Dabu & Bagru Block Printing: The Art of Rajasthan

Beautiful imprinted designs have been found on scraps of cloth in the ruins of Mohenjo Daro which was an ancient city of the Indus Valley Civilization. This is evidence  that block printing in India was practiced as long as 3000 B.C. This labour intensive, painstaking process is still practiced in 21^st century by many artisans which makes India one of the largest manufacturers of block printed fabric. One of the main forms of block printing include the Dabu & Bagru Block printing of Rajasthan.

Amidst the dry barren desert land are places abundant of colour, heritage and culture. 30 kms south-west of Jaipur and along the Ajmer highway is a small village called Bagru. The residents of Bagru are the Chippa community who have been into the block printing art form for about 350 years. Also 60 kms from Chitthorgarh there is a small village named Akola where the first forms of Dabu printing was practiced. Dabu is a form of mud resistant block printing which is practiced mainly in Rajasthan. The uniqueness of Dabu print lies in its sublime quality and appearance. Also the printing involves lots of natural dyes and pastes made from vegetables which makes it environmentally friendly. The process of making these printed fabrics  includes a lot of manual labour and sheer hard work. It begins by mixing a special clay paste called “dhabu”. A particular design is then sketched on the cloth and is covered with clay and wooden blocks after which saw dust is sprinkled. Once dried the cloth is dyed with the chosen colour. After dyeing the cloth can again be dyed with a lighter colour to give patterns. The process is so lengthy and labour intensive that the end result is worth it.

Bagru is a named derived from “Bagora’” which is the name of a island where the city was built originally. It’s famous for palm fans and fadat patterns. Bagru block printing are usually practiced by the local women folk. Bagru prints can be characterized by their rich colour prints and patterns. Using indigenous methods of dyeing and printing beautiful colours like indigo blue, bright yellow, alizarin etc. are imparted to the cotton fabric. The three main colours in Bagru include black, maroon and red. Patterns involve geometric patterns combined with flora, animal and bird forms. Synthetic dyes have now replaced some of the natural dyes but the process of making the final products continues to be the same. Some of the motifs and styles too have been adapted with the changing trends. New bases like fabrics, motifs and layouts are now experimented instead of cotton and silk as traditional bases.

With many institutes such as the National Institute of Hand printed Textiles, NIFT, NID and other boutique owners and exporters, this traditional form of block printing is being given encouragement. With changes in traditional market the chippa community has successfully adapted to its customer’s needs..

 We offer a huge and exciting gamut of Dabu and Bagru print Stoles and Dupatta’s

This season we bring you Dabu and Bagru Hand block printed Chanderi Cotton silk and Soft mul mul Dupattas. 

- Contributed by Antorik Roy for Banna Creations ! 

Uncovering and rediscovering Madhubani Paintings

It is often baffling to discover something so beautiful and unique in the most unexpected places. One  such discoveries was that of Madhubani Paintings. It was during the year 1934 that Bihar had suffered one of the worst earthquakes in history. A magnitude of 8.1 on the Richter scale swept clean,  vast areas of many towns. It was  under this Natural devastation  that a British colonial officer William G. Archer caught the first glimpses of the Madhubani Paintings. Seeing a strong  similarity to works of modern western artists like Picasso, Miro and Klee and impressed by the beauty and geometrical patterns, it was first promoted through various art journals. As such the Madhubani Art form was first exposed to the whole world.

This art form’s heritage goes back at least 2500 years during the time of the Ramayana. It is believed that King Janak had commissioned artists to come up with paintings during the time of marriage of Sita and Ram. Through generations this folk painting of Northern India has mostly been practiced by women and their daughters in villages of Mithila , in modern day Bihar  an area near the border of India and Nepal. The paintings focus on nature and mythology and depict different events like birth, marriage etc. through the various cycles of life. The central theme revolves around love, valour, devotion and fertility. It is common to find various symbols of prosperity in these paintings such as fish, elephant, bamboo tree, moon, sun, parrot, peacock ,  lotus etc. The central figures in the paintings are the divine beings surrounded by colourful motifs and flora. The human beings are usually abstract and linear in form. It is also common to find Hindu deities depicted such as Durga, Krishna, Saraswati, Ram and Shiva.

The artists of Madhubani Paintings still use the traditional way of mixing colour derived naturally from nature. For example yellow is prepared from turmeric or lime is mixed with the white excretion of banyan tree to give it a yellow colour. Orange comes from palasa flower, green from bilva leaf and red from kusum. Twigs with cotton wrapped around their tips are used as brushes. Mithila is known not only for its paintings but also for its rich culture and various scholar, poets and theologians. Before painting on paper began the women of the village usually confined themselves to their homes and practised wall paintings during rituals.

Nowadays these same women are being given local, national and even international recognition. They have become an important part of the family income. The title has been changed from “folk artists” to “contemporary artists”. They are a few men however who too practice this so called “women’s tradition” with the same enthusiasm.

The Madhubani paintings can be categorized into Traditional, Monochrome, Tattoo, Contemporary and Animals & Birds. The paintings can be distinguished by the use of vibrant colours, geometric and floral patterns, abstract figures of deities. Versatility is another aspect of this art form due to which it has varied applications. Be it artefacts, Mask figures, saris and textiles, wall paintings, mud wall paintings, Tea coasters or coffee tables. It is surprising to find so much hidden talent in India.

Despite the recognition received,  many styles of Madhubani Painitngs have become extinct due to lack of encouragement and takers for the art. 1970 was a celebrated year as the government gave official recognition to this art.

At Banna we not only promote this art form but have also encouraged and supported several traditional Madhubani artists by extending the applications of their Madhubani art work.

We have our own line of custom made Madhubani Sarees and textiles, in specialised designs. Each of these pieces is not only reflective of this age old art form but is also an active and singular means of livelihood for the artists.
- contributed by Antorik Roy for Banna Creations ! 

Kinnal Art: Its history and Origins ... Join Banna's upcoming workshop

Kinnal or Kinhal as commonly known is a small town in the Koppal District of North Karnataka. It is like any other village except for the fact that it dates back to the 13^th century era of the Great Vijayanagar Empire where the first forms of Kinnal art was practiced. Through the test of time this art has continued to survive and is still being carried out by people whose families have been practicing through generations. Annappa, a Kinnal artist belongs to one of the few families who continues to practice this rare art form struggling to keep the long heritage alive. “It’s a full time job” he says sitting over a small table and making the final touches on a beautifully  decorated doll, he continues “9 am to 9pm, it’s the only job our family knows”. He recalls how with time they have incorporated modern tools such as watercolours, cardboards, acrylics etc. instead of tamarind seed paste, neem wood and brushes made of squirrel tails used by their ancestors.

A Kinnal art can easily be differentiated from other forms of art by its intricate design. The beautiful designs and patterns on wall mounts, dolls, cradles and swings is breath taking. The artists through their dexterity depict scenes from Deivapuranas or different avatars of Vishnu which brings life to the art. The speciality is in the paint that is prepared from liquid tin!. Tin is hammered for up to 4-5 hours till it gets into its molten form. It is then mixed with colours and is then ready for painting. This gives the paint a long lasting effect and does retains its glamour. The problem lies in the hammering of tin which requires manpower. With the advent of technology there are now machines that pound tin to get it into the liquid form.

Once final touches are done the arts make their way to various exhibitions, festivals, village fairs, art galleries or to the homes of art lovers. Kinnal wall hangings and showpieces are favourite among art lovers. Kinnal art has also found its place in many temples of Karnataka. This historic form of painting has also become popular worldwide.  Increasing presence of this art has recently been encouraged by the government by granting it the status of geographic indication. The illustrious heritage and the conventional methods employed have made Kinnal art one of the most respected art forms practiced in India.

 - Contributed by Antorik Roy for Banna Creations 

Banna’s  Kinnal Art workshop

 After much deliberation and Delay Banna Presents the first schedule of the “ Kinnal Painting workshop” in January …

11^th and 12^th and 18^th and 19^th January.

The workshop will be conducted by an artist with more than 30 years of experience in the field who has been teaching this traditional art form in an attempt to revive it and spread its awareness.

Art on glass

This weekend has concluded another successful glass painting workshop for Banna Creations. We regularly organise crafty workshops to give ordinary people the chance to experience a variety of hand skills. For us, promoting the handmade tradition is very important because sadly it is a declining trade. It is never too late to get involved, and we strive to give you that opportunity. With these classes, participants can pick up valuable skills, experience guidance from a professional teacher and make something personal and truly unique.

We run the glass painting workshops with Mr Pratap Ruthnaswamy - the class teacher - who has over 20 years of glasswork experience. He is the owner of the Bangalore based company ‘Bottle Tree’ that sells a variety of glass products. His business initially began by making and selling stained glass but now produces painted glass as well. ‘Stained glass’ is often mistaken for ‘painted glass’, when in actual fact the two are different. Traditional stained glass is what we would associate with large windows in old buildings. This involves intricate work; soldering together small bits of coloured. The time and expense required for such art is the main reason people have turned to glass painting. Glass painting simply is painting straight onto a piece of glass. This is now very popular, with over 200 glass painting companies in Bangalore alone. There are certainly many products available to buy, but we feel it is much nicer to make your own.

At the workshop the class is taught a variety of techniques by Pratap and his colleagues. He strongly believes in teaching his students everything he knows himself about glass painting, there is no secret skill to glass painting. What makes painted glass unique is the artist’s own design rather than the technique applied. He also uses local materials from Bangalore so participants can visualise their potential as everything but the sandblasting can easily be done at home.

As everyone settles into the first day of our 4 day programme, first on the agenda is glass cutting. Pratap begins by demonstrating how to cut glass. Using a glass cutter he scores the glass with the diamond point, and then snaps it along the line. After having a go themselves, the group then moved onto glass etching. With a pre-cut glass bottle (turned into a pen holder) and a small square of clear glass (intended as a coaster) the ladies created their own design for them using two different methods. On the pen holder, resist film was stuck onto the glass and before shapes are cut out, transferring the design. For the coaster, a white liquid called fevicol was used to draw on the pattern. Up next came the mirror project, which also used resist film. The film was again stuck onto the mirror and then the pattern cut out. Pratap encouraged the group to come up with their own designs this time, which was a challenge for some, but they all looked fantastic. All items then had to wait for sandblasting in order to complete the look.

To finish off the weekend the ladies had their first taste of painting glass, with another coaster sized piece to experiment with. Before the painting part begins, the glass had to be thoroughly cleaned. Then the design outline is drawn on with opaque black leading (which looks sort of like mandey). This is the tricky part, as the leading should be dragged over the glass rather than sketched on, to make it a clean and solid line. It helps to have a stencil underneath the glass to follow, and luckily if a mistake is made it can be wiped off. Once the leading is dried, the gaps are filled in with coloured paint. Using a paintbrush, the paint is blobbed onto the glass to make a thick and even coating. There shouldn’t be any air bubbles in the leading or paint, as they will look like white specs once it dries. The results are beautifully bright coasters - excellent first attempt.

During the week the bottles, squares and mirrors were sandblasted with a machine that shoots sand onto the glass at high speed. This leaves an etched effect on the exposed areas of glass, where the film and fevicol is not covering. On taking off the film, the finished design is revealed.
 The group met up again the following weekend and began painting their mirrors, in a piece combining their etching and painting skills. With the same paints, the gaps left from the acrylic film were coloured in. Using the same techniques but on a larger scale, the ladies then made a glass painted picture, most choosing a bird or flower design. The leading outline was applied first and then the paint. The colour, texture and thickness of the paint were important here, as the results would show more clearly. With more confidence, some began experimenting. They discovered that the thicker the coat of paint, the stronger the colour would be. Some mixed sparkly paint with regular plain colours. One lady realised that a double layer of yellow paint actually changed the colour to amber. On the final Sunday the class made an impressive glass lamp. With developed skills, the leading and painting now seemed straightforward. The gold decoration on top was still a little tricky, the intricate work making hands shaky with concentration.


 
To finish up the workshop, Pratap demonstrated traditional stained glass work. He cut up the coloured glass and then welded it together with molten copper strips to make a coaster. To witness this was definitely a once-in-a-lifetime experience.

On completing the 4 day programme, without a doubt the class was pleased with their efforts and had greatly enjoyed their experience. Everyone joined for different reasons but they all got what they came to achieve. One girl had just finished her Engineering degree and wanted to do something fun before starting a career. A different woman said she just needed a break from her office work routine and felt like trying something totally new. One lady wanted to decorate her home with personal glass items she made herself. Another had wanted to go to Art College as a teenager but instead had to find a job after her mum passed away. Now she is able to follow her passion for art and even wants to work in the glass painting industry.

The great thing about this class is everyone works together. No-one knew each other before joining, but now having spent two full weekends in each other’s company they have become friends. The ladies can work at their own pace with no pressure. Everyone supports each other and the teachers are always on hand to answer questions and help out. The workshops are flexible, giving participants the opportunity to experiment and try out their own ideas. Whether for fun, learning or relaxation – everyone has left with warm memories of this workshop.

Paper bag anyone?

The Young Women Christian Association is helping ladies in the Ranjendra slum with another hand skill initiative. At the Rangoli Centre - where Banna Creations is involved with the 6 month sewing class – women are making paper bags as a source of income.

After YWCA representatives went door-to-door telling the neighbourhood about the programme, around 15 women signed up. This group, aged between 50 and 80, have met almost every morning for the past year and a half to make bags out of newspaper. They were initially taught the techniques by a YWCA co-ordinator. He has worked for 20 years in the social sector and became involved with handicrafts a couple of years ago.

To make the bags a piece of newspaper must be folded at the edges, then in half and at the edges again, before being glued in place. Rope string is then threaded through the top to make handles. The result is an eco-friendly, sustainable and quirky bag - that is surprisingly sturdy. The process is all done by hand – the women even spread the glue with their fingers rather than a plastic glue stick. The folding technique can be quite fiddly, but now with over a years experience the ladies make it look easy. Yesterday it took 1 hour to make 12 complete bags. Each bag is unique, not only from the nature of handcrafts, but also because each newspaper page is different. A bag could be made with The Hindu front page, The Times of India sports section or the Bangalore Mirror’s crossword puzzles.

These products are available to purchase from the YWCA office and customers can place specific orders. For example, they receive large orders for paper envelopes that are used for disposing medical waste. This is extremely motivating, as the ladies know their work goes to real clients. From such purchases the group receives an income, which is a big incentive to get involved with the programme, particularly for those without work. The women are paid for what they make, which keeps the class flexible. If someone is sick or tired one day there is no pressure to come in and work through it. Roughly paid 1 rupee per bag, the pay check is definitely appreciated – especially with customer orders in their hundreds.

Along with the financial gains, there are also many social benefits of being part of this group. They said themselves that having a reason to get up every morning for the 9:30am start keeps them active and in a routine. Together they chat about their lives, both the good and bad parts. In a warm and friendly environment they can talk freely and get worries off their chest. Some ladies speak of their difficulties now as widows, one lady shares her troubles with a daughter-in-law and another reveals the ordeals of living on the street. At times, these ladies literally provide shoulders to cry on.

Primary care is also provided at the class. Since they stay at the centre until 1:00pm, the co-ordinator orders lunch for everyone, with boiled eggs and bread rolls a favourite. He organises hospital visits if needed. He applies for pensions and senior citizen cards (entitling them to discounts on transport, medical care etc.) on their behalf. Filling in and sending away the forms is helpful, as those who have trouble reading and writing would have struggled to do this by themselves.

Most importantly, these ladies genuinely enjoy spending time with each other. They are friends who have fun together – with spontaneous singing and dancing a regular occurrence. On their one year anniversary they had a party to commemorate their progress, and I’m sure on their next anniversary there will be even more successes to celebrate.

Meet the ladies

The group of ladies taking part in our first Hand Skills Training programme have been together for almost 4 months. They have become close friends, so now it’s time for you to get to know them.

 

Manjula

Manjula is a project co-ordinator with the Young Women Christian Association, and is the group’s hand skills teacher. She is 29 years old and has lived in and around the slum all her life. 4 years ago, contrary to the tradition, Manjula had a love marriage and has since had one son. Her little boy suffers from thalassemia, an inherited blood disorder, which requires regular blood transfusions. However living with her parents-in-law, who can take care of him, has enabled her to find work. In the past she had a variety of jobs - including shop work and call centres – before training in hand skills. Now with the YWCA Manjula is involved with several community initiatives that are close to her heart. She teaches these women sewing, works at the morning childcare centre and buses the needy to hospitals. She greatly enjoys her job but admits the teaching can be challenging at times. However her confidence will certainly grow with practice.

 

Selvi

Selvi is 29 years old and is originally from Indiranagar, Bangalore. At 16 she had a love marriage and moved to the slum for her husband’s work. She briefly worked at a garment factory before her marriage, but now stays at home looking after their 3 daughters while her husband works as an office assistant. She has always been interested in hand skills but had never found the opportunity to learn the ropes. From the house visits YWCA co-ordinators make in the area, Selvi discovered our training programme. She only knew one friend amongst the group of ladies, but quickly settled in. So far she has had a great experience with the training, especially enjoying the tailoring. This is a useful skill in her home, as she is able to mend and make clothes for her family. Tassel making has also been memorable, as she thinks they look beautiful on saris. After the training finishes she would enjoy working in the tailoring trade from home, and also teaching her daughters the skills she has learned.

 

 

Latha and Sandhya

Latha and Sandhya are sisters, who have both grown up in the slum. They live with their 2 other siblings, their mum (who is a housewife) and their dad (who is a labourer). Latha is 21 years old and the oldest sister in the family. At the moment she is studying Commerce at college but would like to gain a Management degree before running her own computer technology business. Sandhya is 16 and is in her last year of high school. After this year she would like to study medicine and become a doctor. Despite their different future plans, both girls had an interest in hand skills. After hearing of the programme from Anu (another class member) they came along to learn about designing and altering fabrics. With these skills they can make clothes for themselves and their family. Neither had any experience in sewing, but have loved everything so far. After the training they will continue tailoring and embroidery for fun in their spare time.

 

 

Sangeetha
Sangeetha is 24 years old and has been married for one year. So far in life she hasn’t worked, but her husband sustains the two of them with his accounting job at a hotel. Having grown up in Gujarat, she moved to Bangalore for an arranged marriage. Relatively new to the area - but experienced in sewing - she asked a haberdashery shop about hand skill classes. The shop owner knew Manjula, and put the two ladies in touch. She enjoys making crafts for family and friends because they like and appreciate her efforts. After the training programme Sangeetha would like to make handicrafts from home and have many happy customers. Tailoring has been her favourite activity, while sari falls were her least favourite. Ever the perfectionist, she feels sari falls take a long time and she isn’t very good at them. Over the 4 months, not only has she developed her hand skills, but she has also made good friends in her new home town.

 

 

 

 

Anu

Anu is 25 years old and has spent all her life in Bangalore. From her 4 year love marriage she has had 1 little girl and is expecting her next baby later this year. Her husband supports their family with his job at a medical supplies wholesaler, while she stays at home. Anu discovered the class from Prema (another member) and was encouraged to join by the other ladies. She hadn’t sewn before but was eager to learn. At the class she steadily works away on her project, enjoying tassel making the most. She is motivated to learn these skills purely for herself and her family, as altering and mending fabrics herself would save money. Especially with a new baby on the way, saving money where possible is important.

 

 

 

 

Sathya

 
Sathya is 19 years old and lives with her parents, siblings and extended family. She has grown up in the area and now lives just down the street from the crafts centre. She stays at home with her mum during the day taking care of the house, while her dad is out driving lorries. In the evening she goes with her aunt to sell flowers on the roadside, which can make for a long and tiring day. She found out about the hand skills training by passing the centre and asking about its activities. Sathya had experience in machine sewing, as their family has a sewing machine in the house. She wanted to improve her technique, while also picking up some new skills. Machine stitching is the most useful to her as she plans on becoming a tailor from home.  





Maheshwari

Maheshwari is 34 years old and grew up in Tamil Nadu. She moved with her parents to the slum, which is where she met her husband. From this 8 year love marriage she now has 2 sons. She has never worked but her husband’s income from driving auto-rickshaws sustains the family. Maheshwari was interested in joining a sewing class so came to the centre and spoke to Manjula (our co-ordinator). She had no experience in sewing but wanted to make unique clothes for her and her family. She would also like to pursue work as a tailor from home and earn additional money for the family.

 

 

 

 

 

 

Vani

Vani is one of the younger girls in the group at 18 years of age. She grew up with her grandmother just outside of Bangalore, and moved to live with her parents and brothers. Her mum is a domestic helper and her dad paints buildings. She is still at school, now in her 9^th grade, but is keen to pick up new skills wherever possible. She had no experience in sewing before the class but wanted to give it a try. After hearing about the programme from her friend and neighbour Sathya (who also is part of the group) she got involved mainly to learn tailoring. However on reflection, embroidery has been her favourite activity. For her, such skills would enable her to work and earn money in her spare time while still at school. In the future Vani would like to work in a call centre but continue with handicrafts for fun and as an additional income.

 

 

 

Prema

Prema is also one of the younger girls in the class at 19 years old. At the moment she lives with her parents and brothers. Her mum is a housewife and her dad a wage labourer. Her plan is to move away from home to study at a design college, with the aim of becoming a full time tailor one day. She also has the dream of making and designing her own clothes. Prema has attended previous hand skill and art classes before, and on hearing from Selvi (a family friend who also attends the class) about our programme, she immediately signed up. This class is a perfect foundation for her college course, setting up her future in the handicrafts trade.

 

 

 

 

Sumathi & Mary

Sumathi is 40 years old and Mary is 33. These two ladies married into the same family – as Mary’s husband is the brother of Sumathi’s husband. Their two families (along with a sister and her subsequent family) all live together, with a total of 20 people living under the same roof. Mary is originally from Tamil Nadu and moved to the slum for an arranged marriage to her cousin. She has been with him for 16 years and now has 3 children to care for while he works in the military. Sumathi grew up in the area and also has 3 children. Before her marriage 20 years ago she shortly worked in a garment factory, but since her love marriage she hasn’t worked. Her husband works for the government and with the whole family pitching in, they can sustain themselves. Both ladies are under strict control from their husbands and male relatives. They found out about the training programme by seeing activity out the window and investigating. Mary can knit, but neither had experience with sewing. However they were curious, so asked their husbands if they could attend. They were allowed to join the class only because the centre is so close to their home. They want to make the most out the 6 month programme and are enthusiastic to learn everything. After the training is finished they would like to buy their own sewing machine in order to make clothes for the family. This has been a great experience not only for the skills learned, but also for the friendships made and freedom enjoyed.

 

 

 

 

Life at the craft centre

Banna Creations is inspiring women in Bangalore with our new and exciting Hand Skill Training Programme. This is our first 6 month programme, having previously only organised short term workshops. In conjunction with theYoung Women Christian Association (YWCA) we have been planning this adventure since last October, and the class got up and running this May.

The training schedule is split into three sections – 1 month for tassels and sari falls, 2 months for embroidery and 3 months for tailoring. These techniques are particularly important in the clothes industry, making this class popular for ladies with an interest in fashion. At the end of the 6 months Banna Creations will evaluate their progress and final pieces of work, before awarding the greatly valued certification, which is provided by the YWCA. For some, this certificate is the main reason for getting involved with the programme as it illustrates their hand skills and hard work – which could lead to employment. For others, the programme is simply a chance to pick up interesting new skills and have some fun – which they certainly do have!

The group consists of around 10 women and girls who meet four times a week at the local Rangoli Centre in the Ranjendra nagar slum. Some had never held a needle before, while others were familiar with sewing. They are different ages - a mixture of schoolgirls, young wives and mothers. Some are related and were already friends, while others were complete strangers. However the group is united by Manjula – the YWCA co-ordinator and hand skills teacher – who is known in the slum for her community projects.

Now when they come together, the centre is full of life. The group is like one big family, literally, as some ladies bring along their children. Being able to bring children to work is essential for those who can’t avoid their caring responsibilities. It is also lovely for the mum’s to inspire their children with their own work, as one little girl said she wanted to sew just like her mum. 

Over half way through the programme, the group is currently working on embroidery. After Manjula initially taught the basic sewing techniques, the women were free to experiment on their own. Using a square of fabric, they draw on the design and then fill it in. Most ladies use the embroidery circle to stretch and hold the material in place while they concentrate on one detail at a time. There is a choice of material to be used – with brightly coloured thread, beads and sequins proving the most popular. A range of stitches are practiced – including back stitches, chain stitches and feather stitches. Their designs are typically swirling flowers and plants, but each piece of work is ultimately unique. By designing their own item the ladies can visualise their work on any real life item, such as a table mat, wall hanging or cushion cover – which is a great inspiration. With more practice and increasing self-belief their designs become more ambitious, detailed and neater.

The ladies can work at their own pace without too much pressure; it is by no means a competition. Some do finish their designs quicker than others, but the group is incredibly flexible and there is always more practicing to be done. Some ladies prefer to make a few smaller pieces, while others focus on one big effort. As their skills develop their work naturally quickens and improves, and by seeing other people’s finished work it encourages them on. They are all incredibly committed and passionate, as most ladies take their work home and in their free time continue away at it independently. Finished pieces are usually displayed in their homes so their families can admire them, which really boosts their self esteem. 

As most want to work in the material trade after this programme, Banna Creations must keep the ladies motivated with the end in sight. Manjula is very kind and understanding, acting as a friend rather than a teacher in most instances, but the women do have to be at a certain standard by the end of the 6 months in order to achieve their certification. Throughout the programme progression is essential as outside customers can order products from the group through Banna Creations and some of their work is displayed at Bannas exhibitions. Real life customers are incredibly beneficial to the group, giving them a taste of the business world that they could one day enter - having to work towards a deadline, following customer specifications and producing a top-quality item.

This training programme can be challenging at times. Irregular events, such as medical appointments and religious holidays, can break the rhythm of the 6 months. At the moment one lady is fasting which can affect her energy and enthusiasm at the class. Pressures of home life and children are a daily concern. Attending these classes is a constant struggle; some have to persuade their husbands to let them go and even during the sessions men can come along and ask their wives to leave. This difficult situation shows just how much these women want to learn and enjoy being at the class.

However, what is great about learning in a group is everyone keeps each other going. Despite these constraints, it is clear the women support each other no matter what - whether it is sorting out the orange beads, demonstrating how to chain stitch or babysitting a child. We strive to support them as well. At the moment we are planning a field-trip to a haberdashery and tailoring shop, so the group can get a taste of the business world they might join. This day out could be a once-in-a-lifetime opportunity. With Banna Creations, these women are undoubtedly developing lifelong skills, improving their employability and having a fantastic experience. 

Hand woven Dupattas from Natural Aloe Vera and wood fibres - Product review 2

Here is a breathtaking collection of Dupatta;s hand woven from Natural Aloe Vera and wood fibres. This collection brings out a centuries old weaving tradition from Madurai district in Tamil Nadu which is nearly extinct.
This weave was originally used to put together textiles for the priestly class only.
Our collection this time combines this weave with contemporary and traditional embroidery from different parts of the country.

Hand woven Palm leaf products : Keeping traditions alive : Product review 1

We have a new range of natural fibre products as part of our second anniversary sale and promotions. This time, the products have been created using palm leaf .... keeping up a centuries old traditional craft of palm leaf basket weaving This basket also known as the  Kottan Basket is part of the rich cultural heritage of the chettiar people of Tamil Nadu, India. (chettinad being a cluster of 75 villages between Trichy and Madurai in southern Tamilnadu)

This traditional craft has been applied to the making of baskets and boxes in traditional designs as well as the making of new products that have everyday utility !!! 

Take a look !!! 

Refer 

:https://www.facebook.com/media/set/?set=a.627057100638162.1073741869.246361872041022&type=1

for prices and other details ! 

An invitation to Banna's Second Anniversary Celebrations !

Join us as we celebrate our second anniversary this August !!!
The anniversary collection is a celebration of traditional hand crafted products .. .An appreciation of hand made in its truest form and its various possibilities and applications ...
We bring out a new collection of Naturally woven textiles from Aloe Vera Fibre, hand woven Sarees, Traditional Negi embroidery , natural fibre including river grass and palm leaf and a whole lot more !!!!!
The ONLINE SALE STARTS ON THE 29th OF JULY .... look out on our facebook page and website !!!!!
EXHIBITION AND SALE IS ON the 3rd and 4th of August !!!!

Banna Celebrates its second anniversary !!!! A celebration of two years !

Banna Celebrates two years this August !!!
Here is a look at the work we have done over this time ... Our workshops. New product launches, new collaborations and lots more .
Take a look !!!

... http://youtu.be/OdUoBFmGDqU

Creating Magic on Glass

The room is abuzz with people discussing the magic of “art on glass” , staring with wonder at the infinite possibilities , the sheer magic that can be created on Glass. This is Day 1 of Banna’s Glass painting (art on glass ) workshop conducted by the artist Prathap Ruthnaswamy.

For most people, glass painting of Art on glass is synonymous with traditional stained glass work which involves intricate work with pieces of coloured glass cut symmetrically, foiled and soldered.  This art form has an over 1000 year old history and has been traditionally used for large window panels.  While Prathap also works on traditional stained glass techniques and makes paintings, he also takes orders for stained glass work.  In addition to this, another unique feature of Prathap’s work is his glass painting work and products he has developed using the same.

Coming back to the workshop, our plan was to introduce and teach participants the fine art of Glass painting, etching and several product applications using the same.

Day 1 started with a demonstration of glass cutting and etching on glass. Again, there are several etching techniques but the one demonstrated by Prathap was both interesting and innovative. Something completely developed by him- All done using Fevicol. Once the Glass is cut to any shape and size, fevicol is used to draw out desired patterns and shapes on the glass. The completed piece is then left to dry. Once completely dry , in order to get the desired etched effect the piece is sand blasted.  Portions covered by the Fevicol work remain covered the way they are and the rest of the glass shows the sand blasted effect. While this may not be a traditional etching technique, its simple and easily done. Another unique aspect of Prathap’s work is that almost everything is done directly by hand. Be it glass cutting or even etching. The Glass cutting technique demonstrated too was simple using kerosene and a hardware glass cutter.

The workshop also covered the use of acrylic film on glass and mirrors. This is another technique where in shapes and patterns can be copied onto a mirror surface or glass stuck with film. Portions that need to be sandblasted are left open and the rest continue to be covered with film. Upon sand blasting again exposed surfaces get textured while the covered portions remain mirrored and free. This can also be painted on the reverse side to create an interesting mix of reflecting surfaces, colour and texture – Creating magic on glass !

Leading and painting was finally on the agenda for days 3 and 4 of the workshop.  Understanting the nuances of actually painting on glass, the pre- work that involves cleaning of glass and outline and leading of the painting and finally the painting itself formed a large part of the agenda.  Each participant got to make a hand painted lamp in glass thereby making their choice of colours to paint on glass important as well.  Shades show in a particular way on paper and then on glass and further more on glass with light.

Prathap also demonstrated the fine art of stained glass work covering cutting symmetrical pieces of glass in to different shapes, Copper foiling and finally soldering.

As an artist dedicated to glass painting and art on glass, Prathap Ruthnaswamy works out of his Studio “ Bottletree” in Bangalore. He has  20 years of experience in the field who creates makes paintings, products like lamps, trays, home decor, lights etc using different glass painting techniques

This artist uses all these glass painting techniques and applies them to create everyday products with a difference !!