Reviving Pattu-weaving in Barmer thread by thread
Young weaver Kheta Ram and his group are preserving Pattu weaving, by crafting fabrics steeped in history and creating a market for this traditional art.
Time seems to linger like a photograph in the heart of the arid landscape of Rajasthan’s Barmer district. But here, 23-year-old Kheta Ram is casting a spell to resurrect an ancient art form – Pattu weaving.
With each thread diligently woven, he crafts a fabric that carries the weight of history and tradition, allowing those who wear it to drape themselves in the tales of a bygone era.
“Pattu weaving is an art. It’s a slow process like photography,” said the weaver, a native of Dhanau village.
Once ready, the fabric would flaunt the essence of traditional stories in the form of its design and help people carry history on their shoulders, not like a coffin, but like pride.
Pattu, a unique textile, serves as both – a source of warmth during harsh winters and a year-round decorative masterpiece, adorning walls like ornamental tapestries. It was in this culturally rich land that Kheta Ram, along with his group Roheda, achieved a remarkable feat – the creation of the first Pattu-designed sari in their district.
Kheta Ram’s journey was not without its challenges. “I had to gather the courage to execute the idea of a Pattu sari,” he confided. But once he wove that first piece, he realised the profound potential of Pattu in the world of fashion.
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Hope is born for Pattu weaving
Rooted deep in tradition, Pattu has been crafted from local desi wool, adorned with a vibrant tapestry of multi-coloured patterns. Its significance surges during weddings, transitioning into different forms of gifts.
Within its intricate fibres are woven the socio-cultural narratives of western Rajasthan – designs depicting traditional huts called Jhopra, majestic peafowls, and the state flower Roheda, known scientifically as Tecomella undulata, from which the group got its name.
“It’s a bright orange desert flower. It spans southwest Iran to northwest India. Our Pattu was famous wherever the flowers bloomed. In Rajasthan’s marriage ceremonies, Pattu was a must gift, and any dowry had to include it,” Kheta Ram said.
Yet, Pattu’s demand waned after India’s partition in 1947, succumbing to the allure of modern Western attire like shirts, trousers, and jeans. “Western outfits became the common preference, dealing a blow to Pattu,” said Kheta Ram.
The arrival of power looms further pushed handloom weaving to the brink of extinction. “It should have been the other way around. The market should have followed our traditions, and that’s what I aim to do – create a local market for our traditional craft.”
Kheta meant his words. He enrolled in Malani Hast Shilp Sansthan in Barmer, dedicating four years to honing his skills. The organisation received weaving requests from renowned brands like Fabindia and IKEA, providing Kheta Ram with opportunities to refine his craft.
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“My grandparents would weave, and I wanted to study. I could not join formal education,” he said. He would go to the Sansthan to learn weaving at night while working as a labourer during the day to support his family, paying off their informal loans. “Even today, I have a loan of rupees one lakh,” he said.
Kheta Ram’s quest for knowledge led him to The Handloom School in Maheshwar, Madhya Pradesh. Here, in a rigorous six-month programme, he mastered the tools of his trade, positioning himself for new opportunities.
Made in slow motion
The Meghwal community, deeply entrenched in the art of weaving, has steadfastly upheld this tradition as their primary source of livelihood in Barmer. Their skilled hands have produced an array of Pattus, showcasing their mastery in styles such as Kashida, Baradi, Bhojasari, and Hiravali Pattu. When Pattu originates from Barmer, it is synonymous with Meghwal Pattu.
“It is science and not madness,” said Kheta Ram about the possibility of countless patterns in Pattu through the methods of interlocking and extra weft figuring. The coordination of foot pedals to lift the warp, in sync with the shuttle carrying the weft yarn, is nothing short of an art form in itself.
While the men weave intricate patterns, the women work their magic by spinning wool into yarn. Though often considered domestic work, this essential role is the foundation of Pattu creation.
Kheta Ram and his family belong to the scheduled caste, a group that has faced discrimination and marginalisation.
“First, we would be discriminated against, but our Pattu would be sold, though at meagre rates. But, with its downfall, I felt that not just us, our Pattu also became Dalit,” he added, painstakingly.
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Upon returning home from Madhya Pradesh, he borrowed old looms from relatives and, with the help of Jethe Ram and Ronesh Kumar, created five saris in the Pattu style. Each sari bore a name – Rawatani, Nagani, Sattani – in a tribute to the weavers Rawat Ram, Nagga Ram, and Satta Ram who had left their mark on their craft.
Kheta Ram’s ambition extends beyond personal success. He aspires to establish a weaving school. Already, his house functions as a handloom centre in the village.
With the return of sheep, wool, and yarn, hope blooms like the morning sun over the Barmer horizon. Kheta Ram understands that Pattu is a creation that unfolds in slow motion. Its aesthetics, much like the vibrant orange of the Roheda flower, symbolise the rich cultural heritage of Rajasthan, ready to be embraced by the world once more.
The lead image shows a woman spinning wool into yarn on a traditional loom (Photo by Kheta Ram)
Amir Malik is a freelance journalist based in Bihar. He writes about health, women and children and their interaction with nature. He is a Rural Media Fellow 2022 at Youth Hub, Village Square.
