Top Exporting Products During Pandemic

Bangladesh’s handicrafts not only promise increasing foreign currency earnings through exports but also women empowerment. Last fiscal year over $20 million-worth products were exported, propelled by a workforce including around four lakh women, half of whom are based in their own homes, working for exporters throughout the country. The photos were taken in Bogura’s Sherpur upazila recently. Photo: Internet

While nearly every business sector in Bangladesh has been hit by the fallouts of the coronavirus pandemic, handicrafts have continued faring well in the global market.

With exports beginning in 1980, such products which are made entirely by hand or by using only simple tools have come to create an international market of more than $20 million, as per the Export Promotion Bureau's (EPB) estimate of fiscal 2019-20.

This fiscal year, manufacturers and exporters have already attained half that figure in just four months to October, bagging $10.84 million from foreign countries. In comparison, it was $7.34 million in the same period last fiscal.

Handicrafts export has been annually increasing by $2 million to $4 million for the past five years, as per the EPB.

In the international market, the demand for Bangladeshi handicraft products has been growing day by day, even during the pandemic, said Golam Ahsan, president of the Bangladesh Handicrafts Manufacturers and Exporters Association (BANGLACRAFT).

When the coronavirus hit Bangladesh in March, all factories throughout the country had to shut before
opening two months later.

"During that time, around Tk 200 crore worth work orders from foreign buyers were cancelled. We had become hopeless because we have over 400 handicrafts companies and some 92 per cent of them are exporters," said Ahsan, owner of Sun Trade.

"But the global market for Bangladeshi handicrafts has become normal now, and we are getting orders online."

Bangladesh mainly exports rugs, bags, buckets, home furniture, textiles and decoration items and storage solutions to almost 60 to 70 countries in Europe, Asia, South America and Latin America.

Every year Bangladesh arranged handicrafts exhibitions in Germany, Hong Kong, the US, Italy and France, from where some 50 per cent order of the year's work comes. But this year they were able to arrange only one exhibition in Germany before coronavirus hit the world.

Orders from abroad from July to November 15 had totalled around $20 million, and their hope is that the final amount at the end of the fiscal would cross that of last year

Classical Handmade Products BD, one of the biggest exporters, secured $6 million worth orders this fiscal year. 

 

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HOW HANDICRAFT EXPORTING IS CONTRIBUTING TO BANGLADESH ECONOMY ?

 Handicraft exporting is contributing to Bangladesh's economy significantly. In terms of the employment of rural women, it plays a crucial role. Many families have become solvent-making handicraft products. Therefore, the government is also encouraging unemployed youths to join in the handicraft industry.

In Bangladesh, the handicraft industry is a very potential sector. Every year, the exporting amount and foreign currency are increasing by stages. It has a huge possibility, because of the availability of raw materials, low labor cost, and skilled workers, government loan taking amenity, etc. Following this potential, new entrepreneurs are growing rapidly. However, China, Vietnam, and Thailand also have a stronger position in supplying handicraft products in the international market.

According to Export Promotion Bureau( EPB) in Bangladesh, there was USD 1.4 million was earned in the 2016-17 fiscal year in Bangladesh. In the 2017-18 fiscal year, the expected earning amount was USD 1.6 million, but against this expectation earning amount was 1.67 million USD.  However, reportedly, in July FY 2018-19, 1.22 Million USD was achieved from this sector. In the next fiscal year, 1.87 million was earned from the handicraft industry, Bangladesh. Thus, Bangladesh's economy is being developed with the handicraftindustry.http://m.theindependentbd.com//printversion/details/212921There is a huge demand for Bangali handicraft products in the international market. Over 50 countries in the world handicrafts are exported from Bangladesh. The major markets are England, Europe, America, Middle East, and so on. In Bangladesh, proficient handicraft workers are available with low remuneration, which makes this country a potential destination of investment. The government and the NGOs are also upholding craft-making projects to alleviate poverty.

 

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Pottery in Bangladesh

 

Pottery of Bangladesh

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Pottery had its roots deep in the subcontinent and Bangladesh was not an exception. Although Bangladesh is predominantly a Muslim country, pottery is predominantly a Hindu craft. Symmetrical, smooth, bright and unless it falls, it would last a long time-these attributes made things of pottery very popular.

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Origin

The origin of pottery in Bangladesh dates back to the Mahenjodaro and Harappa civilization after the earthenware were found after the excavation of Mohasthangar of bogra. The categorical folk arts found are still being used for modern artifacts. The potters are predominantly Hindus. Most of them bear the same surname-Pal. For most, it has been a traditional profession carried by their families. Most of them make utilitarian vessels for carrying water and cooking. While the others make sculptures (mürti) for worship and showpieces.

Potters were popularised during the zamindars. They used to be patronised for making statues of goddesses, plates and other aesthetical items. Sometimes they were made to sculpt statues of the zamindar themselves. But after the end of the zamindar, they started making everyday household items for sale in the local markets to earn a living. They also made the wheels of the popular transportation system Gorur Gari (a lightweight cart pulled by male cows).

Pottery villages

The Dhamrai pottery industry is the most renowned village for pottery in Bangladesh. There are several pottery villages in Dhamrai, such as Kagojipara, Shimulia Pal para, Notun bondor, etc. These villages are well known for their pottery expertise and the Pal family residence for generations. Most of the artisans work here as freelancers. They make the product and sell it in the local market.

Terracotta

Terracotta indicates the clay after pottery has been burned by fire and heated. It is a popular form of making sculptures via pottery. It demanded very little, as the products made of clay could be baked cake under the sun for one year or burned to give them an orange-clay color and greatly improve the durability. Most of the artisans opted for terracotta as it was easier and the cheaper option. This tradition could also be traced back to the Mahenjodarro and Harappa civilisations.

Pottery of Bangladesh clay in Asia

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Nakshi kantha

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Nakshi Kantha
Geographical indication
Traditional nakshi kantha
Alternative names	নকশি কাঁথা
Description	A traditional embroidery art of Bangladesh, Eastern India, and Northeastern India
Country	Bangladesh and India
Material	Cloth, usually cotton

Quilt, 19th century, cotton and wool.

Nakshi kantha

Nakshi kantha, a type of embroidered quilt, is a centuries-old Bengali art tradition of the Bengal region, notable in Bangladesh and Indian states of West Bengal, Tripura and part of Assam. The basic material used is thread and old cloth.Nakshi kanthas are made throughout Bangladesh, but the greater Mymensingh, Jamalpur, Bogra, Rajshahi, Faridpur and Jessore areas are most famous for this craft.

The colourful patterns and designs that are embroidered resulted in the name "Nakshi Kantha", which was derived from the Bengali word "naksha", which refers to artistic patterns. The early kanthas had a white background accented with red, blue and black embroidery; later yellow, green, pink and other colours were also included. The running stitch called "kantha stitch" is the main stitch used for the purpose. Traditionally, kantha was produced for the use of the family. Today, after the revival of the nakshi kantha, they are produced commercially.

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Etymology

The word kantha has no discernible etymological root. The exact time of origin of the word kantha is not accurately known but it probably had a precursor in kheta (khet Bengali means "field").According to Niaz Zaman, the word kantha originated from the Sanskrit word kontha, which means rags, as kantha is made of rags.

Tradition

Like any other folk art, kantha making is influenced by factors such as materials available, daily needs, climate, geography, and economic factors.Probably the earliest form of kantha was the patchwork kantha, and the kanthas of the decorative appliqué type evolved from this.In literature

The earliest mention of Bengal Kantha is found in the book Sri Sri Chaitanya Charitamrita by Krishnadas Kaviraj, which was written some five hundred years ago. The famous Bengali poet Jasimuddin also had a very famous poem 'Nakshi Kanthar Math' on Nakshi Kantha

Making

Traditionally old sarees, lungis and dhotis were used to make kanthas. Kantha making was not a full-time job. Women in almost every household were expert in the art. Rural women worked at leisure time or during the lazy days of the rainy season, so taking months or even years to finish a kantha was normal. At least five to seven sarees were needed to make a standard-size kantha. Today the old materials are replaced by new cotton cloths. Traditionally the thread was collected from the old sarees. That is rarely done today.

When a kantha is being made, first the sarees are joined together to attain the required size, and then layers are spread out on the ground. The cloths are then smoothed, and no folds or creases are left in between. During the process, the cloth is kept flat on the ground with weights on the edges. Then the four edges are stitched and two or three rows of large running stitches are done to keep the kantha together. At this stage, the kantha can be folded and stitched at leisure time.

Originally, designs and motifs were not drawn on the cloth. The design was first outlined with needle and thread, followed by focal points, and then the filling motifs were done. In a kantha with a predominant central motif the centre was done first, followed by corner designs and the other details. In some types of kanthas (carpet, lik and sujni, etc.) wooden blocks were used to print the outline. The blocks are replaced today by patterns drawn in tracing papers.

Types

The following is how kanthas are categorized, according to the stitch type:

Running stitch

The running stitch kantha is truly the indigenous kantha. They are subdivided into Nakshi (figured) and par tola (patterned). Nakshi (figured) kanthas are further divided into motif or scenic kanthas.

Lohori kantha

The name was derived from Sanskrit, as in "'Soundarya Lahari" or "Shivananda Lahari"- Religious poetic works in Sanskrit by Adi Shankara. It is also found in Persian Language giving the same meaning, 'lehr, which is "wave". This type of kantha is particularly popular in Rajshahi. These kanthas are further divided into soja (straight or simple), Kautar khupi (pigeon coop or triangle), borfi or diamond (charc

Lik or anarasi

The Lik or Anarasi (pineapple) type of kantha is found in the Chapainawabganj and Jessore areas. The variations are lik tan, lik tile, lik jhumka, and lik lohori.

Cross-stitch or carpet

This type of kantha was introduced by the English during the British Rule in India.The stitch used in this kanthas is the cross-stitch.

Sujni kantha

This type of kantha is found only in Rajshahi area. The popular motif used is the undulating floral and vine motif.

Influence of religion and folk belief

Hindu women during 19th century used human and animal forms to tell stories of Gods and Goddesses and their Vahanas. Bengali women were free to draw upon their rich indigenous surroundings as well as their contemporary stories. To them the fabric was the artist and the person was the artisan. Mid 19th century, colour schemes and designs of Nakshi Kantha began to change to make them suitable for use on modern garments. 1930 Kabiguru Rabindra Nath Tagore and his daughter-in-law Pratima Devi trained Santali women in Birbhum District and quality work was produced under the tutelage of 'Kalabhaban' Artists.

Kantha consists of the simplest stitch in the language of embroidery – the running stitch, yet it is making a mark in the National as well as International Market. Nowadays,'Nakshi Kantha' is treated as traditional form of folk art as well as catering to top designers for their haute-couture creations. Nakshi Kantha in Bangladesh – Jessore, Faridpur, Mymensingh and Jamalpur have similar styles when it comes to stitching. These precious works of art remain silent witnesses of past, present and future of Bangladesh.

Stitches

Main article: Kantha

The earliest and most basic stitch found in kanthas is the running stitch. The predominant form of this stitch is called the phor or kantha stitch.The other forms of stitches used are the Chatai or pattern darning, Kaitya or bending stitch, weave running stitch, darning stitch, Jessore stitch (a variation of darning stitch), threaded running stitch, Lik phor or anarasi or ghar hasia (Holbein) stitches. The stitches used in modern-day kantha are the Kasmiri stitch and the arrowhead stitch. Stitches like the herringbone stitch, satin stitch, backstitch and cross-stitch are occasionally used.

Types

Kanthas generally denote quilts used as wrappers; however, all articles made by quilting old cloth may also be referred to by the same generic name. However, depending on the size and purpose, kanthas may be divided into various articles, each with its specific names. The various types of kantha are as follows:^[17]

• Quilt (lep in Bengali): A light quilted covering made from the old sarees/dhotis/lungis and sometimes from sheet cloths.
• Large spread (Naksi Kantha in Bengali): An embellished quilt embroidered in traditional motifs and innovative style
• Puja floor spread (Ason in Bengali): Cloth spread for sitting at a place of worship or for an honoured guest.
• Cosmetic wrapper (Arshilota in Bengali): A narrow embroidered wrapper to roll and store away a woman's comb, mirror, eye kohl, vermilion, sandal paste, oil bottle, etc. Often, a tying string is used to bind the wrap, as in later day satchets.
• Wallet (Batwa thoiley in Bengali): Small envelope-shaped bag for keeping money, betel leaves, etc.
• Cover for Quran (ghilaf in Arabic and Bengali): Envelope-shaped bag to cover the Quran.
• Prayer mats (Jainamaz in Bengali): Mats used by Muslims to say prayers.
• Floor spread (Galicha in Bengali): Floor coverings.
• Cloths wrapper (Bostani, guthri in Bengali): A square wrapper for books and other valuables.
• Cover (Dhakni in Bengali): Covering cloths of various shapes and sizes.
• Ceremonial meal spread (Daster khan in Bengali): A spread for eating place, used at meal time.
• Pillow cover (Balisher chapa or oshar in Bengali): A flat single piece pillow cover.
• Handkerchief (Rumal): Small and square in shape.
• Modern-day articles: Today newer uses are found for nakshi kanthas, such as bedspreads, wall hangings, cushion covers, ladies' purses, place mats, jewellery boxes, dress fronts, skirts border, shawls and sharees.

Controversy regarding Geographical Indication

In 2008, the Indian state of West Bengal applied for the Geographical Indication for Nakshi kantha, while Bangladesh was also a strong contender for the same. But due to absence of proper law on Geographical Indication in Bangladesh that time (which was later adopted), Bangladesh could not officially apply for the GI. The registry office had no option but to hand-over the Geographical Indication to West Bengal in 2008.

Bangladesh authority however later passed the "Bangladesh Geographical Indication (Registration and Protection) Act, 2013" in parliament and with other necessary preparations now waiting for the next re-applying time cycle to claim the Geographical Indication for Nakshi kantha to Bangladesh.

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Jamdani

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Traditional Art of Jamdani Weaving
UNESCO Intangible Cultural Heritage
Jamdani Saris in historic Sonargaon city
Country	Bangladesh
Domains	Traditional craftsmanship
Region	Asia and the Pacific
Inscription history
Inscription	2013 (8th session)

Jamdani (জামদানি) is a fine muslin textile (figured with different patterns) produced for centuries in South Rupshi of Narayanganj district in Bangladesh on the bank of Shitalakhwa river. The historic production of jamdani was patronized by imperial warrants of the Mughal emperors. Under British colonialism, the Bengali jamdani and muslin industries rapidly declined due to colonial import policies favoring industrially manufactured textiles. In more recent years, the production of jamdani has witnessed a revival in Bangladesh. Jamdani is typically woven using a mixture of cotton and gold thread.

In 2013, the traditional art of weaving jamdani was declared a UNESCO Intangible Cultural Heritage of Humanity.

In 2016, Bangladesh received geographical indication (GI) status for Jamdani Sari.

Etymology

Jamdani was originally known as Dhakai named after the city of Dhaka, one of many ancient textile weaving centers in Bengal region. Under the Mughal Empire the Persian term Jamdani came to be in popular use, since it was the court language of the Mughals. Jamdanis are popularly known as Dhakai Jamdani or simply Dhakai. The earliest mention of jamdani and its development as an industry is found into Dhaka, Bangladesh.

Origin

An early reference to Indian origins of muslin is found in the book of Periplus of the Erythraean Sea and in the accounts of Arab, Chinese and Italian travelers and traders.

Jamdani is a hand loom woven fabric made of cotton, which was historically referred to as muslin. The Jamdani weaving tradition is of Bengali origin. It is one of the most time and labor-intensive forms of hand loom weaving, and is considered one of the finest varieties of muslin, and the most artistic textile of Bangladeshi weavers. Traditionally woven around Dhaka and created on the loom brocade, jamdani is rich in motifs. In the late 19th century, T. N. Mukharji referred to this fabric as jamdani muslin.

Weave

Traditional way of weaving jamdani

Whether figured or flowered, jamdani is a woven fabric in cotton. This is a supplementary weft technique of weaving, where the artistic motifs are produced by a non-structural weft, in addition to the standard weft that holds the warp threads together. The standard weft creates a fine, sheer fabric while the supplementary weft with thicker threads adds the intricate patterns to it. Each supplementary weft motif is added separately by hand by interlacing the weft threads into the warp with fine bamboo sticks using individual spools of thread. The result is a complex mix of different patterns that appear to float on a shimmering surface. The pattern is not sketched or outlined on the fabric, but is drawn on a graph paper and placed underneath the warp. Jamdani is a fine muslin cloth on which decorative motifs are woven on the loom, typically in grey and white. Often a mixture of cotton and gold thread was used.

Varieties of jamdani work

Though mostly used for saris, Jamdani is also used for scarves and handkerchiefs. Jamdani is believed to be a fusion of the ancient cloth-making techniques of Bengal (possibly 2,000 years old) with the muslins produced by Bengali Muslims since the 14th century. Jamdani is the most expensive product of Dhaka looms since it requires the most lengthy and dedicated work.

Jamdani patterns are mostly of geometric, plant, and floral designs and are said to have originated thousands of years ago. Due to the exquisite painstaking methodology required, only aristocrats and royal families were able to afford such luxuries.

Changes with time

We do not know exactly when jamdani came to be adorned with floral patterns of the loom. It is, however, certain that in the Mughal period, most likely during the reign of either Emperor Akbar (1556–1605) or Emperor Jahangir (1605–1627), the figured or flowered muslin came to be known as the jamdani. Forbes Watson in his most valuable work titled Textile Manufactures and Costumes of the people of India holds that the figured muslins, because of their complicated designs, were always considered the most expensive productions of the Dhaka looms.

Decline and fall

From the middle of the 19th century, there was a gradual decline in the jamdani industry. A number of factors contributed to this decline. The subsequent import of lower quality, but cheaper yarn from Europe, started the decline. Most importantly, the decline of Mughal power in India, deprived the producers of jamdani of their most influential patrons. Villages like Madhurapur and Jangalbari, (both in the Kishoreganj district), once famous for the jamdani industry went into gradual oblivion.

Current problems

Jamdani Sari for sale in Sonargaon, Bangladesh

According to a national daily, a senior taanti or "ostad" earns about Tk 2,500 to Tk 3,000 per month. Junior weavers get much less, around Tk 1,600. As a result, many weavers do not want their children to come to the profession, preferring the more lucrative garments industry.

The government and other organizations are trying to revive the old glory of Dhakai Jamdani. In a bid to avoid the middlemen, they are trying to establish direct contact with the weavers. A Jamdani Palli has been established near Dhaka. Jamdani, one of the oldest forms of cottage industry in Bangladesh, was once a dying trade. Organizations like Radiant Institute of Design, Shanto Mariam University of creative technology, National Institute of Design, and others are helping designers create new Jamdani designs.

Jamdani is a symbol of aristocracy. The demand for quality Jamdani Sarees has increased exponentially over the years.

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