Millennium Development Goals - 1536 Words

Why Millennium Development Goals Are Essential to Our Nation We live in a world that is dangerously out of balance. There are 1.1 billion people living on less than one dollar a day, an additional 1.7 billion people living on less than 2 dollars a day, more than 115 million children uneducated, and over 40 million people are HIV positive. These numbers show that there is great misery and unnecessary death in our world and that billions of people have little opportunity to lead a decent life and fully use their potential to develop as human beings. For the first time in human history there is an extremely powerful consensus in which the global community is attempting to work together in the hopes of ensuring that all people, everywhere,†¦show more content†¦Leadership in Support of MDGs: Promoting National Security The Millennium Development Goals represent a commitment by all nations and institutions to eliminate global poverty. The MDGs need to be emphasized and implemented at all stages and their success is highly dependent on financing the project. The UN Millennium Project is centered on the belief that .7 percent of rich countries GNP can provide enough resources to meet the goals. If every developed country followed through with a timetable to reach the necessary target by 2015, the world could make dramatic progress in the fight against extreme poverty. At the Monterrey Consensus a statement was made by the United States: we urge developed countries that have not done so to make concrete efforts towards the target of .7 percent of GNPÂ… (Sachs 338). This statement shows that the US is beginning to take leadership in the efforts to meet the MDGs; however, it seems that we are pointing fingers and not taking the proper action ourselves. In 2004 our government only provided .14 percent of the GNP, which is well below the target. The leadership of the United States has much importance because without public and political support for the developme nt goals, we are not only risking the lives of innocent people but we are also diminishing our national security and personalShow MoreRelatedMillennium Development Goals : The Millennium Goals1518 Words   |  7 PagesMillennium Development Goals The Millennium Development Goals (MDGs) are, eight goals put in place by the 191 UN states, the goals are set to be reached by the year 2015. Signed September of 2000, according to the World Health Organization (WHO) 2015, the United Millennium Declaration commits leaders of the world to combat literacy, hunger, environmental degradation, disease, and discrimination against women. Having specific targets and indicators, the MDGs are acquired from this DeclarationRead MoreThe Development Of The Millennium Development Goals888 Words   |  4 PagesChina and exchange and aid other countries, in particular those least developed countries. We are gathered here today, just a few days before Thanksgiving and with lots of things we could be thankful for. We have to affirm, in terms of the Millennium Development Goals (MDGs), the progress we have accomplished, the lives we have helped and the dream we are reaching. There are brave people remaining at their position fighting with Ebola, there are different government and non-government organizations providingRead MoreThe Millennium Development Goals2682 Words   |  11 PagesOne of the Millennium Development Goals (MDGs) was the focus on finding ways to eradicate poverty and hunger especially in under-developed and developing economies. However, the banking crisis and very recently the slump in oil prices have brought a new twist; as developed economies began to struggle with poverty and of weak economy due to a large portfolio of debt as seen in some EU countries. Fifteen years later, the MDG goals is far from being actualised as under-developed countries are stillRead Mo reMillennium Development Goals (Mdg)688 Words   |  3 PagesIntroduction: In this twenty first century, one of the most widely discussed topics throughout the world is Millennium Development Goals (MDG). In September 2000, meeting at the United Nations Millennium Summit, the world leaders agreed to a remarkable document, the Millennium Declaration. The Declaration demanded that the world set its sights higher and aim for eight specific goals, most of which were to be achieved by 2015. What subsequently came to be known as the MDGs are - 1. EradicateRead MoreObjectives Of The Millennium Development Goals1478 Words   |  6 PagesThe project Millennium Development Goals (MDGs) are the goals made by all the United Nations member which design for addressing extreme poverty in many dimensions. The Millennium development Goals has drawn attention to 191 countries with eight international development goals in order to cutting the amount of extreme poverty worldwide in half within a set of time on 2015. The MDGs contain the goals of extreme poverty in income, education, gender equality, hunger, disease and environmental sustainabilityRead MoreThe Millennium Development Goals ( Mdgs ) Essay1659 Words   |  7 PagesThe Millennium Development Goals (MDGs) were established in 2000 to determine, focus on and put into action steps that will fight eight key areas to help underdeveloped countries. The eight targeted areas which are poverty, education, gender equality, child mortality, maternal health, disease, the environme nt and global partnership place attention on areas that will help the improvement and betterment of underdeveloped countries. MDGs goals and objectives are clear and concise with a developmentRead MoreThe Millennium Development Goals Mdgs1562 Words   |  7 PagesThe Millennium Development Goals (MDGs) are comprised of eight goals for global development aimed to enable people to live better lives. 189 nations adopted the UN Millennium Declaration in September 2000, and committed to a new global partnership to reduce extreme poverty and achieve the Millennium Development Goals (MDGs) by 2015. To state the facts, MDG Goal 1 has three specific targets. Target 1.A is to halve, between 1990 and 2015, the proportion of people whose income is less than $1.25 aRead MoreBrazil : The Millennium Development Goals1518 Words   |  7 Pagesas a country ravaged by poverty however, portions of it are; and its environmental stability is an enormous factor of this. In 2000 the United Nations concocted a plan to assist countries like Brazil; thus the Millennium Development Goals emerged. In essence, the Millennium Development Goals (MDGs for short) are a set of targets set to challenge extreme poverty across the globe. As Brazil is not a ‘traditional’ country in the subject of poverty so a specific target had to be included for it to fitRead MoreImplementing The Millennium Development Goals1250 Words   |  5 PagesConsidering the Millennium Development Goals (MDGs) faced major criticism, the pressure lies on the post-2015 development goals to provide a new and efficient se t of criteria for global development. The MDGs were perceived as limited and incomplete, and while there is a more extensive list of SGDs, they remain vague. Once gain the goals are high achieving and unattainable within a 15 year span. Although the world has succeeded in significantly reducing poverty, since the creation of the Millennium DevelopmentRead MoreMillennium Development Goals And Objectives Essay2100 Words   |  9 PagesFor this reason, the Millennium Development Goals, also known as Millennium Development Goals, were created by leaders of 189 different nations in the year 2000. Millennium Development Goals were originally set in place to better the lives of the world’s poorest people (Millennium Development Goal Achievement Fund, 2015). The Millennium Development Goals are considered to be the world’s â€Å"quantified targets for addressing extreme poverty in its many dimensions†(UN Millennium Project, 2006). Yet, most

The Great Gatsby By F. Scott Fitzgerald - 943 Words

In the Great Gatsby, F. Scott Fitzgerald shows that there is different types of love throughout the book. Using different characters to show how love works with certain people. The relationship between Daisy and Gatsby is what I am going to call the imaginary kind of love. He also shares that there is a unconditional/ Obsessed kind of love between George Wilson and Myrtle. Then last but not least the love of one s belongings, or the love of materialistic things. Using multiple different characters throughout the book to display the love for material things. In the book you are not exactly introduced to the main character. We are told of what seem to be tall tales, and fictional stories of Jay Gatsby’s money and parties. Also different theories on how Gatsby makes a living. After reading for a bit you find out that Jay Gatsby is this soft hearted, lover boy that fell in love with Daisy years ago. While he was at war they would exchange letters every time they got a chance. Th ough he did fall in love, it was all in the past. Years later he finally finds the love of his life, and moves down the street from her. Sadly to his discovery things are not the same. â€Å"Also, Gatsby was truly in love with Daisy right before he went to war. After 5 years had passed, Gatsby had this image in his own mind that Daisy was absolutely perfect and flawless. But when Gatsby met Daisy again at Nick s house, he was still was in love with her but she was not as perfect and flawless as he hadShow MoreRelatedThe Great Gatsby by F. Scott Fitzgerald1393 Words   |  6 PagesF. Scott Fitzgerald was the model of the American image in the nineteen twenties. He had wealth, fame, a beautiful wife, and an adorable daughter; all seemed perfect. Beneath the gilded faà §ade, however, was an author who struggled with domestic and physical difficulties that plagued his personal life and career throughout its short span. This author helped to launch the theme that is so prevalent in hi s work; the human instinct to yearn for more, into the forefront of American literature, where itRead MoreThe Great Gatsby By F. Scott Fitzgerald1343 Words   |  6 PagesHonors English 10 Shugart 18 Decemeber 2014 The Great Gatsby F. Scott Fitzgerald s 1925 novel The Great Gatsby is a tragic love story, a mystery, and a social commentary on American life. The Great Gatsby is about the lives of four wealthy characters observed by the narrator, Nick Carroway. Throughout the novel a mysterious man named Jay Gatsby throws immaculate parties every Saturday night in hope to impress his lost lover, Daisy Buchanan. Gatsby lives in a mansion on West Egg across from DaisyRead MoreThe Great Gatsby By F. Scott Fitzgerald1155 Words   |  5 PagesThe Great Gatsby The Jazz Age was an era where everything and anything seemed possible. It started with the beginning of a new age with America coming out of World War I as the most powerful nation in the world (Novel reflections on, 2007). As a result, the nation soon faced a culture-shock of material prosperity during the 1920’s. Also known as the â€Å"roaring twenties†, it was a time where life consisted of prodigality and extravagant parties. Writing based on his personal experiences, author F. ScottRead MoreThe Great Gatsby By F. Scott Fitzgerald1166 Words   |  5 Pagesin the Haze F. Scott Fitzgerald lived in a time that was characterized by an unbelievable lack of substance. After the tragedy and horrors of WWI, people were focused on anything that they could that would distract from the emptiness that had swallowed them. Tangible greed tied with extreme materialism left many, by the end of this time period, disenchanted. The usage of the literary theories of both Biographical and Historical lenses provide a unique interpretation of the Great Gatsby centered aroundRead MoreThe Great Gatsby by F. Scott Fitzgerald845 Words   |  3 PagesIn F. Scott Fitzgerald’s novel, The Great Gatsby, colors represent a variety of symbols that relate back to the American Dream. The dream of being pure, innocent and perfect is frequently associated with the reality of corruption, violence, and affairs. Gatsby’s desire for achieving the American Dream is sought for through corruption (Schneider). The American Dream in the 1920s was perceived as a desire of w ealth and social standings. Social class is represented through the East Egg, the WestRead MoreThe Great Gatsby By F. Scott Fitzgerald Essay970 Words   |  4 Pagesrespecting and valuing Fitzgerald work in the twenty-first century? Fitzgerald had a hard time to profiting from his writing, but he was not successful after his first novel. There are three major point of this essay are: the background history of Fitzgerald life, the comparisons between Fitzgerald and the Gatsby from his number one book in America The Great Gatsby, and the Fitzgerald got influences of behind the writing and being a writer. From childhood to adulthood, Fitzgerald faced many good andRead MoreThe Great Gatsby By F. Scott Fitzgerald2099 Words   |  9 Pagesauthor to mirror his life in his book. In his previous novels F. Scott Fitzgerald drew from his life experiences. He said that his next novel, The Great Gatsby, would be different. He said, â€Å"In my new novel I’m thrown directly on purely creative work† (F. Scott Fitzgerald). He did not realize or did not want it to appear that he was taking his own story and intertwining it within his new novel. In The Great Gatsby, by F. Scott Fitzgerald, he imitates his lifestyle through the Buchanan family to demonstrateRead MoreThe Great Gatsby By F. Scott Fitzgerald1607 Words   |  7 Pages The Great Gatsby is an American novel written in 1925 by F. Scott Fitzgerald. One of the themes of the book is the American Dream. The American Dream is an idea in which Americans believe through hard work they can achieve success and prosperity in the free world. In F. Scott Fitzgerald s novel, The Great Gatsby, the American Dream leads to popularity, extreme jealousy and false happiness. Jay Gatsby’s recent fortune and wealthiness helped him earn a high social position and become one of the mostRead MoreThe Great Gatsby By F. Scott Fitzgerald1592 Words   |  7 PagesMcGowan English 11A, Period 4 9 January 2014 The Great Gatsby Individuals who approach life with an optimistic mindset generally have their goals established as their main priority. Driven by ambition, they are determined to fulfill their desires; without reluctance. These strong-minded individuals refuse to be influenced by negative reinforcements, and rely on hope in order to achieve their dreams. As a man of persistence, the wealthy Jay Gatsby continuously strives to reclaim the love of hisRead MoreThe Great Gatsby By F. Scott Fitzgerald1646 Words   |  7 PagesThe 1920s witnessed the death of the American Dream, a message immortalized in F. Scott Fitzgerald’s The Great Gatsby. Initially, the American Dream represented the outcome of American ideals, that everyone has the freedom and opportunity to achieve their dreams provided they perform honest hard work. During the 1920s, the United States experienced massive economic prosperity making the American Dream seem alive and strong. However, in Fitzgerald’s eyes, the new Am erican culture build around that

The Waterfalls Essay Research Paper Visiting a free essay sample

The Waterfalls Essay, Research Paper Visiting a waterfall, particularly on a hot sultry twenty-four hours, can be a favourite manner to pass a twenty-four hours. You get in your auto, thrust for stat mis, so acquire out and walk the balance of the manner to a waterfall. Civilization has cleared and marked a tract for you and the many 1000s like you that hold besides come to bask these named landmarks. Rarely make you acquire to bask the natural beauty of one by merely stepping out into your ain backyard. Behind my house, hardly noticeable, is a trail taking through the forests to a waterfall. The trail is narrow but good worn. Any shrubbery that would hold grown has been trampled down and all that is left is a really narrow way, overhung with subdivisions from the trees that mark its sides. As I start down the trail, I begin to experience the trees shuting around me until the house can no longer be seen. We will write a custom essay sample on The Waterfalls Essay Research Paper Visiting a or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page I follow the trail to where it stops at the brook # 8217 ; s border, nearing softly so as non to upset any of the wild animals that has come to bask the cool fresh H2O. I gently cross over the brook utilizing the rocks, which show the wear of several old crossing, so that I can hold full position of the brook and the beauty it possesses. I can hear the haste of the H2O long earlier I see the falls. As I sit down on the large grey slate stone that has been warmed by the early forenoon Sun, I begin to quaff in the beauty as a starvation adult male would quaff down nutrient. I start my usual rite of analyzing the Bankss of the brook by staring down the right side of it foremost. I notice that the wild azaleas are in full bloom and that the trees have regained all their foliages. They stand tall and olympian as if they are soldiers standing guard. My regard travels up one of the trees to happen two squirrels clicking down at me as if to state Travel off and go forth us in peace. Further down starts the soft crook that takes the balance of the brook from my position. My gaze displacements to the left side of the bank and there lies an old oak tree that has fallen long ago. It still lies par tially upon its stump so that it looks like the form of an L . Two ducks are utilizing it for a resting perch. I continue my perusing up the bank to the cornel trees. Their beauty is amazing. Their subdivisions, filled with ivory white flowers, stretch across the brook as if seeking to touch the other side. They remind me of an archway, waiting for person to walk beneath them. Standing alongside the bank is a beautiful Department of Energy with her newborn dun. She flicks her ears and rises her olfactory organ to the air as if to catch my aroma. I do non travel trusting that she will remain merely a spot longer. After she dashes off, my eyes continue their assault of the Bankss. Slowly it comes into focal point, the thing that has drawn me here twenty-four hours after twenty-four hours. The waterfall! As I gaze at it, I can experience the imperturbability and the power of the H2O as it rushes over the stones and into the pool 10 pess below. I lay back on my stone and see that the trees have opened their foliages to let me a position of the sky. The sky is an cerulean blue with white pillowy clouds. I close my eyes and listen to the sound of the waterfall and allow it entice me into that nowhere land that makes me experience as if I wholly entirely, the lone subsister on this planet. My head goes unmindful to everything except for the hotfooting sound of the H2O. Slowly other sounds begin to filtrate through. I hear the birds vocalizing, the squirrels still clicking off as I continue to lie at that place wholly at peace with myself. It seems as if merely seconds have passed but I know that it must be hours because I can no longer experience the heat of the Sun. Slowly I rise, cognizing that I must get down heading back to the house. I take one last long expression and I begin to inquire, as I have so many times before, will it be here when I come back once more? Will the wild animate beings allow me to portion the waterfall, the brook and the beauty of it all once more with them? I surely hope so because I can believe of no other topographic point I would love to see so often than the waterfall that is a portion of my ain backyard.

The Tradition of Textiles in India free essay sample

The Tradition of Textiles in India | | India has a diverse and rich textile tradition. The origin of Indian textiles can be traced to the Indus valley civilization. The people of that civilization used homespun cotton for weaving their garments. Excavations at Harappa and Mohenjo Daro, have unearthed household items like needles made of bone and wooden spindles, suggesting that the people would spin cotton at home to make yarn and finally garments. Fragments of woven cotton have also been found at these sites. The first literary information about textiles in India is available in the RigVeda, which refers to weaving. The ancient Hindu epics, the Ramayana and the Mahabharata mention a variety of fabrics in vogue during those times. The Ramayana refers to the rich garments worn by the aristocracy, and the simple clothes worn by the commoners and ascetics. Information about ancient textiles of India can also be garnered from the various sculptures belonging to the Mauryan and the Gupta ages as well as from ancient Buddhist scripts and murals. We will write a custom essay sample on The Tradition of Textiles in India or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page Legends say that when Amrapali, a courtesan who lived in the kingdom of Vaishali (in present day Bihar), went to meet Gautama the Buddha, she was attired in a richly woven sari, which testifies to the technical achievements of the ancient Indian weaver. India had numerous trade links with the outside world and Indian textiles were popular in other countries of the ancient world. Indian silk was popular in Rome in the early centuries of the Christian era. Several fragments of cotton fabrics from Gujarat have been found in the tombs at Fostat (older areas of Cairo city, the country’s capital). Cotton textiles were also exported to China during the heydays of the silk route. Silk fabrics from south India were exported to Indonesia during the 13th century. India also exported printed cotton fabrics / chintz to Europe and the Asian countries like China, Java and the Philippines, long before the arrival of the Europeans. In the 13th century, Indian silk was used as barter for precious commodities from the western countries. Towards the end of the 17th century, the British East India Company traded in Indian cotton and silk fabrics which included the famous Dacca (Bengal) muslin besides substantial quantities of the same fabric made in Bihar and Orissa. The past traditions of the textile and handlooms is still discernible in the motifs, patterns, designs, and weaving techniques, employed by the weavers even today. Surat in Gujarat was one of the oldest centres of trade in cotton textiles. This textile reached Surat from different parts of India which would be sent back after processing (refining, dyeing, stain removing etc). Manufacturing of cotton and silk fabrics was the main industry in Surat, which attracted the Dutch as well as the English in the 17th century. During the 16th century, there was a vast market for textiles of Surat in South-East Asia, the Gulf countries and East Africa. During the Mughal period, products like pagdi (turban/headgear) made with golden thread, cloth for sashes and veils, were very well-known. | | | | Chintz was a painted or stained calico cloth (Calico is a fabric made from unbleached, often not fully processed, cotton) printed with flowers and other devices in different colours. It was a popular choice for bed covers, quilts and draperies. During the 17th and 18th centuries it was imported to Europe and later produced there. Initially Europeans reproduced Indian designs, gradually adding original patterns. | | | | Long-cloth was also painted in a similar fashion. With the help of wooden blocks, beautiful designs and motifs were printed on cloth. Owing to its ideal location on the river bank, bleaching of cloth was developed as a specialized occupation in Surat. | | | | The crowning glory of Indian textiles was Kinkhab or Brocade. This is a fabric woven out of silver threads, which makes it very expensive. The thread is drawn out of silver and then plated with gold. Therefore, the expensive dresses made with brocade are meant only for special occasions – weddings, religious rituals and ceremonies, attending of durbars or royal courts and such like. For the Mughals this fabric epitomized the refined taste and the high level of indulgence. | | | | The literal meaning of Kinkhab is ‘less dream. Owing to the high content of silver and gold threads, the texture becomes abrasive to the skin which makes one almost sleepless and hence few or less dreams. The brocade became a rage among the early European settlers in India. An interesting but little-known fact about brocade is that it is woven keeping its reverse side on the loom. To ensure the accuracy of design, a mirror is placed below it. Despite its cost, a large variety of colour combinations, designs and motifs, has made brocade a fairly popular fabric. | | | | The textile known as Patola forms the traditional garb of a Gujarati bride. The term Patola is derived from the Sanskrit word pattal (a spindle shaped gourd). Patan in Gujarat is famous for the manufacture of Patola. Its technique is also complicated. The weft and the warp are dyed separately, before weaving, according to the selected design. Thereafter, as the weaving takes place, exact intended designs emerge. Because of its complicated manufacturing process, very few designs are available and the Patola are classified according to the designs like Wadi Bhaff which has a flowering creeper motif or Nari-Kunjar in which motifs of female figures and elephants appear. The colours used in the Patola of Patan are so fast that a Patola may get torn or worn out but its design would never fade. It indeed takes a very long time to manufacture a Patola, which makes it very expensive. | A specimen of Patola art| | | The double Ikat Patola originated in Gujarat, Orissa and Pochampalli in Andhra Pradesh. The double Ikat Patola from Orissa and Patan in Gujarat require very intricate weaving. Prices can be astronomical, because a Patola is valued for the purity of its silk. | | | | Tanchoi was brought to India from China by the three (Parsi) brothers named Choi, who settled down in Surat to evolve a unique fabric a harmonious blend of Indian and Chinese styles. According to a connoisseur, â€Å"The tanchoi is a densely patterned heavy fabric with no floats on the reverse; the unused threads are woven into the foundation at the back. Traditionally the face of the fabric has a satin weave ground (warp threads) with small patterns made by the weft threads, repeated over the entire surface. † The designs are usually found interspersed with bands usually on grounds shaded bright blue, purple, green or red. Flying birds, paired cocks and floral sprays between these from the usual uncluttered patterns, while the pallu is filled with the design from edge to edge, usually figuring peacocks, and baskets of flowers, sometimes even hunting scenes. | Tanchoi,a precious fabric| | | The Baluchari saree is native to the town of Baluchar in Bengal. It was way back in 1704 A. D that the first Baluchar weaving took place. At one stage no gold or silver thread was used in the making of the fabric. The important feature is the white outlining of the motifs like animals, vegetation, miniscule images of human beings, vignettes from the Ramayana, marriage processions, brides in palanquins, horse riders ethnic musicians to name a few. Nowadays Baluchari style sarees are woven using highly mercerised cotton thread and silky threadwork ornament in bold colors. The cloth is very fine with a soft drape. Shantipuri saris are named after the village of Shantipur in Nadia District of West Bengal, which is inextricably linked with the â€Å"Vaishnava† culture propagated by Sri Chaitanya Mahaprabhu. These saris have an exceedingly smooth texture and lend at touch of sophistication to the wearer. The origin of the word Jamdani is uncertain. According to a popular version, it came from the Persian words jama (cloth) and dana (diapering). In other words Jamdani basically denotes diapered cloth. Another version holds that in Persian the word jam meaning flower and dani a vase or container. A typical Baluchari saree| | | The earliest mention of Jamdani and its development as an industry is to be found in Kautilyas Arthashashtra (book of economics) wherein it is stated that this fine cloth used to be made in Bengal and Pundra (parts of modern Bangladesh). Jamdani is also mentioned in the book of Periplus of the Eritrean Sea and in the accounts of Arab, Chinese and Italian travelers and traders. The base fabric for Jamdani is unbleached cotton yarn and the design is woven using bleached cotton yarns so that a light-and-dark effect is created. Alexander the Great in 327 B. C mentions â€Å"beautiful printed cottons† in India. It is believed that the erstwhile Roman emperors paid fabulous sums for the prized Indian cotton. The dominant feature of the jamdani is its magnificent design which is essentially Persian in spirit. The method of weaving resembles tapestry work in which small shuttles of coloured, gold or silver threads, are passed through the weft. The jamdani dexterously combines intricate surface designs with delicate floral sprays. When the surface is covered with superb diagonally striped floral sprays, the sari is called terchha. The anchal (the portion that goes over and beyond the shoulder) is often decorated with dangling, tassel like corner motifs, known as jhalar. | Jamdani- the dream fabric| | | The most coveted design is known as the panna hazaar (literally: a thousand emeralds) in which the floral pattern is highlighted with flowers interlaced like jewels by means of gold and silver thread. The kalka (paisley), whose origin may be traced to the painted manuscripts of the Mughal period, has emerged as a highly popular pattern. Yet another popular pattern in jamdani is the phulwar, usually worked on pure black, blue black, grey or off-white background colours. The traditional nilambari, dyed with indigo, or designs such as toradar (literally: a bunch or bouquet) preserved in weaving families over generations are now being reproduced. Other jamdani patterns are known as phulwar, usually worked on pure black, blue black, grey or off-white background colours. For traditional jamdani weaving, a very elementary pit loom is used and the work is carried on by the weaver and his apprentice. The latter works under instruction for each pick, weaving his needle made from, buffalo horn or tamarind wood to embroider the floral sequence. With a remarkable deftness, the weft yarn is woven into the warp in the background colour from one weaver to the other. The butis (motifs) across the warp, the paar (border) and anchal (the portion that goes over and beyond the shoulder) are woven by using separate bobbins of yarn for each colour. The fine bobbins are made from tamarind wood or bamboo. After completion the cloth is washed and starched. Jamdani, because of its intricate patterns, has always been a highly expensive product. According to historical accounts, Jamdanis custom made for the Mughal emperor Aurangzeb in the 17th century cost over thirty pounds; evidently the jamdani fabric was essentially meant only for the affluent nobility, in those days. The region in and around Dhaka (now in Bangladesh) became synonymous with this wonder fabric. Trading accounts reveal how the Jamdani travelled to the courts of the Mughals in the 15th 16th century period. For the Mughals it was fashioned into elaborate angarkhas (upper garment/shirt) worn by both men and women; it also travelled from Dhaka through Agra, to Bukhara, Samarkand and other parts of West Asia. In the centuries that followed Jamdani was procured European export companies which retailed it in cites like Hamburg, London, Madrid, Copenhagen and so forth. There is historical evidence that Himroo style of shawl weaving was brought to Aurangabad (in Maharashtra) by the monarch Mohmmad Bin Tughlak when he shifted his capital from Delhi to Daulatabad. The designs for Himroo involved pull the design threads and master weaver has to weave with two three coloured threads. Aurangabads Himroo was used by royal families, and it is said that Himroo was sent to royal families in Delhi also. Popular motifs and designs elephant, peacock, parrot, are used abundantly used on these shawls. | | | | The first Kanjeevaram sari is believed to have been woven around 400 years ago. The origin of this saree can be traced back to the ancient temple town of Kanjeevaram (a. k. a Kanchipuram) in modern Tamil Nadu. The Kanjeevaram saree is characterised by gold dipped silver/ pure gold threads that are woven onto rich, beautiful, brilliant silk The borders and the pallus carry ornate zari work. The designs involve vertical and horizontal lines as well as checks. The colours range from vibrant orange to mauve to purple, green, maroon, blue and rust. The heavier the silk, the better the quality of the saree. Peacocks and parrots, swans, mangoes and leaves are the commonest motifs. Another important character of these sarees are the vertical sets of caret (triangular) signs/marks lining the borders; they resemble pinnacles of temples and hence probably the name. | A gorgeous Kanjeevaram saree| | | Dhonekhali sarees are woven in near opaque white surfaces with contrasting borders in red, black, purple, and orange, emphasized by a serrated edge motif. Gradually the border was broadened to six or even eight inches, and adorned with a variety of stripes in muga (a kind of raw silk, native of Assam) or zari (fine glittery thread of gold or silver and the embroidery made using them). Known as ‘Maatha Paar’ or ‘Beluaari paar’, these borders are often woven in two colours e. g. black and red. Having a tighter weave than the tangail or shantipuri, it is more hardy and durable. | Dhanekhali, a native of Bengal | | | Tangail is a village in Bangladesh. This saree has an unusually fine and smooth texture. There is invariably a pattern running through every alternate weft thread. The borders of traditional tangail sarees displayed motifs such as padma (lotus) pradeep (earthen lamp) and the famous â€Å"aansh paar’ (fish scales look). Starting with a single colour on the border, the weavers have begun to use two to three colours to render it a ‘meenakari’ effect. The emphasis is on rich warm colours, both vibrant and muted. The focus is on the anchal (the part that goes over and beyond the shoulder) and the border, which may have alternate lines of contrasting shades with an interplay of small paisley, rosette and geometric designs. Tangail sarees are often highlighted with gold or silver thread, which heightens their elegance. | A pretty tangail saree| | | Tussar (a. k. a Kosa silk), is valued for its purity and texture. It is drawn from cocoons especially grown on arjun, saja or sal trees. Available in natural shades of gold-pale, dark, honey, tawny, beige and cream, Tussar is considered an ideal as well as auspicious wear for marriages, religious ceremonies and other important social functions. (The original rich gold shade Tussar is sometimes dyed, producing colours of a very special hue and depth. Earlier only natural dyes were used which included yellow from the palash (flame of the forest) and kusum flowers, red pollen dust of the rora flower and the deep rose red from lac. But with time the range of colour and motifs have increased dramatically. The commonly available shades are Dhaniya (light green), Mas (deep blue), Kariya (black), Anchi (deep purple), Jamalla (purple), Darra (deep rose red), Katha (ma roon), Narangi (orange), Rani (deep Indian pink), Phiroza (turquoise) among others. | The resplendent Tussar| | | The Garad is a type of silk traditionally woven in Bengal. It comprises plain red borders set against a smooth natural ground, with widely spaced motifs (generally paisleys) etched diagonally from the lower border to the waist. This is also regarded as one of the most pure fabrics, hence suited for wearing for special occasions and religious ceremonies. Garad is also very expensive, which makes it a highly coveted item. The Bomkai threadwork from Orissa features ornate borders and heavily embroidered drapes with touches of Ikat work in some instances and are popular with tourists and locals for their ethnic feel and tribal look. With motifs drawn from the Shakti cult predominant in Orissas tribal and rural culture for centuries, these sarees are coloured in the subtle hues which are present in nature. The word kontha in Sanskrit means rags. In Bengal Kantha evolved out of necessity to drape or protect oneself against the cold. It is a brilliant example of the art of recycling. When the silks, muslins and cotton sarees became worn-out, the housewives and other womenfolk, instead of throwing them away, gathered them up in layers and stitched simple but pretty little patterns all over the square/rectangular pieces. These became light blankets which could be used throughout the year. Another legend relates the origin of kantha to Lord Buddha and his disciples. It is believed that they used to cover themselves with thrown away rags patched and stitched together, in tune with their vows of austere lifestyle. In recent years Kantha embroidery has become so popular and so widely acclaimed, that the medium shifted from useless rags to expensive silks and cottons. | The Bomkai, Orissas pride Kantha from waste to wealth| | | Textiles of Assam Handloom weaving is Assams largest and oldest industry. Weaving has been a way of life in Assam since time immemorial. Handlooms of Assam are not confined to a particular group of people or to a particular region. Assam was one of the first places where the practice of rearing silk-worms and culling the silken thread from the cocoons began to be practiced. Assam’s weavers bring forth diverse varieties of silk namely endi, muga and pala. The most outstanding of the three is muga royal and exotic. This beautiful fabric combines beauty (owing to its scintillating golden colour) with strength and durability. Unlike other silk fabrics, muga is washable at home. However due to low porosity of the threads Muga can neither be bleached nor dyed. This fabric is extensively used in making Mekhala Chador the traditional dress of the Assamese women. Endi derives its name from the castor leaves on which the silkworm feeds. This silk has a yellowish tinge and is available in both rough as well as smooth varieties. It is extensively used in winter for warmth. Pala is obtained from the silk worms that feed on the leaves of the mulberry trees. | A saree made of Muga silk | | | Textiles of Nagaland The Nagas attach great importance to their costume, worn on ceremonial or festive occasions, besides those for daily use. The designs and colours vary not only from one tribe to another but also from village to village. The designs portray the wearer’s position in society. Simple straight lines, stripes, squares and bands, varying in width, colour and arrangement are the most traditional design and motifs of this region. Naga womenfolk are masters in their choice and combination of colours. Tsungkotepsu, the decorative warrior shawl is typical of the Ao tribe. Exclusively for men, this shawl may be worn only by someone who has taken heads in war or offered a mithun (local bison) as sacrifice. In Naga society, this ritual can be performed only by rich men). The cloth has a median white band on a dark base; on either side of it are horizontal bands of contrasting black, red and white. The median band is black in colour and includes figures of mithun (symbolizing wealth), elephant and tiger (symbolizing valour), human head (representing success in head-hunting) and other motifs like the spear, dao (sickle/scythe like instrument),the rooster,etc. There are several varieties of woven cloths worn by the Angami tribe. The predominant pattern comprising white, red and black bands is called loramhoushu, while black with red and yellow bands called lohe. The Angami priests don the phichu-pfe, which portrays their distinct social status. A kind of black shawl, ideal for rough wear (used by both sexes) is known as ratapfe. Among the Sangtam tribals, the sangtam rongsu shawl is meant exclusively for the valiant warriors. The cloth on a black base has four grey bands at the top and another four bands of the same colour at the bottom. Another decorative shawl woven by this tribe is called supong which is commonly used by the affluent menfolk. | A colourful Naga shawl Another variety of Naga shawl| | | Textiles of Bastsar/Chhattisgarh (The tribal textiles of Bastar region are woven manually. The commonest motifs include animals, birds, huts, bows and arrows flora and vegetation, pitchers, temples and so forth. These textiles are worn by the tribals on important occasions like dances, weddings and religious ceremonies). Cotton Fabrics are one of the famous and attractive handicrafts made by the Bastar tribesmen. The tribals also churn out a fabric made of kosa silk threads obtained from a kind of worm found on trees in the forest, which are hand woven and hand printed by the tribals themselves, who incidentally trace their antecedents to the medieval, secular saint-poet Kabir, who was a weaver by profession. The hand printing is generally done with the natural vegetable dye extracted from maddaer (aal) trees, found in the forest of Bastar. These fabrics includes cotton saris, dress materials and drapes. | | | | The weaving is done in heavy cotton, with a count between 10 and 20. The pallu and borders are generally tinged with natural hues of brown or terracotta obtained from Indian madder besides black obtained from rusted iron. The dramatic designs are highly attractive and appealing. The central Indian state of Madhya Pradesh is renowned for its Chanderi and Maheshwari sarees. The Chanderi cotton sarees are ideal summer wear. Usually in subtle hues, they possess an air of unmatched sophistication. On the other hand the Chanderi silk sarees generally have a rich gold border and two gold bands on the pallav (the part that goes over and beyond the shoulders). The more expensive sarees have gold checks with lotus roundels all over which are known as butis. The hallmark of Chanderis lies in its reference to nature. The typical motifs are earth and sky, hunting scenes, the tree of life, men and women, birds, fruits, flowers, heavenly bodies. | A Chanderi saree| | | Maheshwari sarees, from the town of Maheshwar, on the banks of the Narmada, available in both cotton and silk are the last words in simplicity. The entire surface of such a saree is either chequered or plain or has stripes, combined with complementary colours. A speciality of this sarees it is reversible border, which makes it wearable on both the sides. of the saree which can be worn either side, is a speciality. Interestingly, the pallav (the portion that goes over and beyond the shoulders) of Maheshwari saree is characterised by three coloured and two white alternating stripes. Maheshwari sarees are rendered in silk also, which are of course more expensive than their cotton counterparts. Among the most breathtakingly beautiful sarees made in India figures the Paithani sarees, woven exclusively in the Paithan region of the western state of Maharashtra. The gold embroidered Paithani sarees with their exquisitely beautiful designs depict the blend of the aesthetic with the symbolic. The Rig Veda mentions a golden, woven fabric and the Greek records mention gorgeous Paithani fabrics from the well-known, ancient trading centre, Pratisthan or Paithan (in Maharashtra). The typical, traditional paithani used to be a plain sari with a heavy zari border and ornamental pallav (the portion that goes over and beyond the shoulder). However, today motifs abound in these sarees: stars, parrots circles, peacocks, flowers asavali (flower and vine), narli (coconut) and paisleys. In the bygone centuries, the zari used in making Paithanis was drawn from pure gold. However, nowadays silver is substituted for gold, in order to make these sarees ore affordable to many people. The Peshwas (political rulers of Maharashtra) in the 18th century had a special love for Paithani textiles and it is believed that Madhavrao Peshwa is believed to have asked for a huge supply of dupattas dotted with asavali prints, in shades of red, green, saffron, pomegranate and pink. Interestingly, the Nizam of erstwhile princely state of Hyderabad too is believed to have nurtured a penchant for the Paithanis, which made him undertake several trips to the obscure town of Paithan to secure the fabric for personal use. His daughter-in-law, Niloufer, was instrumental in introducing new motifs to the designs on the borders as well as the pallav (the part that goes over and beyond the shoulders) designs. | Paithani-the pride of Maharashtra A beautiful Maheshwari saree|