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Wildlife in Kutch

The Rann, of Kutch covering an area of 4954 sq. km is one of the most remarkable and unique landscapes of its kind in the world, which is considered as a transitional area between marine and terrestrial ecosystems. Kutch is home for the rarest kind of species.

Kutch region was once connected to the Arabian Sea. Geologic forces within the Earth forced the land to rise, which turned this area into a lake. Silt gradually filled it, and the area became a seasonal salt marsh. For most of the year, the eco-region appears dry. But when the monsoon rains fall from July to September they turn the area into a vast, shallow marsh. During the wet season, areas of high ground known as bets provide dry habitat for wildlife. Bets (hillocks with grassy vegetation) also house trees that provide shelter and food for the areas wildlife.

Wild Ass

People of Kutch take pride in being the only custodians in the world of the rare Indian wild ass.

These sturdy and well-built creatures live in the salt rich Little Rann of Kutch, a shrubby wasteland in the state of Gujarat. It is said that the wild ass of Kutch are the only originals of the species, left in the world. That is the reason for giving so much importance to these fine alert, handsome, bright and sandy-coloured Kutchi beasts.

In Kutch they are now restricted to the Little Rann close to the Great Rann. It covers 1000 Sq. miles. It is a salt-impregnated plain waste, so no vegetation of any kind can grow in this area. During the monsoon, small islands are formed, scattered here and there which become hillocks in the dry seasons and are known as `bets.` On these small bets, there is a lot of grassy vegetation. Wild asses graze on these bets and on the shores of the mainland bordering the Rann.

Indian wild asses are 44" to 48" tall at shoulder while local donkeys are only 37" tall. The ass is a bi yellowish, Sandy coloured creature a short mane of a dark chestnut c and a line of the same colour extending down the back to the root of the tall lower part is white. Its shoulders, saddle and side of the rump, are light ~&z its ears are short like zebras. The domestic donkey, provides a contras is grey or dirty brown with long e. From all accounts it is evident that wild Ass never inter-breeds with domestic donkey and in fact keeps entirely aloof from them and other animals.

Generally wild Asses are found moving in herds, and sometimes seen single or in pairs. Each herd commanded by a leader who rules with great authority and a sense of responsibility for the welfare of the fellow members. In summer day-hours are spent under the trees to protect themselves from desert heat. They are said to produce a sound in between the neigh of a horse and bray of donkey, wild Asses are said to mate in August, September and October. A female separates from the troop with stallion who fights viciously with interlopers, for possession, the combatants rearing up on their hind legs using hooves and teeth.

After a few day of isolation the couples rejoin the herd. Thereafter the female actively resists advances by other stallions. Mating pairs are often disturbed by human approaches. The period of gestation is eleven months.

The herds of female accompanied by their young live apart from the males for about three months after giving birth to the Youngs. The wild Ass can run with a speed of 32/34 miles per hour. In 1946 the population of wild asses was 3000 but by 1962 the number had decreased to 870. It is possible to visit this area from Bhuj via Adeser by bus. In Adeser the forest officer should be contacted. They can organize a trip by jeep or horse cart.

Flamingo

More than 200 bird species live in these seasonal salt marshes. Three of these species are threatened: the lesser florican, Houbara bustard, and Dalmatian pelican. During the wet season, the marshes become pink with flamingos. This area is the home of the largest flamingo breeding colony in the world. Millions of these tall, pink birds fly here each year to nest and raise their young.

During the rainy season, you`d see a rich array of wildlife especially the pink flamingos which flock to acres of salt marsh flowering plants. Flamingos build clay nests that rise above the water. There, both parents tend the eggs. Flamingos feed while standing in shallow water. They lower their necks and tilt their heads so that their bills hang upside-down and face backward in the water. In this way they filter plankton, red and blue-green algae, insects, fish, mollusks, and small crustaceans from the water. This diet, mostly the red and blue-green algae and insects which are high in alpha and beta carotenoid pigments, is what causes the flamingo`s striking pink color.

Three-fourths of this eco-region is protected. Cattle grazing, cutting trees for fuel and commercial mining of salt all pose threats to the eco-region even those areas that are protected. People also drive across the mudflats, and their vehicles damage the fragile ecosystem. Hunting of Asiatic wild asses is also still prevalent.

Distance Chart

Villages distance in Kutch (Kilometers)

Bhuj	0
Anjar	40	0
Gandhidham	60	20	0
Kandla-Port	75	32	12	0
Bhachau	100	58	38	50	0
Rapar	160	120	103	115	65	0
Dholavira	250	210	190	205	155	90	0
Nakhatrana	50	90	110	125	150	210	300	0
Dayapar	110	150	170	185	210	270	360	60	0
Lakhpat	135	175	195	210	235	295	385	85	25	0
Naliya	100	140	160	175	200	260	350	60	70	95	0
Mandvi	60	170	120	130	160	220	310	70	130	155	80	0
Mundra	60	53	68	80	105	170	260	102	160	185	132	52	0
	B h u j	A n j a r	G a n d h i d h a m	K a n d a l a	B a c h a u	R a p a r	D h o l a v i r a	N a k h a t r a n a	D a y a p a r	L a k h p a t	N a l i y a	M a n d v i	M u n d r a

Distance From Bhuj (Kilometers)

Ahmedabad	410	Gondal	300
Ajmer	816	Halvad	200
Ambaji	400	Jeshalmer	813
Barmer	627	Jamnagar	300
Bhavnagar	450	Jodhpur	809
Bombay	865	Junagadh	360
Chanasma	311	Limadi	300
Chotila	280	Mehasana	344
Dhrangadhra	230	Modhera	330
Diu	465	Morvi	190
Dwarka	420	Palanpur	364
Gadhada	336	Palitana	346
Gandhinagar	420	Panadhro	136

Culture of Kutch

Simple living yet dynamic in thoughts, raring to move forward this the strong belief of the Kutchis. Sturdy in their vision yet completely invaginates. Not afraid to think out of the box and experiment, but firmly anchored to their traditional roots. The Culture of Kutch is so prosperous, vibrant and authentic that will surely mesmerize you in everyway, this is Kutch, weaved in its colourful dream.

Sea, desert, farming and cattle raising are included in Kutch`s culture. It also includes people`s dress ups, their festivals, their habits and their artistic side.

The clothes worn by Kutchis are more similar to the people of Rajasthan and Sindh. The old style Kutchi clothes really depict its culture. Villagers here wear `Cheni`. On `Cheni`, they ware black, yellow and red border thin `Khes`, and on `Cheni` they wear `Abho` and put `Ajrakh` on their shoulders. In old times people (men) used to wear a cap called `Paagh`. They wear it with different styles. Man without `Paagh` was considered shameful. If they don`t wear `Cheni`, they wear `Dhoti` made out of thick cloths. Men wear high heel, sharp pointed embroidery shoes. Rabari women wear hot `Comdi`. Charan women wear `Dhibdo` that is a blouse fully open from backside. They call Charan women `Matama` or `Fui`.

Jewelry of Kutch`s Jat, Rabari, Aahir and Charan women depict their culture. Aahir women and children wear `Haydi` whereas Jat women wear `Vadlo` or `Mkoda Chakkar` around their neck. `Huldo` is wear by all women of Kutch. Muslim women wear artistic ankle bangals called `Ghunla`. Rabari women`s main jewel is `Akota` that they wear in their nose. It is too heavy and so is supported by a look of hair. Men also wear `Kadku` in ear.

Many cultural festivals are included in Kutch`s life. They believe in `Mataji`s different `Avatars`. They also worship pirs and Jakkhas. Religion and religious fairs are co-connected in Kutch`s culture. One of such fair is at the time of Navratri. In Navaratri they have fair in Mata`s Madh. People come walking for this fair. Among the biggest religious fairs, one is of Jakkha`s fair that is the center of Kutch`s culture. People from all over the Kutch come here in their traditional dresses.

They all sing songs in fair in night times. In Hajipir`s fair not only Muslims but all kinds of people participate here. Among other religious fair is Bhujya`s fair on the day of Nagpachami. Talvana`s Ruknshapir`s fair, Dhangadra`s Dada Mekan`s fair and Ramdevpir`s fair near Vongh.

How to Reach

How to reach Kutch is the primary question that comes in every tourist's mind before visiting the place. A number of options are at your disposal for reaching the exotic location. However, the most comfortable options are by air or by road. Both the services will ensure a comfortable journey. The journey via road will have an added advantage of providing you an opportunity to have a closer look at the diverse land of the Gujarat. The diversity offered by Kachchh is unique and delightful in true sense.

By Air

For travelling to Kutch by air, you will have to take a flight to Bhuj, the administrative city of Kutch. There are also daily flights to important cities like Mumbai. You can catch any of the below-mentioned airlines for getting into Kutch by air.

• Jet Airways • Kingfisher Airlines • Air Deccan	Monday, Tuesday, Thursday, Friday, Satureday, Sunday
	Arrival: 12.45 PM - Departure: 01.20 PM
	Wednesday
	Arrival: 12.45 PM - Departure: 01.40 PM

By Train

Getting to Kutch is quite convenient via train. For that, you will have to take a slightly long route, which is an experience in its own. From there, you can reach your destination by road. New Bhuj Railway station is one kilometer north of town down a little back road from the north gate (Sarpat Gate) of the old town.To book a ticket, you don't have to face the hassle of going out to the railway station. Some travel agents will make the reservation for you for just Rs.20 or something.

Bhuj  to Bombay (Kutch Express) Daily

Arrival: 10.15 AM - Departure: 06.30 PM

Bhuj  to Bombay (Sayaji Nagari Express) Daily

Arrival: 08.15 AM - Departure: 08.30 PM

Bhuj  to Delhi (Ala Hazrat Express) Tue, Thu, Fri, Sat

Arrival: 02.30 PM - Departure: 11.05 AM Next day

Bhuj  to Puna (Ahinsaa Express) Only on Thursday

Arrival: 03.30 PM - Departure: 07.10 AM

By Bus

The Private bus companies have their offices in the bus stand area, and have services to Rajkot(6 hours), Mumbai(18 hours), Ahmedabad(7 hours) and other areas in Gujarat. Patel Tours and Sahajanand Tours can all book 2x2 and Sleeper coaches. ST buses run to Jaisalmer in Rajasthan via Rathapur and Tarada(15 hours) for Other places in Rajasthan, such as Abu, Ajmer and Jaipur, you'll need to get a bus to Palanpur, and a second bus from there. There are regular departures to the villages of Kutch; see around Bhuj for details.

Bhuj  to Ahmedabad And Jamnagar(daily) at 9.00 PM and 11.00 PM

Private 2 Siter and Sleeper coaches available

Minerals

Many different types of minerals are found in Kutch like Agate, Bauxite, Gypsum, sand stone, Bentonite, china clay, silica sand, Lignite, lime stone etc. Semi precious stone Agate is also known as Gomed. Rock crystals-Amythist or Neelmani and other precious stones are also found in different parts of Kutch. Minerals are controlled by Gujarat Minerals Development Corporation (GMDC).

Bauxite

Bauxite is a metallic mineral. A big size Aluminium plant could be established in the section for production of Bauxite. Bauxite contains 50% Aluminium Oxide. It is mostly found in Mandvi and Abdasa Talukas. It is used for many catalytic substance applying and for producing a number of aluminous chemicals like Aluminium Sulphate, Alum and Alumina.

Bentonite

Bentonite is also known as ‘Weathered Basalt’. Bentonite has a very good quality of export market. Bentonite has brought Kutch on the world mineral map. Sodium based Bentonite is used in steel plant, oil investigation, medicines etc. The royalty charge on Bentonite has gone very high because of the Government of Gujarat. Bentonite is found in almost green or brown colours, but sometimes it is also found in red colour. Bentonite is available in Bhachau, Rapar, Anjar, Bhuj, Mandvi, Abdasa, Mundra, Nakhatrana and Lakhpat Talukas. Bentonite is also used for workshop, sand bond, polarization of iron solid, drilling dirt, activated bleaching soil, civil engineering, refectories, ceramics, pharmaceutical aid, welding, electrode, fillers, insecticides etc. Bentonite is controlled by the department of Mining. Two types of Bentonite are seen in Kutch: Sodium Predominant and Calcium Predominant.

China Clay is also called Kaoiline. It is mostly used in potteries and ceramics. It is found in Bhuj, Lakhpat and Rapar Talukas. It is also used in paper, paint and pharmaceutical industries. Department of Mining also controls Kaoiline.

Gypsum

Two types of Gypsum are normally found in Kutch: Marine Gypsum and Mining Gypsum. Gypsum is usually found in Adesar and in other parts. Gypsum is used as plaster of Paris, manufacturing of paints, crayons and paper etc. It is also used as natural fertilizer, surgical plaster, dental plaster, cement etc. It is also controlled by the department of Mining.

Lignite

Lignite is also known as ‘Brown Coal’ or ‘Tertiary Coal’. Lignite is produced 95% in Kutch except the other minerals of Kutch. All other minerals are produced only 5%. It is found in brown colour. Mostly, it is found in Nakhatrana, Lakhpat and Mandvi Talukas. Lignite is used as a raw material for set up of power plant, for exploration of fuel and for power production. Lignite is controlled by GMDC. Kutch Thermal Plant of 140 MW capacity at Pandhro is based on the Lignite mineral.

Lime Stone

Lime stone is found all over Kutch, especially in Lakhpat and Abdasa Talukas. Lime stone is used for manufacturing cement, as a building stone, as a flux in the metallurgy industry, for manufacturing Calcium Carbide and Calcium Cyanide etc. Lime stone is also controlled by the department of Mining.

Sandstone

Sand stone is normally found in Dahinsara, Naranpur, Palara, Shedada, Mathal Meghpur, Moti Wandh, Ravapur, Kotada-Roha, Manghwena, Mamura and in other places of Kutch. Sand stone is used as a building raw material and it is controlled by the local panchayat of Kutch. Sand stone can easily been cut into blocks and it is available in white, light purple, reddish brown and cream yellow.

High grade Silica sand and glass Silica sand are found in Anjar Taluka. Silica is the mineral of 21st century. Normally, Silica is found in Nadapa and Mamuara villages in Bhuj Taluka, Sapeda and Nagalpar in Anjar Taluka, in Bhachau Taluka and in Lakhpat Taluka. Silica is used in glass industries and for manufacturing of Sodium Silicates. Department of Mining also controls Silica mineral. Silica washing plants are established in the village of Bhachau Taluka.

Ochre, Petroleum and Laterite are the other minerals found in Kutch. Ochre is generally known as ‘Gheru’. It is found in red, white or yellow colours. Survey indicates availability of petroleum reserves in Abdasa Taluka. Low grade Bauxite containing more iron is called Laterite and it is used for cement manufacturing.

Archeology

Archeology is the scientific study of the material remains of past human life and activities. Human artifacts from the very first stone tools to the man-made substance that are buried or thrown away in the present day are also included in the archeology. Everything made by human beings--from simple tools to multipart machines, from the earliest houses and temples and tombs to palaces, cathedrals, pyramids and other archeological investigations are the most important sources of knowledge of prehistoric, ancient and destroyed culture. The word comes from the Greek archaia ("ancient things") and logos ("theory" or "science").

Archeologists use the scientific capability of many persons who are not archeologists in their jobs. An archeologist often studies his artifacts that must be studied in their environmental contexts. It is believed that the botanists, zoologists, soil scientists and geologists are brought to identify and explain plants, animals, soils, and rocks. Radioactive Carbon Dating Method, which has revolutionized much of archeological science of determined dates, is a derivative of research in atomic physics. Perhaps it is almost correct to say that the archeologist is first a craftsman, active in many particular crafts (of which mine is the most familiar to the general public) and then a historian.

The archeologist is first an expressive worker. He has to describe, categorize and examine the artifacts he studies. A sufficient and objective classification is the beginning of all archaeologies and many good archeologists spend their lives in this activity of explanation and classification. But the main aim of the archaeologist is to situate the material remains in historical contexts to extra what may be known from written sources, and thus, to increase understanding of the past. Finally, the archaeologist is a historian and his aim is to explain description of the past of man.

The main aim is to develop the present by knowledge of the experiences and achievements of our predecessors because it concerns things people have made. The most direct findings of archaeology put up with on the history of art and technology; but by suggestion it also produces information about the society, religion and economy of the people who created the artifacts. Also, it may bring to light and understand previously unknown written documents, providing even more certain confirmation about the past.

There are many branches of archaeology divided by geographical areas like classical archaeology, the archaeology of ancient Greece and Rome or Egyptology, the archaeology of ancient Egypt or by periods like such as medieval archaeology and industrial archaeology. Writing was begun 5,000 years ago in Mesopotamia and Egypt. Its beginnings were fairly later in India and China and later still in Europe. The characteristic of archaeology that deals with the past of man before he learnt to write has since the middle of 19th century has been referred as prehistoric archaeology or prehistory. In prehistory, the archaeologist is principal for here the only sources are material and environmental.

Other Crafts

Clay Relief Wall Decoration

Clay Relief Wall Decoration in the homes of Rabaris is also known as ‘Bhungas’. Clay Relief Wall Decoration is an antique art which is used for decorating home. It is also called “Lippan” in the general language. Clay Relief Wall Decoration is universal in the internal walls of this group of people. Rabaris are very famous in Clay Relief Wall Decoration as well as Harijan Meghwals. Complicated designs are produced on the spherical walls of ‘Bhungas’. The people of today also create frames of Clay Relief and keep them in their homes.

The procedure of Clay Wall Relief is reasonably simple but a great deal of talent is needed in creating very much complicated designs and making certain that the combination adheres to the wall properly. The clay mixture is made from dried and perforated horse, cow or camel dung and mud. The mixture is applied to the wall by burning in out between the fingers to shape edge increased by about one centimeter from the walls surface. The Muslims and Harijans be expected to use purely geometrical designs where as Rabaris include symbolic descriptions of Gods, animals and human forms. Small mirrors of different designs are regularly added to the patterns to make it more attractive. The wall is white washed after drying.

Many of the patterns and decorative designs used in Clay Relief have much in common with those used in the needlework. Each design has a name and each has a religious importance. For example, the symbolic patterns of camel, a woman carrying water pots and the peacock appear in many of the designs. Each of these has a particular meaning. As for camel, Rabaris are fundamentally camel herders and they believe that camels are ‘heavenly greater beings’ and they also represent love. A lot of worship is committed to rain as it is limited in this dry area of Kutch. The ‘Panihari’ is a representation of contributor of water. Peacocks are original to Kutch area and be a symbol of happiness, richness and knowledge.

Painting

The houses of Banni area are living museums of beautiful paintings. Rabari and Harijan women are traditionally experts in describing their dreams in paintings. They twist houses into homes.

Collected soil is mixed with camel dung and kept for a few days. Then, it is kneaded to achieve sufficient smoothness and designs are worked on the mud wall using these clay mixtures. Designs of mor (peacock), popat (parrot), anguli (fingers), vinjano (fan), hathi (elephant), ghoda (horse), unt (camel), zad (tree), fal (fruits), phool (flowers) and vel (climbers) are described. To increase the artistic value, tiny mirrors are position in between the designs. The wall is washed using white earth colour after the drying process. Bhujodi, Ghada, Ludia etc. are the main centres of the craft. These days, walls of hotels and museums are decorated with these sorts of beautiful paintings.

Leather Work

Mochis and Harijans dedicate themselves in leatherwork. This work is at first done on pure leather of cows, buffaloes, goats, sheep etc. but today, it is also done on regsin. Many different varieties of items like shoes, sandals, purses, bags, mirror frames, fans, belts, saddle bags for camels and horses etc are made by leatherwork. These accessories are embroidered with brilliant colours like red, orange, blue, green etc.

Before this community was engaged to embroiden the shoes of majestic family members. Today this craft is also seen in some places like Bhirandiyaro, Dumado, Dhobrana, Khavda, Hodko, Dhordo, Gorewali, Ratadiya, Sumarasar, Bibber, Dinona, Kuran, Ratnal, Sattapar, Galpadar and Bhuj etc.

Wood Carving

Wood carving is one of the best imaginative skills of Kutch. The people of Harijan community live in Dumaro and Ludia and they are master craftsmen of wood carving. They make various tools like pastel roller, chapatti disc, bottles, small table and glasses etc. of wood doing attractive figure. Normally, they use the hard durable timber wood and available in ‘Babul’ wood to prepare the excellent artifacts.

Pen Knives

Pen Knives, seed crackers, scissors and swords of Kutch are famous in India as well as in all over the world. The accurate derivation of this craft is not visible. The current Muslim blacksmiths are famous as ‘Luhars’ and they follow this technique. They were previously educating property. As agriculture did not offer them continuous employment, they remained without work for about 6 to 7 months in a year. To make them working all the time, their religious preceptor advised them to slot themselves in a side industry which could provide them income. According to another description, the industry seems to have been started long time ago by one of the associates of the present craftsmen who exclusively dedicated himself to the job of manufacturing state weapons. Today, there are nearby 100 craftsmen busy in this craft and spread over different places like Bhuj, Mandvi, Anjar, Reha etc.

Terra Cotta

The terra cotta collected from the ponds is hardened, beaten, powdered, filtered and wrapped up in water. When the terracotta gains smoothness, it is kneaded on a small effective potter’s wheel. Different sizes and shapes of pots are shaped. These pots are sun dried. On the dried pots painting is done by using earth colours of white red and black with the help of brushes made out of bamboo sticks or cotton.

The painting work is done by women. The common uses of the decorative designs are waves, straight lines and zigzag lines, peacocks in different postures, leaves, fishes and flowers. After being painted, the pots are made dried in traditional process. Items include pots, kunja, Batak, Gharba, Deeva, plates etc. and Jambudi, Lodai, Bhuj; Khavda etc. are the main centres.

Weaving

 

 

Kutch is also well-known for its weaving technique. A cloth made from a mixture of cotton and silk is called ‘Mashru’ which is often used in a warp-faced weaving technique so that only the shiny silk shows on the outside. The Mashru weaver works on a crater loom and the cloth is often patterned with stripes using blocks of different colours twist clothes or by simple tie-dyeing of the warp threads. A variety of patterns are produced for the demands of different markets, both local and supplementary a field. For the local market, stripes are generally favored and Mashru cloth is often used to give an additional rich smooth surface to embroidered blouses among poorer communities in Kutch.

Weaving is only a part of a complex series of production associations and the Mashru weaver is supplied with threads and designed by a master weaver who also sells the cloth. The weaver is not rewarded for the cloth but for his industry like most crafts in India. Weaving is a traditional profession and skills are passed on from father to son. Because of the irregulations temperature, particularly in desert areas of Kutch, woolen shawls (Dhablo) are damaged by both men and women. The village of Bhujodi near Bhuj in Kutch is a centre for producing handloom blanket like shawls for men and women. These shawls are prepared using a woolen bend, sized with rice glue and woven with multi-coloured chemically-dyed worn woven threads. The cloth is woven on a narrow appear some 60 cms. Wide and being towed large extents of clothes are joined with decorative stitching to make shawl.

Textiles

Mutwa's Embroidery

Under very tough conditions, Mutwas produce the wonderful embroidery with tiny mirrors and microscopic stitches that differentiates them from the other communities. The complicated and time-consuming nature of this work has often been underestimated. Their work without delay received appreciations and obtained higher prices.

Mutwas’ embroidery arises from its name from Mutwa (Maldhari) which is a sub caste of Muslims living in Banni area. Mutwas’ embroidery is the finest embroidery in Banni area. Mutwas are expert in workmanship of all styles of embroidery. The work is carried out using silk threads. This work is extremely difficult.

Rabari's Embroidery

Embroidery is a fundamental part of Rabaris’ life. They consider the ‘Choli’ or blouse their most important arts forms because of their heavily embroidered embellishment. Their embroidery combines of commercial interests, square, triangular, rectangular, diamond, conical and circular mirrors. This extraordinary cooperate with shaped mirrors is very exclusive to Rabaris’ embroidery. Rabaris are essentially settled in countrified Kutch. Rabari women are known for their beautiful, attractive and impressive embroidery that is symbolic of their wandering lives.

Decoration in Kutch is done by using microscopic close chain stitches while in Mehsana district; cross stitches using ‘Abhla’ are used widely. Their embroidery is comparable to Saurashtra style. The Rabaris broadmindedly use the mirrors of various shapes triangular, round, square and almond shaped for example. The embroideries when completed are given to the clean up as dowry.

Regularly contacts with the tourists of different kinds and from different places make the Rabaris’ embroidery more commercial. They discovered that by doing excellent work, they could find more steady markets and better returns for the time spent embroidering.

Danetah Jat

Five hundred years ago, the Jats lived permanently in Halab region which is known as Baluchistan today. Later, they become famous as the ‘Danetah Jats’ which means herders. Under defensive pressure from reactionary owners of land and in search of new grazing lands, they began a mass departure that would take them to Sindh, Gujarat and finally to Kutch. Those who took up undeveloped started being known as ‘Gharacia Jats’. Some, known as Fakirani Jats, became holy men dedicated to studying the Quran, the main holy book of Islam religion. The largest group remained herders and retained the name ‘Danetah Jats’. All Jats are Sunni Muslims and they never marry outside of their community.

Jat women design and produce wonderful and manual embroidery. The power of Jats’ embroidery comes largely from the closely stitched patterns that completely cover the cloth. They take pride in the fact that their “Stitches outlive the cloth on which they are sewn.” The most intensively embroidered article of a Jat woman’s gift is the ‘Churi’ or blouse. Its colour and decorative designs visually communicate the age, marital status and geographical origin of the wearer.

The Jats were pressured by the government to settle and initiate themselves on the slightest fertile land. They started selling their embroidery only fifteen years ago in order to survive droughts. Thirteen years ago, two Jat villages joined KMVS and found a co-operative association in which they cultured the value of their marvelous work and how to advertise it.

Dhadki Work

Dhadki work (form of coverlets) is a different and important part of traditional household techniques in Kutch. It is an important technique inside the embroidery tradition and the different model of quilting are the common part of the local communities.

The categories and textures of clothes combined with narrow stripes of basic or appliqué borders of contrasting colours give the coverlets a complicated and bold framework. Patterns are created with a number of stitches like a running stitch of having a common rectangles, series of squares or triangles lay edge to edge or circles within squares. The design is stressed by changing the direction of the stitch and a rippling pattern created. The stitches are microscopic and the thread used for quilting is red, black or white coloured.

A highly sophisticated and individualistic quilting stitch is accomplished by the Harijans. Progressing in a step like geometric arrangement of squares and diamond shapes the colour of the thread is often changed. This creates an misapprehension of a graded coloured base cloth.

On entering a household, one at once notices in the corner of the household, a load of quilts neatly piled up and laid out whenever guests are welcomed into their house.

Pottery

The potters of Kutch are famously known as ‘Kumbhars’ in the local language. One can say that the potters of Kutch play a necessary roll in the lives of all subdivisions of the culture of Kutch and they still do. Water and food are increased for the future use in different kinds of pots of different shapes and sizes. Today, the potters are also providing metaphorical models of animals and human forms as toys for children and offered sculptures for the festivals of the Hindus.

As the time goes continuously, shapes of the pots are changed in different shapes, though artistically pleasurable have the most advantageous functionality. On the other hand, craftsmen have made their own little arrangements which give their pots their individuality and an identity which has been approved down the family line for many developments. This may involve small standards in the shape and more observably, the painted or scored designs given to the external of the pots.

The sculptural work was involved in the making of toys and offered archeological items have a lot of scope where inspiration is apprehensive. In this case, the functionality is not of any concern but of sensitive beauty. Therefore, the forms are differing from one potter to another potter. Each potter has his own individual style. For example, elephants are made in the same way but they have very different shapes from one potter to another.

Process:

A wheel is used for preliminary process for the pots and for most of the toys. This wheel is called ‘Chakedo’ in the Kutchi language. This wheel is made from a large, absolutely balanced disc like a cartwheel, made of wood but packed with soil to make it heavy. Wooden claimed hold up a platform at the centre on which the pot is prepared. An iron rotate supports the centre of the wheel. The wheel is competently rotated at speed using the stick positioned in the small hole at the border of the wheel. The weight of soil makes the disk be active as a flywheel, keeping the wheel in the momentum for a long stage of time.

Clay is broken up nearby and prepared by the relatives. Afterwards, it is thrown on the wheel to shape the elementary pot. The pots cannot be completed on the wheel as they typically have a round substructure. Therefore, after some hours, when the pot has incompletely dried and toughened, the pot is supported from inside and flattened with a wooden hit chasing the pot into the most wanted shape. Then, it is allowed to dry completely.

The sculptures are regularly made on the wheel. When these are dry, they are trapped together and covered with fresh soil. Then, sequences of the animals’ features are added and the surface is smoothed out. The paintings on the pottery are typically done by women folk and for this reason, the process of pottery becomes a family expertise. The paintings are generally made from black, red and white earth colouring matters found nearby. ‘Gheru’ is made from red mud, ‘Goru’ from white soil and ‘Karu’ from black stone. Normally, the pots are given a wash of the base colour and then the other colours are painted over by the help of bamboo stick. Many different decorative designs are prepared by using dots, diagonal, concentric and zigzag lines.

Finally, the pots are fired up using the open-firing process. Afterwards, the pots are piled up or produced and mixture of dried cow dung, straw and other fuel is piled up around the pots to form a field. Then, mud is sited over the whole pile. With suspiciously positioned air channels, the fire burns for several days. The pots are removed when cool.

Patchwork

 

Appliqué work in Kutch was developed out of piecing cloth together as coverlets or working out patterns by applying pieces of clothes of different colours and textures. The women of different communities have their separate styles, the most individual being that of the Rabari and Harijan communities of Kutch. The finest work is seen on the decorative hanging which covers the quilted materials. Every bride had to have at least there appliqué pieces for her collection of clothes. Articles for daily use which were in constant use were strengthened by the decorative patch work. The colours are principally brown or black with slight use of pieces of Mashru, tie and dye and single colours of bright green, yellow, orange, red and white.

The finest and slightest work known as patch work is done by the Danetah Jats of the village Thal, who makes stripes of changeable colours and designs to decorate stretched out pillows. The stripes are unbelievably tiny and pointed pieces rather than triangular and embroidered with buttonhole stitches and colourful criss-cross edgings. Wall hangings and a variety of other objects for daily use find a steady market.

Lacquerware

Lacquer Ware is an antique craft of India and Kutch also. The Slices/ ‘Lac’ or ‘Lakh’ is originally come from the Sanskrit Slices/ which means hundred thousand. The material Lac is arisen from a little insect which discharges a sticky substance to shape itself a protecting cover. It takes about one lakh and fifty thousands insects to make just half a kilogram of shellac. The insect lives in particular types of trees including Babul which is common in Kutch.

Process:

Wood of the tree Babul is given a irregular shape by using an axe. Afterwards, it is twisted on a simple short lathe (Machine for shaping woods), called as Sanghedas using a shape. A coloured lac stick is useful on the rotating wood to give the wood a tough solid level, while it is still on lathe. Then, by pressing another piece of wood against it, resistance causes the lac to warm and liquefy and therefore, spreading it into a still covering the wood with a tough solid coat. An application of groundnut oil is used to make the final process without any difficulty.

By operating different colours in layers, a variety of effects are accomplished. Often, a top layer of the colour is chiseled off in a geometric or flower-patterned to expose the colours below.

Lacquer Ware is a twisted wood covered with coloured and often patterned lacquer. The main lacquer Ware products of Kutch are chakla – velan (Chapatti roller and board), charpai (bedsteads) toys, bajoth (stool), khandani (grinder and mortars) pots for storing spices and dandia (sticks to play folk dance).

Iron Bell (Kharaki)

The Iron Bell is used to recognize the animal by the farm animals’ herders in Kutch. The blacksmiths are also called ‘Luhars’ and they are experts in making these bells from iron container. The iron bells are prepared in Zura, Nirona and Nana Angia of Kutch.

Process:

Preparing the iron bell is a very impressive and interesting process. The expenditure tins are bought from Bhuj. The blacksmith makes the figure of bell after cutting the required and calculated tin with the help of some tools. Then, a mixture of watered dirt and cheek is prepared. This paste is filled in and around the bell and then, it is keen in the oven. Increasingly, the cheek powdered paste is liquefied by heat and sticks to the bell. This way the bell is been prepared.

A small stick of wood is fixed inside the bell for ringing. Sometimes, some designs are made by monument and flaming dyes on it. These impressive bells are prepared in many sizes and shapes.

Gold and Silver

Gold and silver work is very close in competition with Bandhani tie and dye for the first special skills or techniques of Kutch district. It is commonly known as ‘Kutchwork’. Kutch has been famous for a long time for the greater design and workmanship of its gold and silver articles for sale. Conventionally, the craft repays a lot in the importance and significance to the magnificent benefaction attached with inheritance skill and workmanship. Another reason which contributed to the increase of silver technique in Kutch district was importing gold and exporting silver goods without paying much of traditions holy being. With the arrival of Independence and the disappearance of the investment of generous state, the skill has been directed a place backside. But the fundamental advantage is also the constant demand for silver jewellery of traditional designs by the restricted population has come to free of this technique.

Based on the conditions of work, they are confidential into:

a) Independent craftsmen

b) Those who are full of activity with others

c) Those who are members of co-operative society.

The tools employed by the craftsmen are holders, records, molders, hammers, brushes, cutters etc. Gold, silver are the required rare resources. The former two are used nearby and largely imported from Switzerland.

Two main categories of work are Kutch Work and Meena Kam (enameling) and gilding is the retreating third one.

Beadwork

Bead work is a form of embroidery that has the difference of being both two and three dimensional. It is used to create wall hangings as well as enclosements for hard objects like pot rests and water vessels.

This craft was developed in the ending of 19th century with the use of imported Venetian beads (rounded pieces of glasses) for decorative purposes and the designed were based on an inventory of flower-patterned and geometric decorative designs. The decorative designs are stated authoritatively by the technique of putting two and three beads together. The art of sloping the beads is important as their size, texture and colours give the luxury and regularity of the pattern. Pillow cases, ropes of swings and cradle- frames for fans etc. are covered in bead work inspiring the simplest article of daily use.

Almost all old pieces are difficult beads while later pieces include semi-transparent and semi precious coloured with red and green. A simple mathematical calculation to create patterns is working. However, the high degrees of superiority, the number of people involved in its production, the brightness and correctness of its style and technique all make it a major craft of Kutch.

With thread and a small needle, stylized patterns are created from beads of different colours. In bead work, decorative items such as torans-horizontal doorway hangings, ceremonial square hangings-chaklas, as well as pillow covers and indoni, a circular object for balancing water pots on the heads etc. are created by women. The Dhebaria Rabaris of eastern Kutch are well-known for fantastic bead work. Working in a three bead technique, which secures heads; women make netting for ornaments and various articles. Articles made from beads are also created and offered in temples for wishes to be granted.

Bandhani - Tie 'N' Dye

Introduction

Bandhani-tie and dye is the most important traditional handiwork of Kutchi people. Bandhanis are very closely associated with deep rooted social customs. It is treated as a symbol of married life. It is a must in the marriages of Hindus and Muslims. Discovery of dyed cotton fabric dating back to the Indus valley civilization shows that the art of dyeing using penetrating was well known to the dyers about 5000 years ago. Tie-dye still continues to have an important position in Gujarat.

Bandhani tie and dye is found in some forms in almost all parts of the world. ‘Bandhani’ is also called as ‘Bandhej’ came originally from the word ‘Bandhana’ (to tie). Today, most of the Bandhani produced in India is made in Kutch, Saurastra and in other neighbouring districts.

Production Process

The process of tie-dye is relatively simple, but it is very difficult and time consuming. The material to be used is folded more than a few times until reduced to a square or rectangular piece. It is spread on wooden table and desired designs are marked on it with a wooden block (An even nail block) using ‘Gheru’ (Red oxide) mixed with water. Then, it is taken off the table given to a Bandhani craftsperson, who purposely allows the thumb and the finger nail to grow long so as to use them as a pair of tongs for trying the marked portions into tiny knots. The decorative designs indicated by the block are sized and skillfully tied with thread thus retaining the original colour of the material in that portion. Then, it is dyed in a light colour generally yellow. The area requiring yellow is once again tied and later dyed in red or another required dark colour. Thus, the different colours required are introduced into the materials. After the process of tying and dyeing, the cloth is washed with soft water to remove the colour impurities. Then, to remove the colour knots, the process of hitching is done. Two ends of the cloth material are caught by two persons. It is a little hitched in the open air or in the sunlight so that the knots are automatically removed and the tied parts are free. The traditional motifs used are like Sikar, Kori, Badam, Champakali, Kharek etc. Bandhani is used in main products like sarees, Punjabi dresses, cloth, skirts and shawls etc. Tie-dye Odhanis are produced in cotton, silk and georgette. Mandvi, Bhuj, Khavda, Dhamanka, Tera, Bara and Anjar are main centres of tie-dye. According to the survey of tie-dyeing held in 1961, the completion of a piece of the ‘Bandhani’ takes almost eight hours. Red knots can also be removed or lightened or even eliminated by submerging the cloth in a solution of caustic soda and sodium hydrosulphite.

The finished piece is then washed and decent. Bandhani textiles are regularly sold still tied up so that the customer can be sure that it is not a printed artificial and perhaps also so that the customer can have pleasure of seeing the pattern exposed when the cloth which appears to be all in one colour after its final dyeing is pulled separately from its folds and the binding cotton falls away from the plane. While Chunari with a design made up of small dots is possibly the most attribute type of Indian tie dye material, the banded or zig zag ‘Laharia’ is also extensively seen in Kutch today. The method is equally one of enfold oppose but in this case the whole cloth is rotated up and tied at intervals to shape stripes. Only tremendous cloth, usually thin cotton of ‘malmal’ (Kutchi word) can be used for this process as the dye must go through the whole tightly rolled material. The cloth is rolled crossways from one corner to form a striped pattern or folded like a fan, usually in four to create a zigzag as in ‘Chunari’ dyeing, consecutive tied and engagement in dye baths produce a succession of colours. If the cloth is untied and re-rolled from the opposite diagonal, a checked effect results called ‘Mothara’.

The dyes of all types of Bandhani work used today are always artificial. The widespread dyes were originally thought from the ancestry of Morinda Cordifolia, in combination with an double sulphate of Aluminium and Potassium caustic for the fast (Pakka) red, Kasum from the petals of sunflowers, Carthamus Tintorius for Kutch red, Haldi from the tuber of Curcuma Domestica with Chhach for yellow and Gali, Indigo from the leaves of Indigofera Tintria for blue. Their financial records of sloping sharply with the cloths of difference of several days and strong with the simple summary are required for chemical dyes to create the result. The difficult work of collecting the dye plants and obtaining their dyes are not referenced by either of 19th Century writers but it is hardly surprising that current dyers enthusiastically took up the opportunely tinned colours that took their place.

Bandhani is done with cotton, gajji silk, fur, muslin etc. in Gujarat. The smooth weave known as gajji which was used for more costly Bandhani textiles up to the early 20th Century gives richness to the delicately worked designs which are distinctive of Gujarati tie and dye skills.

Although the impressive silk sarees and odhanis decorated with peacocks, flowers, dances or a ‘Rasamandala, designs used as cheerful dress. The high-quality kind of bandhani in Gujarat is most recurrently made not of silk but of cotton. It is popular as ‘Gharcholu’, the traditional wedding ‘Odhani’ of the Hindus bride now also legally taken by Jain women and even worn as sarees by guests at weddings. The fine cotton is divided into separated by the partitions by natural fiber stripes of gold brocade, the gold checkered fabric being made in Porbandar, although it was formerly imported from Varanasi. The most important ‘gharcholu’ design are called ‘Bar Bhag’ (12 sections) of ‘Bavan Bhag’ (52 sections) controlling on the number of decorative designs and squares. To save cost, the designs may be tie-dyed into a plain red cotton cloth without the gold rich fabric woven. The buyers having enough money for the zari chowk Saree is more attractive. Another negotiation can be achieved by stitching gold ribbon in strips on the tie dyed Sari, yet another step down the steps of traditional methods is taken when the design itself is roller printed.

The ‘Gharcholu’ designs are given to a girl by her husband at the time of their wedding. She usually arranges it over her head. It is exclusively covered during the ceremony, while she wears under the traditional white silk saree called ‘Panetar’ with a red border.

According to the survey, more complicated designs in Bandhanis are finished in villages of Kutch. Many of them are sent to Jamnagar for dyeing and advertising. As stated in the survey of 1961, there were about 4000 people functioning in the tie-dye industry in Kutch mostly in Bhuj and Anjar. The leading persons in Kutch are ‘Khatris’ who have expended a effective monopoly on textile production since middle aged times. It is said that the Khatris have been came from Sind.

The tie-dyed silk fabrics worn by the Khatri Muslims are completely different from the Hindus. The Hindus and the Muslims country communities normally make extensive use of Bandhani textiles, both as ‘Chunaris’ and ‘skirts’. Their fairly basic linear designs are originally from Sind. The waterless areas of Northen Kutch and Banni are just like deserts and many communities describe their origins to Sind. Complex embroidered patterns are often added over the basic tie dye fabric and a practice is also seen in more difficult level both in designs and techniques among the Khatri Muslims.