© 2019 JETIR June 2019, Volume 6, Issue 6 www.jetir.

org (ISSN-2349-5162)

Evaluating students' learning from, and

appreciation for, the hand painting workshop of
traditional Kalamkari art
1
G. Yogapriya & 2Dr. Umarani Saravanan
1
Associate Professor, School of Environment Architecture and Design, SRMIST Ramapuram*
2
Professor, Department of Computer Applications, SRMIST, Ramapuram

Abstract : India is known for its varied culture and traditions that span back to the beginning of human civilization. The
customs and traditions followed here have their own ideologies and principles. Though arts and crafts have been part of tradition,
some arts lost their authenticity and popularity over the course of time. Traditional knowledge of some arts is not always passed
on to the next generations for various reasons, leading to their decline. Kalamkari is one art that retains a place till date in
handicrafts and textiles. While most people see only machine printed 'Kalamkari', the hand painted or block painted original
versions are on the verge of extinction, because they are less popular than the machine printed fabrics, hence the traditional artists'
children do not wish to make this their chosen career. This article is the outcome of the analysis carried out after conducting a
Kalamkari Art workshop for imparting traditional knowledge by live exposure to a group of 23 interior design students from
School of Environment Architecture and Design, SRMIST, Ramapuram.

This analysis was to check the knowledge and interest of the students before and after the workshop. Feedback on the workshop
is also analyzed for organizing similar workshops in future.

IndexTerms - Antique, Natural Dye, Natural Materials, Traditional Art

Introduction
Music, dance and crafts are art varieties that are passed on through generations, with many being traditional hereditary
occupations, often also related to their castes. Passing the essence of culture and tradition to the next generations is imperative
in the current digital era. 'Traditional arts' is defined as any art forms which have been in existence over generations.
Obviously, they have been passed till date on by person-to-person training, oral tradition and possibly with some written
records or physical samples, and have survived without any modern technology or software like Photoshop. Understanding or
learning the process of any traditional art—by seeing and actually performing the various steps involved—enhances the
knowledge of the learner by being interactive. Seminars could be for 90 to 180 minutes, while workshops could be for 1 or 2
days. Most seminars are one way communication, with little time allotted after sessions for clarification of doubts, plus it is not
hands-on learning, which is essential for skills requiring dexterity, eye-hand coordination and other physical skills. But in
workshops, participants acquire knowledge from the experts, learn the skills, understand, discuss with their fellow mates and
start by applying the skills in a practical way, gaining the required dexterity.

For best results they need to learn the skill by interacting with experts, with their fellow mates and produce the output. The
quality of the products created by the participants output will vary, depending on their innate skills and how much they have
imbibed, varying with their background, exposure level, and other physical and mental conditions during the training. This
enables the participants to better appreciate the finer points and the expertise of the crafts persons who are their teachers. But
they get into the spirit to gain more knowledge by seeing the quality of other participants and of their tutors. While conducting
workshops for students, the objectives vary among students, which should be appreciated by persons in academic environment.

Evaluation or post workshop survey gives participants an opportunity to report the effectiveness of various aspects of the
training and their overall learning experience, whether the investment of time, and resources was worthwhile, how it could
have been better, and so on. This will generate data for better learning experiences for future workshops of the same nature.
Evaluation needs to be done soon after the event, while the experiences are still fresh in their minds.
The Arts department, School of Environment Architecture and Design, SRM University, Ramapuram, planned to conduct a
workshop for 23 first year students of Bachelor of Interior Design course. After considering various art forms, Kalamkari art
was finalized such that students could see the finished product at the end of two days training. This was discussed by faculty
with the traditional artisans. After considering various articles like purse, shawl, T-shirt and so on, fabric which could be
framed as wall hangings was finalized as the art work to be attempted.

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Art becomes the vocation for a group of people who nurture it. Traditional
textile arts and crafts of India include Madhubani, Tanjore Painting and
Kalamkari. Mostly, these art forms depict incidents of great Indian epics
like Ramayana, Mahabharata with gods, goddesses, designs of flowers,
animals, birds, designs of procession etc. Earthy tones of red, yellow, blue,
green and brown are used. Shades of yellow to depict women, blue for
gods, demons in red and green are the usual choices. These arts need
considerable knowledge and skill for painting, dyeing and finishing.
Drawing with bamboo stick and cotton using natural dyes is practiced in
Kalahasthi Kalamkari; in Machilipatnam Kalamkari, line drawings are
transferred to carved wooden blocks which are used for fabric print.

History of Kalamkari art

The art was called by different name by different people.

The Portuguese called it as "PINTADO"
The Dutch called it as "SITS"
The English called it as "CALICO" or "CHINTZ"
The French called it as "TOILES PAINTES"
The Persians called it as "PALAMPORE" or "KALAMKARI”.

Kalamkari art traditionally begins by drawing with Tamarind pen on cotton

cloth and using natural dyes.
This art is said to have survived since 3000 B.C. Historians state that fabric
samples of this art were found in Mohenjo-Daro. The Mughals also
promoted this art by encouraging skilled craftspersons called Qualamkars
from which the name Kalamkari evolved. The art flourished under
Golconda sultanate at Machilipatnam, Krishna district, Andhra Pradesh and
was also promoted by the British in the 18 th century.

The major 23 steps of the process involved in the art are explained as a flow
chart. Gada cloth – pure thick unbleached cotton cloth – is washed to
remove starch and sun-dried, then immersed in dilute cow dung-milk bleach
solution for duration of 8 hrs time, and then dipped in milk mixed with
kaduka (Chebulic Myrobalan) powder to obtain a uniform yellowish color.
After that, it is immersed in Myrobalans and buffalo milk solution to
prevent the dyes from smudging during painting. The fabric is then washed
in running water to remove the solutions and dried under direct sunlight. The process for the last 2 days is: Outlines are drawn
using burnt tamarind twigs. When the black dye is applied using the kalam, it becomes a dark black line drawing. Motifs are
drawn and spaces colored by artists using natural dyes. Minute details and filling is done using natural dyes.

'Kalamkari' originated from ‘Kari’ (from karigari) meaning craftsmanship and ‘kalam’ refers to the pen, made from tamarind
twig. Table 1 indicates the natural ingredients used for the preparation of natural dyes. The art is majorly ruled by hues of rust,
green, black, indigo and mustard that infuse the nature of traditional essence.

Kalamkari Design (Image source: Desicraft blog & Tjori blog)

In the holy town of Srikalahasti, Chittoor district, India, burnt twigs of tamarind trees are used as charcoal pencils for drawing the
initial outlines. Coloring the intricate details on the cloth is done using a sharpened bamboo sliver with cotton cloth rolled and
firmly tied at the end. Kasim (dye) is prepared by mixing cane jaggery, palm jaggery and rusted iron with water. The process of
preparing natural dyes is given in Table 2. Dipping the bamboo pen in the Kasim and drawing gives the best designs and a cotton
bit is kept nearby to remove the excess ink. The procedure used in Machilipatnam town, Krishna district, Andhra Pradesh, India,
majorly involves wooden blocks for printing, with different blocks for different colors.
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Natural materials for dyes

Natural vegetable dyes were identified by our ancestors with continuous efforts and perseverance towards identifying the natural
dyes. These are sustainable, non toxic, durable, non hazardous, biodegradable, non allergic and also do not pollute the
environment.

Table 1 gives the brief knowledge of ingredients needed for and preparation of natural dyes of few colors.

S. Local name / Botanical Fruit Name Color Natural Process

No. Common Name Name obtained Materials
used
1 Karakha pindhi / Terminlia Mayrabolan Light yellow Mayrabolan – Pale yellow /greenish
Kadukka pinju chebula 100 gm, water yellow colour got from the
– 1500 mL, 2 fruit Mayrabolan. All the
spoons of alum ingredients are used in
textiles as mordants. The
treated fabric also serves to
absorb metallic mordants.
2 Kassim kaaram Black color Cane jaggery – The raw materials are
300 gm, rusted immersed in water for 15
iron filings – 2 to 20 days to stabilize.
kg, water – 12 Ferrous acetate is the result
litres of reaction between iron
and molasses. The cloth is
treated with Mayrabolam.
The reaction between
tannin and Ferrous Acetate
brings black color.
3 Natural Indigo, Indigofera blue color Indigo leaves, Locally available sand near
blue, indigo tinctoria sand river banks is mixed with
indigo leaves, allowed to
settle and filtered. The
solution is left for 21 days
after mixing with indigo
leaves. Dark blue or light
blue is obtained by the
time duration taken for the
process. Indigo blue is
obtained by proper 21 days
of process.
4 Karakha Pooh / Punica Golden Persistent calyx is the
Pomegranate granatum yellow upper part of the
pomegranate is used.
Making into fine powder,
mixing with water, heating
at high temperature
converts this into a paste.
Storing the paste for a
week and crushing by hand
produces yellow color.
5 Suryada chakka/ Acacia Rosemary Catechu, Alum For minimum 3 days,
Catechu catechu catechu mixed with alum is
soaked in water to soften it,
then boiled. Stored for 8 to
10 days before use.
6 Gray Alum, Water Alum is mixed with water
in the ratio 1:4

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Table 2 gives the list of natural materials used normally for preparing natural dyes and the pictures were taken while conducting
this workshop, to show students materials they may not be familiar with.

English Name Picture Uses

Chebulic Myrobalan An ingredient for black dye.

Jaggery Another ingredient for black

dye

True indigo Indigo dye preparation

Babul tree - gum Optimize dyeing process

Kasi katti Optimize dyeing process

Manjistha Red dye preparation

Statement of the problem

Apart from the continuous classroom sessions in the academic learning progress, site visits, case studies and workshops enhance
the course objective in a better way. They open new ways of thinking processes and break the monotony of the routine lecture-
based classroom sessions. In that sense, the notion of an art workshop was initiated and the art in fabric was finalized. Not just
current students, even the previous generation only have a shallow idea about this traditional art work and the natural dyes used.
Students of any design program need to understand a traditional art form with authenticity for better creativity and aesthetic sense.
According to the context and the resources available, the workshop for hand painted Kalamkari art was initialized.

Objectives of the study

1. To impart in situ traditional knowledge of the hand painted Kalamkari art with a small group of 23
first year students of Bachelor of Interior Design for a time period of two days.
2. To educate the students about the natural materials used in the dye preparation.
3. To familiarize the students with preparation of dyes.
4. To analyze the outcome of the work and its understanding through a questionnaire survey.

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Limitations

Though the experts stated that a full cycle of the art from unbleached fabric to finished item generally needs 23 days for various
processes, including preparation of natural dyes, there was a time constraint of only two days for conducting the workshop.
Further, there was no running river water near the work area. Only tap water could be used and the experts brought the bleached
and prepared cloth, the dyes and the kalams (pen). In other words, the practical training covered only the last 2 days of the
process. On seeing the students' enthusiasm, the expert brought and displayed some natural materials (Table 2) used for the
preparation of dyes on the second day.

Methods and usage of natural materials

Photos taken during the workshop Day 1
The proper bed surface is prepared with cotton cloth below
the yellow gada to make it firm. The fineness of the line
drawn is determined by the thickness of the Kalam's tip.

Using the kalam, art is drawn on the yellow cloth with the
natural dye prepared from rusted iron and jaggery. Various
natural materials used for the preparation are given in the
Tables 1 & 2. The basic line drawings are made on the
treated cloth. Students are allowed to choose their own art
forms. Various poses of gods and goddess, variety of
peacocks, few faces were selected as designs

The natural dye is absorbed on the processed cloth to create

thick line drawings; excess ink can be absorbed only through
the cotton in the pen itself. It takes around six hours for one
art form to get completed. Some artworks needing more
details take longer to complete.

Day 2

The fabric is washed in bucket water, then with the milk

mixed with water. As it is not washed in running river water,
some of the pictures got smudged, hiding the details. The
expert had already instructed students not to create more
intricate details. Students who created intricate details found
them smudged by washing in buckets.

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The cloth is sun-dried.

The students use the natural dyes (grey, yellow and blue)
given by the expert, to fill the patterns, kept flat, and allowed
to dry.

The finished products were so good that most of the students

were thrilled on successfully completing their work in two
days. The adjacent picture was best liked by all, including
the expert.

This art work was framed with hinges on the back so that
students can hang it in their home. As the whole art has been
done with natural dyes, with seasonal variations, there will
be an enrichment of colour shades. Also there will be an
enhancement of antique look over time.

Feedback survey, results and analysis

Soon after the workshop, the students were asked for feedback with questions in Google forms based on three conditions: the
knowledge of the students before the workshop, after the workshop, and attaining the objectives in students' point of view. Simple
options of Yes, No and Maybe is used, as the group is in first year.
Also included were questions to know the students' attachment towards their art after completing the process and the overall
success of the workshop by a rating scale.

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The results & analysis are given below

1.Knowledge of the students before the workshop

Around 74% of the students have not participated
in this type of workshop before; 83% do not have
any idea about art work; 61% have no knowledge
about natural dyes

2. Knowledge of the students after the workshop

All the students in the

group are imparted with details of the art work to
be learnt, and the stepwise procedure. Above 95%
of the students wanted to differentiate machine
work from traditional hand drawn art and planned
to spread the awareness.

3.Feedback on the workshop

86% of the students felt the workshop is
successful. The whole group is overwhelmed by the
skill imparted by the trainer in two days

Asked for their rating of the workshop, 87%

awarded maximum rating, stating that the
workshop has imparted knowledge on the art work
and also on natural dyes.

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After they had completed the art, they were asked if

they would sell the art work; 87% were not willing,
because they were proud of their works, had
enjoyed the process and work, felt an attachment
with the work. They could also distinguish and
appreciate the difference between traditional hand
painted and machine printed kalamkari art.

Photos taken during the workshop

Instructions to students by the expert. Line drawing by the student.

Studio space with display of natural materials Intricate work by the students

Examples of the art work

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Conclusion

Globalization has various effects on culture and traditions. The distinctiveness of any art is under threat due to the technological
development and efforts need to be taken to preserve it. Education plays a major role in developing any skill and this workshop
began with the objective of practically imparting traditional knowledge to a set of first year students. The workshop was planned
and conducted for two days; after its completion, it was accepted that this art needs more patience and minute details need more
concentration which was imbibed by the students by personally doing it. The odors of natural dyes are intolerable for beginners.
Still, the workshop was successful, and even students from other batches showed interest to know the techniques. Finally, the
overall rating of the workshop is evaluated by success of the workshop, knowledge of the trainer and overwhelming response
from the students. Such results will encourage the coordinators to organize similar workshops with increased number of
participants.

Acknowledgements
Authors are grateful to Mr. Ramesh, expert in Kalamkari art, staff members Mr. Srinath and Ar. Narayanan , in conducting the
two day session with great enthusiasm and passion. Authors would also like to thank the management of SRMIST, Ramapuram
campus for financial support.

References
1. Bhatnagar Parul, An artistic evaluation of Indian traditional textile designs, Ph.D. Thesis, Osmania
University, Andhra Pradesh, 2014.
2. Pooja Prohit , The study of traditional hand painted Kalamkari to design a set of new age prints ,
Master of Design , N.I.F.T, Mumbai, 2013
3. https://www.pure-elegance.com/blogs/arts-culture/tales-of-forlorn-art-kalamkari
4. https://www.sahapedia.org/kalamkari-introduction
5. http://www.dsource.in/resource/kalamkari-work-srikalahasti/making-process/color-and-brush
6. https://www.utsavpedia.com/ethnicalley/kalamkari-revealed-by-kalavati/
7. http://www.dsource.in/resource/kalamkari-work-srikalahasti/making-process/color-and-brush
8. http://www.openthemagazine.com/article/new-year-2018-double-issue/the-dyeing-art-of-india.
9. https://en.wikipedia.org/wiki/Kalamkari

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