Photo: Melanie Stetson Freeman/CSM Staff.
Artisans do “respectful” work on jamdanis at Abul Kalam Jamdani Weaving Factory in Bangladesh.
Recently I wrote about the the Fuller Craft Museum’s exhibit of the Red Dress, an embroidered garment “worked on by 380 individuals from 51 countries, mostly female, many of whom were vulnerable and living in poverty” — women who felt uplifted by an art project that honored their skills.
Today’s post is also about women’s handcrafts.
Sara Miller Llana reports at the Christian Science Monitor, “Two dozen artisans crouch over hand looms threaded with bright-orange and sky-blue cottons. Their fingers nimbly create a jamdani, an intricately woven sari dating back to the [16th century] Mughal Empire. …
“Made of fine cotton or silk, the jamdani was a pinnacle of fashion centuries ago. But in the 19th century, British colonizers brought in their iteration of fast fashion, and the tradition nearly went extinct. …
“After Bangladesh became an independent nation in 1971, the nongovernmental organization BRAC set out to revitalize the weaving practice. It approached artisan families like that of Anwar Islam, owner of this shop. ‘I didn’t think it was feasible, but I was happy to be part of the solution,’ says Mr. Islam.
“Today he employs 120 weavers at Abul Kalam Jamdani Weaving Factory. …
“But this is not just a business success story. … The jamdani is seen as a story of cultural success, too. It’s part of the championing and preservation of objects from sealskin parkas in the Arctic to duck decoys and quilts across the United States that otherwise may be forgotten.
” ‘People have been striving to decorate their lives to tell the world who they are for centuries,’ says Chris Gorman, a deputy director of the American Folk Art Museum in New York. … ‘Without people championing the study and preservation of objects like these, and others, there is the possibility that people will simply forget about them, and it is hard to revive them or prove their relevance.’
“About the time the jamdani was being revived, a women’s collective was coming to life at the northernmost tip of Canada, in the town of Taloyoak.
“Begun in 1972, the group, called Arnaqarvik, garnered a burst of fame in its day with its Inuit parkas, mitts, and boots made from caribou, wolf, and seal and patterned with dyes from tundra lichen and flowers. The collective’s work — including, eventually, duffel-wool ‘packing dolls, or miniature stuffed animals carrying their babies in parkas as the Inuit do — was showcased in New York City and the 1974 Arctic Winter Games in Alaska.
“Yet today, just as the jamdani is enjoying global appeal, the work of Arnaqarvik has been largely forgotten. So the Kitikmeot Heritage Society in Cambridge Bay, in Canada’s Nunavut territory, has set out to restore its memory in a digital archive.
“And to mark the 50th anniversary of the collective, about 250 items in 2021 were sent back to Taloyoak in an exhibition. It was the first time most in the community found out what Arnaqarvik even was. ‘Everybody was really surprised by what their parents did in those days,’ says Arnaoyok Alookee, Arnaqarvik’s co-founder.
“Brendan Griebel, an Arctic anthropologist and manager of collections and archives for the Kitikmeot Heritage Society, says this reconnection is about far more than just the production of goods. ‘Having that physical contact ignites something in the memory and in the senses,’ he says.
“When Arnaqarvik began, the semi-nomadic Inuit of Taloyoak had only gradually moved into this permanent settlement the decade prior. The collective helped the community bridge a gap — between its Indigenous traditions and the new wage economy into which it was settling.
“Judy McGrath co-founded the collective with Ms. Alookee when her husband was posted for work in the Arctic community. She says she still recalls the sense of purpose that craft-making gave all of them. They collected flowers with their children in 24-hour sunlight; they’d use the 24-hour darkness of winter to boil their dyes on the stove. ‘I can still feel the confidence that the skills they had mattered, and the excitement over making new things from the old, from the land,’ Ms. McGrath says.
“In Bangladesh, the rise of the jamdani was also driven by economics, to help artisans whose enormous skills couldn’t find the market for livelihoods. BRAC, the country’s largest NGO, created the brand Aarong to distribute their products. …
“Making a jamdani, which derives from the Persian words jam (floral) and dani (vase), is what weaver Mohammed Monir calls a ‘respectful’ job. … ‘When I see someone famous wearing something I made, I feel proud,’ he adds.
“Today jamdani weaving is included on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity.”
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Photo: Wikimedia Commons
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