horse is decorated with paper flowers
in red, yellow and shocking pink. Parrots are also now
being made.
While the horse was the traditional form and gave the art its
name, ghoogo ghora, it may be possible to make an array of
animal forms which will bring in a new impetus for this
Ghulam Fatima
craft. The parrot, camel, peacock and elephant are some
possibility. Maybe some product can be thought of that may be needed throughout the year as
well such as shopping bags?
7.
BLOCK PRINTING In Multan block printing has been done for many
centuries. Due to lack of buyers most block printers have left the craft and started doing
other work. Keror Pucca (district Lodran) a known center of this craft produces
sufficient for the demand of the market. The designs for the blocks are selected or made
on paper. After that wood is selected on which the block master/carver carves the
design. The block carving is a very intricate job and must be perfectly prepared since
the quality of the product will depend on the block itself. The block is prepared
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according to the motif; one block for each of the colors used in the motif thus sometimes
three to four blocks are prepared for a single motif. Once the blocks are carved and
before starting with the block printing the blocks have to be made ready for printing.
The blocks are soaked in mustard oil for about three days to take away the rough edges
and make it more receptive to the paint. Traditionally organic colors were used for the
printing but due to the work and time involved in making organic dyes the printers
have stopped using natural dyes and are now relying on chemical dyes. There are two
different kinds of colors that can be used on cotton in block printing. One is Alka Binder
color which is used on light base cloth preferably
un-starched cotton. The other is called paste color,
which are used on dark based, thick cloth. The
color used on the silken cloth is called Proshan. The
aim is to have the color when applied to the cloth
come out smooth and even and completely
absorbed in the cloth so as to get a sharp image of
the motif. The block printers table is specially
prepared, its size is equivalent to the material to be
printed, and thus about 3 yards length and about Crafted by Haji Abdullah about 20 years ago
1.25 yards wide to accommodate the size of the dupatta/ shirt to be printed in one go.
The tables surface is affixed with 60 layers of bori (sack) cloth on it. The block printer
fixes the cloth on the table and starts using different blocks dipped in the desired color
to start printing various design patterns. The patterns can be varied of a single or
multiple colors dependent on the skill of the block printer.
The quality of block printed material has considerably deteriorated and even in Keror
Pucca the quality is not up to the mark.
The age old craft of Block Printing is facing difficult times with several of the crafts persons
leaving their family trade in search for more lucrative likelihoods, often moving away from the
village abodes to the cities, thus the extinction of skills which had survived for centuries seems
imminent if a market is not found for this age old craft. Trainers need to find out how to revive
the traditional techniques and assess whether some women artisans can be trained. If need be
visit other known areas of block printing to see whether better quality work is being produced.
8.
BLUE POTTERY: The blue pottery of Multan is famous all over the world. It
is considered as one of the hallmark of Multani crafts. The Sultanate period monuments
in Multan and elsewhere in the region bear testimony to the skills of the Multani
Kashigars (tile makers). It is believed that the craft of making blue tiles came to Multan
from Central Asia in 12th Century during the rule of the Ghaznavids and the Delhi
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Sultanate. Some scholars are of the view that The use of foliage branches and leaves of trees
and superb richness of colors (main blue) in Kashi work is an evidence of Persian influence. As
Persian arts themselves have been under Chinese (Mongol) influence, therefore some historians
are of the view that Kashi work had originally come from Kashghar, China. From its origin,
Over a period of centuries Multani Kashi work has matured and developed a unique and
distinctive style of its own 1.
The exquisite kashikari at the Shrines
of the Sufi Saints of Multan, Shah
Rukh-e-Alam, Bahaud din Zakariya
and the Ismali Saint Shah Shams-uddin Sabzwari are some examples of
the high quality of the tile work that
the kashigars of the time had achieved.
But later, due to a lack of patronage,
standards began to decline, until the
craftsmen started switching over to other
work. However, there are still handful of
craftsmen who are sticking to their
Kashi Kari at the Entrance of Shrine of Shah Shams Sabzwari
ancestral trade. 2 Among these are
Ustad Mohammad Wajid and Mohammad Zafer. Both live and work in the old citys
Mohalla Pir Pathan and prepare not only the tiles but various decorative and utilitarian
objects such as vases, lamp shades, crockery etc using age old techniques and methods.
Ustad Wajids family has been in this profession for over 500 years but now due to lack
of a clientele his sons have found other livelihood. Ustads Zafer family has been in this
trade for 300 years and now none of his children want to continue with this work. This
illustrates the problems being faced by the crafts people throughout the region. This
craft continues to be endangered inspite of the efforts made by the government to set up
Blue Tile Center in Multan and elsewhere the craft continues to suffer due to lack of
good marketing and promotion.
This traditional art of Kashikari in Multan is different from other pottery styles in the
country because of its process. The traditional clay which was used was a special type
1
Hashmey, Hira; Blue Pottery in Pakistan. A cluster information Report. Unpublished report, AHAN
Pakistan
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 20
of clay found never the rivers of Multan which was prepared and refined through age
old techniques to give its the fine quality that Multan blue pottery is famous for.
Increasingly the red clay has been replaced by the commercially available clay which
does not require much preparation. The two kashigars ustads Muhammad Wajid and
Muhammad Zafer are amongst the very few who continue to use the red clay. Various
natural materials are used to give it its famous blue glaze. Cobalt is used for dark blue
now, but earlier Lajwant stone was used to acquire the color, and copper oxide is used
for ferozy (turquoise) color, traditionally called sabzi. The white color of the background
is obtained from the sandh rock. Before applying the color on the product a layer of aster
has to be applied on the surface of the clay to enable the color to show as the brilliant
blues of the Multan blue pottery. The Nakash draw the fine patterns on the unbaked
pieces, this part of the work is sometimes rendered by women. Firing of the Multan
blue pottery is at 900 degrees Celsius. Designs rendered as naqashi have evolved and
developed giving a much larger design palette from the traditional designs. The color
palette remains the traditional range of blues, yellow, green and sometimes red.
The Kumhar (potters) of South Punjab have fortunate to have a market in the villages
throughout Pakistan and thus the craft has survived and grown with products being
continuously innovated to cater to the present day needs. The traditional gharas and
matkas have their modern counterpart in the clay water cooler fitted with a tap to make
it easy to pour water and the old shape of the clay flower pots have been transformed
into a variety of shapes and sizes. There are potters villages found in the districts
whose creations find a market through the length and breadth of Pakistan and beyond
into Afghanistan while the blue pottery ustads await a clientele which will increase
their earnings beyond the Rs 20,000/= and Rs 15,000/= which is the monthly earning of
Ustad Muhammed Wajid and Ustad Muhammed Zafer respectively.
The exquisite and brilliant hued blue pottery made
with age-old techniques embedded in the history of
Multan region. These techniques need to be
protected and promoted and the kashigars and
nakashs encouraged to maintain the old techniques
which left a lasting and indelible mark on the
Multani culture. There were only 14 women who
are involved in Naqashi work in the blue pottery.
Contemporary Handi
The Challenge is to locate them and persuade them to be a
part of the Project. Some way needs to be thought of how these women artisans can set up their
own small businesses otherwise it will be difficult to take this forward.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 21
These eight Crafts can be the first to be taken up. However as the Training starts
continuous exploration of other skills that the participants may have need to be
noted and built into the process. One such craft is beadwork of Cholistan.
Basti Bodiwaal
Basti Gaddan-Shawl
Border
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 22
CAPACITY BUILDING
Training and Capacity Building was at the core of the Project objectives which were
the central concern throughout the project period. These objectives were
a) Development of cultural products, contemporizing design to inculcate design
innovation methodologies and development of Craft products.
b) Development of marketing and managing skills, and,
c) Provision of functional literacy to the Project participants
These were met through intensive training
sessions using a methodology which
allowed group training sessions as well as
individual sessions through THAAP
designers as well as peer review and
collaboration
with
Master
Trainers
developed as the Project progressed.
Opportunity to meet participants from
other districts and areas was also built-into
the training sessions with some joint
sessions held at a central location. Sharing Training Bheli
and learning from each others work and
experience appeared to be a good way for collective development of the group. Thus
work prepared by one group of women was shown in other districts so that the
isolation which is so often the fate of women and crafts women could be challenged.
Many of the Training sessions were organized using the home of a community
member taking recourse of a familiar setting where women usually collect to share
their lives and learn crafts from their elders. When it was felt appropriate some of
these were converted into Craft Centres which allowed for these to be in areas where
the crafts were rooted thus its natural/traditional home.
The training sessions were designed to provoke and tease the imagination. The lesson
plans and the resource material assembled for sharing and referencing was
continuously assessed and if and when the need arose modified, to allow local needs to
be integrated in the capacity building processes. Examples of the most exquisite and
fine works were collected to provoke the mind, some of these were old pieces made in
the very same villages by the artisans ancestors. These provided the bench mark that
was possible to attain; at times invoking disbelief that some article or the other could
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 23
indeed have been done by hand for some of the techniques are not known any longer.
At one of the training session, the Chunri artisans when shown an old gharjola with
finely done bandhini insisted that this was factory
produced but later tried to match this work by tying
the chunri in fine knots themselves. They have not
quite got to the stage of preparing the finest chunri
but it is possible that with continuing support and
encouragement of a discerning clientele they may still
achieve the heights that this regions chunri had in the
past.
Color Coordination Workshop
3.1
TRAINING
Training was carried out through Cluster Training and Joint Training at locations
mentioned above carried out by THAAP designers. Training at Villages held by
THAAP designers and Training by Master Trainers in villages as an ongoing process
of peer review and evaluation.
Training Curricula Developed by Designers : Key Features
-
Skill Development
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 25
Designers
Date
Venue
Participants
Outcome
All identified
craftswomen from
Cluster
/Joint
Wshop
1
April
Multan (Keeri
15-19
various villages
of products
Bahawalpur (
Selection of Potential
Derawar, Bheli)
Master Trainers
Sample preparation
initiated
Functional Literacy
lessons started (on a
need basis)
May
Multan, Bwp
4-9
Discussion on
Contemporary Design,
Quality Control &
Management
Checks for Quality
Control initiated
May
Multan
30- 3
Participants
June
trained
Exhibition Thematic
Areas resolved and
Orders placed for CFW
June
Bahawalpur
15-18
June
22- 29
As above
Participants
Multan
Block Printing
Techniques
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 26
August
Bahawalpur
8-12
Sept 15-
Bahawalpur
25
Handloom Master
Trainers &
Handloom weavers
trained
Participants
Oct 10-
Multan (Khan
Embroiders Master
12
Bela)
Trainers
Oct 20-
Multan
Block Printing
24
Oct 2630
Master Trainers
Bahawalpur
Products
Fortnightly visits by THAAP Principal Designer to Project villages for Capacity Building
Weekly visits by Field Team Leaders to Project Villages in their District
Fortnightly Visits by Head Office Coordinator from Sept-to date for continuing training in Finishing &
Packaging to Bahawalpur THAAP Offices & Multan Block Printing & Craft Center
Below is a brief report compiled after the First Training Workshop and annexed are
the detailed reports of the first and second training session to show how the training
was carried out and the management of the capacity building component. Such
reports were prepared for all Training Sessions by the Designers to review the
outcome and determine the next steps.
the contemporary market. An initial visit was made to the districts and accompanied
with the FTLs they were given an opportunity to observe, discuss and learn
following which the lesson plan would be developed.
The locations and participants were selected by the relevant FLT who paid a number
of visits to the various villages identified with potential. In some cases repeated
visits were made trying to explain the aims and objectives of the Project. There was
initially a lot of distrust mainly in the areas where similar projects had been carried
out earlier. The prevalent view was that people come and built their expectations
and then disappear, so they were naturally reluctant to go through yet another
experiment. In other cases women wanted promises of sewing machines before they
would agree to participate. The Core Team decided that this was not the right way
forward and thus we would
a) Refrain from creating unrealistic dreams
b) Built in sustainability insofar as possible
c) Pay Cash for Work (CFW) for the products produced under the Project
d) Explain fully that if products are sold at a higher price at the exhibition at the
end of the Project, the fair sharing formula would be worked in which the
major beneficiary would be the craft person.
After having resolved such key issues, the task of developing the teaching program
was taken up by the team of designers/management and literacy personnel. The
first one day sessions held at different locations entailed developing an
understanding of color and coordinating colors, meaning of motifs in the traditional
designs, surrounding environment & developing design based on local motifs and
discussions on samples taken from various familiar sources.
Workshop Sessions:
Interactive Lecture Sessions followed by an exercise was the format adopted. The
Report of Mobeen Saeed, designer; appended as Annex 4 and Aisha Imdad,
Designer/Artist at Annex 5 detail out the events in Bahawalpur and Multan.
Major Outcome
a) Master Trainers were selected from the Participants by the participants
themselves. These women were already acknowledged leaders of their
communities in their particular craft.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 28
b) Work was given out to all participants to prepare which FTL would
collect. All participants were informed that timely delivery and quality
was the key, an essential aspect of management skills
c) Basic discussions on management and marketing skills and initial spade
work of these important skills were initiated.
3.1.1
a) In the first two training sessions attended by a large number of women participated
in the Cluster Training the designers came to the understanding that there was some
changes that were required to spark the imagination and interest of the women. It had
been noted that some of the expert artisans were actually working as sub-contractors
themselves for the market contractors and were thus a part of the chain of exploitation
to which the craftswomen were being subjected. To enable bringing the disadvantaged
artisans into the loop it seemed important to move quickly into the CFW mode to
demonstrate benefit for all participants. Rates of Payment needed to be settled with the
artisans themselves and paid directly to them.
b) Women were subjected to a lot of control exercised by the family thus it may be
difficult to get them all at one place. It was felt that the economic benefits from the
Project could help in this. Thus the CFW incentive could be used
c) Most critical was how to get new innovative ideas developed in the training process.
Experience had shown that something needed to be brought into the training sessions
which would help spark the imagination so as to propel it forward.
At the third Joint Training Session on May 30-June 2, 2010 in Multan the idea of using local
references was congealed and Thematic Areas were developed. Contemporizing Design
which is one of the key aspects of the training requires a high level of involvement & a
highly motivated participant. Thus as preparation for the Third Training Session, the
response from the earlier training sessions, the samples prepared were assessed to
determine the level of engagement with design development by the participants. It was
noted that as the methodology required some modification it would be best to perhaps
define thematic areas based on the immediate environment of the participants.
The training focused on how a theme is developed and carried through and controlled
through a color palette, designs etc to read as a single entity. Products for each theme
were determined and distributed amongst participants and prices fixed based on level
of quality.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 29
Multan
Bahawalpur &
Cholistan
Final No of
Villages
Multan City
(Chaj Baja
Wala )
Shujabad
Jalalpur
Pirwala
Khan Bela
7 Villages
No. of Participants
who participated in
training (1-3
Sessions)
244
350
Final List of
Participants
177
311
CRAFTS
Palm Leaf
Embroidery (Ar & Goota)
Block Printing
Handloom
Leather Work
Naqashi
Camel Skin Products
Embroidery
(Katcha
Tanka, Shadow Work,
Pucca Tanka
Palm Leaf
Handloom Fabric
Chunri
Ralli
Ralli & Embroidery
Bead Work
The Attrition was due to a number of reasons, mainly the harvesting season which is
viewed as a good opportunity for the village women to earn money as well as the
yearly stock of grain (wheat and rice). Women at the cotton picking season earn about
Rs 500 per day which is way beyond their earnings through the crafts. In Multan
district the rain caused havoc, particularly in Khan Bela villages, in Shujaabad and
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 30
Jalalpur Pirwala and several of the participants were dislocated temporarily. They have
all since returned and most are eager for opportunities to enhance their livelihood
through craft related work.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 31
3.3
A system of managing the large number of cultural products being prepared had to be
devised. These were means of imparting management skills to the participants who
were given note books to develop their own log books to include designs, orders of
cultural products and patterns using cheepe. The evolved format is annexed for
reference
3.4
The themes in the four collections derive their spirit for designing from local sources
rather than motifs that do not belong to the area. Thus, these collections, developed in
the training sessions through designer-artisan collaboration, gave the artisans a design
palette that they could relate to their daily lives, the familiar rather than the alien. In this
way they could evolve and improvise the design in their own individual ways, using
familiar references. To adopt this way forward, the THAAP Design Team of the Project,
carried out many training sessions with the local crafts women to revive and improve
their craft techniques and to develop design motifs for the various cultural products
that they were planning to make. The sessions made it clear that the local design palette
held more appeal for the women artisans rather than the designs imposed from outside
their realm, the way adopted by market contractors. The excitement that this created in
the training sessions was palatable because now the women were a part of the design
development, improvising the design, using colors from the palette of the four
collections, matching the color to develop schemes which would look good, looking at
each others work, developing a comradeship and recognizing the leaders amongst
them. The themes for the exhibitions were selected after much deliberation on their
content, photographs were examined, resource material consulted and the artisans were
juggling their memory to capture something from what they had seen or remembered
their mothers and grandmothers making. The process gave significance and strength to
the design themes and the craft products that were planned and eventually prepared.
The following four thematic collections based on various cultural aspects of the region
have been developed in the Project. The collections are called Akath meaning putting
together or getting together in Saraiki, the language of the region. All the four themes
derive their conceptual spirit from the various cultural aspects of Southern Punjab.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 32
1.
This collection celebrates the design motif of the bird form in the folk arts of South Punjab. This prevalent
motif, sometimes in the shape of peacocks, parrots, herons, pigeons, doves, myna, hens, roosters, and
occasionally the crow, make their appearance in embroidered pillows and rummals, block printed cloth,
household accessories as well as the earthenware blue pottery of Multan and the rallis of Cholistan. Its
origins are embedded in antiquity and the meaning has been lost however the motifs survive in the folk and
popular arts of South Punjab.
Among the variety of bird forms, is the parrot, Mian Mitho of folklore, with its poetic connection to
womens lives, symbolizing the need for a benign friend and companion with whom secret thoughts can be
shared. The Akath derives its name from Tooti Nama; the exquisite book prepared for the young Emperor
Akbar which is based on 52 stories narrated to Khojasta by her pet parrot. One story every night to amuse
her for the 52 nights that Khojastas husband was away on his travels. The book is illustrated with
exquisite miniature paintings to enhance the interest of the reader. Tooti Nama Akath while making
connections with the traditional folk culture of Punjab is an opportunity for the women for rewriting and
reviving these folk stories through their crafts.
The inspiration is from the famous turquoise and deep blue or indigo colored glazed tiles of the Sultanate
Period Architecture, the Blue Pottery traditions and the plant indigo which is grown in the region. It
honors the skills and art of the kashigars, the matka dyers, the nakash, the embroiderers, the block printers
who have made this hue synonymous with South Punjab.
By adopting the colors as well as the design patterns into their crafts from the rich references from their
region, the women artisans, through this palette celebrate and engage with the mystic traditions and colors
which are indigenous and familiar.
The Collection portrays the spirit of Cholistan and it colorful design palette. The vibrant colors which the
Cholistani women wear in their traditional choli and ghagra are the colors of this collection. The folk art
designs, which are made on the rallis, clothes, bags and even on the surface of their mud plastered houses,
are the references for the designs for the Akath in this theme. The Rohi Akath conveys and connects the
Rohi women in celebration of their ancient culture that is buried in the sands of time and the living arts
and crafts which are embedded in the everyday life.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 33
Thematic Concept
Inspiration
Indigo Collection
Tootti Nama
Cholistan Collection
Parrots made in BC 28
Cholistani Akath
Neel Akath
Jewan Aktah in Chunri
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 34
1.1
DESIGN DEVELOPMENT
The Design development required that a color palette be developed for each collection
and reference material for developing motifs. Stitches/Tankas for embroidery, color
scheme for each products and costs had to be established and the marketability of each
product determined. Quality standards were critical, so samples had to be prepared and
discussed through peer review and with designers. Thus before a product was
implemented these stages had to be covered and MTs trained to ensure quality in the
products being crafted in their Center
The Color Palette for the Indigo Collection is explained to demonstrate how design is
controlled to be legible as a single collection. The shades of color are restricted within
the palette however leaving room for improvisation by the craft person. Anchor brand
which is a familiar thread is used to define the shade and each participant is given the
palette
INDIGO COLLECTION: COLOR PALETTE
1
Indigo Blue
127
Anchor
Cobalt Blue
134
Anchor
Turquoise
1089
Anchor
Green
230
Anchor
Yellow
298
Anchor
White
Anchor
The Collection is then built up based on the skills of the group and products developed
some which are new and others which are taken from the traditional items. The
products for each collection are encapsulated below
INDIGO COLLECTION: ITEMS TO BE CRAFTED USING DIFFERENT CRAFTS
BLOCK PRINT SUITS
CLOTHING
Scarf, Kurtas,
Pouches
HOUSEHOLD ACCESSORIES
Saris,
Handloom
Shawls,
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 35
4.
For those of us who are familiar with the Saraiki Waseeb, they will know where to go to
get the best made in any of the crafts. Bahawalpur would be the place if goota work is to
be done and for the uppers or panas you would head towards village Khangah in
district Muzaffargarh where all the village women are preparing the most exquisite
khusas uppers which find their place on the feet of almost all the Pakistani women. For
Ar work you would head towards Multan and for katcha tanka to Chooti Zarin. Chunri of
Abbass Nagar is what you would want if you were looking for the best and nothing can
beat the block printing of Keror Pucca and Multan. Camel skin is confined to mainly
Multan, the art having been lost in the desert sands of Cholistan but the rallis
(appliqu/patch work and embroidery) and falasi (carpet woven of sheep and camel
skin) survive. Many of us would not know the craftsmen and women, who prepared
these exquisite products, remain faceless and unsung.
Almost all the women we met during the course of the few months of the Project are
involved in some form of craft. Many spoke about how their crafts supplements the
family income and many spoke about the pride that they have in their work. Some
spoke about the sense of identity and acknowledgement that they received from their
community. Satho Mai of Cholistan was declared the leader by her community while
others found similar recognition in their communities.
The total of 488 women have been imparted training during the Project. Of these 311
belong to Bahawalpur, 177 are from Multan Districts. Most of the participants live in
villages while some are from the low income settlements of the cities. All these women
had been involved in some form of craft work, mostly in embroidery and other such
crafts used for the embellishment of textiles and clothing such as patchwork, gotta
kanari, salma sitara, chunri. A large number of these women worked for middlemen who
brought them work from the market and was distributed through a local sub-contractor
often a craftswoman. This work is lowly paid and exploitative. Most spoke of the
exploitation and the low wages that they get for this work. It was decided that the
Project would build upon the craft work already being done by the artisans and efforts
would be made to organize this very disorganized and exploitative sector. In this
process new products would be developed which have greater appeal and new crafts
and skills would be introduced to strengthen the craft work.
The Narratives of the Craftswomen in their own words best explain the position of
these artisans. Some extracts are reproduced below
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 36
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 37
she is my niece. My daughter is Papli Mai. My husband died so here I am with my children at
our nieces house
You see we are making these changars( wheat stalk & palm leaf platters). These hardly fetch us
any money. People give us palm leaves and we prepare changars and mats. They take half and we
get to keep the other half. Sometimes we are given some embroidery work. We get paid for our
labor, money equivalent to the cost of the material. The bead work we do is just for ourselves,
nobody has ever asked us to prepare any.
We are under debt of Rs 25,000. Last year we were at Chak 23. You see we have to keep roaming
about but our home is in DNB 112
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 38
5.
CRAFT CENTERS
TABLE SHOWING NUMBER OF TRAINED WOMEN ARTISANS & MASTER TRAINERS
DISTRICT
MASTER
CRAFTSWOMEN TOTAL THAAPTRAINERS/EXPERTS
CRAFTS
CENTERS
Bahawalpur
Multan
Grand Total (2 Districts)
46
18
64
265
159
424
311
177
488
3
2
5
The Project established 10 Craft Centres during the process of the Project to enable
collaboration and capacity building of the participants. In Bahawalpur, 7 Centres were
established while Multan 3 Centres. Of these 5 are designated as THAAP-CRAFT
Centres which THAAP-CRAFT will continue to support. Working with the artisans the
endeavour will be to revitalize and revive the endangered crafts of South Punjab and
continue to develop new cultural products, in collaboration with THAAP-CRAFT
designers, to sustain the artisans. All the centres were established with the view of
providing a pivotal point for craftswomen to develop small business enterprises.
Centres have been equipped with the tools necessary to the relevant craft and trained
human resource and master trainers, envisaged the asset to propel the work forward.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 39
THAAP field office and resource cell in Bahawalpur city, with lend support to this
endeavour. The overall goal will be to establish fair price systems, capacity building
and finding markets. The tables below give some salient facts and figures of the
Centres.
Age
Education
25
Class 5
Craft
Chunri
None
24
Middle
Chunri Work
Zahida Bibi
20
None
Bakthu Bibi
50
None
Zebu Bibi
55
None
Chunri (bhandhini/tie)
Palm Leaf & Wheat Stalk
products
Palm Leaf & Wheat Stalk
products
Zeba Bibi
BA
Block Printing
Irum Bibi
Matric
Block Printing
Nasreen Bibi
Class 5
Handloom
Mariam Bibi
Class 5
Handloom
Saira Bibi
Class 5
Handloom
Abudallah Mai
about 80
Zareena Aqeel
35
None
Lakhmi Maai
20
None
Meraan Maai
40
None
Jawi Maai
35
None
Rami Maai
35
None
Ameraan Maai
40
None
Bakhti Maai
22
None
35
None
Satloo Maai
40
None
Saroo Bibi
40
None
Roqaia Maai
30
None
Safia Maai
30
None
24
Inter
Samina Kausar
29
Matric
Shabana Kausar
25
Diploma
Robina Kasuar
32
B.A
38
35
Matric
Class 5
25
Class 5
Yasmeen Kasur
22
Middle
Nazia Pervin
34
Middle
Embroidery , Stitching,
Ceroshia
Embroidery & Ceroshia
Gulshan Ashraf
24
Middle
Embroidery
Nasira Ghulam
27
Matric
Embroidery
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 41
24
5 Class
50
none
35
none
Naseem Bibi
20
none
Mukthar Bibi
35
none
Nargis
35
none
Stitching
Manzoor Bibi
35
none
Amna Bibi
36
none
Parveen Bibi
38
none
Qaim Khatoon
24
None
Rashida Bibi
26
Matric
Mussarat Bibi
40
Matric
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 42
Age
35
Education
None
Craft
Embroidery variety, Ar
Nagina Bibi
29
None
Marriam
20
Primary
Amna
39
None
Shazia
42
None
Embroidery variety, Ar
Primary
Embroidery
variety,
Khussa Making
Embroidery
variety,
Stitching
Embroidery
variety,
Stitching
Tahira
29
Qamar Waheed
Primary
45
Naheed Begum
35
None
Ar,
Ar,
Ar,
35
None
Ar, Embroidery
Maqsood Bibi
39
None
Ar, Embroidery
Allah Bachai
55
None
Ar, Embroidery
Bhiravaan Mi
46
None
Ar, Embroidery
45
None
Najma Bibi
35
Primary
Embroidery &Sewing
Shabana Mai
29
Primary
Embroidery &Sewing
31
Primary
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 43
None
35
Manzoor Malang
None
40
THAAP Center
THAAP Block Printing Center Multan
THAAP will continue to work with the Centres which have been adopted by the
organization and continue with the effort of revitalizing and reviving the endangered
crafts in the districts. Although it would have been possible to continue with the 10
Centers established for the Project but financial constraints do not allow that all can be
taken up at present. All Centres have been equipped with the human resources of
master trainers/artisans (MT) and members ranging from 40-70 women and the tools
necessary for a particular craft as well as the essential equipment for the craft. The
village based centres will pay a pivotal role of assisting in Design Development through
Designer-Artisan Collaboration. With the skills and wherewithal prompted through this
Project and the hope of continuing support it can be expected that the women artisan in
the villages in the two districts will indeed be empowered. THAAP will endeavour to
have the THAAP-CRAFT Centers organized as self sustaining insofar as possible.
5.
ACHIEVEMENTS
MASTER TRAINERS
The most noteworthy achievement of the Project is the development of a skilled human
resource poised to take the next leap by contributing to the development of cultural
industries in Pakistan. The training of 488 women and the availability of 64 Master
Trainers and expert artisans in the two districts of Multan and Bahawalpur surpassed
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 44
the TOR requirement of 100 women per district and 10 Master Trainers. The situation in
Bahawalpur was remarkable with 46 Master Trainers while Multan has 18 Master
Trainers/ experts. They have enhanced their craft skills and have learnt the basics of
designing new cultural products. This is the first step that the Project set out to achieve.
CRAFT CENTERS
Craft Centres have been established to support the continuing development of a variety
of crafts. These are viewed as self-sustaining and it is hoped that the business they
engender will provide them the means to continue with craft making. One centre in
each of the districts will act as the nucleus, the resource base, which THAAP will
continue to support for some time with the developmental work and assist with
training and marketing. In the long term Local artisan groups will be made
independent and sustain themselves. THAAP will endeavour to network artisans as
collectives.
CRAFT DEVELOPMENT
Crafts which were the core areas with which the Project engaged and met success are
listed below. Others such as Blue Pottery which had been identified as having potential
did not come up with the expected results. Firstly, it was difficult to find women who
could view this as a livelihood opportunity. Much of this had to do with their
experience at the Government Blue Pottery Institute at Multan where at one time about
14 women naqash had been working. The nature of the craft requires infrastructure of
kilns, potters wheels etc which none of the women were able to establish
independently thus restricting their inputs to mere jobs at the Institute with no earning
opportunities at home during leisure hours. None could develop their own businesses.
There is no demand for home based women naqash. Mansoor Shah, who is a well
known blue pottery expert was asked to involve some of these women in the craft work
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 45
in his workshop and he did manage to make some headway but not sufficient to be
noted as an Achievement. The successful endeavours are as below
1.
PITLOOM
Construction of the floor installed pit looms; a new arrangement for the traditional pitloom was developed during the Project by Master trainer Ijaz Abbassi. The earlier
version which is in a pit in an earthen floor was being disused because it had limited
cloth width, was easily damaged due to dampness and also the artisans complained of
back aches. The pit-loom had been effectively replaced by the Amritasri/ Kasuri Loom
which allows cloth to be woven in a larger width than the maximum of 30 wide pitloom product but requires the tana to be prepared on a machine, which the NRSP
possesses but can be commercially done in Multan city only. This had created a
problem for all the village weavers who had been purchased the Kasuri loom through
micro-finance by NRSP. Almost all were no longer being used since NRSP stopped
buying from the village weavers. This has had a devastating effect on traditional
weavers villages like in Village Riazabad where about 40 weavers are no longer
working.
It seemed most appropriate to go back to the earlier pit-loom which enables the weavers
to prepare the entire product themselves while also safeguarding the exquisite weaves
which can best be prepared on pit-loom. The floor-installed pit-looms were constructed
at the THAAP office at Bahawalpur and training of 20 women artisans from Dera
Bhukka was carried out. In Basti-Gadan and Abbass Nagar traditional handloom
artisans were found who were making khais (bed spread), shawls and cloth. These
artisans became the master trainers for the Project. The hand spun yarn from local sheep
wool and local variety of cotton was produced on charkars (spinning wheels) during the
Project. This has been traditionally prepared exclusively by women whereas both men
and women are involved in the weaving process. A THAAP Pit-Handloom Center has
been established at Abbass Nagar and Dera Bhukka with about 15 artisans each while
support has been extended to the weavers of Basti Gadan. In the process of this work an
interesting fact emerged which can best be explained in the words of Mariam Bibi from
Dera Bhukka. She told us in an interview that My father was an excellent weaver but
everyone called us Pauvali (weaver). I felt embarrassed..pauvali is a derogatory term. Now I
want to learn how to weave. This brought into perspective another reason perhaps why
so many have given up this trade. The most striking example is Thatta Pauvalian, now
Sadiqabad, in District Khanewal which was known to be a center of the handloom
cottage industry but now there are no more than of handful of women weavers and its
old name has also been changed.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 46
2.
BLOCK PRINTING
A THAAP-CRAFTS BLOCK PRINTING CENTER has been established in the Old City
of Multan. This was to enable craft families who had left the ancient art of Block
Printing for which Multan was famous to re-establish their business and relearn the
craft that they had abandoned. A case in point is of Najma and her husband Ustad Zafer
who belong to a lineage family of block printers and had a flourishing business till
about 10 years ago but due to lack of clientele they had since abandoned the family
trade. They took up the challenge and re-learnt and recreated the process through their
own persistence and the several workshops that were held to assist them and the other
25 women who are the nucleus of the Center. The Block Printing has generally
deteriorated in the entire region with just a handful of printers now available. For some
aspects of the training a Block Printing Ustad, Zahir Shah provided critical input on
procedures to be followed to get the color to penetrate the cloth properly and also ways
and means to get sharp edges on the motifs. Through the THAAP-CRAFTS Center the
training will need to be continued. Discussions with Lok Virsa are underway to invite
master block printers from India where the craft has been very well developed.
Traditional organic dyers have been found in the Project districts who will be involved
in the endeavor.
3.
EMBROIDERY
The prevalent craft of embroidery poised a challenge since it appeared to be stuck in a
rut with just a few patterns repeated industriously. Developing a new repertoire of
designs and patterns was a difficult task. The women had got so used to the patterns
that they had been mechanically working at for the market contractors that any change
appeared problematic, particularly when it involved developing patterns themselves.
This was successfully carried out and pursued with great interest by the artisans. There
are now 209 women embroidery artisans trained in the districts.
4.
CHUNRI
Chunri or the art of tie and dye is a famous craft of the Saraiki speaking region as well as
Sind. Bahawalpur ranks high as a center of Chunri making and villages like Abbass
Nagar are known centers of this craft and most sought after. Chunri making is a
predominantly womens craft which involves the tasks of bandhini (tying) and dying
which are usually done by different persons. Chunri was being made mostly for the
market contractors and losing the finesse of the traditional products. The project took
the challenge to bring back the high quality and fine work of the earlier days. This was
successfully implemented and a large number of women in Abbass Nagar have been
trained to produce high quality products as well as new uses found for this exquisite
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 47
craft. These new products which they had not tried before were developed. This
includes bags, saris, chunri and ralli work combined to make exquisite bedspreads.
A THAAP-Craft Center has been set up in Abbass Nagar and 66 women are attached to
it under supervision of 11 Master Trainers and the 14 bhandini experts. The Center
wants to extend its craft work to include handloom and block printing which was
earlier done in the village but had been discarded. Training in handloom was carried
out and palm leaf artisans are also attached to the Center. There is potential of including
other crafts such as pottery, long since abandoned but potential and desire of
expanding their work to make it truly a craft centered village is palatable. Nusrat Bibi,
the Manager of the Craft Center speaks of the progress during the project in these terms
I can immediately think of 14 women who are now expert bandhini makers. This credit goes
to the UNESCO-Norway funded Project.
5.
PALM LEAF
The palm leaf and wheat stalk craft is a traditional and seasonal craft practiced by the
women, usually in the late summer when the raw material has been dried and prepared
for weaving. All villages invariably have some women who are acknowledged masters
and are much sought after to prepare a range of products for a girls dowry and other
such special occasions. Safia Bibi and her elderly grandmother Mithan Mai of Basti
Majnon, and Mariam of Abass Nager, (District Bahawalpur), makes floor mats,
(Chatais), hand fans and praying mats, fruit bowls of varying sizes and platters with
dried date palm leaves. These products are sustained by the demand from their
communities and have thus survived for generations but are now threatened due to the
commercial products which are usually cheaper and rapidly replacing these hand made
products. The Project created attention to the marketability of palm-leaf and wheat stalk
craft by developing new products which will be exhibited to test the response of the
urban buyer. The most successful were the place mats and fruit bowls which were
developed. This craft has the potential of providing livelihood opportunities but a
bigger market needs to be created through development of new products. The craft has
been included in the THAAP-Craft Center at Abbass Nagar. Khan Bela Palm Leaf work
did not come up to expectation because of the commercial and cheap tinsel which was
increasingly used.
6.
THE TRADITIONAL-CUT KURTA
In Bahawalpur some of the old Kurta styles, which are not in vogue any longer were
revived. Thus, the 28 Kali (panelled) Kurta to the 10 Kali Kurta and others which are still
worn like the 4 Kali and 8 Kali Kurtas were used. The method to increase the kalis from
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 48
to more than 14 Kali was taught, the artisans are now Training was carried out by our
Master Cutters and Master Tailors for the artisans from all the districts. Patterns were
prepared on buckram locally called cheepe so that this would be available in all the
Centres for reference. Products were developed using the 28 Kali Kurta.
7.
RALLI
Ralli is synonymous with the Cholistani desert, where it is widely practiced and most
intricate although it is found in other parts of the region as well. The Cholistani artisans
have used this exquisite craft to prepare new cultural products such as cross slung
computer bags, bags, patties (borders) for apparel, bed spreads. The THAAP-CRAFT
Ralli Center at Khangah Sharif, Derawar has 5 Master Trainers and 18 women attached
with it; with an additional 29 women at the nearby Basti Meganwaal. Artisans from
these two villages and village Derawar were trained jointly. The Art of Ralli making has
great potential and needs to be further explored.
8.
GHOGHOO GHORA
The Ghoghoo Ghora or a toy horse is a traditional craft and one of the oldest in Pakistan.
Its origin can be traced back to the Indus Valley civilization, and the clay toy horse.
Over a period of time the ghoghoo ghora has evolved and different styles adopted. In the
Multan region a special kind of the toy horse is being made of rags and paper by the
khanabadosh (gypsy tribes), who are nomadic and roam around in the region in search of
work and come to Multan at the Eid Festival. The men and women of Malangs
extended family of about 40 persons were challenged to prepare other decorative toy
objects such as the parrot, camel, elephant and such others which they successfully
prepared. A total of 42 persons participated in the Project.
OVERALL: Achievements in Bahawalpur have surpassed those in Multan for a variety
of reasons. Bahawalpur achieved more than expected targets because of the interest of
the women artisans and their large numbers who earn a livelihood through craft related
work. Given that there is no large urban center in the district the communities are
basically agrarian living in villages and crafts products continue to be used by them.
Much of this may have to do with the fact that the erstwhile rulers of the Bahawalpur
state were supporters/ promoters of crafts and arts and had brought in several craft
families to the state. Entire village of craft persons can be found such as Abbass Nagar,
Dera Bhukka. In the case of Multan, the city is where most of the craftwork is centered
and due to its urban character, industrially produced products have replaced the
handicrafts. This was noted in the British period gazetteers (See Multan District
Gazetteer 1922) and since then with growing urbanization the crafts are seriously
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 49
compromised. The famous crafts of Multan such as blue pottery and fresco painting
have very few practitioners and children of lineage families have already abandoned
the family craft and no new adherents seem to have been trained. The Block Printing
experience is an indicator of the situation with the other traditional crafts.
The exhibition focuses on the cultural products prepared through the UNESCO funded
Project in District DG Khan and the UNESCO- Norway funded Project Empowerment
of Women through Crafts in District Multan and Bahawalpur which was
simultaneously carried out in the three districts. Training and capacity building of the
women artisans was central to the Project. The effort throughout has been to
contemporize the traditional crafts while training the craftswomen to learn ways and
means to eventually manage and set up their own enterprises. Collaborative training
sessions were carried out by the THAAP design team over a period of about 6 months
emphasising on design development and preparation of cultural products based on
traditional craft skills, which are able to compete with the modern-day products of the
market. The Exhibition is a means to promote and market the cultural products from
South Punjab and promote the over 500 craftswomen who played a pivotal role during
this period.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 50
The crafts included in the exhibition are those which are prevalent in the districts and
mostly done by women. The exhibits comprise of various forms of embroidery stitches
(tankas) and palm leaf products from all the three districts, appliqu work and
patchwork (Ralli work) from Cholistan, Tie and dye work (bandhani or chunri making),
beadwork and hand-woven shawls and cloth from Bahawalpur; block printing and blue
pottery from Multan district.
The setting where these crafts are made and the craftswomen reside, will also been
presented to highlight the ambiance and richness of the area as well as the problems
faced by these women and their communities. The tangible heritage of the region will
be showcased including a section on the archeological heritage of the region. Pottery
pieces from Hakra- Indus civilization (3500 -1500 BCE) are showcased in this segment.
The reconstruction drawings of various pottery pieces have been made showing the
kind of pottery used in the ancient world. Beside the pottery pieces from antiquity there
are maps of the area to show where these treasures are located and a photographic
display of the medieval forts in the Cholistan desert. South Punjab has a unique and
rich cultural history which has been captured in the panels and objects on display. Its
heritage of music is offered as a DVD of the river songs of the Mors, prepared by local
people themselves. The exhibition brings to life the richness of the unique Saraiki
culture seeped with the mysticism of the Sufi saints for which South Punjab is famous
as well as the different eras which left their indelible mark on the culture of the region.
The Exhibition is a reminder of the extremely rich cultural history of the Pakistani
people as embodied in the living culture of South Punjab. The display of various arts
and crafts is a story of an unexplored region waiting to be told and heard. It is an
endeavor to present a region worthy of record.
8.
Recognition of Crafts and Artisans is very much needed at the national level. At present
the only award is the Lok Virsa award and the Presidents Pride of Performance given
to artisans occasionally. An assessment of these two awards shows that they have had
limited impact basically because the process is based on exclusivity and nominations
are made through a word of mouth basis rather than a rigorous evaluation and wider
invitation process. Similar is the case of the Pride of Performance, which per se is a
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 51
prestigious award but has not had any impact on the craft sector. Some Pride of
Performance laureates were met in South Punjab and some were requested to be
trainers, but soon it was found that they really did not the skills for which they had
received this recognition. In some cases it was found that they had been unable to grow
and appeared to be caught in a rut. Their craft skills were being compromised on the
vagrancies of the modern clientele who were unable to assess the value of the
traditional techniques and were going on for cheaper material for example the fresco
being done in oil paints and what is alarming the old frescoes rendered on the walls of
heritage buildings particularly shrines and mosques being replaced/repaired with oil
painted version.
The UNESCO award of Excellence for Handicrafts, earlier the Seal of Excellence for
Handicrafts (established 2000) has not had much of an impact in Pakistan either,
although the reasons for the award are laudable. Of particular note is that it is given to a
product rather than a person, thus the reason to excel has been inbuilt. However what is
important is that a lead up to this award requires that a National Award should be
instituted on a yearly basis.
Based on the UNESCO award the following is recommended. Language and text where
needed/relevant has been taken from UNESCO document
PREAMBLE
i)
The National Award of Excellence for Handicrafts serves as a quality-control
mechanism and as a marketing device that guarantees the quality of handmade,
traditional and innovative craft products from the region.
ii)
The Award is a stamp of approval and validates that the cultural product
meets the highest standards of quality and has been produced with careful regard to
cultural authenticity and environmental conservation.
iii)
The National Award of Excellence will be given every two years. (Alternating
with UNESCO award years)
iv)
Awards will be in the form of a Certificate of Authenticity jointly given by
UNESCO and a government (Lok Virsa) and non-government partner organization.
upholds rigorous standards of excellence. It aims to ensure that when consumers buy
awarded handicrafts, they are buying high quality, culturally authentic products that
have been manufactured in a socially-responsible manner with respect for the
environment.
Objective 2: Encourage innovativeness
While it seeks to promote the continuation of traditional skills, the National Award also
encourages product innovation in order to ensure that handicrafts remain relevant,
valuable, and marketable in modern life.
Objective 3: Offer training and support services
The program aims to provide capacity-building and training workshops to assist craft
producers in the improvement of their product design and marketing, development of
their markets, and protection of their intellectual property rights.
Objective 4: Provide new opportunities to ensure sustainability of handicraft
industries
The handicraft sector plays an increasingly significant role in local economic
development and poverty eradication. By providing new market opportunities, the
program aims to enable handicraft producers to establish sustainable livelihoods. This
will be achieved through developing networks of handicraft producers and buyers,
including the higher-end of the market, and through exhibitions and trade fairs.
Objective 5: (Additional Clause) The Award will especially support village based craft
production and offer training and marketing opportunity for long term sustainability of
livelihood and craft development in villages.
EVALUATION CRITERIA
A product that is granted the 'Award of Excellence' meets the highest level of craft
excellence and is distinguished as a benchmark for craft production.
Excellence
Demonstrated excellence and standardsetting quality in craftsmanship: determined by
the use of high quality materials, a high standard of technique and the special
attention to manufacturing and finishing details.
Authenticity
Expression of cultural identity and traditional aesthetic values: demonstrated by a
well-achieved application of aesthetic and cultural expression or traditional
crafting techniques.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 53
Innovation
Innovation in design and production: demonstrated by an effective and successful
blend of traditional and contemporary, or inventive and creative use of material,
design, and production processes.
Marketability
Marketability of the craft products with potential for the regional and/or international
market: related to the functionality of the product, the safe use by potential
buyers, a balanced price-quality relationship or the sustainability of production.
Eco-friendly
Respect for the environment in materials and production techniques: Exemplified
through the sustainable use of natural dyes, natural fibers, recycled materials
and the use of materials and production processes that are environmentally
friendly
Fair
Social responsibility: The producer must affirm that no labor law or copyrights
was violated and no individual or group exploited unfairly at any stage in the
production of a handicraft submitted for the Award program.
A product which meets all of the criteria will be granted with the 'National Award of
Excellence'. This recognizes the highest level of craft excellence and distinguishes a
product as a benchmark for craft production.
PROCEDURES (RECOMMENDED)
JURY
i)
ii)
iii)
iv)
iii)
iv)
A Jury of Selectors will be formed for two cycles of the National Award of
Excellence in Handicrafts
The Jury will comprise of 9 members and one Chairperson. The criteria for
selection will be of individuals who have been engaged with the Craft Sector
either having worked or published scholarly books/papers/reports and enjoy
good repute.
The Jury will be assisted by Assistant Jurors who can be as many as needed on
the basis of knowledge of the particular craft and the region within Pakistan
An examination of Assistant Jurors may be held for purposes of identification of
suitable persons
All participating organizations will be involved in the nomination process.
UNESCO will have the deciding vote.
All Jury positions are honorary.
i)
ii)
iii)
iv)
A nationwide invitation will be sent through the print and electronic media
announcing the awards.
Local language newspapers will also carry the award announcements
Government administrations at the District Level will be sent the announcements
with a request for wide publicity in their districts
Government and NGO Sector will be requested to send in nominations
JURY PROCEDURES
i)
A two stage Jury will be held. In the first stage a short list of craft products will
be generated.
ii)
Second Stage of the Jury will examine all short listed products for purposes of
awarding the National Award of Excellence in Handicrafts
iii)
There will be no restriction of the number of products recognized however each
must meet the objective and conditions of the National Award of Excellence in
Handicrafts as laid down earlier
iv)
The products awarded will be publicized on UNESCO website and partner
organizations website
FOLLOW UP
i)
The winning entries and the artisans will be facilitated through training,
networking and capacity building to prepare products for submission to the
UNESCO Award of Excellence in Handicrafts held on a two-yearly basis
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 55
Connected to the Market : Small Business Enterprise exists and has potential for
development
Local Expertise of constructing the traditional gopa house (sal) exists and people
continue to build using traditional methods and material.
Educational Institutions ( Two Government Primary/Middle School for Girls &
One High School for Boys) available
Locational Advantage : 22 miles from Bahawalpur, Transport Network adequate
Cultural Tourism Potential: Close to Lal Sohanara Wild Life Park, and other
cultural sites of Bahawalpur e.g. Thul at Dera Bukka.
Health facilities need improvement. No First level health facility (BHU) available
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 58
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 60
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 61
ANNEX
1.
2.
3.
4.
5.
6.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 62
TERMS OF REFERENCE
TERMS OF REFERENCE
1.
PROGRESS/STATUS
Achieved
selection
and
training
of
women
from
local
breakdown
for
the
activities
shall
be
Achieved
villages
(five
villages
per
district)
practising
district.
Crafts identified
Achieved
initiative;
4.
based
on
UNESCOs
In Final Report
regional
Submitted
Norway-funded
project,
Empowering
Women
latest
8.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 63
Report Writing
Report by: Field Team Leader
Bushra Saghar
Date of Report: 3rd April 2010
District : Multan
Movement Plan of Field Work
Place of Visit: Kotla Tolley Khan
Objective: Introduction of Project and purpose of Training.
Meeting with women khussa workers / khussa making /Embroidery Worker
on the upper of khussa
6. Muhammad Hussain
2. Shazia Hussain
7. Tahir Ali
3. Rubina Bi Bi
4. Salmaa
5. Safia
Comments
How Many women are eager for training?
02 Women are agreed for Training.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 64
According to them, they are working in a part of Khussa making. Payment depends on
the work they are able to produce so if they give time for training they will lose income.
Factory owner are very possessive since they benefit out of it and the women are not
willing to take any risks. The Factory Owners were asked to allow women to participate
in this workshop since they will also benefit from improved skills of their workforce.
Yes
Discussed Issues
Different fields of work in Khussa making, like embroidery on
upper side of khussa. Potential for further developing this for
producing other products
Discussion about the need of training on Khussa Making, it will
enhance the skill which will help them increase income
Payment on the basis of quantity of manufacturing
Outcomes:
Key person , Mr. Tahir and Mr. Muhammad Hussain agreed to make us sure that
they will arrange a meeting with women who will participate in Training.
Innovative Ideas:
Training should cover all aspects of Khussa Making and potential use of skills for
other products
Lump sum amount for spending time in training should be given to each
participant.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 65
Highlight:
The group was highly motivated to work with us as they realized that we will pay them
their worth and were eager to join hands with us.
They were keen to share the hand embroidered clothes they brought with them.
Very simple women, the idea of getting orders and money inspired them a lot. They
were keen for working and improving their living standard.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 66
They usually dont work for the market but they start making their daughters dowry
when they turn 9. At the same time they also start training their daughters in the skill
they know at that time when she turns 9.
I personally discovered that multani women used chaawul tanka which was very new
to me.
Lowlight:
One of the lowlight of this workshop was that the group was a mixture of different skills
and was not all related to Khusa making.
After Multan workshop we visited the Sawi Mosque, though most of it was broken but
we enjoyed the preserved architecture.
Day 3: Workshop
Venue: Bhawalpur, Bheli
Date: 18th April 2010
Coordinator/FTL: Ms. Muzammal
Workshop Timings: 11 am till 4.00pm
Participants: 40 Women
Proceedings of the Day
Day 3 workshop started in a better mood as when we entered the workshop room, we
were surprised to see all women sitting in lines and they had their work displayed on
the tents wall. The presentation of their work was impressive. They displayed all types
of work they were good at like Koroshia, Gota, Embroidery, Chabia and Pukhia made
from palm leaves. Their specialty was palm leaves product.
Day 1 lecture about colors was delivered. Same activities as day 1 were repeated with
participants.
The one interesting activity the participant enjoyed that day was when Ms. Mobin asked
them to market their product on the stage. They were asked to tell about the material
they used, the color combinations, their inspiration, what they would charge for the
product. It was a very interesting and interactive session and all girls enjoyed and
clapped for each other. Even the shy ones gathered courage and market their product.
From this workshop we selected following Master Trainers:
1. Sadai Batool
2. Zarina Khan
3. Sana
4. Irum
5. Naseem
6. Rubina
7. Munira
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 67
Highlights:
1. Most of the women were literate. They understood what we communicated. They
were organized and were keen to learn from us.
2. They were eager for more academics and skill up gradation processes. They wanted
us to organize more workshops for them in skill up gradation
3. Highly motivated group of young women eager to learn and explore new
dimensions like Sadia who wanted to open up her own venture to teach young girls
like her different skill and trades.
4. I personally admired the ribbon work and pipalgira tanka
Lowlights:
1. Very hot climate.
The very day we visited the pit loom master Haji Atta Ullah. We saw designed khais.
He was too old and one sad thing was that he had no students or shagard even none of
his family members were interested in learning his skill. They were all going to schools.
Day 4: Workshop
Venue: Darawar fort
Date: 19th April 2010
Coordinator/FTL: Ms. Muzammil
Workshop Timings: 1.30 pm till 4.30pm
Participants: 33 Women
Proceedings of the Day
The day started with a surprise. When we arrived at the workshop there were no
participants present. Even the tent was not put and no arrangements were made. We
waited till 1.30 till all participants gathered. The reason was that they were not duly
informed about the workshop time and venue. When they were informed they reached
in 30 minutes time. We started with 10 women participants in open field. Slowly the tent
was put and other participants joined us.
Ms. Mobeen was started the workshop. The interesting fact about that group was that it
was a mixture of two communities, Hindu and Muslims. The strange thing was that they
sat in two different groups as per their religion and did not want to communicate with
each other. So the trainers firs t challenge was to relax the mood and start group
communication through combines interest topics. It was a big challenge to make them
understand that they have to work in collaboration in the workshop. The hindu women
were found more cooperative than Muslim women.
The hindu participants were dressed in ghagra, choli and chadar on head where as
Muslim women were dressed in Paksitan shalwar kameez. The trainer made each Hindu
woman stand in front of a Muslim woman and share their color combinations they were
wearing and significant things about their dressing with each other.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 68
After that mutual sharing session to break the barrier of communication, they sat
together and looked at the collateral brought for them. They saw the designs, and
product and discussed their values and importance and what they can make and
produce. They shared that they are good at making Rulies and Eplic work.
The day 1 activity of making something out of colored cloth was started. They made
rulies and eplic using the sample cloth.
It was a very backward community. Especially Hindus wed their daughters when they
are born. They live with their parents till they are young and then sent with their
husbands.
Following are the master trainers selected form this group
1. Najma
2. Sachal
3. Sattu mai
4. Zakia
5. Naheed
6. Meera
7. Bachul
8. Raja mai
9. Azra bibi
10. Perveen
11. Shamim
12. Shamshad
Highlights:
1. Though conservative and isolated in the beginning the workshop changed the
mood and brought the participants closer to each other.
2. We can have them make rilies and appliqu work, mobiles, rag dolls, file cover,
wedding/gift boxes, ghagra and choli
3. Eager to learn and work with us
Lowlights:
1. Their language is difficult. It is difficult to communicate with them.
My Recommendations:
1. All master trainers should be invited for training at one center point where they should
learn from trainer as well as from each other.
2. For embroidery, gota etc we concentrate
a. First on material (fabric) then
b. color combinations
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 69
c. embellishments
d. patterns/contemporary designs/motifs
e. provide feedback at every step
f.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 70
of a buffalo as they are all around them in their environment while the other thought
that it was used as a nazar batto to ward off evil. Hence they all gave their various
impressions on various colors. This exercise helped them in designing their color
schemes according to various seasons as well as various occasions.
Mubeen and Sadia showed them the designs through various reference books and
samples they were carrying with them. I showed them samples which I had selected for
them. After showing them all the samples and books and slides we asked all the women
to choose one small square colored cotton cloth of 1x1. And choose their own color
scheme and develop their own design, which they have never done before. They all
made their own designs first on the A4 paper then transferring it on the cloth. The
exercise was a big success as they all tried to create something from their own
imagination.
After this exercise the lunch was served to all the participants. After the lunch I chose
the best pieces and talked about them to the participants. It helped them in
understanding what were the good points in their designing and what were the faults
that they had made.
Mubeen and Sadia sat with Ms. Shaghuta and chose the master trainers, which were 7 in
number. These women are tentative candidates for master trainers from DG Khan.
At around 4: 30 pm we left DG Khan and reached Multan at around 6:00 pm.
17 April 10: We started from the rest house to conduct our workshop at around 10 o
clock and reached the Basti in one hour as there was a huge traffic blockade. Ms.
Bushara who was coordinating this workshop for us was waiting for us on the spot. This
basti consists of women who make embroidered uppers in tilla for khoosas and kolapuri
chappals. The workshop venue was at one of the womans house. Around 20 women
participated in the workshop.
As the aim of the workshop was to contemporaries the work of these women and help
them in applying the same skill to other products beside shoe uppers. Hence we started
the workshop by explaining our goal to them and also explaining how it will help them
in improving their circumstances. I enquired about their education status. They told me
that all the older women were not educated but they were making sure that they
educate their daughters. One woman told me that she had nine daughters and she is
working hard to educate all of them. Her elder daughter had studied till 12th grade and
was now working as a teacher. She also told me that she is teaching all her daughters the
skill of embroidery and stitching so that they have multiple skills in their hands. All the
women were very emotional about their lack of education and one woman said that she
feels very bad that her parents did not make any effort to educate her.
After this discussion we explained to them that we are going to talk about developing
their color senses as they all told me that they all use the colors in the tilla and ar
embroidery themselves, as they have to buy the thread. We started by explaining
various stages of colors; primary, secondary and tertiary colors. Then we talked about
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 72
the effect of color on our moods and how the same colors also effect out customer
moods like they will buy certain colors in certain weather and certain colors are
associated with certain occasion. Then we asked them to select their own color scheme
and explain why they did it. Most of them came up with good color schemes. And
applied the concepts they had been taught in their color schemes. Then Mubeen and
Sadia showed them pictures of handbags, belts and other leather products that they can
make out of their same skill.
The women after looking at all these images started to say that they are workers and if
we want them to make these products for them then just bring the cut out items to them
and they will make them why show them these items. Then we explained to them that
we want to give them exposure to what the women are doing in other parts of the world
and we want them to improve their design building sense and also want to help them in
developing these products on their own and be able to sell them in the market on their
own. For this purpose we will help them once in developing their products, show their
work in big city like Islamabad and then it is up to them how much they work and
develop their own businesses. Then they were all excited and were ready to cooperate
with us but kept on saying that they are not all making shoe uppers but are also doing
embroidery and are ready to work with us. When I asked about this fact to Bushara she
said that she is herself confused by this fact because they all told her that they make shoe
uppers. In the beginning many of them had also told me that they were paid very little
by the Khoosa factory makers. They said that for putting the edging on the shoe they are
paid Rs. 5 per shoe and for tilla embroidery they are paid Rs 90 for 12 pairs of shoes.
This sudden change of stance that they were not making shoe upper was bit confusing
for all of us. Then Saba came back from her exploration of the area and told me that she
has found out from local people that all the people of this mohalla work for Khoosa
factory owners and are not allowed to work for any body else. She tried to see some of
the factories from inside but most of them were not very welcoming. I think that is why
these women were afraid to commit to us publically.
Then we served them lunch at 1:00 pm and then they all went home and brought their
various embroidered products to show us. Mubeen selected five women from this
Mohalla. We departed from the Mohalla at around 2:00. The arrangements made by Ms.
Bushara were very good she followed the time to the dot and gave every woman their
lunch boxes in their hands. Every thing went smoothly due to her good and efficient
arrangements.
After leaving the workshop we left for Sawi Masjid. Sadia was already at the site making
a sketch of the masjid. We sat by her side and talked to local people. They were all
saying that they want the masjid restored, as it is an important part of their lives. Then
Saba and I talked to the local children on how to take care of the masjid and they were
very interested in learning about it. We left the masjid site at around 4:00 pm. We did
not get any lunch as the lunch boxes finished so we went to Zenzibar for our lunch.
Then girls went for shoe shopping and we reached the rest house at about 6:00 pm.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 73
18th April 10: We started out at around 7:30 to reach Khairpur Tamiwalla, village Bheli.
We got delayed as Sameer forgot to buy the missing supplies for the workshop. So first
we went to the Bazaar and looked for threads and colored cloth for the workshop. We
could not find any shop in Bahawalpur selling these items so early in the morning. We
started for Bheli at around 8:00. We stopped in the main city and Sameer got all the
supplies. We reached the village by 10:30. The women were waiting for us at the house
of Zameers sister. She is a very organized woman. She had displayed the work of
various women in the tent house we were supposed to conduct our workshop.
We started our workshop as usual by explaining why we are giving this workshop.
Then I asked the women their education status and there were only few girls who were
educated. There was one girl who had given her metric exam and was awaiting her
result. She wanted to be a beautician. Another girl who had studied till 7th was very
intelligent and was interested in learning from us. We started by explaining about the
colors and then I asked them to make their own color schemes. Once all the women
made their color schemes I talked to them about their various chosen color schemes.
Then I told them about various products which they can make with their same skills.
Then I showed them various product samples, which we were carrying with us. Then I
asked Mubeen and Sadia to show them various contemporary designs books so that
they can see what kind of work is being carried out in other parts of the world. Once
that exercise was done with them I asked all the women to take one small handkerchief
of their own choice color and make a small embroidery design which is their own design
and their own color schemes. They took to this exercise with great enthusiasm. All the 25
participants started making their own design patterns and tried to work in more
thoughtful way. It took them around two hours to finish their embroidery. At around
2:30 lunch was announced and all the women left for the lunch. They returned by 3:15
and we sat with them and discussed various aspects of their designed embroideries.
Then Mubeen, Sadia and Saba announced the best designed embroideries to the rest of
the women and selected the master trainers from these women. After that we said
goodbye to all the ladies and left for the house of the weaver who can weave in silk
thread at around 4:00. We reached the weavers house and found that he was extremely
old and was walking with the help of walking sticks. We sat with him and he told us
that he has been making khais for last 50 years. But his children were not ready to take
up this as their profession. One of his daughters was M.A. in Islamiyat and she said that
it was a very bad profession and they are happy that they dont have to carry it on. The
weaver said that he used to make silk cloth but due to its expensive thread he has
stopped making it but offered if we buy him thread he will make a sample for us. Hence
I asked Muzamil to take money from Saba and buy the silk thread for the weaver and
get a sample made for us. We left the house of the weaver at around 5:00 for
Bahawalpur. We reached the Bahawalpur cit at around 7:00. I immediately collected my
luggage and started for Multan by 7:45 with Afzal. I reached Multan by 9:00 pm. I was
told by the rest house people that Sameer has taken their room key with them and they
cannot let that room to anyone as it has no key. Hence I asked Afzal to ask Sameer to
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 74
return the key to them somehow. I called Saba and asked her to make Sameer TCS the
keys to them.
19th April 10: I left for the airport next day at 8:00 am. Reached the airport by 8:30. My
flight for Islamabad was at 9:30. Flight got delayed by one hour and left 10:00. We
reached Islamabad at 12:00 in the afternoon.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 75
ANNEX 5:
SECOND TRAINING WORKSHOP
Report : Sajida Haider Vandal, Executive Director THAAP-CAS
Dates: : 1-7th May 2010
Objective: Follow on training with Master Trainers and discussions on
outcome/response to First Training Sessions
Distribution: All Core Team Members
BAHAWALPUR
Visit 2 May 2010 by Car
Team- Imtiaz Lashari, Muzamal Yasin, Sajida Haider Vandal
Bastis visited : Basti Khangah, Basti Derawar and Chak 28 (place where persons
from Basti Menghwal were located for the harvest) and Chak DRB 110
BASTI KHANGAH
Master Trainers (MT) met
1. Razia Mai,
2. Satho Mai,
3. Shamshad,
4. Parveen,
Najma, the fifth MT could not be met, she had had a fight with the others
and would not come to their house. Later Muzamal went to her house but
Najma was not available.
Another good craftswoman was Farzana d/o Satho Mai
Razia Mai
Satho Mai
Shamshad
Parveen
Venue
Family House of Razia Mai ( First/Corner House in the Basti)
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 76
Proceedings
Deliberation
a)
b)
c)
d)
e)
f)
Actionable point
Resp. Persons
All
Improvement
critical
of
quality
Muzamal to follow
up
and
send
drawing book to
Lahore via Courier
when some work
has been done
Muzamal to supply
lots of newspaper to
Razia Mai
Need to work with Satho Mai
Designers to follow
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 77
g)
through
Need to work with Farzana.
See if motifs can be used as
embellishments
Designers to check
Farzanas drawing
book to see potential
Mubeen to check if
sizes are OK and
inform Muzamal for
onward
communication
h)
i)
Benazir Tanka
Sindhi Tanka
Muzamal to prepare
a database of all the
various tankas with
photographs
and
names.
Saba to note
Sameer
to
give
coordinates of all
locations to Saba,
wherever available
Muzamal in dialogue
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 78
BASTI DERAWAR
Venue : House of Zakia
Master Trainers
1.
Zakia (Contact 0344 2200679)
2.
Naheed
Both girls did not want their photographs taken. They were both very young
maybe 19 years old and very much under the control of the family which
appeared to be conservative
Proceedings
S
Deliberations
Actionable Points
Resp. Person
a)
Potential exists
Muzamal
to
follow
Designers to note
b)
c)
up.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 79
BASTI MENGHWAAL
This is the Hindu community. They were all engaged in harvest and relocated at
Chak 28 on someones farm. That is where we met them. They were planning to
go back to their Basti next day
Master Trainers
1. Raja Mai
2. Bachal Mai
3. Sachal Mai
4. Mirah Mai
5. Roopa Mai
6. Kamu Mai
Raja Mai
Bachal Mai
Sachal Mai
Mirah Mai
Roopa Mai
Kamu Mai
Venue : Chak 28
Proceedings
The family including women and some men were met at the aforementioned
Chak where they were working as daily workers harvesting wheat at the farms.
They showed some of the rillis they were preparing. Bachal Mais was an
exquisite piece which she was preparing for her sons trousseau. The patriarch of
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 80
the family is a skilled khusa maker, who prepared shoes from start to finish
including the tilla work on the uppers.
Back of Khussa
Adeeba
Rubina Kausar
Proceedings
S
Deliberations
The MTs showed us the work
that they had been doing ranging
from embroidery, shadow work
and appliqu work on dupattas.
Work was of fine quality with
potential of developing further.
In our assessment both MTs were
Actionable Points
Both were willing to
come to Bwp for Training
Session
Resp Person
Muzammal to include
both MTs for training
Workshop
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 81
Designs
will
be
developed by the MTs
Bushra Bashir
Kulsoom Hasan
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 82
Deliberations
1. Center was set up 5 years back by
BRDB. Kulsoom has received
training and works for Nur.
Showed us some work. Finely
done on designs supplied by
designers. At full strength there
are 15 girls in the Center.
2. Showed our design samples.
Gave both design kits and left
two designs developed by
Mubeen + the Shirt front with
instructions to first prepare a
color sample of one corner for
approval. Two pieces of cloth
were also left with them to work
out design. One shell pink/peach
cloth was left for preparing shirt
in large size as per design shown
(in self shadow work). Cloth was
not sufficient for 48 length so
more cloth for dupatta will be
purchased and given to them by
Muzammal. The cloth saved from
the cloth piece will be used later
for a scarf
3. Design Kits were given to the two
MTs. Others will be given the
same later by Muzamal
Actionable Points
Resp Person
Muzamal to purchase
and dye thread for
shirt/dupatta ordered
And
When samples are ready
the same will be sent to
Lahore for review of
designers.
Muzamal
to
follow
through
Send Design books to
Lahore when ready
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 83
RIAZABAD
The village specializes in Handloom cloth. This is the NRSP project area where
weavers have been trained on the Amritsari/Kasuri loom (8pedals).
Master Trainers (Potential)
1. Muhammad Ramzan (0342-5902136)
2. Jan Muhammad (uncle of 1 above)
Possible to get some women master trainers as well
Muhammad Ramzan
Jan Muhammad
Proceedings
S
Deliberations
Met one family which has been
trained by NRSP but work is very
much reduced with a lot of
weavers sitting idle. They cannot
prepare the cloth on this loom
without the help of NRSP who
prepare the waft on some sort of
a machine. Weavers are still
retain the skills to work on pit
looms.
Exquisite pieces made on pit
loom were shown as well as
samples that they had prepared.
Weavers were asked to prepare
sample of muslin cloth of fine
quality as substitute for the
Indian malmal which is currently
being used for dupattas and
shirts throughout the district.
This will be done on pit loom
thus of width about 15-20. They
will
need
thread
which
Actionable Points
Explore potential of pit
loom cloth
Resp Person
Designers
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 84
Muzammal to follow
through and get the
sample prepared asap.
Sample Stole
Abbass Nagar
S
Deliberations
1. Saw some of the samples. Showed a piece
which we were carrying.
2. Order placed for the two suits which
Muzamal had already given them earlier.
They were asked to prepare the finest
work that they could do which if
approved would follow through with
more orders. Prices were also settled
1.
2.
3.
4.
5.
6.
7.
8.
Actionable Points
Resp Person
SUMMARY
Centers/ Villages to participate in the Project from Bahawalpur
Basti Khangah, Derawar
Appliqu/Patch work
Basti Derawar, Derawar
Appliqu/Patch work
Basti Menghwal, Derawar
Appliqu/Patch work, embroidery,
khussa making
Chak DRB 110, Derawar
Embroidery, Appliqu/Patch work
Behli
Embroidery
Riazabad
Handloom
Abbass Nagar
Chunri
BC 28
Palm Leaf Work
1. The above situation reflects that an effort is being made to interlink the various
villages in a joint program and inter dependency which will eventually offer the
possibility to create an organizational structure to strengthen the crafts persons
and sector.
2. All persons met were informed about the formula that if items procured sell at
higher rates in the Exhibition their share in the profits would be assured i.e.
between MT, craft person, overhead costs, seed money for common fund with
the assurance that the major benefit would be of the craft person. This needs to
be thought through as the Project proceeds.
3. Budget needs to be determined for each place as we proceed with Project
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 86
4. Design Kits are to be provided to all MTs and dispatched to Lahore when ready
for review of Designers.
5. Follow up Training of MTs by Designers needs to be finalized with dates and
program. The training will be in Bahawalpur. Expected number of MT
participants is 25-30 persons. Most were willing to attend. Muzamal needs to
follow with those still doubtful and determine final number.
6. Examine Potential to train women in weaving in some of the villages where as
yet there are only men weavers.
MULTAN 5 May 2010
Visit 5 May 2010 by Car
Tour Group- Bushra Saghar FTL Multan, Sajida Haider Vandal
Bastis visited : Basti Mooluk, Chah Usmani Bajay wala Near Chungi #09 Multan
City
Note : On 4th May 2010, I visited Thatta Pavelian,
(now Sadiqabad) and now in Dist. Khanewal.
Accounts and records show that this was a major
center of handloom in the region, (pavelian means
handloom workers in the local language, Saraiki).
I had been informed by Lashari and others that
there were several persons still weaving cloth and
the NRSP had also included this in their Project
area. I found that by now most people had given
up the craft and only about 10 houses existed Khais on Pit Loom
which still prepared hand-woven cloth. It appears that this is primarily a womens craft
now. I met two old women who were weaving khais. They were selling these for Rs 200
and Rs 250. On enquiry it appears that their daily wages turn out to be Rs 25 per day.
None of the younger women I met showed any interest in this because now they were
involved in low quality embroidery work for contractors (labor paid for shirts Rs 100Rs150). Considering that we are purchasing cloth from the market I think we need to
explore whether we can get some made from these women weavers. Bushra Saghar FTL
Multan, has been asked to visit the Basti and explore potential and interest and get
some samples made.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 87
Attached below is the Report of the FTL Multan, Bushra Saghar with my comments
added at the end
Date of Meeting
May 5, 2010
Duration
9;30AM -4PM
Report by
Bushra Saghar
Date of report
May 8, 2010
Location
Chah Usmani Bajay wala Near Chungi #09 Multan City; Basti
Malook
Madam Sajida Vandal,Project Manager Miss Bushra Saghar ,
Field Team Leader, Sughraan Mai, Khurshaid Bibi, Yasmin
Basheer, Master Trainers in Multan
Muhammad Khadim, Jeweler, Haji Naveed Allah Bakhash,
Khuusa Maker and Yasmin Bibi Embroidery Worker in Basti
Malook
Participants
2. Meeting Detail
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 88
Discussion about the Skills of the Master Trainer i.e. Embroidery on Upper of Khussa
and Aarr work
Shared the Samples of the Aar work , kinari / Gotaa with the workers and discussed the
quality of the embroidery in Detail
The Chain of Pearls and Leather with Aar work were shared with Madam Sajida Vandal
3. General Discussion
Participants showed their interest to work in the new style and good quality. They
shared that they are working on order by the local outlets, where their work is not much
acknowledged in regard to their hard work. They showed their willingness to do the
work with us. On the suggestions of the advancement and improvement to their work,
they said that they want to do more good work if they will be paid better and in time.
With the bulk order and limited time, its very difficult to maintain the quality.
Follow ups:
Sample of Block print with new designing on khaddi cotton /lawn will be given to the
workers for manufacturing
Sample of Aar Work with Gotta / Kinari will also be given to the manufacturers
Order will be placed for manufacturing of the Khaddi Cloth
Distribution of Master Trainer Design Kit to the master trainers of Multan
Conducting the 10 Days Training of Organic Color die for the women of district Multan
and D.G Khan in Multan City
Identify the Manufacture of the products of Camel Skin and Arrange a meeting with
them
Meeting with the Mr, Chuhdary Sajjid Nadeem, Community Development Officer of
Jalal Pur Peer Wala and Shuja Abad District Multan (formerly PVA Supervisor Cultural
Mapping Multan)
Collect the Sample of lacquer work from Jaam Pur
Mapping of Cultural Assets D.G Khan and taken the Coordinates of G P S.
some seed money for the same. Bushra FTL needs to meet him asap and follow this
through with him
2. The following Crafts had potential of inclusion in the Project
S
a)
Craft
Khussa making crafts for use
in different objects
Follow on Action
a) The samples prepared by
the women following the
Training Session 1 by
designers are ready and
can be collected from SV
b) Designs as examples by
Sadia need to be sent to
the craft women
c) Need to prepare training
program for Session 2
Ghugoo Ghoras
Block Printing
Responsible Person
a) Sadia to collect samples
and
convey
further
instructions
b) Sameer
to
forward
Sadias email to Bushra
for onward discussion
with craft women
c) Sadia to prepare training
program
Bushra to see when the
objects can be prepared
Designers to see whether
these women can be included
in a training program
Designers to see what othr
a) Bushra to show sample to
other MTs not met by SV
and pursue discussion
b) Bushra to check progress
and when some patterns
are ready send these to
Lahore for review of
Designers
a) Bushra
to
meet
Muhammad Ali Wasti,
Director Arts Council
who had located some
block printers and get a
sample prepared.
b) Bushra to follow through
with Wasti Sahib re
organic dying workshop.
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 90
Camel Skin
1. Please note that we need to plan for the follow on Training Session with MTs asap.
All designers are requested for their inputs. The Session will be held in Multan and
some or all MTs from DG Khan will also attend. We can expect about 25-30 women.
2. Bushra to prepare a list of villages/mohallas from which participants are expected and
a List of MTs
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 91
ANNEX 7
MANAGEMENT: WORK ORDER & TRACKING FORMS
This is a Consolidated Form but for the Report has been shown in two parts. The form is shared
with the craftswomen to ensure transparency and fair price to all
Consolidated Form
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 92
No
Locale
Material
Color
Scheme
Material
(Nos+
D t il) d
Tanka
REF
CODE
Item
I
D
Collection
SARI
Abbas
Nagar
Silk @ Rs
440 per
yd
Indigo
Turquoise base
(1089) with indigo
(127) and white (1),
green (230). Add
other colors if design
demands
7 yds
Chunri
Style: SAB
Abbas
Nagar
Tooti Nama
8.25
Chunri
BWP-CH003
Style: SAB
Tooti Nama
Black
Base (403)
with green(238) and
red (46).Add other
colors
if
design
demands
8.25
Chunri
BWP-CH004
Style: D
Silk
(Grip
Silk
80
grams) @
Rs
440
per yd
Silk
(Grip
Silk
80
grams) @
Rs
440
per yd
Chiffon
@ Rs 185
per yd
Tree of Life
Chunri
BWP-CH005
Style: D
Chiffon
@ Rs 185
per yd
Tree of Life
Green
Brown
Chunri
BWP-CH006
BWP-CH006
Style: D
Organza
Tooti Nama
Orange Base
Organza
Tooti Nama
Purple Base
BWP-CH001
Style: SAWB
BWP-CH002
Style: D
Dupatta
Abbas
Nagar
Dupatta
2
2
Abbas
Nagar
base
with
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 93
3.5 *2
yds
3.5 *2
yds
Ironing Cost
Courier
Style:
SAWB
Style:
SA-B
3080
1000
105
0
100
100
30
10
20
5390
7545
3630
1000
105
0
100
100
30
10
20
5940
BWPCH003
Style:
SA-B
3630
1000
105
0
100
100
30
10
20
BWPCH004
BWPCH005
BWPCH006
Style:
D
555
350
300
80
60
10
Style:
D
555
350
300
80
60
Style:
D
525
350*2
300
*2
80
BWPCH006
Style:
D
525
350*2
300
*2
80
Dates
Craft person
18-Jul
22Jul
8315
19-Jul
22Jul
5940
8315
20-Jul
22Jul
Nusrat MT,
Zarina,
Parveen
20
1375
1925
18-Jul
22Jul
10
20
1375
1925
18-Jul
22Jul
10
20
1205
1675
28-Aug
12Sep
Nusrat MT,
Zarina,
Parveen
Nusrat MT,
Zarina,
Parveen
Nusrat MT,
Zarina,
Parveen
10
20
1205
1675
28-Aug
12Sep
Order
Approval Date
BWPCH001
BWPCH002
Final
Rate
(40%)
Completion Date
as agreed
REF
CODE
Border Cost
S.
Material Costs
ID
Chunri Cost
18Jun10
UNESCO-Norway Funded Project Empowering Women through Crafts in Dist Bwp & Multan: End of Assignment Report 94
Nusrat MT,
Zarina,
Parveen
Nusrat MT,
Zarina,
Parveen
Nusrat MT,
Zarina,
Parveen