Jamdani’s heritage finds place on the world map
Jamdani is a fine muslin fabric originating in Bangladesh, not very new on the global map. The intricacy of jamdani design not only makes it’s a technical marvel but also guarantees its special place in the handloom industry. No machine could ever come near its richness. The cherished art of jamdani weaving of Bangladesh has been duly recognised by UNESCO as an intangible cultural heritage in 2013. This is also recognition for the weavers.
Its genesis of it can be traced back to the Mughal era, but it’s place of origin was Sonargaon, Dhaka in Bangladesh. Sonargoan still continues to be the hub of jamdani, it is the jamdani palli. The word jamdani is said to be derived from Persian word ‘jam’ meaning flower and ‘dani’ meaning vase. As the name suggests jamdani traditionally had a flower motif vividly woven on a loom into the finer fabric by expert craftsmanship.
During the Mughal era, the jamdani and muslin production was at its zenith as it was patronised by the Mughals. The region around Dhaka was naturally blessed with the type of cotton called ‘kapas’, which could produce fine, long and soft cotton fibres. The julahas or weaver would then turn this fabric into unparalleled jamdani sarees. The region around Dhaka, between the Old Brahmaputra, Meghna and Shitalakhya rivers was very fertile and suitable for growing this cotton. The water in these rivers was rich in minerals and the soil in the river banks contained sufficient moisture and heat, all of which aided the cultivation. The river water was used to dye and clean the cotton, and its mineral content gave a glaze to the cotton fabric. The network of rivers not only aided in giving the julahas the finest fabric but also in transportation and providing the local and overseas market.
The hard work and toil of the weavers are not known by many. The cotton threads are dyed and is strengthened and softened by soaking overnight in a solution of rice water starch, allowing the women to wind it more easily onto bobbins. It is tedious work done early in the morning, usually between 4 and 9, before the increasing heat dries the thread, making it more difficult to handle. The wound bobbins are sent to another worker who prepares the warp on a beam. Afterwards, the warp is sent to the weaver’s house where it is set up on a loom. Interestingly the designs are woven directly into the fabric by a weft technique. Usually two men work at one time on a loom.
During the British colonial rule, the Bengal jamdani and muslin industries rapidly declined due to colonial import and rise in industrial manufactured products. It was difficult to compete with cheaper industrial product. The weavers toiled harder and suffered greatly as they were unable to match the cost and swift production of machines. Jamdani is a labour intensive form of weaving, a final product may take five months or more. The final product of handloom jamadani was a product of unparalled technical marvel and finer creativity of the artisan. In their endeavor to keep up the tradition of jamdani, the artisans have through ages held on to their exquisite splendour of creativity and passed it on to their posterity.
It is a craft process that was on the verge of extinction, but with the unfaltering efforts of the weaver, the fine artistry of jamdani has not died out. The Jamdani Industrial Estate and Research Centre was established by the Bangladesh government as an initiative to improve the jamdani industry. Bangladesh Small and Cottage Industries Corporation (BSCIC) was set up in 1982, to boost the jamdani industry. The National Crafts Council of Bangladesh (NCCB) since its inception in 1985 is engaged in the field of craft research and development. It not only promotes the craft sector but work towards maintaining the originality of craft traditions, benefits the poor weavers in ensuring their livelihood. They have collaborated with the biggest handloom and craft fashion houses of Bangladesh - Aarong, Aranya, Tangail Saree Kutir and Kumudini. They organise jamdani festivals and brings forward different aspect of the jamdani to the people. They tried to recreate the famous “loom figured Muslin” and the antique designs of jamdani.
The craft organisations also organise events on their own in promoting jamdani. The different embassies of Bangladesh are also contributing in their own ways to promoting jamdani, the pride of Bangladesh. The jamdani diplomacy of presenting jamdani to high officials of different countries is a way to enhance the recognition and appreciation of jamdani overseas. Our growing Bangladeshi diaspora and growing economy has opened up the horizon for jamdani and its popularity, which was otherwise restricted to West Bengal, Tripura and Assam. To make it available to a wider group, jamdani is now being made into kurtas and shalwar kameez, panjabi for men, and scarves etc.
Today Bangladeshi women take pride in wearing jamdani at national events. The jamdani saree has become a symbol of identity, dignity and self-recognition for Bangladeshis. It is one of the most expensive and fine fabrics and a symbol steeped in heritage and aristocracy. Jamdani makes us feel regal. Our heartfelt appreciation goes out to all the fine artisans who have held on to the tradition of jamdani weaving.