Thullal

Thullal

Thullal is a modification of the Koothu and is characterized by simplicity of presentation,wit and humour.It owes its origin to Kunjan Nambiar,one of the leading poets in Malayalam.This solo dance with no stage or any other form of arrangement required is marked by fast and rhythmic movements.The dancer himself sings the lead to the accompaniment of the maddalam and elathalam. 

Thullal is classified in to three-Ottanthullal,Seethankam thullal and parayan thullal-based on the meter and rhythm of the songs and the distinctions in costume and dance.As most other art forms of Kerala,thullal also has colorful costumes,with elaborate head-gears and paintings of the face.It is usually presented during temple festivals.

Kathakali

Kathakali

The quintessential form

Kathakali(literally,story play),the spectacular classical dance drama of Kerala based on the guidelines laid by Sage Bharatha's Natya Sastra,the ancient treatise on dance drama,is over 500 years old.This elaborate art form integrates dance,music,poetry and histrionics.And combines both the thandava(powerful energetic dance,as that of Shiva)and Lasya(gentle graceful dance,as that of Parvathi)elements.

The essence of Kathakali

Abhinaya(expression)is the heart of Kathakali,especially aharya abhinaya.Make-up is used not merely to enable spectacular to visualize the character's appearance but also to indicate the nature and personality of the charectror beign represented.Netrabhinaya (abhinaya through the eyes)is important in Kathakali and chundapoovu or Solanum pubesscuce is applied to the eyes to redden and draw attention to them.

Different hues,different personae

There is in Kathakali a recognized convention regarding Vesham which includes make-up and costume.Vesham is classified in to four,viz.,thecha vesham(painted make-up),thaadi vesham(beard make-up),kari vesham(black make-up)and minukku vesham(polished make up).Thecha is again subdivided in to pacha vesham(green),which represent morally excellent characters and kathi vesham(knife)representing evil characters.Thaadi too has its subdivisions-vella(white),chuvanna(red)and karutha(black)-each color standing for a certain type of character.Kari vesham represents she-demons and minukku represents gentleness and spiritual qualities.

Where emotions flow from the hands and face

Women generally do not act and the female characters are played by men.Actors do not speak or sing,but enact dialogic sections called padams through mudras(hand gestures)and facial expressions.There are 24 mudras in kathakali which express the nine rasas or emotions viz.,serenity,wonder,kindness,love,valor,fear,contempt,loathing and anger.

The backdrop

The stage for kathakali is bare,except for a lamp with drummers and singers standing on either side.Music is in the sopanam style which is the classical mode of singing in Kerala with two vocalists who sing to the accompaniment of a chengila(gong),elathalam(small symbals),chenda and maddalam(drums)The themes of this awe-inspiring art are taken from India's rich and colorful mythology.

 

 

 

 

 

Kerala Fact File

Kerala Fact File

Location : South western tip of India

Area : 38,863 sq.km

Population : 3,18,38,619

Capital : Thiruvananthapuram(Trivandrum)

Language : Malayalam,majority of people can speak or understand English.

Religion : Hinduism,Christianity,Islam

Time : GMT+5.30

Currency : Indian Rupee

Climate : Tropical

Summer : February-May(24Degree Celsius-32Degree Celsius)

Monsoon : June-September(22Degree Celsius-28Degree Celsius)

Winter : October-January(22Degree Celsius-32Degree Celsius)

God's Own Country:With the Arabian sea in the west,the Western Ghats towering 500-2700 m. in the east and networked by fourty four rivers,Kerala enjoys unique geographic features that have made it one of the most sought after tourist destinations in Asia.An equable climate.A long shoreline with serene beaches.Tranquil stretches of emerald back waters.Lush hill stations and exotic wild life.Waterfalls,sprawling plantations and paddy fields.

Ayurvedic health holidays,enchanting art forms,Magical festivals,Historic and Cultural monuments,An exotic cuisine........All of which offer you a unique experience!

India's most advaced society:A hundred percent literate people.World-class health care systems.India's lowest infant mortality and highest life expectancy rates.The highest physical qality life in India.Peaseful and pristine,Kerala is also India's cleanest state.For administartive purpose  the state of Kerala is devided in to fourteen districts.Most of these districts offer all tourism products typical of the state.

Travel Trips:

Visas:I request you to carry your visa for entry to India/Kerala on your holiday.For clarifications please contact the Indian High Commission

Money:There is no limit to the amount of foreign currency that visitors can bring.

Banks:Banks are open for transaction 10.00am to 3.30pm except on Sunday

Drugs:Heavy penalties including imprisonment for possession of narcotic drugs

Nudity:Nudity is not allowed anywhere in Kerala

Demonstrativeness in public:Hugging/kissing in public is not accepted in the state.

Ayurveda:Go only to the Ayurveda centers that are classified/approved by the department of tourism.

Hand looms and Handicrafts: There is a lot of hand loom weaving centers across Kerala,producing a wide range of fabrics and furnishings,coir products etc.Kerala's handicraft products has a huge demand in India and abroad.

Food:All standard restaurents offer a varity of cuisines including Continental,Chinese,Indian and typical Kerala fare.

Water:Tap water is purified and quite safe to drink.It is not advisable to drink water from slow moving streams,lakes or dams.Bottled water is also available.

Koodiyattom

Koodiyattom

Oldest art form Koodiyattom,(literally,dancing together) is the Sanskrit Theater of Kerala which is believed to have originated two millennia ago.The plays are in Sanskrit with the Chakyars performing male roles and the nangiars(Woman of the Nambiar community)performing the female roles.The vidushaka  or clown recites the malayalam translation for the benefit of the audience.Manipravalam,a mixture of Sanskrit and Malayalam langage owes its origin to Koodiyattom.

The performance

The performance of Koodiyattom was codified in ancient times through elaborate stage manuals called Attaprakarams and Kramadeepikas.The theatric action is based on these choreographic texts which contain all the logistic,organizational and theatric aspects of Koodiyattom.

ThePlays

 The plays in Koodiyattom have minimal text giving room for the actor to improvise and elaborate imaginatively.Single acts from Sankrit plays are chosen.The actor has the freedom to creatively interpret the role in a play.Theatre improvisation is effected through several methods including the use of orchestra to enhance historic action and the deliberate amplification of events and sequences through a technique called Pakarnnattam.

Conveying  a whole range of emotions

Abhinaya(expression)through angika(movements of the body),vahika(spoken word),aharya(make-up and costume)as well as satvika(creation and projection of moods and sentiments)are conspicuous in Koodiyattom.Make-p pattern costumes of Koodiyattom are believed to be the forerunners of Kathakali costume.

Classification of Cotton Cloths,Weaving Specifications

Light,Medium and Heavy Cloths

Classification of Cotton Cloths

There are various classes and varieties of cotton fabrics,which are woven and marketed.The most important of them are the following.

1)Light Plain Cotton Cloth,

2)Medium Plain Cotton Cloth 

3)Medium heavy Plain Cotton Cloth and,

4)Heavy Plain Cotton Cloth.

These classes of cloths are most generally woven in tappet looms without the use of Dobbies and Jacquards.The characteristics of these cloths and the details of the looms in which they can successfully be woven are explained below.Moreover,fine plain cloth,viz,lawn,mull mull or malmal,tracing cloth etc. are woven inside tappet looms.The greater bulk of production in the Indian Textile Industry belongs to these classes and varieties of cotton fabrics.

Light plain Cotton Cloth

Characteristics:

The required qualities of light plain cotton cloths are good feel,equidistributed ends and picks,neat selvedges,absence of any stains or spots and good 'cover'.Muslin,printed cloths and similar varieties are termed light plain cloths.

a)Muslins are largely used in our country as summer wear and their weave particulars range from 40 to 90 ends of 32s to120s warp,and 44 to 84 picks of 36s to 100s weft per inch or 2.54cm.

b)The printing cotton cloths,which are generally heavier than muslins,have also a variety of weaving particulars,for examples,68ends of 36s warp and 62picks of 42s weft per inch or 2.54cm,and 72ends of 36s warp and 62 picks of 42s weft per inch or 2.54cm.

Defects in Light Plain Cloths

All light plain cloths are liable to similair cloth faults,viz,thick and thin places,reed marks,unevenness,etc.and are woven with the similair settings at the looms.To remedy the faults of light plain cloths,the following methods are generally adopted.:

1)The back rest is raised to correct reed marks by alternately tightening and slackening the warp threads.

2)The shed is timed and crossed early to remedy bareness or thick and thin places in cloths.These defects are also known as light and thick 'weft bars 'in cloths.

3)The faulty selvedge in light plain cloths is a serious fault and may be remedied by even shedding,selvedge ends drawing correctly through the healds and timing the selvedge ends as to standards.

Medium Plain Cotton Cloth

Characteristics

The Medium Plain Cotton Cloths heavier than Light Plain Cloths but lighter than comparatively heavy cloths.Some examples of the medium plain cotton  cloths are:llong cloths,casement cloths,madapolam and cheshire printings.They have got a variety of weave particulars but a few representative examples are the following.

a)A finer quality of long cloth is composed of 72 neds and 70 picks of 36s warp and 38s weft.A coarse quality of long cloth consists of 56s ends of 28s warp and 72 picks of 18s weft.

b)An example of casement cloth is composed of 32s warp and 16s weft,52 ends and 68 picks per inch or 2.54cm.

Medium Heavy Plain Cotton Cloths

Characteristics

The medium heavy plain cloths which are heavier than medium cloths but comparitively lighter than heavy cloths are termed  medium heavy cloths.Again, cloth whichis considered heavy in one type of loom might be considered an ordinary sort in a stronger loom.A represetative example of weaving particulars of a fairly or medium heavy cotton cloth  is  60 ends and picks per inch or 2.54 cm. and 18s warp and 32s weft.

Heavy Plain Cotton Cloth

Characteristics

There are a variety of  heavy cotton plain cloths namely canvas,duck cloths,sail cloths and blankets.

For example, a make of duck cloth is 3/14s warp and weft,and 40 ends per inch or 2.54 cm.We have to consider the diameter of warp and weft yarns  and the numberof ends and picks per inch or 2.54cm.in this cloth and the type of fabrics this loom has to weave.This loom must be strong,rigid and of sturdyconstruction and is there for heavy.

Fine Plain Cotton Cloth

There are many type of cotton fabrics which are termed fine plain cloths.

Characteristics

The warp and weft of fine plain cloths are good yarns,specially of Egyptian cotton and the counts vary from 60s to 100s.Fine Lawn,which is an example of this type,has 90s warp ends and 100s weft,128 ends and 112 picks per inch or 2.54cm.Tracing Cloth,generally used by draughtsmen,is a fine cloth,consisting of 60s warp and 50s weft,76 ends and picks per inch or 2.54cm.

One type of Mull Mull consists of 62s Egyptian warp,34s Egyptian weft,72s reed and 60 picks per inch or2.54cm.

Defects in Cloth:

Reed marks,bareness and bad selvedges are the common faults in fine plain cloths.

Tapestry Weaving

Tapestry Weaving

The classical Tapestry was usually a structurally simple fabric in which the highly figured and elaborate design was produced by the placement of colored threads within well-defined areas of cloth.The warp was normally comparatively fine and of a neutral hue to prevent interface with multi colored wefts in which the design was developed.The ends were operated in the plain weave order and into each shed small portions of weft would  be placed,each short length conforming in color with the painted design positioned directly behind the warp threads.Each equivalent of a pick in a normal cloth would,therefore,consists of discontinuous length of wefts and the design would be built up,row by horizontal row,with the differently colored length of weft occupying increasing or decreasing spaces in conformity with the changes in the dimensions of the figures. 

The warp sheet in the hand tapestry loom was frequently placed vertically and in broad tapestries several weavers would be stationed side by side,each responsible for a vertical strip of design of a given width and each armed with a set of small shuttles containing the requisite colors of weft.The cloths produced in this manner usually consisted of single repeat,large picture panels used mainly as wall hangings,and similar techniques were employed in tapestry weaving in most of the ancient civilizations.

Although the making of tapestries in the manner described above is still practiced in various countries as a studio activity,the modern machine produced tapestry fabric has little structural affinity with the classical picture panel.The tapestry construction has been used for hangings,sofa rugs,upholstery work,table covers and carpets.At present fabrics of this type are mainly employed for upholstery purposes for which the hard -wearing quality of the structure particularly suited.The figuring elements may consists of cotton,wool or man made staple yarns:the ground warp,if present,is almost invariably a two fold cotton yarn,whilst the stitching elements are frequently fine, two fold cotton yarn or filament nylon.The stitching yarns are important element in the construction as they ensure cohesion and wear resistance of the fabric by preventing the formation of long floats whilst they may add to the structural variety which can be enhanced  by deliberately altering the appearance of similar color areas by the changes in the order of the stitching.Despite performing a vital role the stitching yarns must be unobtrusive and they must not interface with the color values of the main figure areas.For these reasons they are very fine and may be either black or be entirely transparent as is the case with the fine filament nylon yarns.

Simple Weft Face Tapestries

These represent the least complex of the tapestry structures and consists of a grond warp ,the lifts of which determine the disposition of the figuring wefts,the stiching warp,and a number of figuring wefts.The wefts,of which there are usually between two and four,interchange between the face and the back of the cloth thus producing a design in the number of colors equal to the number of different wefts.

In conclusion,in a 2 weft tapestry it takes two picks to complete a horizontal row of the design,in a 3 weft structure-three picks,and in a 4 weft-four picks.Thus if other conditions remain equal,a 2 weft tapestry is produced at twice the rate of a 4 weft fabric with an obvious advantage in respect of the cost of production.The stitching warp operates in a regular order stitching the weft floats both on the face and on the back so that no long floats are formed in any part of the fabric.Occasionally,the ground warp is also used for figuring on the surface thus adding another ornamental feature without increasing the cost of production.

Poothamkali

Poothamkali

Poothamkali

Poothamkali

Poothamkali is a folk art performed in the Bhagavathi temples of Mlappuram district in Kerala.Pootham is a character who accompanied Durga in her combat with Darika Asura.The performers ,usually three in number,undergo a week of austerity before presentation.Colorful and intricately designed masks carved out of the pala and murukku tress are the highlights of the attire.The fifteen minute performance starts slowly and works up to a frenzy towards the end.The thudi provides rhythm to the dance which is usually rendered at night.

Carpet Structures

Carpet Structures

Double wefting face to face weaving represents the principal method of producing self color,all -over cut pile carpets which after separation by the knife become structurally identical with those produced by the wire insertion method.Any constructions described in connection with the latter method can be used although the too-short structure is mainly employed,as depicted in the figure.All the healds are tappet controlled;the chain or ground ends are operated alternately two up,two down in each cloth,the stuffer yarns one down one up whilst the pile threads oscillate between the two cloths and are anchored around alternate picks in each fabrics.

Similar qualities can be made to those described with regard to carpets produced by the wire insertion method.Frequently high twist yarns are employed for the pile which have the merit of yielding carpets which are not only hard wiring and resilient but also less prone to show furniture marks, etc

Production rate of the face to face system compares very favorably with the wire loom.weaving identical quality body width carpeting in a too-short structure the face to face loom will produce 105 horizontal rows of tufts per minute as oppose to 55 by the wire loom.Similar proportional advantage is retained in broad loom weaving.

Cover of the Cloth and Reed Marks

Cover of the Cloth and Reed Marks

Reed marks are caused in the fabrics due to damaged reed,bent reed wires,wrong denting etc.If a coarse reed is used in weaving a fine sort,reed marks will also be apparent all over the fabric.

The position of the warp line in a loom has an important effect on the production of the cloth,since the height of top and bottom lines from central line of the shed governs the relative strains put up on the warp ends.If the warp threads move equal distance at the top and at the bottom lines from the center,the strain on both the lines of the shed will be equal.If this measure is adopted in a plain weave,the warp thread will lie in pairs in the order of denting,causing a reedy hard appearance in the cloth.Cloth showing this appearance is a 'bare cloth'. This is a serious defect in plain cloth.

Cover of the cloth

To remedy reed mark in cloth,the back rest is raised without altering the position of the healds.The top line of the shed will then be smaller and slack,and bottom line of the shed is bigger and strained.This method of alternate slackening and tightening the warp ends in successive picks is termed as 'troughing the shed'.By this it will spread the warp yarns  that form the top line of the shed between the warp yarns that form the bottom line of the shed at the time of beating up.The ends will be evenly distributed and the cloth will be soft and smooth.This appearance of the cloth is known as 'cover'It should be remembered that the warp line cannot be raised beyond a certain limit,because the increased strain on the bottom line of the shed cause them to break.Secondly too slack top shed will obstruct the weft yarn insertion in to the shed and cause 'stitching defect' in the cloth.

Troughing the shed is sometimes adopted for twill and sateen weaves to make the effect more prominent.The diagonal ridges of twill weaves become more prominent when the method of Troughing the shed is adopted in looms.

With a plain weave,beating up with a crossed shed and producing a slack top line and tight bottom line to obtain good  cover cloth,it become necessary to make the shed early,so that no reed mark will be noticeable.

A tugger cord runs from the front lease rod to the top of the reed cap over the healds and lifts the warp to slacken the top line and to tighten the bottom line of warp threads at the time of beating up for equidistribution.The cover factor is,therefore,an important point for assessment of the quality of plain cloths.

Arjuna Nritham(Mayil Peeli Thookkam)

Arjuna Nritham or Mayil Nritham is a ritual art performed by artists in peacock costume.Arjuna Nritham is devoted to Arjuna,the diligent student of Guru Dronacharya,whose power of concentration is well known.Arjuna appeased Goddess Bhadrakali(the Hindu Godardess of eternal energy)throgh a devotional dance presentation and it is believed that this dance form was Arjuna Nritham.The ritual is performed  throughout night in solo or in pair.The movements are similar to Kalaripayattu.

The rudiments of the songs Chenda,Thala Chenda,Ilathalam and Maddalam are the musical instrument used for this ritual.

Since the lower part of the garments of this dance is made of peacock feathers,the dance is also known as mayil peeli thookkam

Chavittu Natakam

Chavittu Natakam

Chavittu Natakam

Chavittu Natakam is an art form which evolved due to Portuguese influence.It developed under the auspices of the church in Kerala with the object of presenting biblical Themes.The actors stamp with their feet on wooden platforms to the tunes of songs and drums.Stories include that of Christian Saints,Charlemagne and Napoleon.
.....Another amazing visual treat from the God's own country!Hope you enjoyed it!expecting your comments and suggestions.

Chavittu Natakam

Textile products of Kerala

Textile Products of Kerala

Kerala's textile industry mainly located in handloom sector.Handloom fabrics of Kerala are well known for its quality and variety.Balaramapuram Sarees(a 5.5 meter long and 1.2 meter wide narrow fabric worn by ladies), Kuthampully Sarees,Kannur Shirtings and furnishings, Alappuzha Coir mats,terry/Turkish towellings and carpets are not only the examples of its popularity but, of course,its traditional value.The textile products of Kerala are made of  pure cotton ,coir(made from coconut fiber) ,Jute,Sisal and Palm fibers.Polyester cotton blends are rarely used.

Fly Shuttle Frame Loom 

Kerala's textile industry is depended on handlooms rather  than automatic looms due to its traditional nature.There are so many co.operative handloom societies run by the weavers ,across Kerala.These societies supply  cotton yarns(dyed/bleached),weaving accessories and other technical information required for the particular products.The weavers will produce the fabrics in hand looms, either in their home or a collective weaving shed located in the weavers co.operative society itself.The looms used to weave are pit looms(A primitive loom at floor level the shedding mechanism usually located in pits and the warp yarn is stretched parallel to the ground),frame looms and Jacquard/ Dobby looms.
The yarn intended for weaving is given a scouring treatment in closed vessels(earthen/iron) using caustic soda and soda ash and steeped over a night .The next day the yarn is taken out and washed well in water.A half bleaching  is given for the yarn if it it is intended for dyeing pastel shades.Bleeching powder(sodium hypo chlorate)or hidrogen peroxide is used as bleaching agents.Optical brightening agents such as tinopal,ranipal are used to enhance the brightness of bleached yarns.A souring treatment with Hydrochloric Acid is also done to control the pH value. The dyes used are vat ,reactive,direct and natural dyes.If the yarn is single count ie 10S, 20s etc,it is sized using starch.Then the warp yarn is prepared  in sectional/vertical warping machines.The warp yarn is tightly wound on wooden beams and fitted into looms.
The healds are usually made of varnished knitted wire healds, metallic healds etc.Bamboo reeds and metallic reeds are used for denting the warp.

• Erettu Thorthu/Erezha Thorthu/Mangadan Thorthu

Technical Specifications

Length:24 inches(61cms)/27inches(68.58cms)/30inches(76.2cms)
Width:48 inches(122cms)/54inches(137.16)/60inches(152.4cms)

Count of Warp:20s,26s(Cotton)

Count of Weft:26s(Cotton)
Reed Count:32s,36s
Drafting Order/Drawing Order:1,2
Denting Order:2 ends/dent
Ends Per Inch:32,36
Picks Per Inch:30,34
Lifting Order: 1,2

Erettu Thorthu or Erezha Thorthu

Thorthu is a towelling fabric made of cotton yarn..it absorbs the moisture quickly due to its loose structure.it is woven in plain weave using two heald shafts.the warp is drawn  1-1-2-2 order,that is ,the first two yarns are drawn through the two heald eyes of the first heald and third and fourth yarns are drawn through the two heald eyes of the second heald shaft.Then the first two yarns of the first heald shaft are drawn through the single split or dent of the reed and the third and fourth yarns of the second heald shaft are drawn through the second dent of the reed and so on.Due to this, the fabric woven will give the appearnce of a mat weave in 2 and 2 order.

• Kaili or Lungie

Technical Specifications

Length:2 meters
Width:52 inches(132cms)

Count of Warp:2/60s,2/80s,2/100s(Cotton)

Count of Weft:2/60or 40s,2/80 or 40s,2/100s or 60s(Cotton)
Reed Count:72s,80s,92s
Weave Employed:Plain
Number of healds:4
Drafting Order/Drawing Order:1,3,2,4
Denting Order:2 ends/dent
Ends Per Inch:72,80,92
Picks Per Inch:68,78,90
Lifting Order: 1&2up 3&4 down

Lungi or Kaili

Kaili or Lungi is worn by the gents of Kerala.Usually made of cotton and sometimes in poly cotton blends too.It is a casual wear.The kaili or Lungi designs are either in checks or stripes of vivid colour combinations.In olden days the yarns were dyed using Naphtol/Azoic dyes,nowadays it is completely replaced with vat and reactive dyes.

• Saree

Technical Specifications

Length:5.5 meters
Width:48 inches(132cms)

Count of Warp:60s,80s,100s,120s  (2/80s or2/100s for border)

Count of Weft: 60s ,80s,100s,120s
Reed Count:72s,80s,92s,100s
Weave Employed:Plain&Jaquard motifs in border and cross border
Number of healds:4
Drafting Order/Drawing Order:1,3,2,4
Denting Order:2 ends/dent(3ends/dent for borders)
Ends Per Inch:60,80,100,120
Picks Per Inch:58,78,96,116
Lifting Order: 1&2up 3&4 down
Number of Hooks of Jacquard:120,400,600,800

Saree woven with Zari yarn

Saree is a thin fabric woven by using fine yarns.It is used by ladies.The traditional Kerala saree has off white color.It is a highly decorative fabric woven in different styles and textures.It gives a designer endless imagination and creativity.

Traditional Saree Motifs woven with pure Zari Yarns(extra weft figuring)

In traditional sarees the extra weft motifs arewoven by inserting extra wefts with hands.these usually include the motifs of parrot,peacock,mango shape and small geometrical motifs.Nowadays dobbies and jaquards are playing  this role.

Saree Cross Border

Saree has got two side borders usually 2.5to 5 inches in width.It has also got a cross border.Fine Zari/Jari yarn is also widely used in these sarees.

• Double Dhothi or Double Mundu

Technical Specifications

Length:4 meters
Width:52 inches (132 cms)

Count of Warp :60s,80s,100s(Cotton)

Count of Weft: 60s ,80,100s (Cotton)
Reed Count :72s,80s,92s
Weave Employed:Plain
Number of healds:4
Drafting Order/Drawing Order:1,3,2,4
denting Order:2 ends/dent
Ends Per Inch:72,80,92
Picks Per Inch:68,78,90
Lifting Order: 1& up 3&4 down

Traditional Kerala Dhothi

Dhothi woven with Bleached and dyed Yarns

Double Mundu or Double dhoti is gents formal wear.The dhoti has a small border and cross border, 1 to 2.5 inches wide,on both sides.Dark colors are used for these borders.The body is off white  color. Zari yarns are also used in borders and cross borders.

• Bed Sheets and Pillows

Technical Specifications

(Bed Sheets)
Length:2.30 meters
Width:50inches(132cms),60 Inches(153 cms),72 Inches(183cms)

Count of Warp:2/20s,2/40s,(Cotton)

Count of Weft:2/20or 20s,2/40 or 20s or 26s,(Cotton)
Reed Count:36s,40s,64s,72s
Weave Employed:Plain,Twill,Satin etc
Ends Per Inch:36,40,64,72
Picks Per Inch:32,38,62,70

(Pillows)

Length:54 Inches(137cms),60 Inches(153cms)
Width:27inches(68.5cms),30 Inches(76 cms)

Count of Warp:2/20s,2/40s,(Cotton)

Count of Weft:2/20or 20s,2/40 or 20s or 26s,(Cotton)
Reed Count:36s,40s,64s,72s
Weave Employed:Plain,Twill,Satin etc
Ends Per Inch:36,40,64,72
Picks Per Inch:32,38,62,70

Combination of Cotton weft and Linen warp in 5 thread Satin weave

Jaquard Loom

Bed sheets and Pillows woven in fly shuttle frame looms.Jaquard looms are also used for the production.Combination of cotton and linen also used for the production.The yarns are dyed in hank form using Vat,Reactive and Natural dyes. 

Coir products of Kerala

Kerala produces a great variety of products made out of coir as a raw material. The commercial production of coir in Kerala dates back to the ninetieth century and has become the largest cottage industry in the state, employing millions. The beginning of coir spinning wheels during the mid nineties, facilitated in increasing the production and to obtain the required yarn strength for the manufacturing of matting. The coir fibre is elastic and flexible to twist without breaking and it holds a curl as though permanently waved. The coconut contains three layers– the outer layer which is smooth and greenish is called the Exocarp; the inner layer which is the fibrous husk is called Mesocarp and the innermost layer surrounded by the hard woody layer is called the Endocarp. The coir fibre is waterproof and resists damage against salt water. The sea water and fresh water is used in the production of white coir.

Coir Yarn Spinning

• Spinning Process

The refined fibre is accumulated in a hand-made pouch affixed to the waist of the worker. The handful of fibre is rubbed against the hands forming a twist of the fibre.  One end of the twisted fibres is looped and hooked to the motorized machine and the other end of the twisted fibres is fixed to the manual spinning machine. The fibre is automatically conveyed from the pouch to form the thread. The women worker walks backward and ply the thread by concurrently handling both the threads with both the hands to make the twine of uniform thickness. Using the manual spinning wheel, the two twisted fibre threads are spun to make the twine more thick. Finally, the twine is attached by rubbing the two twines together to form a long twine.

Coir Warping

The coir yarn is warped in horizontal warping machine according to the number of ends required for weaving.Then this warp is wound on warp beams and taken for weaving.

Coir Weaving

Coir Mats

Coir Mats

COIR GEO TEXTILES-AN ECONOMICAL AND NATURAL SOLUTION FOR SOIL EROSION -FROM GOD'S OWN COUNTRY

Coir Geo textile is a natural remedy for large scale soil erosion.It is widely accepted because of the bio biodegradability and Eco friendly nature. Its durability,hairy surfaces gives better hold of the soil.It also allows the roots of the vegetation to pass which also enhances the surrounding areas.These are classified as woven and non woven.
Woven mats are further  divided as coir mesh matting with two shaft weaving,looped mats,latex backed coir mats. 
Non woven mats are further divided in to coco logs,coir fiber beds,coir needle felts.

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Theyyam

Theyyam

• The Devine Dance

Said to be the corrupt form of Deivam or God,Theyyam is one of the most outstanding folk arts of Kerala and has its origin in the northern parts of the state.Also called Thirayattom,(because every thira or village performed this ritualistic art at the village temple)this primitive ritualistic art reflects features of a tribal culture.it is performed in temples and kavus(sacred groves) to propitiate the deities and a Theyyam acts as a medium between the deity and the devotee.

• Embodying godliness

The theyyam (a form or shape)represents a mythological, divine or heroic charecteor. There are over 350 Theyyams in northern Kerala each with its distinct shape,form and story of origin.The hood,headdress,face painting,breast plate,bracelets,garlands and fabric of attire of each of these theyyams are distinct and meticulously crafted according to the character presented.

• Symbol of hope

Theyyams stand as a symbol of goodwill and prosperity and theyyattom or theyyam recitals,it is believed,ward off poverty and illness.A theyyam recital begins once the deity in invoked and it includes a series of rites and rituals.The shadows created by the flaming of torches,the chenda beats resounding in the air,the headgear,the facial and body make up which are rich in artistry and symbolism together create a surreal atmosphere.

• The prelude

Theyyam demands a mastery over several things like recitation of songs or Thottams,make up including preparation of costumes,playing of instruments and dancing. Physical agility is a pre-requisite for theyyams .Musical accompaniments are chenda and veekuchenda(drums),kuzhal(horn)and elathalam.

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The art of Weaving! Tie and Dye weaving in handloom Industry

A fabric woven with Tie and Dye technique(warp&weft)

 Tie and dye  weaving is widely used in handloom industry for producing saree,dhothi
and other dress materials.It is a skillful and laborious technique that requires a lot of experience and of course patience!.

In handloom industry the yarn is used in hank form.The yarn intend for tie dye is scoured and bleached in order to get a bright color.If it is required, a base color is given (usually a lighter shade)to the yarn in hank form.Then the yarn is warped to the required  number of ends and required length.The warped yarn is stretched to length and the places required to reserve with the base colors are tied up with rubber bands/polythene covers(usually used for cold dyeing) firmly to prevent the dyes entering in to that area.To get a check or stripe pattern the accurate places must be tied for both warp and weft.If more than  two colors are required the rubber bands or polythene  must cut according to width of each color.Suppose it is required to dye 10cm grey color and 20cm green color,the the rubber bands or polythene must be cut 10 cm and 20cm,while dyeing the grey color the green color portion is covered with 20 cm rubber band and vice versa.
Naphthol dyes were used for tie and dye in olden days due to its simplicityof application and can be dyed in cold water at room temperature.Nowadays it is less used due its azoic content.
While weaving the check patterns care must be taken by the weaver to coincide each color.It is possible to adjust the weft manually to coincide the patterns.