Dhokra

Kishanganj

Historical Context and Origins

Dhokra is a traditional handweaving craft using jute yarns that has been meticulously preserved in the Kishanganj district of Bihar, India. This art form involves weaving jute fibers into mats known locally as 'Dhokra', a practice that not only showcases the artisans' skills but also reflects the region's rich cultural heritage.

While Dhokra jute handweaving is predominantly practiced in the Uttar and Dakshin Dinajpur districts of West Bengal, recent surveys have unveiled its significant presence in Kishanganj, Bihar. In Gram Panchayats like Phaudar Palsa, Singhimari and Lohagada of Dighalbank block, approximately 500 to 600 households are actively engaged in this craft. The artisans recount that the tradition has been passed down through generations, with no specific records of its inception, indicating its deep-rooted and ancient origins.

The origins of Dhokra jute handweaving in Kishanganj, Bihar, are deeply intertwined with the region's agricultural and cultural evolution. While the precise inception of this craft remains undocumented, its enduring presence underscores its significance in the local heritage.

Etymology and Distinction

The term 'Dhokra' in this context refers to intricately woven jute mats, a craft distinct from the metal casting art of the same name practiced in other parts of India. This differentiation highlights the unique identity of the jute weaving tradition in Kishanganj.

In the region, jute mats are commonly known as Dhokra and Jhalong. While both share similar design elements and patterns, the key distinction lies in their material composition. Dhokra mats are predominantly woven using jute yarn, maintaining a traditional and rustic texture. In contrast, Jhalong mats can incorporate wool or other fibers, offering variations in texture and durability. Despite the difference in materials, the weaving techniques and patterns remain consistent across both types, preserving the rich artistic heritage of the craft.

Agricultural Influence

Kishanganj's fertile alluvial plains, nourished by rivers like the Mahananda, provide an ideal environment for jute cultivation. Bihar stands as the second-largest jute-producing state in India, with Kishanganj being one of its prominent jute-growing districts. This abundance of raw material has naturally led to the development of jute-based crafts, with Dhokra mat weaving emerging as a prominent example. The availability of jute has not only supported the craft economically but has also woven it into the socio-cultural fabric of the region.

Community and Tradition

The weaving of Dhokra jute mats is primarily undertaken by indigenous communities, notably the Rajbanshis and the Polis in the Kishanganj district of Bihar, particularly in Gram Panchayats like Phaudar Palsa, Singhimari and Lohagada of Dighalbank block. The Rajbanshis, believed to have ancestral ties to the Koch Dynasty, have preserved this traditional craft through generations. Women predominantly engage in the practice, using home-based, backstrap looms to create intricate mats, passing down skills and patterns as part of a deep-rooted cultural heritage.

Cultural Significance

Dhokra mats hold profound cultural importance in the Kishanganj district, particularly in matrimonial and familial traditions:

Matrimonial Traditions: In Kishanganj, presenting a Dhokra mat during marriage ceremonies is considered indispensable for both the bride's and groom's families. This practice is so deeply ingrained that marriages are deemed incomplete without this exchange. While the exact origin of this custom remains undocumented, it has been perpetuated across generations, underscoring its ancient significance.
Post-Childbirth Rituals: Following the birth of a child, it is customary for the bride's family to gift a Dhokra mat to their daughter. This gesture symbolizes continuity, blessings, and the reinforcement of familial bonds.

Design Patterns and Techniques

The artisans of Kishanganj have developed a diverse range of design patterns for Dhokra mats, each characterized by its distinct weaving style and intricate detailing. These designs are crafted with precision by mixing plain weave techniques with colour and weave effects and pick-up techniques, which passed down through generations, and reflect the deep-rooted artistic traditions of the region. The five primary patterns are thus created are Double Makardati, Single Makardati, Sikli, Pachimachaku and Kusiyaarpurni.

Double Makardati: Exhibiting a layered lattice effect, this pattern consists of interwoven motifs creating a structured and dynamic appearance. The use of doubled weaves enhances texture and durability, giving it a rich, dimensional quality.
Single Makardati: Highlighting a staggered ladder effect, this pattern consists of small, repeated motifs aligned in a structured yet fluid sequence. The controlled spacing and precise detailing give it a refined and rhythmic elegance, characteristic of traditional woven techniques.
Sikli: This pattern features a chain-like structure running along the fabric, formed by interlocking weave patterns that create a continuous linked effect. The alternating color bands and raised texture enhance its visual depth, making it a striking yet functional textile design.
Pachimachaku: Presenting a grid-like weave, this pattern includes thick and thin stripes that interact to create a harmonious, well-defined pattern. The structured placement of colors and textures enhances its rhythmic quality, making it ideal for both aesthetic and functional use.
Kusiyaarpurni: This design showcases a zigzag interlock pattern, where diagonal elements intersect with vertical stripes, forming a structured and rhythmic weave. This design balances bold contrasts with fine detailing, adding depth and precision to the textile.

1. Double Makardati

2. Single Makardati

3. Sikli

4. Pachimachaku

5. Kusiyaarpurni

Though these patterns do not carry specific symbolic meanings, they showcase the artisans' creativity and expertise. Their names are inspired by visual resemblances to everyday objects, nature, and traditional motifs. The weaving process involves interlacing dyed jute yarns using specialized techniques to create vibrant, durable designs. Vibrant colours enhance the aesthetics, making these mats both functional and decorative while reflecting the region’s rich cultural heritage.

Materials

Yarns

In the traditional jute weaving practices of Kishanganj, artisans predominantly utilize hand-spun jute yarn, crafted using a simple spindle known as a takli. Artisans source raw jute fibers, locally referred to as "patsan" or "patua," from nearby markets. During the spinning process, artisans apply rice starch, termed 'maad', to the fibers. This application serves a dual purpose: it strengthens the yarn, reducing breakages during weaving, and compensates for the inherent irregularities and occasional weaknesses in hand-spun threads. However, the use of maad imparts a certain stiffness to the finished mats, necessitating washing before they are ready for use.

Beyond jute, weavers also incorporate materials like acrylic wool and cotton yarns into their creations, adding diversity to their textile products.

Dyes and chemicals

For coloring, they employ locally sourced dye powders. While these dyes are readily available and widely used, their colorfastness properties and environmental impacts have yet to be thoroughly validated, highlighting an area for potential research and development in sustainable dyeing practices.

Jute Yarn Preparation Process

The creation of Dhokra mats involves a labor-intensive process of preparing jute yarn, requiring multiple intricate steps that showcase the artisans' dedication and expertise:

Harvesting: The process begins with the careful selection and harvesting of raw jute fibers from locally cultivated jute plants. Farmers ensure that the jute stalks are cut at the right maturity stage to obtain long, strong fibers essential for weaving.
Retting: After harvesting, the jute stalks are bundled and submerged in slow-moving water bodies such as ponds or rivers for approximately 20 days. This process, known as retting, is crucial as it allows the plant's pectins to break down, making it easier to extract the fibers from the woody core. The duration of retting varies depending on water temperature and quality, and improper retting can affect fiber strength and flexibility.
Stripping: Once retting is complete, the softened stalks are taken out of the water, and the non-fibrous matter is carefully scraped off by hand. The artisans skillfully extract the long jute fibers from the stalks, ensuring that only the best quality fibers are used for the weaving process.
Drying: The extracted fibers are thoroughly washed and then sun-dried for several days to remove excess moisture. Proper drying is crucial to prevent mold growth and to maintain the durability and color retention of the fibers.
Spinning: After drying, the fibers are spun by hand using a traditional spindle known as "Takli." The artisans meticulously twist the fibers to produce uniform yarns, ensuring that the thread is strong yet flexible enough for weaving. The thickness of the yarn is adjusted based on the intended use of the Dhokra mat.
Dyeing: The final step before weaving is the dyeing process. The spun yarn is immersed in natural or plant-based dyes to achieve the required colors. The dyeing process not only enhances the aesthetic appeal of the mats but also preserves the fibers' strength. Some artisans use a resist-dyeing technique to create intricate color patterns, adding more depth and variation to the final woven piece.

This meticulous process ensures that each Dhokra mat is crafted with precision and care, embodying the time-honored traditions of jute handweaving in Kishanganj.

Tools and Equipments

Dhokra jute mat weaving in the Kishanganj district of Bihar is a time-honored craft, deeply embedded in the cultural fabric of the region. The artisans rely on simple, traditional tools, reflecting both their resourcefulness and the continuation of age-old techniques. Despite its simplicity, the process demands precision, skill, and physical endurance. The following provides a comprehensive overview of the tools and equipment that play a crucial role in the Dhokra jute mat weaving process.

1. Basic Backstrap Loom

Unlike the more sophisticated pit looms and frame looms used in other weaving traditions, Dhokra jute mat artisans in Kishanganj employ a refined yet traditional version of the backstrap loom, echoing weaving practices found in regions where this loom has been historically utilized. This adaptation reflects both the ingenuity of local artisans and their deep connection to age-old weaving techniques. This loom consists of minimal components:

Warp Beam: A robust wooden beam that anchors the warp threads securely, supported by two bamboo posts positioned 30 to 35 inches apart, ensuring stability and proper tension for the weaving process.
Backstrap: A strap that wraps around the weaver’s lower back, allowing them to adjust tension using their body movements.
Ground-Based Set-Up: The loom is often set up at ground level, requiring the weaver to sit in an extended or cross-legged position.

While this system allows for flexibility and portability, it requires substantial physical effort, as tension must be controlled through bodily movement rather than mechanical adjustments.

2. Takli (Hand Spindle) for Spinning Jute Yarn

The artisans hand-spin jute fibers using the Takli, a simple wooden or metal spindle. Unlike industrially spun yarns, this traditional technique produces yarn with slight irregularities, giving Dhokra jute mats a distinctive texture. However, the inconsistency in thickness can pose challenges in achieving uniformity across woven pieces.

3. Wooden Rod as a Shuttle

Instead of the more commonly used fly shuttle in advanced looms, Dhokra mat weavers employ a simple wooden rod, typically measuring 20 to 24 inches in length, around which the yarn is wound. This rod functions as a shuttle, manually passed through the warp threads to interlace the weft, requiring a rhythmic, repetitive motion that adds to the labor-intensive nature of the weaving process.

4. Wooden Beater for Compacting Weft Threads

A fundamental tool in the weaving process is the wooden beater, shaped like a knife blade and measuring between 20 and 24 inches. This tool is used to press and compact the weft threads after they have been passed through the warp. The effectiveness of this manual beating determines the density and durability of the final mat.

Basic Backstrap Loom

Takli

Wooden Rod as a Shuttle

Products

1. Dhokra and Jhalong Mats

Dhokra and Jhalong Mats are the most widely woven products in Kishanganj. Since the loom width generally does not exceed 25 inches, the woven panel width is typically around 20-24 inches. To create a full-sized Dhokra or Jhalong mats, which generally measures 70-72 inches in width, artisans weave three separate panels, each spanning 72-84 inches in length. These panels are then meticulously hand-stitched lengthwise to form a cohesive mat measuring 72-84 inches in length and 72 inches in width. This technique ensures durability and maintains the traditional aesthetics of the mats while making use of the existing loom limitations.

While both Dhokra and Jhalong share similar patterns and designs, their composition differs.

Dhokra Mats: Made predominantly of jute yarn, they are coarse, sturdy, and ideal for household use.
Jhalong Mats: These incorporate other materials, such as wool or cotton, alongside jute to achieve a softer texture while maintaining the same visual appeal.

These mats serve both functional and ceremonial purposes, often being an essential part of marriage traditions and household essentials.

2. Jhola (Shoulder Bag)

In some regions of Kishanganj, artisans also weave Jhola, a traditional jute shoulder bag. These bags, crafted using the same weaving techniques as Dhokra mats, are lightweight, strong, and environmentally friendly. Traditionally, Jhola bags are used for carrying daily essentials, groceries, and books, making them a staple in rural life.

Dhokra

Meticulously hand-stitched woven panels

"Jhola"

Cotton Jhalong

Jute Dhokra

Weaving Techniques

The artisans in Kishanganj predominantly practice plain weaving with color and weave effects, which is responsible for the distinctive patterns observed in their products. Additionally, some areas incorporate pick-up techniques to introduce extra weft configurations, enabling the creation of geometric motifs. Due to the absence of a reed in the loom, the fabric tends to be warp-dominated, meaning the warp threads are more visible, and the weft threads appear sparsely in the final textile.

1. Plain Weaving with Color and Weave Effects

This is the primary weaving method used in Kishanganj. The five signature patterns—Sikli, Pachimachaku, Single Makardanti, Double Makardanti, and Kusiyarpurni—are achieved through variations in color placement and the arrangement of warp and weft threads. The process is entirely manual, requiring the weaver’s skillful manipulation of yarns to create intricate yet subtle designs without the use of additional motifs.

2. Pick-Up Techniques for Extra Weft Motifs

In some regions, weavers incorporate extra weft configurations through pick-up techniques to create decorative geometric motifs. This technique allows artisans to introduce more intricate designs, adding depth and contrast to the otherwise simple plain weave structure. The motifs are manually inserted, requiring high levels of precision and patience, making each piece unique.

3. Warp-Dominated Fabric Structure

Since the traditional backstrap loom in Kishanganj lacks a reed, the warp threads remain more prominent in the final textile, giving the fabric its characteristic texture. The weft threads are only loosely visible, resulting in a rugged and slightly uneven surface, which adds to the rustic charm of Dhokra jute textiles.

Plain Weaving with Color and Weave Effects

Pick-Up Techniques for Extra Weft Motifs

Warp-Dominated Fabric Structure

Ergonomic Challenges in Weaving

While the backstrap loom is efficient for small-scale weaving, it places significant strain on the weaver's body. The need to manually maintain tension through bodily posture leads to several ergonomic challenges:

The use of backstrap looms requires weavers to control tension through body movements, often leading to ergonomic challenges:debbrandon.com, backstrapweaving.wordpress.com

Posture and Back Pain: Weavers typically sit on the ground with legs extended or crossed, using their body weight to maintain tension. This posture can result in prolonged discomfort and musculoskeletal issues, particularly in the lower back and hips. Studies have shown a high prevalence of low back pain among traditional weavers, attributed to sustained awkward positions and repetitive movements. solutions-catalog.kopernik.info pmc.ncbi.nlm.nih.gov
Lack of Support: Weavers must consistently lean forward while keeping their back straight to apply appropriate tension to the warp threads. Over time, this can lead to chronic lower back pain and stiffness, a condition commonly reported among traditional weavers. Frontiers

Strain on Upper Body and Arms: The continuous movement required to pass the shuttle and beat the weft leads to fatigue in the shoulders and arms, making the process physically demanding.
Limited Mobility: The static nature of sitting at a low level for long hours restricts blood circulation in the legs, contributing to numbness and muscle fatigue.

Due to these physical challenges, many women artisans find it increasingly difficult to continue weaving beyond the ages of 45 to 50 years. The prolonged strain on their backs, arms, and legs leads to chronic pain and reduced mobility, making it challenging to sustain the physically demanding craft. Over time, the repetitive postures and the need to maintain tension through bodily movements contribute to early retirement from weaving, often leaving experienced artisans unable to pass on their skills effectively. This underscores the urgent need for ergonomic improvements that can support longevity in their craft and ensure the preservation of this traditional art form.

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