Living Heritage of india Positioned gLobaLLy

Proposed CollaborationMinistry of textiles, government of indiaConcept, Coordination and Implementation: the asian Heritage foundation with support fromCrafts Council of india, Craft revival trust & Jiyo

in association

with

World Handmade TexTile Biennales

The Lord Supreme has woven a very fine and delicate tapestry, free of impurities of any kind!What refined and subtle yarn, what complex interlacing, He has used to weave it!Using veins and breath His threads twenty four hours on end, his spinning wheel turns, Weaving the tapestry from all five essential elements.Ten months does it take the Lord to weave his tapestry,Using the greatest of craftsmanship, care and skill.That exquisite tapestry is worn by the celestials, by Saints, and by human beings alike. But they all invariably have defiled it!Your humble devotee Kabir has worn it scrupulously and meticulously and is returning it to You, O’Lord, unblemished and pure!

~Kabir, Indian mystic poet and weaver, 15th century

‘Handloom’ is an overarching term that covers diverse skills that are not necessarily understood for the unique techniques they celebrate. Machine-made replications have further blurred the Pehchaan of consumers, who end up buying fakes without experiencing the vitality of an original.

Deconstructing hanDloom

Pre LooM

on LooM

Post LooM

the Asian Heritage Foundation has therefore evolved a simple narrative to communicate our textile legacy to the younger generations.Five hand-driven skills have been selected to showcase the finest design: a recurrent stocktaking of the world's textile sectors at five biennales. All major schools of handcrafted textiles fall under these three categories:

• india’s handcrafted textiles: a living repository of the world’s legacy enterprises

•cultural property: Festivals in 5 Cities• skilled makers (pre-loom, on-loom, post-loom)

artisans as principal stakeholders• international Trade Facilitation•map creative communities,showcasefinestcollections•aggregate unique innovative design-led initiatives•Dynamic forum for cross-cultural interdisciplinary collaborations• Position Slow Fashion as an alternative lifestyle choice •Decentralized job creation at the grassroots• Pedagogy for conscious consumers

The Living Heritage of India Positioned Globally

World Handmade TexTile

Biennales The PremiSe

iNTrODUCTiON the WorlD hanDmaDe

teXtile Biennales

The World Handmade Textile Biennales are a collective initiative towards a unique trans-disciplinary platform for revitalizing and celebrating the unique art of handmade textile traditions in the world. Proposed as a series of International Biennales, these expositions will be set in five main centers of handmade textile production in India. These festivals aim to become landmarks in the cultural life of these cities, they aspire to generate long-sustaining livelihoods for skilled artisans across borders, and to preserve rich repositories of traditional designs that are on the verge of extinction.

The WHTB will bring together weaving communities from various countries to engage with each other and showcase important textile references accessioned world-wide. The platform will promote and enable collaborations between artisans, weavers, designers, buyers, brands, NGOs and other stakeholders via new models of business development, for hand spun and hand-woven traditions.

Many cultures believe that the world was woven into existence as textiles were traded from one part of the world to the other. Centuries of textile trading across the globe led to transference of knowledge, techniques, ideas and concepts, linking people commercially and culturally. The word karpasa (sanskrit for ‘cotton’), for instance, shares roots with karpsos (in Greek) and carbasus (in latin), while cotton (in english) has kinship with qutun (arabic).

As per archeological finds, the subcontinent has had an advanced understanding of the process of colour fixing on fabric and weaving patterned cloth since the Indus Valley Civilisation. The spindles and bronze needles found at the site suggest that the Bronze Age civilisation embellished it’s woven cloth with embroidery or supplementary thread work on the loom.

India was the largest producer and exporter of handmade textiles until the establishment of the colonial rule. The handloom sector suffered further with the advent of the Industrial Revolution in 1760, where new manufacturing processes and technologies affected the traditional methods of handmade textile production. In the Swadeshi movement, Mahatma Gandhi’s turn towards Khadi was rooted in the potential of the handmade textile sector, to counter the forced transformation of India - From the largest manufacturer of hand-woven textiles into a market for British mill-made fabric.

Today culturally India remains the world’s last resource for the most painstaking techniques of hand-spinning, dyeing, weaving and embellishment.

The World Handmade Textile Biennales understand the reality of world textiles that lie between extremes; in the infinite permutations of machine-hand interfaces, and a variety of age-old handcrafted techniques. By focusing on five key skill-sets; hand spinning, ikat, brocade, embroidery and chintz, under the categories of pre-loom, on-loom and post-loom, the WHTB intends to bridge the gap between craftspersons and the discerning consumer, through astute interventions in design and the application of cutting-edge technology.

The curtain raiser for the WHTB was held in March 2019 at Handloom Haat. The very grounds from where India reimagined its creative identity after independence, through a group of visionaries who laid the foundation for the National Handicrafts and Handloom museum, in 1955. Known to be the national apex for the marketing of handmade products of the country.

Celebrating the living heritage of the subcontinent, the exhibition recaptured the essence of the hand, across the country through the five handmade textile traditions.

3/11/2019 Smriti Zubin Irani inaugurates Refurbished Handloom Haat

http://www.5dariyanews.com/news/261386-Smriti-Zubin-Irani-inaugurates-Refurbished-Handloom-Haat 1/3

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Smriti Zubin Irani inaugurates Refurbished Handloom HaatS M R I T I Z U B I N I R A N I I N A U G U R A T I N G T H E R E N O V A T E D H A N D L O O M H A A T I N N E W D E L H I

Web Admin5 Dariya NewsNew Delhi , 05 Mar 2019

Union Textiles Minister, Smriti Zubin Irani, inaugurated the renovated Handloom Haat in New Delhi today. She alsolaunched three projects of NIFT - VisionNXT – Trend Forecasting Initiative, Indian Textiles and Craft Repository andDesign Innovation and Incubation. The Haat at Janpath in New Delhi has been set up by Ministry of Textiles toprovide marketing opportunities to authentic handloom products from various States, PSUs and cooperativesocieties.  Its main objective is to provide infrastructure support to handloom agencies to augment their sales ofhandloom products and to showcase the exquisite variety of handloom products produced all over the country.Textiles Minister also released a booklet - World Handmade Textile Biennales on this occasion.Speaking on thisoccasion, Smriti Zubin Irani said that this is an effort to recreate history and revive the history of art. She said the NIFTwill accomplish their job through arti�cial intelligence. The Textiles Minister further said that the virtual museum willnot only help industry and research scholars but also carry forward the knowledge to the next generation. MoSTextiles, Ajay Tamta, also spoke on this occasion .Project related to trend innovation lab ‘VisionNxt’ initiativebeing setup by NIFT in the building will create an indigenous fashion forecasting service that endeavours to design seasonaldirections for our country. The trend forecasting service would be aligned to our national and sub-national socio-cultural constructs and market requirements. The proposed service is based on the premise that fashion is adynamic industry, depending on seasonal trends and forecast to predict its future direction.  It will help handloomsector in production of handloom products as per market requirement in terms of trends, design and colourforecast.

The project of Indian Textiles and Craft Repository Initiative of NIFT is supported by the DC Handlooms and the DCHandicrafts, Ministry of Textiles. The body of textile and craft knowledge generated through the Craft ClusterInitiative will be channelled into a national knowledge portal titled Indian Textile & Craft Repository. This repositorywill also house the virtual registers of the textiles and crafts resources, which are available in the Weaver ServiceCentres, the Crafts Museums, similar institutions and private collections. The repository will develop a virtualmuseum of textiles, and textile crafts, a designer archive, indigenous case studies, and also act as aggregator ofonline information on related research. Virtual museum will be set up having digitised resource of traditionalarchived pieces from museums, resource centres, weavers’ service centres. It will also have contemporary pieces andcollections from designers, fashion archives.  This will help in easy sourcing of designs.Design Innovation andIncubation (DII) is intended to support young entrepreneurs, artisans, start-ups, NIFT alumni and students.The DIIwould also facilitate collaborations relevant for business development. The target bene�ciaries include NIFT alumniand students who would like to start entrepreneurial ventures as well as candidates who have not been a part ofNIFT but wish to take up NIFT incubation support.It has been decided to set up incubation facilities (RegionalIncubators) in Mumbai, New Delhi and Bengaluru campuses of NIFT in the following areas:

1.         Textile for Apparel, Home & spaces (Delhi)

2.         Smart wearable systems (Bengaluru)

3.         Fashion and Lifestyle accessories (Bengaluru)

4.         Apparel including Athleisure and Activewear (Mumbai)

The three locations have been proposed keeping in view the presence of industry, advisors, mentors andexperienced NIFT faculty.

 Tags: Smriti Irani

 

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Inaugurated by the Minister of Textiles, Mrs. Smriti Irani

Hand spinning, popularly known as Khadi, is believed to be one of the earliest creative activities of humankind. With references in the Bhiksuni Vinaya which contains references of Indian women spinning cotton (karpasam), through selection (cikitsitam), spreading (vilopita), cleaning (pingitam), apportioning it (vihatam) and spinning it (kartitam).

Sutra or thread, is the first alphabet in the story of fabric; prepared before weaving on the loom. It is the art of twisting plant, animal or synthetic fibres like cotton, silk and wool into a continuous thread by using a spinning wheel or drop spindle or takli. The thread is spun thick or thin, plied or un-plied, dyed or left natural.

The natural and organic hand spun fabric that addresses the ecological priorities of our time has marked its presence in the global arena as an ‘Indian Brand’. Khadi is still made extensively in Gujarat, Uttar Pradesh, Bihar, Assam, West Bengal, Odisha and Andhra Pradesh. Hand spinning is also prominent in other countries such as Bangladesh (Comilla and noakhali) where it used to be called ‘Khaddar’, France, Ireland, parts of Africa and Brazil.

Hand spinning around THe World

13. morocco middle atlas mountain wool handspinning14. cHina atlas silk reeling Hainan island – li community15. France Wool Handspinning16. ireland donegal highlands – irish Homespuns, carding wool and handspinning17. nepal pokhra18. palesTine ramallah19. romania Wool spinning in laslovat village20. scoTland scottish Tartans21. TajikisTan cashgora Yarn of pamir mountains

World1. eTHiopia cotton handspinning and handweaving2. liBeria and sierra leone Hand-spun, naturally dyed3. mali khasa blankets 4. ZimBaBWe Gudza cloth5. BoTsWana kuba cloth6. namiBia kuba cloth7. anGola kuba cloth8. conGo kuba cloth9. japan silk handspinning10. iran Qashqai wool handspinning11. iraQ12. BanGladesH muslin

22. Thailand sakhon nakhon province – cotton handspinning chiang mai23. TurkeY Turkish kilm24. usa Williamsburg, Virginia najavo community, arizona25. uZBekisTan margilan city

india1. andHra pradesH ponduru, srikakulam2. WesT BenGal murshidabad, nadia, nabadwip3. GujaraT kala cotton Wool a. kutch camel wool b. ply split braiding c. rabari community sheep wool spinning d. kharad carpets4. BiHar madhubani5. jHarkHand Tussar silk6. cHHaTisGarH Tussar silk7. odisHa Tussar silk8. karnaTaka Hubli

9. kasHmir pashmina wool spinning10. rajasTHan dausa11. uTTar pradesH sarnath akbarpur jaitpur12. ladakH

Hand spun cotton and hand reeled silk provides an element of texture that is unique and cannot be matched by machine spun and reeled yarns, which have been neglected in recent years. This fineness is possible only in yarn that is spun between two fingers. What we call Khadi or Gandhi’s cloth - has now slowly been allowed to die.

Craft people spinning yarn

An undisputed symbol of India’s Swadeshi movement, Khadi can be officially defined as “Any cloth woven on handloom and hand spun from cotton, silk or woollen yarn or from a mixture of any two or all of such yarns, in India”, according to the Khadi and Village Industries Commissions Act of 1956.

“I am convinced that Swaraj cannot come so long as the tens of millions of our brothers and sisters do not take to the charkha, do not spin, do not make khadi and wear it.” (mahatma Gandhi, Belgaum Congress, 26.12.1924)

The city of Ahmedabad shall be the focal point of the Sutra Biennale for its proximity to Sabarmati Ashram, and in celebration of 150 years since the birth of Mahatma Gandhi in 2019.

ikaT around THe World

Ikat is a specialised dyeing technique in which the textile pattern is dyed on the yarn before weaving. It employs a resist dyeing process similar to tie and dye on the warp or/and weft fibres.

These painstakingly hand-woven fabrics do not have the repetitive quality of power loom textiles and are superbly exclusive in appearance and value. The asymmetric possibilities in hand-woven Ikat celebrates human intelligence.

Ikat patterns and their significance differ from culture to culture and across countries including Japan, Myanmar, Indonesia, Philippines, Malaysia,Guatemala, Argentina, Bolivia, Ecuador, Cambodia, Chile, Mexico, Tajikistan, Syria, Palestine, Uzbekistan, Bukhara, Nigeria, Ghana, Turkey, and Thailand to name a few.

While Hyderabad is considered the capital of Ikat in the subcontinent, exquisite Ikat weaves are also found in Andhra Pradesh, Odisha and Gujarat.

GUATEMALAELSALVADOR

BURKINA FASO

IVORY COAST

MADAGASCAR

MEXICO

NIGERIA

ECUADOR

FRANCE

SPAIN SYRIA

AFGHANISTAN

PAKISTAN

GUJARATODISHA

THAILAND

UZBEKISTAN

TAJIKISTAN

CAMBODIA

PHILIPPINES

TAIWAN

JAPAN

CHINA

MALAYSIA

SUMATRA INDONESIA

BORNEO

LAOS

ANDHRA PRADESH

INDIA

IRAN

TURKEY

PERU

CHILE

ARGENTINA

IKAT PRODUCING CENTRES ACROSS THE GLOBE

BOLIVIA

6. mexico7. GuaTemala8. japan9. France10. pHilippines

india1. TelanGana2. odisHa 3. GujraT

World1. nepal 2. TajikisTan 3. camBodia4. indonesia5. iran

11. ecuador12. TaiWan13. uZBekisTan14. mYanmar15. iVorY coasT

16. canada17. cHina18. malaYsia19. THailand

In India, Ikat has been called bandla, patola, chitka and telia rumal in several historical and trade accounts. The patola from Gujarat was a popular item of export to Indonesia in the 13th century.

Due to an increase in demand, some traditional textiles have been revived, the Telia Rumal being one such example. It gets its name from the special preparation of the yarn that is done prior to weaving, wherein it is treated with sheep dung, castor pod ashes and sesame oil for over a month. The Indian Handicrafts Board recognised Chirala, Pochampalli, Puttapaka, Koyyalagudem and the surrounding villages in Andhra Pradesh as centres of Telia Rumal production.

Patola from Patan, Gujarat

Double ikat weaving from Sulu, Philippines

Ikat abr, silk and cotton, Uzbekistan

Telia Rumal from India

Wall Hanging panels from Uzbekistan

Ikat satin,Turkey

Hyderabad, with its proximity to the famed city of Pochampally will be the host city of the Ikat Biennale. However, exquisite ikat weaves are also found in Andhra Pradesh, Odisha and Gujarat.

Ikat from all over the world

Ikat from Japan

14 Gunas, Andhra Pradesh

Shaolder-cloth, Warp Ikat, Indonesia

Close-up of Ikat weaving process

Fragment of cotton Ikat,Yemen

Woman's Munisak Robe,Late 19th century, Central Asia

Contemporary Ikat Design, Andhra Pradesh

Cotton Pagdu bandu rumal,Pochampalli

BroCade around THe World

Brocade, also known as the 'luxury fabric' which was once only worn by nobility, is a type of weave that is done on the loom with gold and silver thread on silk cloth. It is a living tradition in India and has its origins in Byzantium and China. One can find many references to brocade textiles in the Puranas and in ancient Jain and Buddhist literature. Many experts have identified the presence of brocade on ancient Indian sculptures: in the frescoes of Ajanta, in numerous illustrated manuscripts and in miniature paintings.

This textile tradition is found in Benaras, Azamgarh in Uttar Pradesh, Ahmadabad, Surat in Gujarat, Murshidabad in Bengal, and Paithan, Aurangabad in Maharashtra. In the South, Tiruchirapalli, Kanchipuram and Tanjore in Tamil Nadu are known for intricate designs where gold wire is used profusely. Brocade is also found in other countries such as West Africa, Austria, France, Germany, Italy, Turkey, Iran, Uzbekistan, Indonesia, Malaysia, Thailand, China and Japan.

14. malaYsia15. mali16. mapucHe17. mexico18. niGeria19. russia20. sierra leone and liBeria21. sumaTra22. Tunisia23. TurkeY24. uZBekisTan

india1. andHra dharmavaram Venkatgiri2. assam3. GujaraT4. Tamil nadu kanjeevaram5. maHarasHTra paithan6. WesT BenGal7. uTTar pradesH Banaras

World1. arGenTina 2. BYZanTium3. cHina4. France5. GHana6. Greece7. GuaTemala8. indonesia 9. iran10. iTalY11. japan12. korea13. madaGascar

A symbol of fashion, brocade has been treasured from the middle ages, through the renaissance period to contemporary times. It is largely woven on a jacquard loom, which enables crafts people to create complex tapestry-like designs using the jacquard technique.

Craft person working on Jacquard loom

Sari Motif, 20th Century CE,

Banaras

WeddingSari,

Kolkata

Sari Floral Motif, Banaras

The opulent fabric of brocade, can be classified into two categories based on the nature of the thread used. First being with cotton or silk thread or both, and the second being the very treasured zari brocade using gold or silver thread. It is produced by a supplementary, non-structural, weft in addition to the standard weft to give the appearance of an embroidery, however it is done on the loom, in the weaving process.

Varanasi the home of brocade in India, will be the host city for the handmade textile biennale.

Various motifs in Brocadetextiles from different countries

Ambi / Pasiley & Jaalnaqsha, Hand Painted on graph paper,Banaras

Ming brocade decorated with peony flowers, China

Ming brocade woven with gold thred with a pattern of dragon and phoenix on a red

ground, China

CHinTZ around THe World

Colour is the vitality of the Indian landscape and its traditional textiles are no exception to that. Known for its rich colour, design and quality, having a unique print and weave, exclusive to a specific region, it is inspired from nature, architecture, rural life and geometric patterns. Besides the colourful prints, the subcontinent is also said to have had one of the finest cotton produces. A versatile fabric which is best suited for painted and printed designs in vibrant hues.

Since the 15th century, the trade in painted and printed cotton was extensively practiced between India, China, Java and the Philippines. This exchange, helped introduce new motifs and design elements to the traditional repository of Indian textiles. Chintz textiles became popular in several parts of Europe during the colonial era, including the Netherlands, France and Britain, and is also being produced in other countries such as Nigeria, Ghana, Mali, Ivory Coast, Indonesia, Java and China.

PARAGUAY

UZBEKISTAN

CHINA

PAKISTAN

IRANMOROCCO

EGYPT

ANDHRA PRADESH

INDONESIA

MP

RAJASTHAN

WBGUJARAT

NIGERIA

GHANA

MALI

MAPPING CHINTZ AROUND THE WORLD - WORK IN PROGRESS

Worlda F r i c a1. niGeria a. Handpainted and blockprinted Batik b. egbaland in ogun state (adire painted textiles–tie&die/wax resist)2 GHana adinkra fabric of ntonso regions3 mali Bogolani fabric – mud handpainting / mud resist dyeing4 iVorY coasT korhogo fabric handpainted with mud5 eGYpT Batik6 Burkina Faso Batik7 morocco a. Henna painting b. Handstamped mud cloth

india1. rajasTHan Bagru (chhipa community) Barmer (ajrakh) chittorgarh (aloka – dabu) Barmer (Balotra) sanganer2. WesT BenGal Burdhaman serampore shantiniketan (Handpainted batik)3. GujaraT kutch a. ajrakh b. khari printing c. Batik ahmedabad a. khari printing b. saudagiri c. mata ni pachedi Gandhinagar Blockmakers of pethapur

4. andHra pradesH machlipatnam (kalamkari) srikalahasti (kalamkari)5. madHYa pradesH Bhairavgarh (Handpainted and Blockprinted Batik) dhar (Bagh Blockprinting)

a s i a - p a c i F i c8. pakisTan sindh (ajrakh) punjab (chhimba community)9. indonesia java (Handpainted and blockprinted Batik)10. cHina a. Guizhou (Handpainted and blockprinted Batik) b. Foshan (Blockprinting on paper) c. Hongkong (Blockprinting)11. iran Ghalamkar fabric12. uZBekisTan chitgarlik [blockprinting] kalybs [wooden blocks]

In India, chintz master craftspersons continue their traditional block-printing vocation in West Bengal, Gujarat (Ajrakh, Rogan, Khari, Saudagiri, Mata ni Pachedi and Bandhani), Rajasthan (Bagru, Barmer, Dabu, Balotra and Sanganer), Madhya Pradesh (Bagh), Andhra Pradesh and Tamil nadu.

Kalamkari in India is a related craft that uses Mughal motifs but instead of a carved wooden or metal block, the textile is hand painted with a bamboo pen (kalam). Before the development of synthetic alizarin in Europe, Indian chintz cotton fabrics used natural dyes and pigments extracted from indigo leaves, roots of the al tree, turmeric, pomegranate skin, lac and iron-rust, etc.

Block Printingtextile,

India

The tradition of dyeing cloth exists across the subcontinent under various names: Lehariya, Bandhej, and mud resist in Rajasthan, Batik in West Bengal, Ajrakh in Madhya Pradesh, clamp-resist printing in Gujarat, and Chungidi in Tamil nadu. Initially found only in fabric, Chintz is now commonly seen in furnishings such as wallpaper and upholstery.

Leheria, Rajasthan Ajrakh, Madhya Pradesh

Bandhej, Rajasthan

Contemporary KalamkariCollection from Jiyo! andAsian Heritage Foundation

Festival Kimono, Shibori technique, Japan

emBroiderY around THe World

Ever since the dawn of civilisation, man has felt the urge to provide ornamentation to textiles through the process of weaving, dyeing, printing, and embroidery. Creating designs on the loom was perhaps the earliest methods of providing decorations to fabrics which was followed by embroidery. A craft from prehistoric times, embroidery is the embellishment of fabric, enriching it with a needle and thread.

It is one of the most widespread crafts in the world. It differs with geography and culture and yet connects countries such as Japan, Korea, China, Indonesia,Afghanistan, India, Mongolia, Russia, Turkey, Iran, Iraq, Morocco, Tunisia, Egypt, Algeria, Czech Republic, Bulgaria, Spain, Hungary and Portugal to name a few.

embroidery15. HunGarY16. iceland17. indonesia minang embroidery 18. iran patteh19. ireland mountmellick embroidery20. iTalY Bargello embroidery

india1. andHra pradesH Zardozi2. WesT BenGal kantha satgaon Quilt3. GujaraT chain stitch kutchi mirror work kutch applique work Gara (parsi emroidery)4. odisHa pipli applique work dongariya kondh embroidery5. punjaB phulkari6. maHarasHTa Banjara embroidery7. kasHmir Wool ebroidery8. karnaTaka kasuti9. HimacHal pradesH chamba rumal10. uTTar pradesH chikankari11. rajasTHan Gota applique in gold thread12. Tamil nadu Tanjore applique

World1. aFGHanisTan2. alBania3. alGeria Felted wool embroidery4. BanGladesH5. cameroon6. cHina suzhou embroidery jiangsu province7. croaTia8. eGYpT applique9. enGland crewel work Tent stitch Broderie anglaise raised/ stumpwork canvas embroidery pulled threadwork10. eTHiopia 11. France Guipure crewelwork12. GermanY Berlin wool work drawn thread work13. Greece silk velvet embroidery 14. HonG konG cut velvet motifs

cutwork embroidery21. japan kogin embroidery sashiko embroidery kosode22. korea23. macedonia 24. malaYsia orang ulu Beadwork25. monTeneGro26. mYanmar 27. nepal28. niGeria29. norWaY30. pakisTan phulkari31. palesTine 32. paraGuaY embroidered net33. pHilippines34. porTuGal35. russia

chenille embroidery36. scoTland ayshire/ white work 37. serBia38. spain39. sYria40. THailand41. TurkeY42. usa43. uZBekisTan suzani44. VieTnam

13. arunacHal pradesH14. assam15. BiHar sujani16. deccan17. delHi 18. HarYana Hissar19. jHarkHand ledra of Hazaribagh20. madHYa pradesH Gwalior21. manipur eastern angami nagas

India is especially rich in the variety of embroideries it is home to, ranging from kashida in Kashmir, Chikankari in Uttar pradesh, Chamba rumal from Chamba, Phulkari in punjab, the stem, to Banjara in Gujarat to Kantha in West Bengal.

The art of using stitches as a decoration on woven cloth, embroidery can be of many types, based on the material used. Metal embroidery consists of zardosi, kamdani, gota work and mukaish. Thread embroidery includes banjara, kantha, sujni, chikankari, phulkari and others. Embroidery also incorporates other materials such as beads, pearls, quilts and patches of other cloth.

Kantha, West Bengal

chikankari, Lucknow

Zardozi Shawl, India

Phulkari, Punjab

Kashida, Kashmir

Appliqué is a special embroidery technique in which pieces of cloth are cut out in varying shapes, designs and colours and are then sewn onto a background fabric, commonly found in Gujarat, Uttar Pradesh and Odisha. The khatva technique from Bihar involves cutting a complete piece of fabric which is then attached to a back cloth of another colour.

Miao woman's jacket from Yunnan,South-West China

Banjara applique cushion cover,South India

Banjara from Gujarat

Woman's Apron from Yunnan, South-West China

Banjara Embroidery, Gujarat

Detail of embroidered shawl from Kashmir

Kinkhab Patch work fan,Saurashtra, Gujarat

Bullock hump covers,20th Century,Gujarat

Detail of indigo-dyed embroidered cotton jacket from North-East Myanmar

Contemporary EmbroideryCollection from Jiyo! and

Asian Heritage Foundation

World Handloom Textiles BiennaleProPosed organIzatIonal struCture

Asian Heritage Foundation (Not-for-profit) is the primary patron of the WHTB, with the legalities and Intellectual Property Rights of the five Biennales vested with itself.

the 6-member Core Biennale Management Committee (CBMC) (Quorum 50%) is appointed by the trus-tees of the aHF and this committee will form the Central secretariat, following its own bye-laws, systems and processes and comprised of the following Members:• Chairman/Mentor• DirectorGeneral-Biennales• Director,Operations&Administration(IP,Legal,Financial)• Director,StakeholderInterface,FundRaising&Outreach• Director,Production&Logistics• GeneralManager,Secretariat

TheCBMCwillbesupportedbyoptimalfull-timeandfreelancestaffingacrossdepart-ments. the CBMC is mandated to strategize, Plan, operationalise, appoint, ally, Collabo-rate, engage with:• Advisors• JuryMembers• DomainSpecialists• Co-Curators• LocalTeams• Government(s)andotherPublicEntities• CorporateEntities• RetailAlliancesandPartnerships• InternationalLogisticPartners• Sponsors• MainstreamandNicheMedia• CelebrityEndorsers&Influencers• Licensing&Merchandising• Legal,IP,FinancialExperts• IndustryBodies,SectorSpecificForumsandAgencies• OtherRelevantEntitiesbothPublicandPrivate

• FestivalDirector(SectorPrincipal,AppointedbyCBMC)• Representative,StateGovernment(MinistryofCulture,Tourism)• Representative,StateGovernment(MinistryofHandlooms,Handicrafts)• DestinationStateGovernment(MinistryofTourism&Culture)• President,DestinationCity/RegionalCraftsCouncil• Representative,SpecificTextileBoard/Forum(Khadi/Brocade/Ikat/Chintz/Embroidery)• Representative,DestinationWeaversCooperative(Khadi/Brocade/Ikat/Chintz/Embroidery)• Representative,DestinationMunicipalCouncil/Panchayat/Collectorate• LocalPatron(Individual/OrganisationalHead)

the destination Biennale Management Committee is mandated with all such functions that will gointoexecutingtheplanswithcoordinationoftheCBMCinareasthatrequirecentralassistance.

the local aoP will appoint the following team to manage the Biennale on a full-time basis:Head–Operations&AdministrationHead–Marketing,Outreach&LocalAlliancesHead–Creatives,Advertising,DigitalMarketing&PromotionsHead–Protocols,StakeholderManagementManager – ProductionManager–Hospitality,Transport,F&BManager–Venue(s)Management&LocalStatutoryLiaisonaccountant

Quorum30%willbeadvisedbythe11-memberBiennaleAdvisoryGroup(BAG),comprisingofthefollowinginvitees:

PeRmANeNT SeATS

• Representative,AsianHeritageFoundation(Ex-Officio)• Representative,GoI(MinistryofTextiles)• Representative,GoI(MinistryofCulture)• Representative,GoI(MinistryofSkillDevelopment)• Representative,GoI(MinistryofTourism)• Representative,WorldCraftsCouncil,APR• Representative,ChambersofCommerce(NationalCouncil)• DirectorGeneral,NationalGalleryofModernArt• InternationalPatron• IndependentArtsProfessionalasappointedbytheCBMC• RepresentativeoftheWorldBank/AsianDevelopmentBank• RepresentativeofareputedDesignSchool

RoTATINg SeATS

• Representative,DestinationStateGovernment(MinistryofHandicrafts)

TheCBMCwilltheninitiateandappoint10-memberDestinationBiennaleCommitteesineach,registered as an association of Persons (aoP) and comprising of the following Members:

i k a t February 2020, 2022, 2024

k h a D i october 2019, 2021, 2023

c h i n t zDecember 2020, 2022, 2024

e m B r o i D e r yJune 2021, 2023, 2025

B r o c a D e september 2020, 2022, 2024

in association

with

with support from

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