Whispers of the Weave: Sitalpati, the Mats of Bengal’s Soul
History often takes us to the picturesque scenario where sages are often seen receiving the ‘Knowledge Of Life’ while they are meditating on woven mats as indicated by the texts in the Vedic Corpus. From there on we can gather that mat-weaving as an art form existed in the prosperity of Ancient India. It was to provide a simple sitting for the individuals. So in essence, the basic normality for mat-weaving was for utilitarian purposes; be it in ancient times or now in the present strata, it is still adopted as an everyday product that is there in every house in Bengal.
Significantly, as described by Kamladevi Chattopadhyaya, it is the craft of interlacing two or more strands of the materials, which include (reeds, leaves, cane, rushes, bamboo, and palm leaves). The materials can be twined in different manners and ways, further bespoking an aspect of simplicity that is found in mat-weaving.
Since the raw materials required for mat weaving are abundantly found in the subtropical marshy regions of West Bengal hence, we will see that in that region, it is a very common advent to find mats for sleeping purposes, or used as hand fans to endure the heat or for sitting on the floor. Consecutively, different kinds of mats are found and made in different regions of West Bengal depending on their needs and the grass that is frequently available. So, all of the weaving mats vary from each other and are forever specific to an area.
Sitalpati- The Cooling Weave
Literally identifying as cool mats, Sital (Cool) Pati (Mats) are made from the soft slips of Maranta Dichotoma, which is a locally grown cane in the regions of North Bengal that are further split lengthwise into fine strands.
These mats are pronouncedly made in Cooch Behar (Northern district of West Bengal) and also in the neighboring states of Assam and Tripura. It is the members of the Kayastha Class who are renowned for making these mats.
And, as the name suggests, these particular quality of mats are essentially suitable for warm and humid climates, especially in the Northern part of Bengal where the summer season is very dry and humid, in this case, the mat acts as a thermal insulator.
In the nursery poems, often we find the mention of Shitalpati, where this particular rural tradition has immortalized itself in the form of a woven memory.
The Process
In this case, we find the cane, which is locally known as Murta (a Bengali local word for Mukta, which symbolizes pearl since the seeds somewhat resemble it), is first grown in the backward, and every household almost uses the same for making the cane strips from the stems. These slips are processed and are then dyed in different colors to make them look more authentic and aesthetic. And after these procedural, fine designs are woven over them.
Steps:-
Preparing The Cane Strips– First, the crop is soaked in water, and then they are sliced length-wise to obtain the strips according to associated needs. The first cut that is obtained is labeled as ‘Chhotu,’ which is used for rough work because of its fibrous and extremely low quality, and the layer above that is referred to as ‘buka.’
The surface of ‘Sitalpati’ is silky smooth with minimal apparent fibre. And for making it, the cane slips are kept in rice water for 24 hours and then boiled. Afterwards, they are washed in water and kept in the sunlight for drying.
Weaving– It is precariously the women’s duty to do the weaving. The flat weaves are mostly two-dimensional, and the common weaves are kept diagonal. The slips of the weaves overlap with each other, and they are called ‘gacha.’ Later, the open-ended slips of the weave, which is also called ‘Muri Bandha’, are significantly tied.
Coloring– When it comes to coloring, mostly in the craft of Sitalpati, natural colors through the procedures are reflected. They are mostly reddish-brown which is obtained through soaking and while the strips are sun-dried for a whole day. Whereas, the natural white tone is created when the strips are boiled and afterwards when they are dried in the sun as well. So, accordingly, we see the hue of natural white and reddish brown in the mat of Sitalpati.
Dyeing– The artisan, after accomplishing their design training, has taken to the use of vegetable and natural dyes to beautify the strands of Sitalpati. Although, nowadays we also find the use of Azo-free dyes in order to add vibrant colors to the weave.
Here, the process involves cutting off the strands, making an appropriate bunch out of it, and then mixing the colors in proportion while also adding it to the boiling water. After soaking the strands, they are crucially again dried in the sun.
Motifs and Design
The motifs concerning Sitalpati are simple and basic and, in general, reflect the rural livelihood of the Cooch Behar individuals, who generally regard themselves as ‘people of the land.’ So we find straight woven patterns that are typified as Chiknai and, in the current strata, are very rare to find. Other than that, complex images are also portrayed in the mats, using diagonal weaves; they include a peacock (since it presents the Beauty of Doars in North Bengal), elephant, deer, fish, and Lakshmi’s pot (that embodies prosperity, good luck, and wealth)
In the ongoing scenario
With the intervention of Sitalpati, the livelihood landscape of Cooch Behar has dramatically changed. Not only has the economy been boosted, but the intervention definitely brought back a sense of cultural historicity in the land of North Bengal. The living standards of the villagers have improved because of the training, and the market interlinks that they have developed due to this craft have made the individuals aware of the social scenario that is currently taking place in the globalized world.
Presently, 14,000 families are involved in the weaving of Pati, and amongst them, 527 craftspeople in 351 households from 9 villages are thoroughly engaged with this craft. As per research, these families have migrated from Mymensingh, Tangail, and other areas of Bangladesh, who, during the partition of Bengal, came across and settled in the region of Cooch Behar.
With their beckoning, they also periodically brought their traditional Pati weaving skill which to the day survives splendidly.
Cultural Significance
The mats of Sitalpati are more than just ‘cold mats.’ Other than just being commodious these mats are known for their smoothness. So smooth is its texture that locals say that even a snake cannot wriggle over it. But it is the age-old essentiality that makes these mats stand out; they are not something glorious or exquisite as compared to other handicrafts in Bengal. But it is their use in almost every household which makes them part of the Bengal Heritage. To date, we will see how women of Cooch Behar and Ghughumari use these mats either for their morning vegetable-cutting routines or for lazing around in the afternoon with other ladies of the community in said areas.
So, as simple as their facade, their requirement stands so crucial that it makes the mats ageless and an integral part of the rural-urban areas for the households in West Bengal.
Conclusion
In the concluding remarks, we find how the government of West Bengal, in collaboration with UNESCO, has developed a ‘Rural Craft Hub’ at Ghughumari, which is just 20 minutes away from Coochbehar. This craft hub, in addition to showcasing the rich tradition of Sitalpati, has also reflected on the variety of exclusive crafts that belong to this region. So incredibly, we find how Ghughumari took the initiative of taking Sitalpati across the world and it is courtesy to this region that this craft has become more popular over the years, which in essence also proved beneficial for the craftsman and the families who have been involved in this business for generations.
Suffice to say the craft hub had exceeded the expectations by not only showcasing mats but also by displaying handbags, baskets, purses, and many other unique things, which are all made from the same material with reference to Sitalpati. Likewise, along with offering reflection to significant distinctive artifacts, Ghughumari is also the initiative partaken by “West Bengal’s Department of Micro Small and Medium Enterprises and Textiles” with the objective to uplift the rural craftsman and their families who are associated with this craft.
Today, Ghughumari has successfully attracted numerous tourists all over the world who are giddily involved in knowing the essence of ‘Sitalpati.’
Reference
- ICH Courier online. Intangible Cultural Heritage Courier of Asia and the Pacific. SitalPati: A Traditional Handicraft of Bangladesh.
- Saha, A. (2016), “A study on Occupational Risk Factors of “Sital Pati” weavers of Coochbehar District of West Bengal, India. Vol.4 (5), PP. 284-287
- Sitalpati: The Cool Weaves. Department of Micro, Small and Medium Enterprises and Textiles, Government of West Bengal and UNESCO, New Delhi
- P.P. Nath,2017. “SitalPati and its visual aspects”