The handloom industry, which predominantly serves as the backbone of the Indian economy, is currently under significant stress. One notable example is the Chendamangalam handloom in Kerala, renowned for weaving textiles on frame looms. The artisans of chendamangalam exhibit a high level of craftsmanship, which has earned Chendamangalam national as well as global recognition. In addition, it is famous for producing some of the finest traditional attire from Kerala. In the early days during the origin of Chendamangalam weaving, the weaving was mainly done only for the royal members of the Paliam family, who were the Prime Ministers of the Kingdom of Cochin. The women of this royal family used to symbolise their dignity and status through dressing specifically by wearing Chendamangalam handloom products like: Mundum Neriyathum, Kasavu mundu, Kasavu Sarees etc. Men used to wear a white fine muslin cloth mundu. This handloom industry remains vital for Kerala’s culture and economy.
ORIGIN
In Kerala, there are five major centers for weaving traditional handlooms: Balaramapuram, Chendamangalam, Kuthampully, Kannur, and Kasaragod. Chendamangalam is a village well-known for its weaving, situated 30km from the Ernakulam district, and is blessed with artisans who are skilled at this age-old traditional craft of handlooms. As it produces some of the finest and best quality handlooms in Kerala, Chendamangalam town has been bestowed with the title, ‘The Handloom Village’.
The weavers of Chendamangalam were from the Devanga Chettiar community, who were under the official patronage of the feudal family of Paliam,served as chief ministers for the Rajas of Cochin. The Devanga community is a caste of weavers, speaking Telugu. They were found all over the Madras Presidency. They were employed in weaving pure cotton sarees for women, with a silk border. There are various terms that denote the community like ‘Jadaru’, meaning great men, ‘Dendra’, ‘Dera’, ‘Sedan’, and ‘Seniyan’. At Coimbatore, they are often called Settukkaran, meaning economic people.
The handloom of Chendamangalam was a symbol of pride for ‘The Paliyath Achan Family’. During earlier days, in the Paliam Palace, clothes were brought from Tamil Nadu. Meanwhile, a trader from the Chaliyan lineage brought an extremely fine fabric considered of very high quality to the palace and presented it to ‘Paliyath Achan’. Looking at the fine fabric and being extremely satisfied with its quality, he asked the trader to start producing the same fabric for the members of the Paliam family in Chendamangalam. Over time, as the production increased, it became available to the commoners of Chendamangalam and subsequently throughout kerala. However, the weaving production soon started to deteriorate by the early 20th century, as a result of diminishing patronage. In 1954, due to the development of the Chendamangalam Handloom Co-operative Society and the Kerala Co-operative Society Act of 1969, the handloom witnessed the revival of this craft. In 2010, the Government of Kerala applied for a GI Tag for Chendamangalam Sarees and Set Mundu, Dhotis. The Government of India recognized this craft officially as GI in 2011, which has helped them to market their products to foreign countries.
PROCESS
The weavers of Chendamangalam create cotton fabric products such as sarees and dhotis through a long and meticulous process. The cotton yarn, obtained from the National Handloom Development Cooperation at a subsidized rate, is provided to the Chendamangalam handloom cooperative. Initially, the weavers soak the yarns in water for seven days. The yarns are taken out every day to be stamped on by foot, and washed before being soaked again. This process helps to remove impurities in the yarns. After seven days, the yarns are dried, and the spinning process begins by using a hand-spun charkha. Once spun, the threads go through a warp and weft process, it is tied in a field, and dried on the streets.
To make the fabric easy to dye, stiff, and wrinkle-free, starch is added. This natural starch is made from rice flour, coconut oil, and water, giving the fabric a subtle coconut oil fragrance. Each wash gradually removes the starch, making the fabric softer over time. After starching, the thread is dried again. This sun-drying process is carefully timed to take place before the sun becomes too harsh, specifically between 6 AM and 8 AM. Before loading the sized warp onto the loom, the yarn is aligned and separated to ensure smooth weaving. The aligned and starched yarn is then carefully wound around a wooden beam and carried to the loom. Once the threads are joined, they are loaded onto the handloom, and the weaving process begins. Chendamangalam sarees and fabrics are crafted with fine-count thread, which is well-known for its quality. The typical yarn has thread counts of 120, 100, and 80, while the ones used by weavers here have a count of 2/120.
MOTIFS
During the Paliam era, Chennamangalam sarees were woven with no patterns; only plain zari or colorful borders were created. Simple patterns like “buttas” and “butti” started to be embroidered on saris over time. With time, more complex patterns and designs emerged, with a predilection for geometric patterns—especially lines. In modern times, the Paliyam Palace’s architectural details—recognized for their magnificent Kerala-style architecture—often inspire the themes found on Chendamangalam saris. The narrow borders of men’s clothing, such as dhotis, are often woven parallel to the wider kasavu borders using the “puliyilakara” pattern (Tamarind leaf). Furthermore, a cross-border made of extra weft, referred to as “chuttikara” or “kattikara,” is perpendicular to the kasavu border and spans the breadth of the cloth.
The “Thazhampoo,” is a delicate floral pattern that symbolizes the blooms of the Thazhampoo (Hibiscus) flower, one of the most recognizable motifs in Chendamangalam sarees. This pattern is frequently woven onto the pallu or loose end of the saree. Another well-liked design feature is the “Muthuchippu,” or “pearl drops“, which is an elaborate pattern that gives the saree a sophisticated and elegant look with its tiny, pearl-like patterns grouped in a cascade or
scattered shape. Chendamangalam sarees also frequently incorporate the “Chakra” or wheel motif, which symbolizes the state’s long-standing association with the wheel as a sign of development and wealth. This pattern is frequently woven throughout the saree’s body to give it a dynamic and flowing feel.
Apart from this, they also sometimes use the cultural symbols of Kerala as well as the history of the chendamangalam handloom itself on their products, like the history of linking themselves to the Paliam family. They also employ Hindu rituals and deities to the craft like that of Lord Krishna, peackock designs etc. They also use designs inspired form neighbouring regions like Tamil Nadu.
CURRENT STATUS
The chendamangalam handloom is an appraised pride of Kerala, but at the same time, they had faced several challenges to sustain the tradition of weaving and its production. Some of the challenges they face are the high cost of materials, scarcity of raw materials, underutilization of installed capacity, inadequate trade and design development, outdated technology, lack of credit availability, labor shortage, and many more. Moreover, The COVID-19 times as well as frequent floods in Kerala have also negatively impacted production. The handloom industry is the backbone of the Indian economy, accommodating many skilled and semi-skilled people who must be rejuvenated for better growth and development. As a way of survival after the flood, they made ‘Chekkutty dolls‘ from flood-damaged clothes. These dolls helped them financially sustain themselves throughout the economic slowdown. In conclusion, the Chendamangalam handloom is an example of the survival and resilience of the handloom industry in India.
