This document provides an overview of Mahatma Gandhi's promotion of khadi (hand-spun and hand-woven cloth) in India. It discusses the history of textile production in India, how the British industrialization negatively impacted Indian handloom weavers, and Gandhi's role in championing khadi as a way to economically and politically empower people. After independence, organizations like the All India Khadi and Village Industries Board were formed to continue developing and promoting khadi.
Khadi is a handspun and handwoven fabric that originated over 5,000 years ago in India. Mahatma Gandhi revived the production of khadi in 1921 as part of his nonviolent independence movement. Khadi is created through processes like handpicking cotton, ginning, carding, spinning on a charkha, warping, weaving, and finishing. It is a sustainable fabric that provides employment, especially to women in rural India. Khadi advocates for self-worth and self-sufficiency through human labor.
Khadi is a hand-spun and hand-woven fabric that allows maximum air flow to the body, making it one of the coolest and most comfortable fabrics. It is produced using soft twist threads imparted by hand and is known as the fabric used to make the flag of India. Khadi has expanded from just a fabric to a brand name under which many products are launched, including woolen products, hospital linen, leather products, and organic manure. However, it lacks in promotional activities and advertising, leading to a lack of awareness among masses. The Khadi and Village Industries Commission was established in 1957 to provide employment through khadi production and make villages self-reliant. It
The document provides information on traditional costumes and textiles from the Madhya Pradesh and Maharashtra regions of India, including Bagh prints, Chanderi sarees, and Maheshwari sarees. It describes the origins and production processes of Bagh prints, known for their intricate hand-block printing designs in black and red on a white background. It outlines the traditional characteristics of Chanderi sarees such as their silk warp and cotton weft with zari ornamentation. Finally, it discusses the history and features of Maheshwari sarees from the town of Maheshwar, known for their plain bodies and distinctive borders and pallus.
This document provides information on various traditional textiles from different regions of India, including Sindhi embroidery from Gujarat, Kashmiri shawls, Phulkari embroidery from Punjab, Kalamkari printing from Andhra Pradesh, Mudhubani painting from Bihar, Bandhani tie-dye from Rajasthan and Gujarat, Chikankari embroidery from Uttar Pradesh, Kasuti embroidery from Karnataka, Kantha quilting from Bengal, and Baluchari, Jamdani, Ikat, Patola and Pochampally woven textiles. For each style, the document outlines the base fabrics, threads, stitches, motifs and products typically featuring each textile
Sanganer near Jaipur, Rajasthan is famous for its traditional block printing technique used to create intricate floral motifs on fabrics. The handmade wooden blocks are used to apply natural dyes to cotton and silk fabrics by pressing the blocks with carved designs onto the cloth. Some key aspects of Sanganeri printing include its delicate floral patterns printed on white fabric, use of multiple blocks to create layered colored designs, and motifs depicting flowers common to the region. The centuries-old techniques provide economic opportunities for local artisans and the distinctive prints are popular for clothing and home décor throughout India and internationally.
The document discusses the textiles and costumes of Rajasthan. It describes the vibrant colors that are characteristic of Rajasthani textiles which feature techniques like tie-dye, block printing, embroidery and others. The block printing centers of Sanganer and Bagru are mentioned. It also details the traditional costumes worn by Rajasthani women including the puthia, kanchli, kurti and ghaghra skirt, along with fabrics and designs specific to different regions and communities. Metal embroidery, quilting and other crafts are also summarized.
Kashmiri embroidery, also known as Kashida, is known for its fine stitches and flat, formalized designs. Common stitches used include satin stitch, stem stitch, chain stitch, and darning stitch. The embroidery is traditionally done by men in Kashmir on fabrics like silk and wool. Motifs often depict floral patterns and Kashmiri landscapes. The embroidery is known for its subtle colors and use of single thread to create symmetrical patterns on both sides of the fabric. Kashmiri embroidery is used to embellish garments, home goods, and other crafts like carpets.
Khadi is a handspun and handwoven fabric that originated over 5,000 years ago in India. Mahatma Gandhi revived the production of khadi in 1921 as part of his nonviolent independence movement. Khadi is created through processes like handpicking cotton, ginning, carding, spinning on a charkha, warping, weaving, and finishing. It is a sustainable fabric that provides employment, especially to women in rural India. Khadi advocates for self-worth and self-sufficiency through human labor.
Khadi is a hand-spun and hand-woven fabric that allows maximum air flow to the body, making it one of the coolest and most comfortable fabrics. It is produced using soft twist threads imparted by hand and is known as the fabric used to make the flag of India. Khadi has expanded from just a fabric to a brand name under which many products are launched, including woolen products, hospital linen, leather products, and organic manure. However, it lacks in promotional activities and advertising, leading to a lack of awareness among masses. The Khadi and Village Industries Commission was established in 1957 to provide employment through khadi production and make villages self-reliant. It
The document provides information on traditional costumes and textiles from the Madhya Pradesh and Maharashtra regions of India, including Bagh prints, Chanderi sarees, and Maheshwari sarees. It describes the origins and production processes of Bagh prints, known for their intricate hand-block printing designs in black and red on a white background. It outlines the traditional characteristics of Chanderi sarees such as their silk warp and cotton weft with zari ornamentation. Finally, it discusses the history and features of Maheshwari sarees from the town of Maheshwar, known for their plain bodies and distinctive borders and pallus.
This document provides information on various traditional textiles from different regions of India, including Sindhi embroidery from Gujarat, Kashmiri shawls, Phulkari embroidery from Punjab, Kalamkari printing from Andhra Pradesh, Mudhubani painting from Bihar, Bandhani tie-dye from Rajasthan and Gujarat, Chikankari embroidery from Uttar Pradesh, Kasuti embroidery from Karnataka, Kantha quilting from Bengal, and Baluchari, Jamdani, Ikat, Patola and Pochampally woven textiles. For each style, the document outlines the base fabrics, threads, stitches, motifs and products typically featuring each textile
Sanganer near Jaipur, Rajasthan is famous for its traditional block printing technique used to create intricate floral motifs on fabrics. The handmade wooden blocks are used to apply natural dyes to cotton and silk fabrics by pressing the blocks with carved designs onto the cloth. Some key aspects of Sanganeri printing include its delicate floral patterns printed on white fabric, use of multiple blocks to create layered colored designs, and motifs depicting flowers common to the region. The centuries-old techniques provide economic opportunities for local artisans and the distinctive prints are popular for clothing and home décor throughout India and internationally.
The document discusses the textiles and costumes of Rajasthan. It describes the vibrant colors that are characteristic of Rajasthani textiles which feature techniques like tie-dye, block printing, embroidery and others. The block printing centers of Sanganer and Bagru are mentioned. It also details the traditional costumes worn by Rajasthani women including the puthia, kanchli, kurti and ghaghra skirt, along with fabrics and designs specific to different regions and communities. Metal embroidery, quilting and other crafts are also summarized.
Kashmiri embroidery, also known as Kashida, is known for its fine stitches and flat, formalized designs. Common stitches used include satin stitch, stem stitch, chain stitch, and darning stitch. The embroidery is traditionally done by men in Kashmir on fabrics like silk and wool. Motifs often depict floral patterns and Kashmiri landscapes. The embroidery is known for its subtle colors and use of single thread to create symmetrical patterns on both sides of the fabric. Kashmiri embroidery is used to embellish garments, home goods, and other crafts like carpets.
The document provides information about Chanderi sarees, a famous handloom fabric from Chanderi, Madhya Pradesh, India. Some key points:
- Chanderi sarees are known for their light weight, glossy texture and richness. They can be made of pure silk, cotton-silk blends.
- The weaving tradition dates back to the Vedic period. Motifs have evolved from traditional designs like peacocks to modern geometrics.
- Production is protected via a Geographic Indication and the handloom tradition employs over 18,000 people. Proper care involves dry cleaning or mild washing and avoiding direct sunlight.
The document discusses the handicraft industry in Jammu and Kashmir. It notes that the handicraft sector provides employment for about 3.78 lakh workers and had production of Rs. 1650.30 crores in 2012-13. A major export, handicraft goods worth Rs. 1080.80 crore were exported in 2012-13. Shawl making is a prominent handicraft in the region, with the traditional process involving harvesting, sorting, spinning, weaving, and finishing. The industry has potential for employment and exports but faces challenges like underdeveloped infrastructure, lack of modernization, and impact of political instability on production.
Jamdani is a traditional muslin textile produced in Dhaka, Bangladesh using intricate hand weaving techniques. The word Jamdani comes from Persian and means "flower vase." It is known for its fine texture and elaborate floral motifs woven into the fabric. Jamdani weaving is a complex and time-intensive process that involves using different colored supplemental weft threads to embroider intricate patterns into the base fabric. There are several regional varieties of Jamdani produced in Bangladesh including Dhakai Jamdani, Tangail Jamdani, and Dhaniakhali Jamdani, which differ in techniques, motifs, and base fabrics used. Efforts are underway to revive this traditional textile
The handloom industry in India provides employment to over 4.3 million people and accounts for 14.9% of the country's total cloth production, making it the second largest employment sector in rural India after agriculture. It is comprised of over 2.3 million looms operated across thousands of villages and towns. While handloom products face competition from other countries, the industry has potential for growth in domestic and international markets through improved marketing, product development, and process efficiencies.
This document is a project dissertation submitted by Ms. Nidhi Nayak on Chikankari, a traditional embroidery art from Lucknow, India. It provides an introduction to Chikankari and discusses its origins in Persia and development in Lucknow. The dissertation also examines the history of Chikankari, describes the various stitching techniques used, and outlines the traditional production process of block printing designs, embroidery, and washing the finished textiles.
Khadi is a hand-spun and hand-woven fabric that originated in India. It gained significance during the Indian independence movement led by Mahatma Gandhi as a symbol of self-reliance and nationalism. The Khadi and Village Industries Commission was established in 1956 to promote the production of khadi and other village industries. Many famous fashion designers in India and abroad now feature khadi in their collections due to its eco-friendly qualities and connection to Indian heritage. New technologies like e-charkhas aim to modernize khadi production while keeping its traditional methods.
Bandhani printing is a tie-dye technique mainly practiced in Rajasthan and Gujarat, India. The traditional colors used are yellow, red, green, blue, and black in shapes like dots, squares, waves and stripes. The process involves tying the fabric with plastic shapes and dyeing it with natural dyes extracted from plants. Different shapes used in the patterns have symbolic meanings and the technique is an important part of the cultural heritage of western India.
The document provides information about traditional woven textiles from India, including muslin and jamdani fabrics. It discusses the origins, history, production process, and characteristics of dhaka muslin and jamdani textiles. It also provides details about chanderi fabric, including that it is made from silk/cotton or pure silk threads woven with traditional cotton yarn and gold zari to create a luxurious sheer texture. Motifs are handwoven using needles and often feature nature-inspired designs coated in gold, silver, or copper.
Khadi is a handspun, handwoven cloth that was promoted by Gandhi as a symbol of self-reliance and India's independence movement. It is made from soft twist threads that allow air to enter the body, making it comfortable. The Khadi and Village Industries Commission was established in 1957 to promote khadi production and provide rural employment. While khadi was once a leading industry, it has declined in popularity due to lack of promotion and preference for foreign brands. However, it still employs millions of rural Indians and efforts are being made to expand its production and market share.
Applique is a technique where pieces of fabric are sewn on to a base fabric to create patterns or images. Pipli, India is well known for its intricate applique work, traditionally used to decorate canopies, quilts, and chariot covers. Modern applique artisans in Pipli and other parts of Orissa and India experiment with new fabrics, colors, and applique techniques to produce a variety of decorative home goods and clothing that have growing popularity as tourist souvenirs and inspirations for designers.
The document discusses different types of Indian brocades such as those produced in Banaras. It outlines the various threads, dyes, motifs, and designs used in brocade weaving. Specific types are described like opaque zari brocade, ab-e-rawan, tissue brocades, himrus, and amrus. The weaving process is intricate and can take several months to complete using traditional jacquard looms. Brocades originated in Banaras but are also woven in other Indian cities.
The Chamba Rumal is a form of embroidery that originated in the Chamba region of Himachal Pradesh. [1] It involved outlining designs in charcoal which women would then embroider using untwisted silk thread in the double satin stitch. [2] Common motifs included religious scenes, characters from epics like the Ramayana and Mahabharata, and animals. [3] The craft has declined but efforts are being made to revive traditional techniques and promote the unique embroidery.
here is brief information about Ahir and Heer Bharat embroideries of Gujarat, including origin, history, techniques used in making, motifs and designers.
you can check out how I used this embroidery in woman's apparel by clicking this link
https://www.behance.net/gallery/99553209/Heer-bharat-%28embroidery%29
Paithani saris are finely woven silk saris from the town of Paithan in Maharashtra, India. They have intricate brocaded designs woven using silk threads and real gold and silver. Weaving a Paithani sari is an intricate artisanal process that can take over two months and sometimes up to a year to complete. They are considered heirlooms and are passed down through generations. Paithani saris originated during the Satvahana dynasty and were later popularized during Mughal and Nizam rule in the region. They feature elaborate motifs inspired by nature and architecture.
Kushan and Kanishka era clothing, hairstyles, and jewelry are described. Men wore antariya, uttariya, and kayabandh with a turban. Women wore an antariya sari-style and uttariya shawl. Common hairstyles included leaves in hair and forehead curls. Popular jewelry included pearl necklaces, disc earrings, and ankle rings. Men's tunics and coats are detailed along with their belts, boots, and turbaned hairstyles.
Ikat is a resist dyeing technique used in weaving that binds areas of yarn before dyeing to create patterns and designs. It is believed ikat textiles developed in coastal Indian states through ancient trade with Indonesia. Ikat can be produced in warp ikat (dyed warp threads), weft ikat (dyed weft threads), and double ikat (dyed both warp and weft threads). The intricate production process involves skillfully binding yarns with dyes, then weaving the dyed threads to produce vibrant, unique textile designs.
Phulkari is a traditional embroidery art from Punjab involving intricate needlework on odhni (head drapes or shawls). It originated with the migrant Jat people from Central Asia and was transmitted orally, resulting in regional variations. Phulkari is linked to important events in a woman's life and signifies more than just clothing. There are two main types - Bagh, where embroidery is so dense the base color disappears, and Chope which involves embroidery along borders. Motifs draw from everyday life and include flowers, fruits, and animals. The art continues to evolve today in its patterns, products, and techniques.
This document provides summaries of traditional textiles from different states and regions across India, including Mizoram's puan skirt, Haryana's panja durries, Goa's kunbi sarees, Odisha's Sambalpuri sarees, Sikkim's lepcha fabric, Meghalaya's eri silk, Jharkhand's kuchai silk, Himachal Pradesh's Kullu shawls, Rajasthan's shisha embroidery, Madhya Pradesh's Chanderi sarees, Gujarat's bandhani tie-dye fabric, Telangana's Pochampally ikat, Nagaland's Naga sh
Gandhi's ideals of truth, non-violence, and swaraj are summarized. Truth meant keeping one's soul intact despite provocations. Satyagraha meant holding on to truth through non-violence and self-suffering. Ahimsa meant non-violence and not harming others through actions or thoughts. Swaraj referred to both political freedom from British rule as well as spiritual freedom through self-purification and eliminating social evils. Khadi and the charkha played a key role in India's independence movement and its economic and social development according to Gandhi's vision of self-reliance and decentralized production.
The document provides information about Chanderi sarees, a famous handloom fabric from Chanderi, Madhya Pradesh, India. Some key points:
- Chanderi sarees are known for their light weight, glossy texture and richness. They can be made of pure silk, cotton-silk blends.
- The weaving tradition dates back to the Vedic period. Motifs have evolved from traditional designs like peacocks to modern geometrics.
- Production is protected via a Geographic Indication and the handloom tradition employs over 18,000 people. Proper care involves dry cleaning or mild washing and avoiding direct sunlight.
The document discusses the handicraft industry in Jammu and Kashmir. It notes that the handicraft sector provides employment for about 3.78 lakh workers and had production of Rs. 1650.30 crores in 2012-13. A major export, handicraft goods worth Rs. 1080.80 crore were exported in 2012-13. Shawl making is a prominent handicraft in the region, with the traditional process involving harvesting, sorting, spinning, weaving, and finishing. The industry has potential for employment and exports but faces challenges like underdeveloped infrastructure, lack of modernization, and impact of political instability on production.
Jamdani is a traditional muslin textile produced in Dhaka, Bangladesh using intricate hand weaving techniques. The word Jamdani comes from Persian and means "flower vase." It is known for its fine texture and elaborate floral motifs woven into the fabric. Jamdani weaving is a complex and time-intensive process that involves using different colored supplemental weft threads to embroider intricate patterns into the base fabric. There are several regional varieties of Jamdani produced in Bangladesh including Dhakai Jamdani, Tangail Jamdani, and Dhaniakhali Jamdani, which differ in techniques, motifs, and base fabrics used. Efforts are underway to revive this traditional textile
The handloom industry in India provides employment to over 4.3 million people and accounts for 14.9% of the country's total cloth production, making it the second largest employment sector in rural India after agriculture. It is comprised of over 2.3 million looms operated across thousands of villages and towns. While handloom products face competition from other countries, the industry has potential for growth in domestic and international markets through improved marketing, product development, and process efficiencies.
This document is a project dissertation submitted by Ms. Nidhi Nayak on Chikankari, a traditional embroidery art from Lucknow, India. It provides an introduction to Chikankari and discusses its origins in Persia and development in Lucknow. The dissertation also examines the history of Chikankari, describes the various stitching techniques used, and outlines the traditional production process of block printing designs, embroidery, and washing the finished textiles.
Khadi is a hand-spun and hand-woven fabric that originated in India. It gained significance during the Indian independence movement led by Mahatma Gandhi as a symbol of self-reliance and nationalism. The Khadi and Village Industries Commission was established in 1956 to promote the production of khadi and other village industries. Many famous fashion designers in India and abroad now feature khadi in their collections due to its eco-friendly qualities and connection to Indian heritage. New technologies like e-charkhas aim to modernize khadi production while keeping its traditional methods.
Bandhani printing is a tie-dye technique mainly practiced in Rajasthan and Gujarat, India. The traditional colors used are yellow, red, green, blue, and black in shapes like dots, squares, waves and stripes. The process involves tying the fabric with plastic shapes and dyeing it with natural dyes extracted from plants. Different shapes used in the patterns have symbolic meanings and the technique is an important part of the cultural heritage of western India.
The document provides information about traditional woven textiles from India, including muslin and jamdani fabrics. It discusses the origins, history, production process, and characteristics of dhaka muslin and jamdani textiles. It also provides details about chanderi fabric, including that it is made from silk/cotton or pure silk threads woven with traditional cotton yarn and gold zari to create a luxurious sheer texture. Motifs are handwoven using needles and often feature nature-inspired designs coated in gold, silver, or copper.
Khadi is a handspun, handwoven cloth that was promoted by Gandhi as a symbol of self-reliance and India's independence movement. It is made from soft twist threads that allow air to enter the body, making it comfortable. The Khadi and Village Industries Commission was established in 1957 to promote khadi production and provide rural employment. While khadi was once a leading industry, it has declined in popularity due to lack of promotion and preference for foreign brands. However, it still employs millions of rural Indians and efforts are being made to expand its production and market share.
Applique is a technique where pieces of fabric are sewn on to a base fabric to create patterns or images. Pipli, India is well known for its intricate applique work, traditionally used to decorate canopies, quilts, and chariot covers. Modern applique artisans in Pipli and other parts of Orissa and India experiment with new fabrics, colors, and applique techniques to produce a variety of decorative home goods and clothing that have growing popularity as tourist souvenirs and inspirations for designers.
The document discusses different types of Indian brocades such as those produced in Banaras. It outlines the various threads, dyes, motifs, and designs used in brocade weaving. Specific types are described like opaque zari brocade, ab-e-rawan, tissue brocades, himrus, and amrus. The weaving process is intricate and can take several months to complete using traditional jacquard looms. Brocades originated in Banaras but are also woven in other Indian cities.
The Chamba Rumal is a form of embroidery that originated in the Chamba region of Himachal Pradesh. [1] It involved outlining designs in charcoal which women would then embroider using untwisted silk thread in the double satin stitch. [2] Common motifs included religious scenes, characters from epics like the Ramayana and Mahabharata, and animals. [3] The craft has declined but efforts are being made to revive traditional techniques and promote the unique embroidery.
here is brief information about Ahir and Heer Bharat embroideries of Gujarat, including origin, history, techniques used in making, motifs and designers.
you can check out how I used this embroidery in woman's apparel by clicking this link
https://www.behance.net/gallery/99553209/Heer-bharat-%28embroidery%29
Paithani saris are finely woven silk saris from the town of Paithan in Maharashtra, India. They have intricate brocaded designs woven using silk threads and real gold and silver. Weaving a Paithani sari is an intricate artisanal process that can take over two months and sometimes up to a year to complete. They are considered heirlooms and are passed down through generations. Paithani saris originated during the Satvahana dynasty and were later popularized during Mughal and Nizam rule in the region. They feature elaborate motifs inspired by nature and architecture.
Kushan and Kanishka era clothing, hairstyles, and jewelry are described. Men wore antariya, uttariya, and kayabandh with a turban. Women wore an antariya sari-style and uttariya shawl. Common hairstyles included leaves in hair and forehead curls. Popular jewelry included pearl necklaces, disc earrings, and ankle rings. Men's tunics and coats are detailed along with their belts, boots, and turbaned hairstyles.
Ikat is a resist dyeing technique used in weaving that binds areas of yarn before dyeing to create patterns and designs. It is believed ikat textiles developed in coastal Indian states through ancient trade with Indonesia. Ikat can be produced in warp ikat (dyed warp threads), weft ikat (dyed weft threads), and double ikat (dyed both warp and weft threads). The intricate production process involves skillfully binding yarns with dyes, then weaving the dyed threads to produce vibrant, unique textile designs.
Phulkari is a traditional embroidery art from Punjab involving intricate needlework on odhni (head drapes or shawls). It originated with the migrant Jat people from Central Asia and was transmitted orally, resulting in regional variations. Phulkari is linked to important events in a woman's life and signifies more than just clothing. There are two main types - Bagh, where embroidery is so dense the base color disappears, and Chope which involves embroidery along borders. Motifs draw from everyday life and include flowers, fruits, and animals. The art continues to evolve today in its patterns, products, and techniques.
This document provides summaries of traditional textiles from different states and regions across India, including Mizoram's puan skirt, Haryana's panja durries, Goa's kunbi sarees, Odisha's Sambalpuri sarees, Sikkim's lepcha fabric, Meghalaya's eri silk, Jharkhand's kuchai silk, Himachal Pradesh's Kullu shawls, Rajasthan's shisha embroidery, Madhya Pradesh's Chanderi sarees, Gujarat's bandhani tie-dye fabric, Telangana's Pochampally ikat, Nagaland's Naga sh
Gandhi's ideals of truth, non-violence, and swaraj are summarized. Truth meant keeping one's soul intact despite provocations. Satyagraha meant holding on to truth through non-violence and self-suffering. Ahimsa meant non-violence and not harming others through actions or thoughts. Swaraj referred to both political freedom from British rule as well as spiritual freedom through self-purification and eliminating social evils. Khadi and the charkha played a key role in India's independence movement and its economic and social development according to Gandhi's vision of self-reliance and decentralized production.
Khadi is a handspun and handwoven cloth that was promoted by Gandhi as a symbol of self-reliance and Indian independence. However, over time it lost popularity due to cheaper machine-made alternatives. Recently, KVIC has worked to revive khadi by marketing premium designer khadi clothing and ayurvedic products. Their high-end store in Delhi's Khan Market was very successful. KVIC now plans to upgrade their retail network and partner with design institutes to expand their product range and make khadi appealing to youth. For foreign markets, a thorough study of the local culture, tastes, economy, policies, and potential partners is needed to ensure khadi's
The Khadi and Village Industries Commission (KVIC) was established in 1956 by the Government of India to promote khadi and village industries in rural areas. Its objectives are to provide employment, produce saleable goods, and promote self-reliance among rural communities. KVIC plans training programs, supplies raw materials, promotes marketing, and provides financial assistance. It works to encourage cooperation, research, and the development of industries like mineral, forest, food, and polymer-based products. KVIC faces challenges in making village industry products more attractive to urban consumers and supporting more entrepreneurial activities through its existing schemes.
Khaadi is considering expanding into the Turkish market. As a Pakistani brand, Khaadi's strengths include its tradition-inspired designs and focus on modest Muslim fashion. However, entering Turkey also presents challenges as Khaadi does not currently have supply chain or brand recognition established in that market. It is recommended that Khaadi focus on high-value, furnished products from Pakistan to sell through a few flagship stores in major Turkish cities like Istanbul, Ankara, and Izmir, while maintaining Pakistan as its production headquarters. This approach would allow Khaadi to leverage its design expertise while minimizing risks as it introduces the brand to Turkish consumers.
The Khadi and Village Industries Commission (KVIC) was established in 1956 as a statutory organization to promote and develop khadi and village industries in rural areas of India. It provides training and financial assistance to institutions and individuals engaged in khadi and village industries. Some of its key schemes include PMEGP, RGSRY, and RISC. It aims to generate employment and make use of local resources and skills. The KVIC oversees the implementation of its schemes through various state offices, Khadi and village industries, and cooperative societies.
The document discusses the advantages of wearing khadi cloth, especially for a wedding ceremony. It lists seven key advantages: 1) It provides employment for poor people involved in spinning and weaving khadi. 2) It supports cotton farmers. 3) It is environmentally friendly. 4) It is breathable and healthy. 5) It represents a simple lifestyle and values of austerity. 6) It connects the wearer to the freedom movement and Gandhi's values. 7) For those who spin their own yarn, it is a joy to wear clothes made from one's own efforts. Wearing khadi makes one's dress a representation of the values one cherishes.
KVIC is the statutory organization established in 1956 to promote and develop khadi and village industries in India. Its objectives are to provide employment in rural areas, produce saleable goods, and promote self-reliance. KVIC functions include planning training, assisting in infrastructure and marketing, and ensuring quality standards. It is organized with a head office, zonal offices, state offices, and training centers. Major schemes implemented include PMEGP, interest subsidies, product development, and insurance for artisans. New initiatives focus on improving productivity, strengthening institutions, and glamorizing traditional khadi fabric.
The document proposes a new concept design for a Pakistani fashion retail outlet called Khaadi to blend traditional and modern elements. Key aspects of the new design include a tea and coffee bar counter facing a digital screen, featuring wall art borrowing from ancient designs with bright colors. The design aims to transport customers through memory lane while providing a modern atmosphere. Materials like concrete, wood, and steel will allow easy construction worldwide. The existing design lacks identity and merchandising attraction, while the new concept enhances the shopping experience through the five senses.
The document discusses various agricultural revolutions that occurred in India:
- The Green Revolution occurred between 1967-1978 and focused on increasing wheat and rice production through high-yield varieties and modern farming techniques. It was led by Dr. M.S. Swaminathan and originated from Norman Borlaug's research.
- The White Revolution occurred in the 1970s through Operation Flood, which made India the largest milk producer through dairy cooperatives led by Dr. Verghese Kurien.
- Other revolutions include the Yellow Revolution (oilseeds), Blue Revolution (fisheries), Brown Revolution (leather/cocoa), Black Revolution (petroleum), Grey Revolution (fertilizers), and Golden
Here are some key observations from on-site visits to FPS and interviews with beneficiaries:
- Ration cards are not updated regularly with latest household details like additions, deletions etc.
- Stock registers maintained by FPS owners are often incomplete or tampered with.
- FPS owners sometimes distribute less quantity than entitled or divert stock meant for PDS.
- Many beneficiaries complained of getting poor quality, damaged or wet stock.
- Transporters are involved in pilferage while transporting stock from depots to FPS.
- There is no mechanism to track movement of vehicles carrying PDS stock.
- Multiple/fake ration cards are being used to divert PDS stock meant for poor.
The document discusses the logistics involved in India's Public Distribution System (PDS). The PDS procures staple foods like rice and wheat and distributes them through a network of over 462,000 fair price shops to millions of Indian families with ration cards. It describes the key entities involved, including central and state governments, traders who operate fair price shops, and consumers. It then outlines the logistical processes of procurement, storage, transportation, bulk allocation, distribution to shops, and purchases by consumers at subsidized prices. The goal of the PDS is to ensure food security for the people of India.
Mahatma Gandhi led India's freedom struggle through nonviolent movements like the Champaran and Kheda satyagras, the non-cooperation movement, and the salt satyagraha. He was inspired by principles of truth, simplicity, and faith. Gandhi advocated practices of nonviolence, vegetarianism, swaraj (self-rule), and perseverance. He dressed simply in homespun cloth and advocated Indians spinning their own cloth to promote self-sufficiency and reduce unemployment. Gandhi believed in a non-violent rural economy and village self-sufficiency through locally-made goods and tools rather than exploitation through mass industrialization.
Mohandas Karamchand Gandhi was an Indian independence leader who pioneered non-violent civil disobedience. He led India to independence from British rule through Satyagraha, resisting tyranny without violence. Known worldwide as Mahatma Gandhi, he is considered the Father of the Nation in India. His birthday is a national holiday where he is commemorated for his message of non-violence that inspired human rights movements globally.
1) Khadi and the spinning wheel have religious significance for Gandhi as symbols of kinship between communities and helping the poor and hungry.
2) Khadi is the central fact of swadeshi or self-reliance and has immense political effects in India by helping millions of villagers.
3) Promoting khadi will empower women and help regenerate India by providing for villagers through the millions of cottage industries based on spinning.
This ppt provides brief description about M K Gandhi and J L Nehru.Also how they differ from each other i.e. points on which these two Indian legends have different point of view.
Copy of chairperson presentation 18 nov. 2006Adane Nega
1. The Mahatma Gandhi Institute of Rural Industrialization studied methods to modernize and improve khadi production techniques through applied research projects.
2. Key projects included developing finishing, dyeing with natural dyes, and mercerization techniques for khadi fabrics and demonstrating the technologies across different khadi institutions in India.
3. The first technology transferred was stiff and soft finishing of khadi garments through a model unit set up in Barabanki, which improved the quality, sale, and market acceptance of khadi products.
Mother Dairy is an Indian dairy company established in 1974 as a subsidiary of the National Dairy Development Board. It manufactures and sells milk, dairy products, edible oils, fresh and frozen fruits and vegetables, and processed foods. Mother Dairy aims to provide quality and affordable food while ensuring fair returns for producers. It has leading brands like Mother Dairy, Safal, and Dhara and is a major milk supplier in Delhi with over 66% market share in the branded sector. The company plans to expand its operations further across India.
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Chartered in 1600, the English East India Company eventually transformed England's Asian trade into an extensive colonial empire. Initially struggling to establish itself in India, the company created small outposts like its port at Fort Saint George in Madras. Within 150 years, the company had developed into a major military and political force in India, defeating other European trading companies and uniting much of India under British rule.
Textile industry of india case & analysis of siyaram silk mill ltdDharmik
This document discusses the textile industry of India and provides a case analysis of Siyaram Silk Mill Ltd. It begins with an introduction to the history of textiles and the textile industry in India. It then provides details about the structure and components of the Indian textile industry supply chain. The document also includes sections analyzing key aspects of the industry such as major players, industry averages, challenges, and the future outlook. It concludes with a SWOT analysis and a focus on Siyaram Silk Mill Ltd.
The document summarizes the history of textile and steel industries in India under British rule. It notes that the English East India Company initially came to trade Indian goods but later occupied India. British industrialization had a close connection to the colonization of India. Indian textiles, especially cotton, were renowned globally but British policies like the Calico Act restricted Indian textile exports. The Industrial Revolution in Britain decimated the Indian textile industry. The establishment of mills in India in the late 19th century marked a revival. Similarly, Wootz steel from India was renowned for swords but British policies led to the abandonment of iron smelting furnaces. The discovery of iron ore in Chhattisgarh and establishment of T
Indian textile industry past, present and the future.pdfAKASHRai812944
Was Indian textile sector always this successful, or were there any inventions or strategies that catapulted our country to the top 5 apparel and textile exporting countries in the world?
Indian textile industry past, present and the future.pptxAKASHRai812944
Was Indian textile sector always this successful, or were there any inventions or strategies that catapulted our country to the top 5 apparel and textile exporting countries in the world?
This document provides an introduction to cotton and the cotton spinning process. It discusses the history of cotton cultivation in India dating back thousands of years. It then covers the cotton plant life cycle and describes how cotton grows into bolls containing seeds and fibers. The document also discusses the ginning process for removing seeds from raw cotton fibers and classifications of cotton based on fiber length and quality.
The textile industry is a major driver of the economy in Kolhapur, India, particularly in Ichalkaranji. Ichalkaranji is one of the oldest textile industries in India and was once known as the "Manchester of Maharashtra" with over 5,000 textile factories. While Ichalkaranji was once famous for goods like cotton and saris, it now produces for international brands as well. Textiles from Kolhapur are sold throughout India and exported worldwide. Major technological innovations in the 20th century changed the textile business model globally and introduced new synthetic fibers. The Multi Fibre Arrangement from 1974-2004 imposed quotas on developing countries exporting textiles to developed nations, though it did
The text provides an overview of the textile industry in India, including:
1) The textile industry is one of the largest and oldest industries in India, providing employment to 35 million people and contributing 14% to GDP.
2) The history of the textile industry in India dates back 5000 years, and India was a major exporter of cotton textiles to Egypt in medieval periods.
3) The industry saw major growth after economic liberalization in 1991, and India is now the second largest textile producer in the world after China, earning 27% of foreign exchange from textile exports.
The textile industry, particularly cotton textiles, was the dominant industry during the Industrial Revolution. Mechanized production methods like the spinning jenny, water frame, and spinning mule greatly increased productivity in cotton spinning. By the 1830s, these machines increased the output of a cotton spinner by a factor of around 500 compared to hand spinning. The power loom also increased weaving productivity over 40-fold. This mechanization powered by steam engines transformed the British textile industry, increasing its economic contribution and allowing it to dominate global textile production in the early 19th century.
The document provides an overview of the history and development of the global textile industry. It discusses the evolution from ancient spinning and weaving techniques to modern industrial processes. Key events mentioned include the inventions that drove the first and second industrial revolutions, such as the spinning jenny and water frame. The document also summarizes current global textile production statistics and Bangladesh's role as a major exporter, particularly of garments. Bangladesh has become the second largest exporter of ready-made garments after China.
Cotton has a long history dating back thousands of years. The word cotton comes from the Arabic word 'Qutun' or 'Kutun' used to describe fine textiles. Some of the earliest fabric relics found in ancient civilizations were made of cotton. Scientists have found cotton fabric that is at least 7,000 years old in Mexico and cotton was being woven into cloth over 5,000 years ago in Pakistan. Cotton was first spun by machinery in England in 1730 and the cotton gin helped automate and increase cotton production in the late 18th century, making cotton clothing more widely available and affordable. Today cotton remains one of the most widely used natural textile materials.
Khadi is a soft, hand-spun cloth made from cotton that was important in India's independence movement. Mahatma Gandhi discovered the spinning wheel in London and had a vision of reviving ancient industries. He launched the khadi program in India in 1919 to encourage self-sufficiency and economic freedom. Khadi became a symbol of India's independence struggle as Gandhi wore it to show the movement was for all classes. After independence, the Indian government continued policies and organizations to support khadi and village industries as part of Gandhi's vision.
Part 2 Age of Industrialisation Ch 5 Historykanikagera
The document discusses the impact of industrialization on workers and weavers in India in the 18th and 19th centuries. Hundreds of workers migrated to cities in search of jobs but faced miserable conditions, unemployment, and hostility to new technologies. Weavers began protesting and then refusing loans and closing workshops as machine-made British textiles flooded markets and made hand-woven textiles uncompetitive. The document also describes how early Indian entrepreneurs accumulated wealth through trade and then invested in industries, though European managing agencies still controlled much of the industry.
the age of industrialisation class 10th cbse notesBETTERLEARNING
Industrialization began in England in the late 18th century and later spread to other parts of the world. It involved a shift from small-scale, cottage-based production to machine-based production in large factories. In India, the textile industry was an early center of industrialization, with cotton mills being set up in Bombay and Calcutta in the 1850s. However, most industries remained small-scale. The growth of the Manchester cotton industry in Britain negatively impacted Indian weavers, who lost bargaining power and lands. While factories employed some workers, most industrial labor remained in handicrafts. Advertising helped create new consumers and a market for both foreign and domestic industrial goods in India.
Industrialization began in Britain in the late 18th century and later spread to other parts of the world including India. In Britain, the cotton industry was an early leader followed by iron and steel. Factories consolidated production processes under one roof. In India, the East India Company disrupted traditional textile production networks and exerted greater control over weavers. The establishment of cotton mills in India in the mid-19th century competed with local handloom weavers and led many to abandon weaving. Advertising played a role in expanding markets for industrial goods and shaping new consumer cultures. Throughout the industrialization process, small-scale production remained important.
Do you not see rapid industrialization as a time of progress and modernity ? D you think that the spread of railways and factories, and construction of high-rise building and bridges is a sign of society's development ? Is industrialization always based on rapid technological development ? Can we today continue to glorify continuous mechanization of all work ? What has industrialization meant to people's lives ? To answer such questions we need to tun to the history of Industrialization. In this chapter we will look at this history by focusing first on Britain, the first industrial nation, and the India, where the pattern of industrial change was conditioned by colonial rule.
1. In the late 18th century, cotton fashion became more widespread and accessible to lower classes in Britain due to cheaper cotton goods. This led to a fashion revolution where dress was no longer just for the elite.
2. The cotton industry grew tremendously due to inventions like the cotton gin, driving Britain's Industrial Revolution. Mills popped up across northern England and cotton became known as "King Cotton", dominating towns and the economy.
3. Britain's huge cotton industry drove its triangular trade and later abolition movement. It relied on slave-picked cotton from America and campaigned against slavery.
1. In the late 18th century, cotton fashion became more widespread and accessible to lower classes in Britain due to the growing cotton industry. Cheap cotton goods allowed servants and poorer people to imitate upper-class fashion.
2. The cotton industry was powered first by water mills and then steam engines, driving technological innovations and factory growth. Major figures like Arkwright established the first cotton mills.
3. By the mid-19th century, Britain dominated the global cotton industry and was importing cotton from the American South, becoming dependent on the crop. This dependence influenced British policy during the American Civil War.
This document summarizes the transition from pre-industrial to industrial production in Europe and its impact in India. It describes how merchants in Europe first turned to the countryside to produce goods due to guild restrictions in towns. Rural artisans agreed to work for merchants. This led to the development of relationships between towns and countryside. Eventually, factories began to consolidate all stages of production under one roof, driven by inventions that increased efficiency. The growth of factories had mixed impacts - it provided jobs but also unemployment and poor working conditions. The rise of European industries like cotton had negative effects in India, undermining weavers and the export trade they relied upon.
The document discusses various digital printing technologies, focusing on inkjet printing methods. It describes two main inkjet technologies: continuous inkjet (CIJ) and drop on demand (DOD). CIJ uses a continuous stream of ink broken into droplets through pressure, while DOD only deposits ink droplets when needed in response to digital signals. Common DOD methods are thermal bubble jet and piezoelectric, while CIJ includes single and multiple jet systems using deflection plates or air jets. The document compares the advantages and disadvantages of each technology.
4. essential elements for inkjet printingAdane Nega
This document discusses the essential elements required for inkjet printing of textiles. It outlines the necessary hardware including computers, software, printers, and fabric pre-treatment machines. It also discusses ink requirements including formulations for different fiber types and extended color gamuts. Finally, it addresses challenges in commercializing the technology such as printing speeds and the need for post-treatments, while envisioning future possibilities like mass customization and integration with other technologies.
This document discusses methods for high temperature dyeing of wool-polyester blends to minimize damage to the wool. It recommends using formaldehyde or similar agents to protect the wool at temperatures up to 120°C. Specific dyeing times and temperatures are provided for different levels of wool protection. One-bath and two-bath dyeing methods are described that allow deep shades while reducing staining of the wool component. Considerations for dye selection, recipes, and procedures are provided to optimize results while minimizing wool degradation.
This document summarizes the key properties and processes involved in dyeing cotton with vat dyes. Vat dyes are insoluble in water but can be converted to a water-soluble form through a process called vatting, which involves reducing the dye and forming a salt. Cotton is dyed by first converting the vat dye to its soluble form, dyeing the cotton, then reoxidizing the dye inside the fiber. The document outlines the chemical classes of vat dyes and the steps involved in vat dyeing cotton fabric using exhaust or continuous methods.
The document discusses various methods for dyeing polyester fibers, including:
1) Batch dyeing without carriers involves dyeing at a boil without additives to help penetration.
2) Carrier dyeing uses compounds to swell the fibers and allow deeper dye penetration.
3) High temperature, high pressure (HTHP) dyeing penetrates dye rapidly at 120-130°C without carriers.
4) Continuous thermosol dyeing involves padding, drying, and fixing dye within fibers at 190-220°C.
The document discusses various digital printing technologies, focusing on inkjet printing methods. It describes two main inkjet technologies: continuous inkjet (CIJ) and drop-on-demand (DOD). CIJ uses a continuous stream of ink broken into droplets through pressure, while DOD only deposits ink droplets when needed in response to digital signals. Common DOD methods are thermal bubble jet and piezoelectric, with the latter providing higher resolution and suitability for wider ranges of inks. The technologies each have advantages and limitations for different applications like textile printing.
This document compares and contrasts analog and digital printing technologies. It discusses the advantages and disadvantages of each, such as analog printing being better for mass production while digital is more suitable for variable, personalized, or short print runs. The document also examines factors to consider when choosing a printing method like image quality, production speed, and cost. Additionally, it describes how some systems combine analog and digital to leverage the strengths of both.
4. essential elements for inkjet printingAdane Nega
This document discusses the essential elements required for inkjet printing of textiles. It outlines the necessary hardware including computers, software, printers, and fabric pre-treatment machines. It also discusses ink requirements including formulations for different fiber types and extended color gamuts. Finally, it addresses challenges in commercializing the technology such as printing speeds and the future potential of digital printing for mass customization and integrated production systems.
Digital printing asian dyer extended version)Adane Nega
Digital printing offers several advantages over conventional analog printing methods for textiles. It allows for mass customization and quick turnaround due to minimal press setup times. Digital printing can change color schemes or designs in real time during production. It also produces less waste and has a lower environmental impact than screen printing. However, digital printing has lower throughput than analog methods and higher costs for long runs. It also requires specially coated substrates and has limitations in ink color options and opacity.
The document discusses various methods for dyeing polyester fibers, including:
1) Batch dyeing without carriers involves dyeing at a boil without additives to help penetration.
2) Carrier dyeing uses compounds to swell the fibers and allow deeper dye penetration.
3) High temperature, high pressure (HTHP) dyeing penetrates dye rapidly at over 120°C without carriers.
4) Continuous thermosol dyeing involves padding, drying, and fixing dye within fibers at 190-220°C.
This document discusses methods for high temperature dyeing of wool-polyester blends to minimize damage to the wool. It recommends using formaldehyde or similar agents to protect the wool at temperatures up to 120°C. Specific dyeing times and temperatures are provided for different levels of wool protection. One-bath and two-bath dyeing methods are described that allow deep shades while reducing staining of the wool component. Post-treatment and troubleshooting steps are also outlined.
This document summarizes the key properties and processes involved in dyeing cotton with vat dyes. Vat dyes are insoluble in water but can be converted to a water-soluble form through a process called vatting, which involves reducing the dye and forming a salt. The water-soluble form dyes cotton fibers, and is then re-oxidized inside the fibers. The dyeing process involves steps of reduction, dyeing, oxidation, and soaping to achieve bright shades and fastness properties.
This document discusses the dyeing of polyamide fibers like wool, silk, and nylon. It explains the dyeing mechanisms and how the structure of polyamide fibers allows them to be dyed using different dye classes like acid dyes, chrome dyes, and reactive dyes depending on the desired properties like colorfastness. Factors like pH, temperature, and use of leveling agents affect dye uptake and uniformity. Different types of acid dyes provide varying colorfastness and are suitable for different applications depending on those properties.
The document discusses different types of textile printing methods. It begins by distinguishing between dyeing and printing, noting that dyeing results in uniform coloration while printing applies color locally in designs. It then covers various printing styles like direct, resist, and discharge printing. The document concludes by describing common printing methods such as block, stencil, roller, screen, and digital printing.
The document summarizes the general composition and essential qualities of print pastes used in textile printing. Print pastes typically contain dyestuffs, thickeners, solvents, humectants, oxidizing agents, and defoaming agents. Thickeners are important for ensuring the print paste sinks into the fabric quickly and adheres properly after printing and drying. Other components like hydroscopic agents and pH controllers help facilitate dye fixation during steam treatment. Proper selection and balance of ingredients is necessary for achieving high quality, well-defined prints on fabrics.
There are key differences between dye and pigment printing. Pigments have no affinity for fibers and are insoluble in water, requiring a binder to fix them onto fibers. Dyes have affinity for fibers and are water soluble. Pigment printing uses a binder that is an aqueous emulsion copolymer which polymerizes during curing to form a strong film embedding the pigment and adhering it to the fiber. Suitable thickeners for pigment printing are emulsion or synthetic thickeners which do not interact negatively with the binder. Emulsion thickeners are prepared using oil, water, emulsifiers and other agents, while synthetic thickeners are high molecular weight copolymers that thicken when
How MJ Global Leads the Packaging Industry.pdfMJ Global
MJ Global's success in staying ahead of the curve in the packaging industry is a testament to its dedication to innovation, sustainability, and customer-centricity. By embracing technological advancements, leading in eco-friendly solutions, collaborating with industry leaders, and adapting to evolving consumer preferences, MJ Global continues to set new standards in the packaging sector.
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Mahatma gandhi’s khadi
1. MAHATMA GANDHI’S KHADI (Mahatma Gandhi chi Khadi) Dr.R.B.Chavan Former Professor, I I T Delhi Consultant Mahatma Gandhi Institute of Rural industrialization Wardha
2. LECTURE OUT LINE Definition of khadi History of wool, Cotton and Silk Textile industry of India Cotton cloth Manufacturing processes History of khadi and past glory Gandhi’s khadi Khadi before independence Khadi after independence Present state of khadi Khadi as employment generation activity Short film on khadi
3. DEFINITION OF KHADI Stages of cloth manufacture Raw fibre e.g. cotton Yarn (spinning) Cloth (Weaving) Spinning Conversion of raw fibre to yarn Weaving Conversion of yarn into fabric Weaving Interlacement of yarn in length and width direction Length direction: Warp (Tana) Width direction: Weft (Bana)
4.
5. Spinning Hand spinning Spinning by hand operated machine (Charkha) Spinning by electrically operated machine (Spinning machine) Weaving Machine known as Loom Hand operated loom (Hand Loom) Electrically operated loom (Power loom)
7. Khadi Fabric Yarn: hand spinning or charkha spinning Fabric; hand weaving using handloom Handloom Fabric Spinning: Electrically operated spinning machine Weaving: hand weaving on handloom Mill made fabric Spinning: Electrically operated spinning machine Weaving: Electrically operated loom
8. Classification fibres Natural Plant origin: Cotton, Jute Animal origin: Wool, Silk Regenerated Raw material is natural e.g. wood Conversion of wood to fibre Viscose rayon (Artificial silk) Synthetic Raw material is petroleum based Polyester, Nylon, Acrylic
9. History of fibres History of fibres is as old as human civilization 1950 1941 1939 1890 6000-7000 B C 8000 B C 8000 B C Year Petroleum base Acrylic Petroleum base Polyester Petroleum base Nylon Wood pulp Rayon Silk worm silk Plant Cotton Sheep Wool Source Fibre
10. Decentralized Sector TEXTILE INDUSTRY IN INDIA NATURAL FIBRES / FABRICS MAN-MADE FIBRES / FABRICS Organized Sector (Mills) Spinning Composites Handloom Powerloom Khadi WOOL J UTE SILK COTTON RAYON Cellulose / viscose BLENDED (Synthetic + Natural) SYNTHETIC (Nylon, PET, PAN)
12. India is one of the largest producer of natural and manmade fibres
13.
14. Total Employment in textile sector 3.5 Crore people in yarn and cloth production 9.3 Crore Total including Ginning, marketing, Garment and other allied jobs 10% of population employed in textile related activities Second largest employment after agriculture sector.
15.
16. Invention of power operated textile machines Ginning and spinning weaving machines 1700-1750 Earliest records of cloth production 2500 – 3000 B C Before the invention of power operatd machines all yarn and cloth production was manual Which was present day khadi fabric
17. Glory of Ancient khadi Vedic Period (5000 BC) Hand-spinning and hand-weaving seem to have been well developed in India even in the prehistoric age. In Vedas which are regarded the oldest books in the world, there is quite detailed description of processes of producing numerous varieties of cloth and their uses. There is description of fabrics from natural fibres, in Manusmriti too, In Ramayana and Mah abharata there is repeated mention of the cotton fabrics with fanciful colours and artistic and intricate weaving patterns decorated with gold thread . These accounts firmly establish the existence of the advanced stage weaving in India several thousand years ago.
18. Ancient period 2500 BC Mohenjodaro Indus valley civilization 2500 BC Discovery of spindles (Takli) Clay figures clothed in fabrics Evidence of existence of the art of spinning and weaving
19. Mouryan Empire (just preceding Christian Era Indian cotton and silk fabrics most popular in western world These fabrics were popularly known as Sindon (Sindhu) and Gangetika (Ganga) fabrics Alenxander (Sikandar) after the attack on Indian soil looted many fine varieties of cotton and silk fabrics. There was great demand for Indian muslin among the ladies of Roman kingdom. It was estimated that Roman money to the tune of 10 crores of Italian coins was flowing out of Roman empire for the import of cotton fabrics from India. Dacca (Now in Bangladesh) Muslin was most famous. Through out the country there were large number of textile centres with their distinctive features. Some of the famous fabrics were Printed, Chintz Muslin, Kalam kari, Bandhani etc .
20. Christian Era Indian fabrics attained further refinement as depicted in dresses of Ajanta wall paintings. Chinese traveler Huen Tsang who visited india in 7 th century wrote that Indian fabrics were sold in exchange of gold and silver like precious stones European traveler Moaco Polo visited India in 13 th century wrote that the Indian fabrics were so fine and delicate that they looked like spider web . Moghal Period Indian textiles reached the peak of their glory in Moghal period The story of Emperor Aurangjeb admonishing his daughter for her immodesty, as her body was visible despite her wearing seven fold muslin from Dacca, is quite famous.
21. Effects of British Rule and Industrial Revolution Because of popularity of Indian textiles, the use of cotton fabrics was banned in England in 1700, but without much success Another legislation passed in 1720 for the same purpose, met with the same fate. The invention of steam engine, spinning machine and powerlomm brought in a revolution in cotton textile industry These developments coupled with the rise of British power in india changed the entire scenario of cotton hand spinning and hand weaving in India. In 1791 first cotton textile mill of England was established followed by dozens of similar mills.
22. The raw material of cotton for these mills was imported from India. The storey of transformation of India from biggest producer and exporter of finest qualities of textiles (hand spun, hand woven) to the producer and supplier of cotton as raw material to the British textile mills is sad. The emergence of Britishers as rulers of India played a crucial role in such transformation rather than Industrial revolution. As a result of this millions of men and women spinners and weavers were rendered unemployed, deprived of the only means to earn their livelyhood and left to die of starvation
23. Swadeshi Movement The unchecked deterioration of Indian economy and fast spreading misery amongst Indian masses, specially the artisans, attracted the attention of patriotic Indian leaders such as Mahadeo Govind Ranade, Bal Gangdhar Tilak and many others. In 1876 Dadabhai Naoroji published his famous book The Poverty of India exposing the deprivations of Indian people by British rulers. All the Indian leaders were of the opinion that India's acute poverty was the dire result of the destruction of cottage industries by British regime as a result all the artisans are on the verge dying due to starvation In 1891 The indian National Congress urged the people to use only Indian goods and gave a call for Swadeshi (Use of things made in India) In 1905 the Swadeshi movement reached the climax by burning the English goods, especially English cloth After the arrival of mahatma Gandhi in india in 1915, the Swadeshi movement got tremendous momentum
24. Gandhian Khadi Mohandas Karamchand Gandhi, better known as Mahatma Gandhi, is not only the Father of Nation, but also the father of modern 'Khadi'. He realized the importance of 'charkha' (spinning wheel) in London in 1908 during discussions with fellow Indians regarding the conditions in India, when he finally came to India in 1915, Boycott of foreign goods, specially English cloth and Swadeshi movement was going on and he claimed that his khadi programme gave a concrete and positive meaning to Swadeshi. "In my opinion, it is khadi alone that has made such boycott a practical proposition" he said.
25. In 1919 he formally launched the khadi programme in the country, The first khadi production centre was established in Kathiawad, Gujarat. In 1921, In 1925, an independent autonomous body called All India Spinners Association (AISA) or Akhil Bhartiya Charkha Sangh was formed for implementing khadi programme vigorously through out India. In proposing the khadi programme he said “every revolution of wheel spins peace, goodwill and love.
26. Economic Basis: Initially, Gandhiji took up the khadi programme for economic and political reasons. During his tour to acquaint himself with the realities of Indian conditions, he was deeply distressed by the increasing starvation of the villages and widespread underemployment, specially unemployment of those engaged in agriculture. He came to the conclusion that the charkha was the only solution to overcome their miserable situation. He further emphasised, "I have never suggested that those, who are more lucratively employed, should give up their lucrative employment and prefer spinning. I have said repeatedly that only those are expected and should be induced to spin, who have no other paying employment, and that too only during the hours of unemployment"
27. It is an indisputed fact that no nation having crores of its people unemployed or under-employed, can hope to advance economically in an appreciable manner, because the contribution by the unemployed persons towards generating the national wealth will be negligible or nothing, while they will continue to consume and put undue strain on the resources of the society. Charkha aims at putting this vast human resource to productive use which is otherwise going waste.
28. Charkha as a machine and human hands as Mechanical Energy We do not usually think of the charkha as a machine, but it really is so. It uses the available mechanical energy of a man, woman or child for producing material goods. The handloom does likewise. This mechanical energy is derived from the food eaten by the person There are today great numbers of unemployed Indians. They are, in effect, engines kept running by fuel (food), but not attached to any machines or devices for producing goods. Gandhiji suggested to use this human energy for the operation of Charkha and thus save a vast existing waste of human energy. If we want to increase the use of mechanical power in India, this is the quickest and cheapest way".
29. Dr. Harold H. Mann, Director of Agriculture of Bombay Presidency in an interview to the Times of India, published on 22.10.1927 observed: "Much could be done by the people themselves to fill their empty stomachs. They must put themselves to work, for no country could ever hope to be prosperous, if the majority of its population were idle for six months of the year. The people must be given some work, no matter how small the income derived there from, during the dry season. He said Mr. Gandhi had penetrated into the secret of the poverty of India, when he advocated the spinning wheel, no matter if it did produce only a few annas a day." Gandhiji often said that India did not require mass-production, but production by masses.
30. Gandhiji intensely appealed to one and all to wear khadi, with the intent of satisfying one of the basic needs of mankind. He went on to give vent to his emotions: "Every time that we take our khadi garment early in the morning to wear for going out, we should remember that we are doing so in the name of 'Draridranarayan' (downtrodden), and for the sake of starving millions of India".
31. Another important economic aspect of khadi upon which Gandhiji insisted, was self-sufficiency of individuals, specially the producers, as well as the villages. Obviously, non-use of khadi by lakhs of producers, was bound to affect their own interest adversely and leave them on the mercy of urban khadi consumers. Gandhiji said: "We must penetrate the spinner's home and induce her to wear khadi made from her own yarn Khadi was conceived with a much more ambitious object, i.e. to make our village starvation-proof. This is impossible, unless the villagers will wear khadi themselves, sending only the surplus to the cities. The singular secret of khadi lies in its saleability in the place of production and use by the manufacturers themselves"
32. Philosophical background An American writer says that the future lies with nations that believe in manual labour. Nations are tired of the worship of lifeless machines. We are destroying the matchless living machines, viz. our own bodies by leaving them to rust and trying to substitute lifeless machinery for them. The spinning wheel is the auspicious symbol of 'Sharir Yajna' - body labour.
33. Reasons for survival of Khadi It is amazing that despite the onslaughts of powerised, mechanised and organized textile mills, hand-spinning and hand-weaving of cotton fabrics survived and continued to play a significant role in all walks of India's life, though in quite subdued form. the reasons for khadi survival are 1. Apparently hand-spun and hand-woven cotton fabric industry was fulfilling one of our basic needs, i.e. clothing. In the process it provided the only means of livelihood to millions of artisans, specially spinners and weavers throughout the length and breadth of the country, 2. Habits, and traditions of the people developed over the ages also kept alive the demand for some of their products, such as fine Bengali or Chanderi saris, muslin of very high counts. 3. Moreover, despite heavy mechanisation, the mills either could not produce quite a few varieties of the fabrics preferred by the Indian consumers, or found it uneconomical to produce them. Hence, quite a few varieties of hand-spun and hand-woven cotton fabrics continued to be in demand, though in a reduced volume.
34. Khadi in Independent India Formation of All India Khadi & Village Industries Board and Khadi and ViIIage Industries Commission: In August 1948 the Government of India (Go I) came out with its Industrial Policy for the first time in free India, which did make a reference to the role of cottage and village industries including khadi in providing subsidiary occupation to the rural people. The Industrial Policy of 1956, contained a more positive and significant commitment of the state to support this In the meanwhile, the Congress Agrarian Reforms Committee was appointed under the chairmanship of Dr. J. C. Kumarappa, which suggested guidelines for the development of Khadi and Village Industries (KVI) sector as well. Discussions were also held between the leaders of AISA and AIVIA on one hand, and the Central government representatives on the other, to decide the measures for promotion and speedy development of KVI sector and future organisational set-up to achieve the same. As a result of these efforts, the central government constituted under Industry Ministry, the All India Khadi and Village Industries Board (AIKVIB) in January 1953.
35. Later, to remove procedural handicaps and financial difficulties experienced by the Board, it was replaced by an autonomous statutory body called Khadi and Village Industries Commission (KVlC), constituted under an Act of Parliament with effect from April 1, 1957. KVIC was charged with the responsibility to plan, organise and implement the programme of promoting and developing khadi and village industries.
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37. PROSPECTS SALIENT FEATURES OF INDIAN ECONOMY Growing Population, Urbanisation and Poverty : Population In the year 2000 India's population is estimated to cross the figure of 100 crores, About 1.70 crore persons are added to our population every year, which is almost equal to the entire population of Australia.
38. According to 1991 census, 25.7% of Indians were living in urban areas, while in 1971 the percentage of urban population was only 19.9. With ever increasing urbanisation, and large-scale migration from villages to the cities, the quality of social amenities and infrastructural facilities in the urban centres is constantly deteriorating and their present status in most of the cities and towns is much below the acceptable human requirements. What is more alarming is the fact that the rate of shifting of population from rural areas to urban areas is expected to go up further and by the year 2011, just within next 4-5 years, the urban share of population is expected to reach 36.6% of the total population of about 116.4 crores. The unnerving question is whether our urban cities, existing as well as new ones, would be in a position to bear the load of almost double the population -
39. Literacy Despite all our literacy campaigns, only 52.1 % of our population was classified as literate by 1991 census, which also included millions of such persons, who could only write their names and nothing more. Poverty Secondly, according to the committee headed by late Dr. D. T. Lakdawala, came to the conclusion that 38% of our population i.e. 38 crores were below poverty line earning not enough to maintain a 'minimum standard of living' (MSOL), which includes the minimum intake of nutrition to maintain the minimum physical efficiency of human beings.
40. Unemployment and Underemployment: Closely related to the question of population and poverty is the chronic problem of unemployment and underemployment. It may be recalled that when planning was started in our country, achieving 'full employment' was one of the long term basic objectives, which was to be achieved within 25 years at the most. But it remains a distant dream even after about 60 years of planning in India. unemployment has been one of the most important and urgent,problems faced by the country. The backlog of unemployment has been constantly increasing plan after plan, as the addition to work-force due to rapidly increasing population has invariably outstripped the creation of new jobs in the process of achieving growth.
41. Backlog of Unemployment: Projection of Unemployment for 1990-2000 : Figures in Crore persons Backlog of unemployed in beginning of 1990 2.80 Crore New entrants to labour force 1990-95 3.70 Crore Total unemployed for the 8th Plan 6.50 Crore New entrants to labour force 1995-2000 4.10 Crore Total unemployed for the 9th Plan 10.60 Crore Finding employment for 10.60 Crore persons is the biggest challenge before the nation .
42. The central governments of different parties provided attention only to the growth of organized sector where the employment opportunities are Minimal Not much attention is paid for the growth of unorganized tiny sector which has great potentials for employment generation and to satisfy the call of “Berozgari Hatao”
43. Widest Network of Tiny Sector: KVIC with khadi and more than 100 village industries within its purview and widest network of implementing agencies in the country is easily the most important agency to develop non-farm sector and generate additional employment opportunities in the villages.
44. Strength of Khadi sector The cotton khadi industry, seems to be eminently suited to make a small but important contribution in accomplishing the gigantic task of finding gainful employment for crores of unemployed in the rural areas. The strength of cotton khadi industry is 1. Fulfils one of the three basic human needs namely, cloth and hence it has vast scope of expansion with the increase in population. 2. It is an universal industry, which can easily be started in most parts of our country with modest organizational set-up. 3. It provides part-time and full-time gainful employment at the very doorsteps of the spinners and weavers in the rural areas. This aspect i of special importance to women, who need gainful-employment In large number in their homes in the rural areas. 4. Almost all the spinners in khadi, are women. Similarly, some of the weavers and most of the weavers' assistants also are women.
45. 5. Thus khadi activities discourage exodus of the rural population to urban areas in search of employment, which results in disastrous deterioration of the environment in towns and cities through growth of slums and sub-human living conditions. 6. In short, it is an environment protecting industry suiting the rural ethos. 7. The employment generation capacity of the khadi sector is very high.
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47. How to use employment potentialities of khadi sector Swawlambi Khadi Principle suggested by shri khalarkar who is one of the experts in khadi spinning and design and fabrication of New Model Amber Charkha Principle Involvement of all job seekers in the manufacture of khadi without the certification from KVIC and selling it under any suitable name other than khadi. Because the word khadi is can be used only by the institutions certified by KVIC.
48. Stages involved in khadi manufacture Pre-spinning operations 9power operation) Raw cotton Ginning opening Carding Sliver making Roving making Spinning operation (hand operated Charkha) Spinning on Charkha Weaving (hand operation) Weaving on hand loom Chemical Processing (power operation) Garment and other end product stitching (hand or power operation) Packing (hand operation) Marketing
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50. Methodology 1. Each job seeker of 16 and above years old, including students must spin yarn on two spindle NMC charkha at least for 1 hour per day or the time available with him/her. 2. Yarn thus produced will be given to weaver for cloth weaving. 3. This will increase the employability of traditional weaver and his family members and provide the whole family the livelyhood 4. The fabric thus produced may be processed for bleaching, dyeing , printing and finishing. 5. This can be done by creating processing facilities in the school and providing job opportunities to local qualified youths. 6. The processed fabric can then be converted to readymade garments and other end use products.
51. 6. This activity may be started in school providing additional job opportunities to unemployed students or any other who is in need of job. 7. Packing: Packing of final products will provide new job opportunities particularly girl students and needy women. 8. Wearing of khadi products by those who were involved in all stages of khadi manufacture. 9. Excess khadi may be sold to outsider. 10. This concept using khadi by those involved in kahdi manufacture will solve the marketing problem which is one of the biggest hurdle in increasing khadi productivity and employment generation capacity of khadi sector.
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53. CONCLUSION KHADI AND VILLAGE INDUSTRIES IS THE ONLY SOLUTION TO SOLVE THE PROBLEM OF UNEMPLOYMENT MAHATMA GANDHI INSTITUTE OF RURAL INDUSTRIALIZATION CAN PROVIDE ALL THE TECHNICAL INPUTS TO INITIATE SUCH ACIVITIES IN THE CLUTER FORM OR ANY SUITABLE FORM
54. LET US JOIN HANDS AND WORK TOGETHER TO FULFILL THE MAHATMA GANDHI’S DREAM OF FULLY EMPLOYED AND PEACEFUL INDIA