The Maiwa Foundation

Copyright The Maiwa Foundation 2013.

Printed in Canada

1
2
3
4
Our strength is in our hands ...
So craftspeople have said for countless years.
The Maiwa Foundation exists to encourage and promote
high quality craft as a means of survival for indigenous
artisans. When the artisans are established and producing,
Maiwa Handprints can bring their products to the world
market.
The Foundation works on many fronts to enable artisans to
practice their craft meaningfully and profitably.
Sometimes a barrier comes between the artisans skill and
their ability to complete their work. It can be a small thing
the lack of a grinding wheel that would enable an indigo
farmer to deliver his dye as a powder rather than in rock
form; a loom that needs repairs; or a blockprinters blocks
that need to be recut. In these cases the Foundation can step
in and remove the barrier.
Sometimes the Maiwa Foundation can help in a catas-
trophe as we did in the 2004 tsunami or the 2001 Kutch
earthquake. Although we are not primarily a disaster relief
organization, we can often fundraise to rebuild looms or re-
establish dye facilities.
The Maiwa Foundation can also provide interest-free long-
term loans to facilitate major projects. When the blockprint-
ers of Dhamadka and Ajrakhpur needed to relocate due to
water contaminants, the Maiwa Foundation was able to assist
with strategic lending.
Like any business, artisans or cooperatives can find them-
selves in financial trouble. Often they turn to the wrong
person for help and find themselves indentured to predatory
lenders. In such cases the Foundation can step in, eliminate
the debt, and have the group repay the Foundation at low or
no interest.
The Maiwa Foundation also assists in promoting artisan
work on the world stage. We collaborate with museums, gal-
leries, guilds, and art centres to exhibit exceptional work.
Knowledge sharing between artisans has always been funda-
mental to the evolution of craft. Today it provides not only
necessary technical, marketing, and business support but
also a dramatic sense that the artisan is part of a much larger
community. Younger craftspeople see a future for their art.
The Maiwa Foundation directly manages artisan collabora-
tion and knowledge sharing.
The Maiwa Foundation also travels widely, specifically to
teach natural dye use, marketing, and effective business
practices.
In the following pages we would like to introduce you to
some of the people and groups we work with.
Artisans Alliance of Jawaja
 Leatherworkers
The Artisans Alliance of Jawaja is a rural cooperative located
in Rajasthan, India. The group represents the work of two
crafts: leatherworkers and carpet weavers.

For well over 300 years leatherwork has been the primary oc-
cupation of the Regar Samaj community of Rajasthan. This
group is adept in the preparation and tanning of hides, and
few could match their skill in the making of saddles, harness,
or tackle. In the past they were sought after to furnish the
leather armour for the cavalry. Historically, they have also
produced containers for gathering and storing water and
Juti, the ornamented neck belts and face decoration of herd
animals.

Modern India has little need for these items, however, and
the traditional skills of these artisans are vanishing. In 1975,
as an initiative of the esteemed Shri Ravi J. Mathai and the
National Institute for Design, a leatherwork co-operative was
formed. Jawaja had two goals: eliminate toxic or ineffective
stages in production and design a new line for the contem-
porary market based on traditional strengths and skills.

The Foundation made assistance available to artisans to

journey to Canada to attend the Maiwa Textile Symposium
in 2009. The Foundation also assisted the AAJ in financial
restructuring to avoid predatory lending.

8
9
10
Weavers
The natural fibres of the harsh desert regions of Rajasthan
make for sturdy, long-lasting carpets. The weavers of Jawaja
work on extra-wide handlooms to create these stunning
flatweaves. They feature simple, bold colours and are fine
examples of the weavers art.

Traditionally men work the looms, while women spin the

wool and prepare the yarns to be woven into carpets.

11
Ajrakh Blockprinters
 The Khatri Family
Razzaque, Ismail, and Jabbar are Khatrisa hereditary com-
munity of dyers and printers who live and work in the desert
district of Kutch in Gujarat, India.

Ajrakh has become the signature cloth of the Khatris. It is a

cotton textile traditionally dyed with indigo and madder and
printed on both sides with complex geometric and floral pat-
terns using hand-carved wooden blocks. There are between
14 and 16 individual stages of preparation, printing, and
dyeing. The process can take 1521 days to complete.

Water is vital to the production of ajrakh cloth. Through

each stage of preparation, mordanting, and dyeing, the
character of the water will influence the final workfrom the
shades of the colours to the success or failure of the entire
process.

The Khatris can trace their blockprinting heritage back nine

generations. Razzaque has won the National Award for Craft
(as did his father before him), and Ismail has received an
honourary doctorate from De Montfort University, Leicester,
UK.

From left to right: Razzaque, Ismail, and Jabbar Khatri.

14
15
16
On the morning of January 26, 2001,
a massive earthquake rocked Indias
Kutch Desert. It measured 7.9 on the
Richter scale.

The quake destroyed buildings and

dyeworks and killed almost thirty-five
thousand people. For residents of the
area the devastation was immediate
and seemed unending. This part of the
world is familiar with struggle, but the
scope of the catastrophe, the collapse
of infrastructure, and the tragic loss of
life undermined both determination
and optimism.

The quake also shifted the water table

and introduced contaminants. Dyers
had to spend many months testing and
adjusting recipes. The Maiwa Founda-
tion provided temporary shelter, medi-
cal supplies, and financial assistance.

17
 Ismail and Aurangzeb Khatri on the newly constructed water purification facility. The Maiwa Foundation was able to provide financial assistance with the land purchase.
The Foundation also worked to connect the Khatris with hydrologists and other specialists.

18
19
KMVS Embroiderers
 KMVS Embroidery
In order to maintain traditions and preserve the dignity
of hand skills, artisans have to find a way to make their
work commercially viable. They must unite and promote
themselves with confidence. The Maiwa Foundation is able
to guide this process. Through a series of exhibitions and
promotions, Maiwa helps artisans realize the importance
of skilled work. By bringing artisans and western audiences
together, artisans recognize the international value of their
cultural heritage.

The women of Kutch Mahila Vikas Sangathan (KMVS) have

been working since 1989 to improve their situation through
workplace initiatives and community health improvement
strategies. Their work is part of a rural development project
designed to connect distinct tribal communities. It is one of
the most successful co-operatives in the area, with more than
8000 members, 1800 of whom are embroiderers.

KMVS members from the tribes of the Kutch work together.

Collectively, they set standards of quality while maintaining
their unique traditions. To ensure equity and build confi-
dence, decisions regarding costing, design, and organization
are subject to a vote. In this way responsibility for the direc-
tion of the embroidery is placed where it is most appropri-
atein the hands of the women who create it.

22
23
 Poster and display materials from the 2002 exhibition
held at the Vancouver Museum.

24
25
26
Embroideries from the 2002 exhibition, now part of the Maiwa Textile Collection.

27
Banjara Embroiderers
 Banjara Embroidery
Signaling their ethnic membership, all Banjara embroideries
are designed for a nomadic lifestyle.

As with many tribal groups, especially those with a nomadic

heritage, the Banjara are under tremendous pressure to assimi-
late. Still, many resist and hold to their ancient mode of dress,
which is perhaps the most colourful and elaborate of any tribal
group in India. It is their dress and jewellery that set them apart
from all others.

Their full-length skirt is often red with borders embroidered

in mustard and green thread. The odhni (mantle) which cov-
ers the head is long enough to drape down their backs almost
touching the feet. As with much embroidery originating in the
desert regions of Rajasthan, it is densely stitched and studded
with mirrors. A variety of materialssilver, brass, some gold,
cowries, ivory, animal bone, and even plasticis used in the
making of a Banjara wardrobe. Long silver earrings are conspic-
uous. Patterned cowrie shells decorate the hair. The numerous
cowries that the Banjara tribal women wear are considered aus-
picious as they represent Lakshmi, the Goddess of Prosperity.

30
31
 Promotion for the 2004 fundraiser. Poster for the 2012 exhibition of Banjara embroidery.

32
Maiwa and the Maiwa Foundation worked for close to twelve
years to bring high quality, contemporary Banjara embroidery to
the worlds attention.

Our method of working involves contacting a group that seems to

have:

1) Elder craftswomen who are respected and who still have tradi-
tional embroidery skills.

2) Younger craftswomen who see the value of continuing tradi-

tional work and want to learn these skills.

3) The support of the larger cultural group, i.e., the village or a

cooperative.

We then invest in source materials for a project (threads, fabric,

cloth, and mirrors) and give an advance on the completed pieces.
The advance shows trust and also serves to give an indication of
the value of skilled work.

In 2009 we began to work with Suryas Garden (Surya Lambhani-

Banjara Women Welfare Trust), and in 2012 Jan and Laxmi
Duclos presented the first exhibition of Banjara Embroidery.

Director of the Maiwa Foundation, Charllotte Kwon, introduces Laxmi Duclos during the
2012 Textile Symposium.

33
The DOBAG Project
 Natural Dyes
DOBAG is a Turkish acronym that identifies the Natural Dye
Research and Development Project. The project is a womens
carpet weaving co-operative that celebrates the traditions of
Anatolian weaving.

The seeds of DOBAG were first planted in 1960 with the ar-
rival in Istanbul of a German professor of sciences, Dr. Harald
Bhmer. Dr. Bhmer was taken with the richness of the mate-
rial culture. But with the introduction of synthetic dyes, carpets
began to lose their natural colour harmony. With the aim of
reintroducing natural dyes, the DOBAG project was born.

With the help of the Faculty of Fine Arts at Marmara Univer-

sity, his wife Renata, and fellow enthusiasts Dr. Serife Atlihan
and Dr. Nevin Evez, Dr. Bhmer began reintroducing natural
dye processes into the village districts of Ayvacik and Yuntdag.
The communities were well equipped to shear, spin, and weave
the wool occupations which were already integrated into daily
lifeand they enthusiastically embraced the opportunity to
return to traditional dye practices and take part in the DOBAG
project. Over a period of approximately 20 years, the co-opera-
tive has developed into what it is todaythe heart of a thriving
cultural tradition. It is also a self-determined collective which
empowers its members and encourages worldwide appreciation
for a superior quality contemporary craft.

DOBAG project founder Dr. Harald Bhmer and Maiwa Foun-

dation founder Charllotte Kwon have collaborated on natural
dye research to the benefit of both groups. Many aspects of the
DOBAG project were used by the Maiwa Foundation as guid-
ing principles for assisting artisans.

36
37
38
39
Aranya Natural Dye Unit
 Aranya
At Aranya they believe that natural dyes are a gift of nature. We
believe that the Aranya Natural Dye Project is a marvel of the
human spirit.

Behind the success of Aranya is a group of physically challenged

young adults from the families of tea plantation workers. These
young people are educated and rehabilitated at a vocational
training centre managed by Tata Tea Ltd. The young artisans
have shown exemplary determination in their endeavour to
achieve economic self-sufficiency through projects like Aranya.

Aranya produces a range of textiles dyed in diverse colours. Pat-

terning techniques include a form of pole wrap shibori (where
bottles are used), wax-resist blockprinting, and stitch resist. One
of the plentiful sources of natural dye material is the tea waste
from processing. Tea is high in tannin and a wonderful source
of browns and yellows. The Maiwa Foundation brings natural
dye specialists from other parts of the country to share knowl-
edge and help troubleshoot dye issues.

42
43
 Ikat weavers
of South India
 Ikat Weaving
Ikat is a method of patterning cloth by tightly wrapping the
threads to form a resist. With ikat, groups of warp threads are
tied in sequence. As each colour is added, the warps must be
untied and retied to place colour where it is wanted. It takes a
particular imagination to make an ikat because the artisan must
imagine not only the progress of colours but the entire weaving
process.

Ikat weavers work after each throw of the shuttle to make cer-
tain that the warp and weft are in alignment.

In South India, where these ikat weavers live, the Maiwa Foun-
dation was able to assist with the equipment necessary to focus
on natural dyes.

In 2011 master weavers and dyers were invited to attend the

Maiwa Master Class in Bengal, India. Their attendance resulted
in some of the most spectacular textiles to come out of the
gathering.

48
49
 Growing
Natural Dyes
Everything is connected. It is difficult for artisans to use natural
dyes if no farmers are growing them. To this end the Maiwa
Foundation actively encourages farmers to continue growing
natural dyes.

Because both Maiwa and the Maiwa Foundation work so

closely with a large number of artisans, we can be certain that
suitable markets exist. We can bring artisans and natural dye
farmers together and ensure that the trade relationship is a fair
one.

We feel that fair markets are preferable to charity, and so Maiwa

uses its marketing power to encourage demand. Often it is a
bold step like purchasing an entire years crop that will keep an
indigo grower in business.

The Foundation will sometimes step in with a specific grant or

donation. When indigo farmer Pitchi Reddy needed a grinding
wheel in order to supply his indigo in powder form, the Maiwa
Foundation provided the wheel.

The Maiwa Foundation also provided grants for natural dye

farmers to attend the 2006 UNESCO conference on natural
dyes in Hyderabad, India.

50
 On the Pitchi Reddy farm in Andra Pradesh, indigo dye is extracted from the indigo plant. The process is organic and proceeds through natural fermentation.
Indigo is a beneficial crop for farmers, and many will grow it in rotation in order to fix nitrogen in the soil without ever extracting the dye.

52
53
54
Indigo, Khadi, and Kantha
55
 Living Blue
Bangladesh
Bangladesh is one of the most suitable regions for growing in-
digo. However, due to the colonial history of the crop and the
subsequent rise of synthetic indigo, its potential has remained
dormant. Now Maiwa is partnering with Living Blue, a project
of the Nijera Cottage and Village Industries (NCVI), to revive
the famous crop.

Village artisans combine a variety of traditional kantha quilt-

ing stitches with nui shibori on handspun, handwoven (khadi)
cloth. The results are a range of quilts, shawls, and scarves that
convey the feeling of well-loved domestic textile.

Maiwa brought a member of the NCVI co-operative to the

2012 symposium. We held a lecture, workshop, and exhibition
of Living Blues work. The following year, in 2013, five Maiwa
staff undertook the epic journey to visit NCVI in rural Bangla-
desh. Once there Maiwa held workshops in organic indigo vats
and traditional blockprinting techniques.

Maiwa continues to work with Living Blue to evaluate the posi-

tion of its products in the marketplace and to encourage the
continuation of the groups exquisite work.

56
57
 Above: Anowarul Haq presents the story of Living
Blue textiles at the 2012 Maiwa Textile Symposium.
Right: One of the larger quilted blankets on display at
the exhibition.
Below: A fresh harvest of indigo leaves in one of the
extraction tanks.

58
 Above: Maiwas first in-store exhibition of Living Blue textiles.
Right: The Maiwa Foundation teaching organic vat techniques to artisans
in Bangladesh.
Below: Extracting indigo dye from plants.

59
Bellmakers
 Bellmaking
Working with simple hand tools, the bellmakers of the Kutch
Desert make a range of traditional metal bells. Each type of
herd animalgoats, sheep, cattle, and camelshas its own size
bell. The artisans also make special bells for use in temples and
very tiny bells that are used as ornaments.

The craftspeople use a stake anvil that is buried in the sand.

With hammers and snips they fashion sheet metal into the nec-
essary form. When the bell is shaped, it is dipped in a mixture
of brass and copper filings augmented by a flux. The entire bell
is then covered with a clay coating to keep the finish in place
while it is fired.

Each bell is then tuned by the master bellmaker. It is a musical

process where the ringing of the hammer and the ringing of the
bell alternate in rapid succession until the tone of the bell satis-
fies the maker.

The Maiwa Foundation worked in collaboration with students

of the University of British Columbias Applied Science 263
course to improve the kiln design. Designs then received com-
ments and suggestions from a volunteer team of professional
engineers. The final designs were taken to India where the
Maiwa Foundation hired another engineer to oversee the con-
struction of the kiln.

As the kiln was built, each stage also received suggestions from
the bellmakers. The finished kiln uses less charcoal, vents out-
side of the house, and can fire an entire batch of bells at once.
The women artisans are especially proud of the new kiln. They
expressed their pride by painting the kiln white and decorating
the outside.

Above: Bells are made with simple hand tools and a stake anvil buried in the sand.
Right: The new kiln sits beside the old one. The new kiln uses half the charcoal and vents outside the house.

62
63
64
65
66
 Collaboration
Since 2009 the Maiwa Foundation has been work-
ing in concert with the University of British Co-
lumbias Applied Science 263, an innovative socio-
technical engineering course.

APSC 263 offers UBC students an opportunity to

act globally while remaining in Vancouver. Students
seek to understand problems defined by Indian
artisans and villagers.

After farming, the second largest employer in India

is the craft sector, which functions as an economic
stabilizer for many villagers. The successful produc-
tion of indigo dye or brass bells can mean the dif-
ference between two and three meals a day for those
living close to, or on, the economic margins.

Through its work on the ground, the Maiwa Foun-

dation is able to identify key problems faced by
artisans. It then shares these with APSC 263 faculty
and advisors. The group selects a few key challenges
to work on. Students gain an understanding of how
acutely context-dependent both problems and solu-
tions may be.

Poster for the 2011 session of APSC 263.

67
68
Fundraising
By combining efforts with Maiwas for-profit stores,
the Foundation is able to leverage considerable
fundraising potential.

Through well-planned events and auctions, partici-

pants have an unforgettable experience. At the same
time they are helping to fund the Foundations
important work.

For the auctions, the commercial enterprise donates

items to the Foundation. The Foundation then
auctions those items and all money stays with the
Foundation.

The Maiwa stores will also hold special sale events

where 100% of sales is donated to the Foundation.

The Maiwa Foundation actively works with philan-

thropic individuals to promote its projects. We have
been fortunate to know some extraordinary people.

69
 Poster for the 2009 Ajrakh fundraiser auction.

70
71
Teaching
 Teaching: Nagaland
At the close of the 1990s, the Maiwa Foundation was making a
series of trips into the remote regions of northeast India. Villag-
ers still possessed remarkable weaving skills which they used to
produce outstanding textiles and basketry.

The Maiwa Foundation set up a training strategy to encourage

weavers to dye their own fibres. The first phase introduced syn-
thetic dyeing of natural fibres, eliminating synthetic fibre from
the weaving and giving the artisans control over the colour pal-
ette. The second stage replaced synthetic dyes with natural dyes.

74
75
76
Facing page: A demonstration of traditional Naga tribal dress. This page: Basketry and backstrap weaving.

77
 Teaching: Morocco
Morocco, with its flourishing carpet industry, is very well
positioned to capitalize on a natural dye revival. Even though
Moroccan carpets do not enjoy the prestige given to Persian
or Turkish works, they are nevertheless a viable item of trade
supported by the rural infrastructure. Weaving skills persist and
women can gain additional income without disrupting domes-
tic life or entering a factory environment.

What have largely vanished are dyeing skills. The local markets
are a source of much misinformation. The large tourist centres
make fantastic claims of natural dye use that have no basis in
any tradition. Tourists are frequently told that greens are ob-
tained from mint leaves and reds from rose petals.

In 2007 the Maiwa Foundation conducted a five-day natural

dye workshop. The students learned how to wash fibres and
apply appropriate mordants for wools. They then created a
range of colours from indigo, cochineal, madder, henna, cutch,
chamomile, and a number of local dye plants. Students learned
about light- and wash-fastness, about water conservation, and
about the importance of basic dye procedures and safe use of
materials.

With natural dye knowledge back in their hands, artisans can

once again make the weavings that distinguish the tribal cul-
tures of Morocco.

78
Natural dye education has many benefits beyond the skills developed. Practical experience with natural dyes adds value to time-consuming work and
empowers artisans in their negotiations with merchants.

79
80
81
Teaching: Ethiopia
Located in Addis Ababa, Ethiopia, Sabahar is a co-operative
focusing on sericulture, spinning, dyeing, and weaving. Sericul-
ture generates income for Ethiopian women while fitting com-
fortably into domestic life. As with many artisan skills, income
can be generated without neglecting children and family.

Sabahars expertise in natural dyeing came from books and

from almost five years of trial and error. They work with eri
silk, mulberry silk, and cotton.

The Maiwa Foundations first goal was to increase Sabahars

natural dyeing capacity. Processes were adjusted to improve
colour-fastness and light-fastness.

A second goal of the visit was to have in-depth discussions

about product design and where best to position Sabahars
products to take advantage of a global market.

83
 Sabahar in Ethiopia. In a garden setting eri silk is spun into yarns and naturally dyed.

84
Top left: A range of natural dye samples. Below: An adult eri silk moth. Right: Almaz manages a tray of eri silk worms.

85
 Teaching: Assam
Assam is famous for a type of silk called muga, which is natu-
rally a golden brown colour. Also present in the region are two
other wild silks: tussah and eri.

Eri silk is almost like cotton. It is unusual in that it is spun

rather than reeled. Eri is very receptive to natural dyes.

In Assam our natural dye class focused on silk fibres. The Mai-
wa Foundation provided a thorough introduction to all aspects
of natural dye use. In addition artisans were able to consult
with the instructors on product development and marketing.

The Foundation invited two individuals to participate in the

Maiwa Master Class held in Bengal in 2011.

86
87
88
89
90
Teaching: Peru
In Peru, the Maiwa Foundation provided a workshop that dem-
onstrated the natural or organic indigo vat. These vats are
an alternative to both traditional urine-based vats and to chemi-
cal vats. Variants use either overripe fruit (bananas, mangos,
etc.), henna (another plant dye), or iron.

Our workshop was delivered as part of a Gathering of the

Weavers of the Americas hosted by the Centro de Textiles
Tradicionales del Cusco in 2010.

The Maiwa Foundation was also able to give a second work-

shop that focused on the challenges artisans face as they pre-
pare work for international markets. The Foundation is able to
give many examples from around the world of artisan groups.
This knowledge sharing is invaluable to isolated cooperatives.

91
92
93
 Beyond Teaching
The Maiwa Master Class
The Master Class was a bold attempt by the Maiwa Foundation to bring together highly skilled artisans from
all over India. The goal was knowledge sharing on an elevated level.

The Sabahar artisans from Ethiopia were also invited. The languages spoken at the workshop included Am-
haric, Bengali, Kutchi, Hindi, Telugu, Assamese, French, and English.

To guide the natural dye component of this workshop, the Maiwa Foundation brought in Michel Garcia, a
French dye chemist and botanist. On the first day he gathered the questions, problems, and concerns of the
artisans, a daunting task: some artisans, such as the blockprinters, are heavily constrained by their process.
Washing their cloth in the middle of the procedure, for example, is not an option. For others such as the ikat
weavers, changing the order of dyes might result in much extra work because they must tie entire lengths of
yarns in order to resist the dye and obtain a certain colour.

The goal of the dyers is always what might be called legacy dyeing: colours that are the shades that the dyer
wanted; colours that are as light-fast, rub-fast, and wash-fast as possible; textiles that are exquisite, with beautiful
colours that show the apex of the art.

In addition to the Foundation staff, invited textile artisans from the West volunteered to assist in the work-
shop. Catherine Ellis, Gale Anderson-Palm, and Jane Stafford ran micro-workshops throughout the week so
that participants could be managed in smaller groups. Through this strategy participants could divide time
between intensely technical studies and more creative patterning techniques.

94
95
96
Participants at the Maiwa Master Class held in Bengal, India, in 2011. Centre: Michel Garcia contemplates the virtues of indigo.

97
 Among the techniques presented at the Master Class were a variety of organic indigo vats.

98
Indigo dyeing was combined with woven shiboria technique whereby special threads are added during weaving. These threads are then used to crumple the cloth and create a physical resist.

99
 The Masterworks
Exhibition
The Masterwork Challenge:

Create a masterwork using skills or knowledge developed in the

workshopa single piece that will break new ground. Maiwa
will purchase the masterwork to become a permanent part of
the Maiwa Textile Collection.

Artisans had six months to complete the work, with an allow-

ance for trans-Atlantic shipping so that an exhibition could be
mounted as part of the 2011 Textile Symposium.

The works all arrived in time, and the exhibition was sold out.
It was a remarkable success for everyone involved.

100
101
102
103
104
105
106
107
108