Transcript

1

Institute of Textile Engineering & Clothing Technology (ITECT)

Orchid Plaza-2, 5th floor

109 Green Road, Farmgate, Dhaka-1215

STUDY REPORT ON

BENARASI SAREE AT MIRPUR BENARASI PALLI

Supervised By

Mr. Md. Jaidul Haque

Principal, ITECT.

2

Acknowledgement

This report has been prepared with the help of many people to whom we must express our heartfelt regard. We show our gratitude to Mr. Mohammad Hanif, Proprietor, Hanif Silk Industries for his patronization and cordiality for the study.We would like to thank-

Mr. Md Jaidul Haque, Principal, ITECT. Mr. M. A. Sayeem, Advisor, ITECT. Mr. Sekander Ali Khandaker, Professor, ITECT.

for their support and inspiration about the study.We are equally thankful to all other people (who were experienced with so many interviews as interviewee) who have been consulted for their valuable opinion.

3

Letter of Transmittal

Mr. Md. Jaidul Haque

Principal

Institute of Textile Engineering & Clothing Technology

Subject: Submission of report on Benarasi Saree at Mirpur Benarasi Palli.

Dear Sir,

Here is the report on the “Benarasi Saree” That we are asked to submit under your supervision.

The report is prepared on the primary and secondary data collected different sources of Mirpur Benarasi Palli.

We sincerely hope that the report and the recommendations would help you making effective decisions. We truly appreciate this assignment and enjoyed it very much. We will be highly obliged if further assistance in interpreting my analysis.

Sincerely yours

1. Md. Nazmul Hasan Shifat, ID: 101779

Institute Of Textile Engineering & Clothing Technology (ITECT)

4

Table of Content

Chapter Content Page

1. Introduction 5

2. Types of Benarasi Saree 6

3. Rationale of the Study 9

4. Raw Materials 9

5. Production Process of Benarasi Saree 10

6. Definitions of Concepts of Terms 15

7. Sale of Saree 16

8. Present State of Benarasi Industry 16

9. Problems of Benarasi Industry 19

10. Problems of Benarasi Production 20

11. Conclusion 21

5

1. Introduction

1.1 BackgroundBenarasi saree whose history dates back to the Mughal rule in the 16th century, has its origin in Benaras, a northern city of India. In Bangladesh the migrated Muslim from Benaras, started making Benarasi saree at Mohammadpur and Mirpur in Dhaka since1950 (according to the source of Bangladesh Handloom board). The tradition is still going on from generation to generation.

This art revived soon after partition of India and Pakistan in 1947 when few non-Bengali people of Benaras, presently Benarasi, a well-known city of India, came to Mirpur area of Dhaka and began again to make Benarasi sarees. Later more people became involved with this handloom industry and it spread, and the whole area came to be known as Mirpur Benarasi Palli, located at the north-western edge of the capital.

BENARASI SAREE In the world of fashion ‘Benarasi Saree’ remains the ‘RISEN SUN’ and has been a subject of great inspiration and appreciation for world-wide costume connoisseurs. These proposed episodes would try to fathom its historical continuance, record its traditions which goes from generation to generation and unveil the intricacies which goes towards making this Benarasi Saree an art and aesthetics. In short it would enter the subject from the raw materials and show the process to the final product and packaging.

It was in the Mughal era Baranasi saree came into popularity and got fashion currency. This art of making Banarasi saree is surviving since olden days. It was during the mughal times when all arts are it persian, rajasthan or other indian school got amalgamated to create a fusion of aesthetics. Same goes for costume as well. The persian motifs and Indian designs on silk texture studded with gold and silver remained the cue of Mughal patronage. Elaborate pure gold and silver designs are today rare still the zari has rightfully taken its position as an apt replacement.

1.2. History

Several first-millennium Buddhist texts mention Benaras fabrics, giving the indication that Benaras has been the center of fine textile weaving for at least two millennia. During the past few centuries, the weavers of Benaras have been overwhelmingly Muslims belonging to the Julaha community. Some of the weavers have been able to trace their lineage back to 990 AD. The Benarasi silk sarees reached the climax of their fame during the Mughal era in the 1600s. During that time the traditional motifs of the saree underwent a change and combined Indian and Persian patterns.

6

2. Types of Benarasi Saree

*  BROCADE

*  BENARASI SILK JAMDANI

*  JANGLA SAREE

*  JAMAWAR TANCHOI SAREE

*  TISSU SAREE

*  CUTWORK SAREE

*  BUTIDAR SAREE

          BROCADE:-

Brocade refer to those textiles where in patterns are created in weaving by transfixing or thrusting the pattern-thread between the warp. In regular weaving the weft thread passes over and under the warp thread regularly. But when brocade designs in gold, silver silk or cotton threads are to be woven, special threads are transfixed in between by skipping the passage of the regular weft over a certain number of warp threads (depending upon the pattern) and by regularizing the skipping by means of pre-arranged healds for each type of patterning. There may be several sets of heddles so arranged that on different occasions, they raise and depress irregular number of threads in turn, as required by the exigencies of the pattern.

Zari-brocades-When gold and silver threads are use along with or without silk-threads, thrust either as special weft or warp to create glittering raised or-namentation. We have the Zari brocade kind of fabrics. When we talk of gold or silver threads. It is to be under stood that the gold,threads are actually only silver threads with gold polish and that these threads are obtained by closely winding extremely fine gold or silver wire around a silk thread.

According to Sir George Watt, when the gold and silver threads were used so densely that the ground was hardly visible, the material was kinkhab proper and was too heavy for clothing, it was therefore used for trappings, hangings and furnishing. Only that material in which the Zari patterns were scattered was true brocade. This was used for clothing.

          BENARASI SILK JAMDANI:-

The silk Jamdani, a technical variety of brocade or the 'figured moslin', traditionally woven in Banaras may be considered to be one of the finest products to come out of  the Benarasi loom. Here silk fabric is brocaded with cotton and rarely with zari threads. Jamdani is woven by transfixing the pattern thread between a varying numbers of warp threads in proportion to the size of the designed then throwing the shuttle to pass the regular weft. By repeating this process, where in the size and placing of the cut-thread is in accordance with the

7

character of the pattern, the Jamdani weaver produces arrange of intricate designs.

Some of the traditional motifs of Jamdani included Chameli (Jas mine), panna hazar (Thousand emeralds) genda buti (marigold flower) pan buti (leaf form) tircha (diagonally striped) etc. The most attractive design feature of the Jamdani saree was konia or a corner-motif having a floral mango buta.

It has own special character of (URTU) Binding in the figured disignes on ground fabrics using extra weft designs thread dampatch technique for the or namentation of the sharee. It is silk x silk base fabrics or-namented with extra looking and technique of weaving in karhuwan.

          JANGLA SAREE:-

Brocade weavers of Banares have often endeavoured to add a sense of gaiety and festivity by brocading patterns in colourful silk threads amidst the usual gold and silver motifs; of the brocade convention. The present saree is an example in which muga silk motifs have been in laid. Jangala wildly scrolling and spreading vegetation motif is among the eldest in Banares brocades. This old rose saree is embellished with beautifully contrasted gold-creepers and silver flowers of the Jangala motif.The borders have brocaded running creepers in muga silk and gold and silver-Zari threds.The end panel is a combination of motifs of the borders and condensed Jangala of the field. Muga silk brocading in-hances the beauty of the saree while reducing the cost. All over Jal Jangla design to get the stylish work of the sarees and also used mena work for the decoration of the fabrics. The exclusive design saree has time taking skilled work; costly fabrics are widely accepted during the wedding occassion.

          JAMAWAR TANCHOI SAREE:-

Using a technique similar to that of brocade, weavers of Banaras weave sarees using colorful extraweft silk yarn for patterning. This variety is known as tanchoi. This maroon-colored saree in satin weave is brocaded with elaborate motifs from the Jamawar shawl tradition from Kashmir, the characteristic feature of which was paisley motif, often elaborated into a maze which would look kaleidoscopic in character. The field has a densely spread minute diaper of Jamawar style paisley. The end panel has large motifs of multiple paisley forms-one growing out of the other. The border, as well as the cross-borders of the end panel, has miniature paisley creepers. Tanchoi fabric has remarkable fame in the India as well as all over in the world widely acceptable to all kind of the people.

8

TISSU SAREE:-

The renowned Zari brocade weavers of Banaras have evolved a technique of weaving tissue material which looked like golden cloth. By running Zari in weft a combination of Zari and silk in extra-weft (pattern thread) and silk in warp, the weave of this saree has densely patterned with golden lotuses floating in a glimmering pond.The 'drops of water' are created by cut work technique. The borders and the end panel have a diaper of diamond patterns enclosed by a border of running paisley motifs. Tissue sarees are most popular as wedding sarees among the affluent. Tissue saree has glazed, shining character due to the use of real gold Zari/Silver Zari in weft on silk worp ground are ornamented with the particulars traditional design such as Jangla Butidar, Shikargah menadar etc.

          CUTWORK SAREE:-

This type of saree prepared by cut work technique on plain ground texture after removing of the floated thread which are not design (Woven) during the weaving process which provide good transparent look.

Cut work is the cheaper version of the Jamdani variety. In cut work the ;pattern is made to run from selvage to selvage letting it hang loosely between two motifs and the extra-thread is then cut manually, giving the effect of Jamdani.

          BUTIDAR SAREE:-

The most striking feature of this dark blue silken saree is that it is brocaded with pattern threads of gold, silver and silk. Due to darkar shade of gold and lighter of silver this variety of patterning in brocade is conventionally known as Ganga-Jamuna, indicating the confluence of these two river whose waters are believed to be dark and light receptively. The end panel has a row of arches, in each of which a bouquet of flowers is placed. A slightly smaller and variegated bouquet is diapered all over the field.

The butidar saree is a rich kind of the Banaras Saree in high traditional pattern and motiff of the design locally popularised such as Angoor Bail, Gojar Bail, Luttar Bail, Khulta bail, Baluchar bail, Mehrab bail, Doller butti,Ashraffi Butti, Latiffa Butti, Reshem Butti Jhummar Butti,Jhari Butta, Kalma Butti,Patti Butti, Lichhi Butti, Latiffa Butta, Kairy Kalanga Thakka Anchal, Mehrab Anchal, Baluchar Butta with the use of real gold and silver Jari and Katan silk in the weft.

9

3. Rationale of the study

Benarashi is an industry where skill and knowledge is community base, the reduction of craftsmen in the community will also blow the death sentence to the industry itself. The reason is simple; they will die with their knowledge without the scope of disseminating it to anyone outside the community because there is a lack of proper incentive to do so. So to preserve this age old knowledge, this work of art, this symbol of tradition, steps should be taken and they should be taken sooner than later.

Last but not the least, it is hoped that this report will works as an important secondary source of data for the future researcher who would like to conduct research on the same or related topics.

4. Raw MaterialsThe raw materials (Silk, jari etc) of Benarasi are imported from foreign countries like China, Japan, Korea, Vietnam, India, Taiwan and Pakistan through different agencies, which are then sold to the local markets. The entrepreneurs buy the raw materials from local market.

Preferences of yarn imported from various countries

Preferred Countries Percentage

China 61

Japan 13

Vietnam 11

Others 15

Total 100

Quality of yarn from China is good where as rest prefers yarn imported from Japan, Vietnam, Korea, India, Pakistan, and Taiwan etc.

10

5. Production Process of Benarasi Saree

Manufacturing process of benarosi is done in three stages-

1. Preparatory Process2. Weaving process3. Finishing Process

5.1. Preparatory Process (Making Naksha-patta)

At the weaving loom three people work one weaves, one dye and other work at the Revolving to create skeins (lacchis). At this juncture another important process is initiated. This is designing the motifs. There are several traditional artistis available who might not be educated but can create wonder designs for Saree.

To create ‘Naksha Patta’ the artist first draws on the graph paper with colour concepts. Now those designs are of varying kind .But most universal kinds are Caixg (Kalka), Buti and flower and foliage. This became the functional aspect of art which is not far off from the people life cycle. In modern days one can see geometrical designs have come in, but it lacks appreciation. As traditional folk design remains the base appeal for Banarasi Saree.

Once design is selected then small punch cards are created those are guides for particular which color thread has to pass through which card at what stage. For one small design one requires to create hundreds of perforated cards to implement the concept.

Once those perforated cards are prepared those are knitted with different threads and colors on the loom and according to design those are paddled in a systematic manner that the main weaving picks up right color and pattern to create the design and weave as well.

5.2. Weaving Process:The yarns are not in the optimum condition to enter the looms directly so as to produce fabrics. Package size; build another factors make it necessary for the yarn to be further processed to prepare it to be handled efficiently during fabric manufacturing.

Various steps for preparatory process of yarn for weaving are as follows:

11

5.2.1. ReelingReeling is a skein preparation operation (generally the preparation of skeins prior to dyeing). The reeling machine is fed by yarn packages and winds the yarn onto a reel, thereby forming the skein. Winding can be carried out either modifying the yarn crossing angle or by adjusting the skein width up 400 mm. The warp yarns of 20-30 sarees (140-210 yards) are reeled like spring in a big reel. The diameter of the warp yarn reel is normally 6m. The diameter of the weft yarn reel is normally 54cm. And it has a speed of 400 rpm. Warp yarn skeins can reach 2 kg in weight.

5.2.2. Dyeing (coloring)The dyeing process is aimed at giving yarn to its intended color, crucial to its ultimate use. The process of application and fixing of a dye normally with the intention of obtaining an even distribution trough the yarn. The dyeing process of benarasi is done manually with Acid dye.

Operations must be carried out for dyeing:

- dissolve or disperse the dye in water and filter.- achieve a homogeneous contact between the dyeing liquor and the yarn.- make the dye penetrate into the yarn.- fix the dye in the core of the yarn.- Wash or rinse the material to remove the dye on the surface or the unfixed dyeing liquor.

There is a pre-treatment process is carried out with boiling soap water to increase pliability and give the saree smooth and shinier texture.

5.2.3. Warping

12

To arrange a convenient number of warp yarns that can be  collected in a sheet form and wound on to a warp beam. The dyed yarn is prepared for Tani (warp). The length of yarn reeled on a five feet long warp cylinder is sufficient for twenty lengths of a saree (140 yards).

Warping is aimed at preparing the weaver’s beam to be set up on the loom. Warping carries out following operations:

Creation, out of a limited number of warp threads (creel load), of a warp composed of any number of threads with the desired length.

Arrangement of above-mentioned threads according to the desired sequence.

Manufacturing of a warp beam (Turia) with said characteristics.

.

5.2.4. DENTING AND DRAWING – INAll the warp threads have to be threaded through the heald eyelet and its gap in the reed prior to weaving. The heald is the part of the loom that is used to move the warp threads up and down. The threads pass through eyelets on the heald. For a simple weave pattern alternate eyelets are moved up to raise the corresponding warp threads, and the threads between are moved down. When the shuttle travels back their positions are reversed. The reed is like a comb and its purpose is to control the separation of the warp threads.

PREPATORY PROCESS FOR DENTING: The open space between each wire of the reed is called dent. A warp end is passed

13

through a dent with the help of the hook, after it passes through the heald. This process is called denting.

5.2.5. WeavingWeaving is carried out on a loom where warp yarns run lengthways from back to front. Using a shuttle, weft yarn is threaded widthwise. The position of the warp threads was then reversed and the weft sent back in the opposite direction.

On the conventional loom, the warp beam is mounted at the back and the warp yarns are conveyed to a cylinder called the cloth roll, which is at the front of the loom and on which the fabric is rolled as it is constructed. Supported on the frame between these two cylinders (warp beam and cloth beam), the warp yarns are ready to be interlaced by the filling yarns that run in the width of the cloth, thus producing the woven fabric. Tree fundamental operations of weaving in any loom are as follows:

Shedding: raising specific yarns by means of the harness or heddle frame.

Picking: inserting filling yarns through the shed

Beating up (battening): pushing filling yarns firmly in place by means of the reed.

Jacquard Loom

In 1801, Joseph Marie Jacquard, a silk-weaver, invented an improved textile loom. The Jacquard loom was the first machine to use punched card. These punched cards controlled the weaving, enabling an ordinary workman to produce the most beautiful patterns in a style previously accomplished only with patience, skill, and hard work.  

14

The idea behind the Jacquard looms was a system of punch cards and hooks. The cards were rectangular with holes punched in them. The hooks and needles used in weaving were guided by these holes in the cardboard. When the hook came into the card one of two possibilities could occur; either the hook would go through the hole or remain stationary. In the first case the warp thread would be lifted thus creating a pattern. By controlling the relative placement of these holes, one can in principle control each warp thread of the fabric individually. This made the whole process of weaving infinitely flexible; any image could be embodied into a chain of punched cards and woven by the Jacquard loom. The astonishing truth is that the Jacquard loom enabled decorated fabric to be woven about twenty-four times more quickly than the drawloom. We can perhaps more readily appreciate the impact of the speed increase when we consider that, today, a supersonic jet aircraft flies at up to twenty-four times the average speed of a modern car. The increase in speed was as remarkable as that.

5.3. Finishing Process

5.3.1. KarchupiKarchupi is a special kind of intricate thread work, which is used to make dress materials more attractive. It is the process of embedding puthi, zari and other decorative materials by means of a special needle as sharp as fish hooks.

15

5.3.2. CuttingCutting is a finishing process which is carried out to made cut work saree. This type of saree prepared on plain ground texture after removing of the floated thread which are not design (Woven) during the weaving process which provide good transparent look.

6. Definitions of Concepts of TermsBenarasi Worker: There are various types of worker engaged in different stage of benarasi production such as; designer, weaver, thread processor and dyer, loom maker and mechanic.Birni: Thin wire used to tighten threads.Charka: Hand spin or cycle wheel.Gull or baw of natawa: Bamboo/wood spool.Karga: Pit.Naksha Patta: Punched cards of design.Khalli: Iron rod rotates to tighten threads.Lappa: Horizontal wooden rod. Makri: Upper / roof suspended rods. Dharki: Five inch long flat shuttle piece of buffalo horn. Phanni: Reed. Tani; Warp yarn or ends.Bana: Weft yarn or picks. Turia: Warp beam. Tani Charka: Wheel which used to warping. Nari Bharna: The process which the weft yarn is wond on a small (few centimeter long) cylindrical object (Gulla). Danda: Treadle. Naka: Jaquard shedding eye. 7. Sale of saree

16

 Generally, piece-rate of silk saree made on handloom varies from 2000 to 3000 taka, depending on the complexity of design. Independent loom-owners do not have the holding capacity and immediate dire need of money forces them to compromise with lower piece-rate. Also, traders often find excuses on grounds of flaws in the quality of weaving to make deductions from even the agreed price. Consequently, when the product is taken as substandard or there is low demand in the market, weavers have to sell it at a price that may not even cover the labour cost. In the weaving industry, imitation is not valued. As soon as the design is copied, the product gets devalued and weavers have to bear the loss.

8. Present State of Benarasi Industry

Structure and Character of Benarasi Saree Weaving Industry

The full production process from raw material (including silk and other threads for embroidery) to a finished saree, includes an intricate web of many actors such as weavers, master weavers, raw material suppliers, designers (card makers), etc. It is widely believed that the whole structure is fairly feudal in character, where a majority of workers toil to weave the sarees and a minority few have total control of markets, raw materials and other resources. These privileged few also behave as ‘masters’ and exploit the weavers to the fullest.The total number of workers and families working in this trade is not known exactly, as there has not been any effort to carry out a thorough survey. However unofficial estimates by various voluntary organizations put the total number of workers at about 50,000, a majority of whom have received very little or no education. Benarasi sarees are predominantly woven on a handloom with silk threads. The technology is quite ancient, and there has not been much technological innovation in this sector, although in the past few decades some of the weaving has also been done on power looms. The trade is predominantly controlled by ‘Gaddidars’ or the traders who have the access to raw materials and the market, and who also sometimes own the looms. The weavers usually fall into one of two categories. Some are self-employed, where they own their own loom and purchase their own raw material, but have no access to the market and have to sell their produce through the trader. Even the access to raw materials is controlled by the traders as weavers do not have enough money to buy the raw materials in bulk, and thus even the independent weavers end up working for the trader. Alternatively, some weavers work as wage labourers at the looms owned by the traders. In either case the weavers are at the mercy of the trader for their livelihood. Weavers earn only 600 to 800 taka (about US$9 to US$12) on a saree that may take even 7 days to complete, and the traders pay the money only when the saree is sold in the market. Traders often point out defects in the sarees either in weaving or in the embroidery just in order to push down the price. Faced with a desperate situation, the weavers often end up taking out loans or advances from the traders and being in a kind of bonded relationship.

17

Some weavers are also members of a cooperative organization. However, the majority of cooperatives are controlled by the traders themselves. These cooperatives were set up by government to end the isolation of weavers from the market—on one hand providing them with easily accessible raw material, and on the other hand providing them with easy access to the market. However, even this institution has been corrupted and is under the control of the traders themselves who now enjoy even access to more raw materials.

Women and Children

Women and children are exploited in this industry, yet remain invisible, and often unpaid. Women play an important role in all stages of saree preparation yet their contribution is hardly recognized. Women often spin thread, cut thread and do important jobs that are often considered as secondary or menial. The job is highly repetitive and they have to work sitting in uncomfortable positions for long hours sometimes even six to seven hours at once. Women are generally not paid directly, as they help the men in the household. If they are employed by the traders, they are only paid 60 to 80 taka a day (about US$1). They are not allowed to sit on the looms as the general perception is that women cannot weave sarees. The intense exploitation of women is subsidizing the whole production of benarasi sarees. Their labour is adding value to the product yet it remains unpaid or poorly paid, and thus the cost of production remains low.

Children also help their family members make sarees, and they also have to work for long hours in very tiring conditions. Children are also sometimes employed for ‘pattern making’ and other small jobs which help to speed up the whole process. Children are also sometimes forced to work to pay back loans that their parents or family members may have taken out.

Increasing poverty among weavers of Benarasi

A variety of reasons is given for the decline of the weaving industry since the 1990s. Some blame mechanization. Some criticize the quality of the sarees. Some cite other reasons like the WTO and competition from Chinese silk sarees. But no proper initiative was taken either by state governments to counter this decline. Traders, on the contrary, have continued to make profits, without paying much to the weavers who have ended up in a situation of utmost poverty and destitution. Local media has also neglected the declining process. Over the course of a decade, the hand weavers’ situation has become very pitiful, and weavers have started committing suicide because of hunger and poverty. A lot are suffering from lung diseases because of silk and cotton fibres. Many are dying from these lung diseases, which are commonly diagnosed as tuberculosis. The children of weavers are suffering from malnutrition and they are forced to work for their meals. Many weavers are supplementing their meager weaving income with other work, such as driving cycle rickshaws.

18

Health problems

Almost all saree workers suffer from some kind of ailment owing to the very poor working conditions. The looms are often in cluttered places with poor ventilation, and workplaces are very dusty. Weavers and their families often suffer from respiratory ailments from breathing in the dust and fine yarn from the fabric, as well as range of health ailments owing to the lack of nutritious food and excessive workload. Children are suffering from malnutrition.

Citizens – including informal sector workers – are covered by the public health system. But in practice, the public health system is like elephant’s teeth: only for show, not for eating. In Benarasi nobody gets proper benefits, unless they have political contacts or are willing to give bribes to get access to medical facilities in government hospitals. Weavers and their families suffer greatly from lack of access to medical treatment for common problems such as lung diseases like tuberculosis. Eighty per cent of weavers’ children are underweight and suffer from many diseases.

 

Struggle to preserve weavers’ culture and livelihood

If state government and central government do not come together to support the revival of the hand loom industry, then in the coming decade there may not be a single man or woman in Benarasi remaining engaged in weaving. Weaving is a culture and it has also been a means of livelihood for weavers for centuries. Weavers are artists who are making unique designs that are unmatchable, and there are is still no modern technology which will make sarees similar to them. However weavers and their children are dying of hunger and those artists whose hands are accustomed to making antique sarees are committing suicide. What kind of irony is this?

These weavers develop their own unique design according to their local ways, and likewise they developed their way of struggling, rather than following the way of any other trade union or political party. Why do they look very different while protesting, demonstrating, or giving memorandums to governments? They are not Muslims, and on the other hand they are not Hindu either. They are weavers, and weaving is a culture. It is not a religion, like some other fronts of social struggle. The central issue here is their culture, as well as an occupation and means of livelihood. When the culture of weaving is dying, how will the workers doing the weaving survive? How a community can survive without its culture? That must be like life in a vacuum. It means a land of uncultured people, who have to pass the tunnel of civilization again, in order to be part and parcel of this mainstream, so-called civilized society.

9. Problems of Benarasi industry

19

The Benarasi weaving industry has experienced significant decline since the early 1990s.  Policies to promote free trade have harmed the industry. Cheaper textile imports have gained prominence with the advancement of the Negotiations on Non-Agricultural Market Access (NAMA) by the World Trade Organization (WTO), which have lead to freezing or declining of import tariffs including on textiles such as sarees.  Further, there is decline in demand of Benarasi sarees due to the global economic slowdown. Often perceived as a luxury wedding dress, Benarasi sarees are not in priority list of an average consumer hard-pressed of money. Due to its high maintenance and high cost, people hardly prefer this spectacular attire.  And weavers too are neither getting sufficient means to meet both ends nor the social status, through it.   With population growth among weavers, there is more supply of skilled labour and much less matching demand. It leads to unjust price/wages to weavers. Since 1990s labour wages have declined to about half of what they were earlier. Further, fluctuating silk price and artificial shortages created by the suppliers have put weavers in a precarious situation. Also, the power looms are snatching the work from handloom weavers. Middlemen and Gaddidars are living like parasites on their earnings.  Fashion market is denoted by fast changing fads and styles. Today's fashion is marked by convenience and low cost of production. Time-phase when uniqueness of the creation was appreciated and patronized at a great cost has perhaps lapsed. Now, in this changed scenario, large volumes of sarees with low quality are produced that are available at cheaper rates.   In addition, weaving industry is facing crisis due to problems in availability of raw silk. This scarcity is often created by traders. For small weavers buying one bundle (5-6 kilogram of raw silk) is economically strained. Not having enough business reduces their purchasing power. Prior to 1990, silk was available for Tk.800/- per Kg and now it is over Tk.6000/-. Ironically, scarcity of raw material exists despite the free-trade policies.   Imported Chinese silk is cheaper and is available at Tk.5000/- per kg, and hence it has become the choice of most artisans. While multinational players are being given a free hand to operate, potentially weaver friendly institutions such as cooperatives are being allowed to decay, at the cost of the marginalized weaver.  Further, Surat produces artificial silk thread, available at much lower cost. Duplicate Benarasi sarees are being produced using artificial material. This has severely hurt the Benarasi weaving sector, putting pressure to reduce the cost of original Benarasi saree in the market. As the middlemen and shopkeepers do not forsake their profits, the weakest link - a weaver has to bear the brunt, in terms of reduced wages.  

20

10. Problems of Benarasi Production

1. High cost of raw materials-As mentioned before, high cost of raw materials is one of the main problems of Benarasi production.

2. Decreasing demand of Benarasi-Open market policy pursued by the Government has opened the country to Indian sarees. Indian sarees for their cheaper prices, varied designs& availability usually lure more local buyers. Besides that, the expansion of Benarasi industry in different areas of the country, such as Tangi ,Kaligang, Rupganj, Shirajganj has increased the supply in comparison with the demand. So gradually the sale is declining.

3. Lack of variation in design-The designs of Benarasi sarees are almost traditional. The local designers do not have any institutional training and have no interaction with professional designers. So lack of variation in design is one of the causes of decreasing demand of Benarasi.

4. The wages of the Benarasi workers are not sufficient and not regularly paid.

5. Because of inadequate financial and technical supports the entrepreneurs cannot produce standard quality of sarees in large amount.

6. The market of Benarasi is mostly limited within the country. As there is no attempt for exporting Benarasi, so it has no access in international market.

7. The publicity of Benarasi saree is not sufficient

8. Customers taste is changing day by day. Their preference for foreign products is also a cause of declining the sale of Benarasi saree.

According to them the solutions of the problems of Benarasi production are-

1. Necessary steps should be taken to produce better quality raw materials inBangladesh.

2. The import duty of raw materials should be reduced.

3. Government can take steps to import the raw materials and then sell it directly to the entrepreneurs.

4. Designers should be given technical training by professional designers so that designs and colour combinations of sarees can be improved and modernized.

21

5. Government should check the floodgate of cheap Indian sarees.

6. Possibilities of export of Benarasi sarees to international market should be explored.

7. The publicity of Benarasi sarees should be increased by arranging Benarasi Fair, Fashion show, giving advertisement in Fashion magazines throughout the year, so that people will know more and become interested about Benarasi sarees.

8. Entrepreneurs should be encouraged to initiate the trend of making not only saree but also other products like scarf, wall-mate, stole etc to meet international demand.

9. Hand looms used by the weavers should be modernized as user-friendly.

10. Working environment and wages of the weavers should be improved.

11. Conclusion

Benarasi industry is one of the traditional cottage industries of Bangladesh. Mainly the campbased Urdu speaking people of Bangladesh are involved in this industry. Women are the main consumer of Benarasi in our country. It is alarming that this industry is heading towards extinction day by day .If necessary steps are not taken to save this industry, a large number of people will become unemployed as well as the country will lose a gorgeous tradition. It is high time to find out the problems of the industry and draw some possible solutions of these problems, so that the industry can revitalize again.

We were tried to find out the grievances of Mirpur Benarasi Palli’s worker. Mirpur Benarasi Palli is a traditional industry. For surviving this industry, there is no alternative way unless to give proper evaluation of workers. Being a traditional area, there is needed structural development, future safety and proper value of workers. The important fact is that they need trade union. Where the worker can say about their rights and grievances. Proper utilization and development of worker is one of the conditions for surviving the traditional industry of Mirpur Benarasi Palli. So, equally Government, Literate and conscious people should come forward to take necessary steps. Otherwise, one day this Benarasi can be lost from our industry like as Dhakai Moslin saree.


Top Related