Literature review1

One of Nepal’s premier handicrafts, dhaka has earned a place in many hearts.

Language, food, and attire identify an individual, a society, and a nation. People have been altering
their fundamental language, food, and attire in line with developments in society so as to give
themselves a separate identity. Today, if we were to go to any corner of the world, we can identify
that region by its language, food, and dress. Nepalis have their own language, Nepali; we eat our
own food, daal, bhaat, tarkari; and daura sulwar, topi, and gunyo cholo are dresses worn by
Nepalis. Due to this, wherever Nepalis go, they are identified as Nepalis.
From ancient times, Nepal has a tradition of weaving cloth. With regard to Palpa, cloth was
weaved here since the Magarat era. At that time, cloth used to be weaved in every household,
because of which, such cloth was called ‘home-woven’. Today, the custom of making such
‘home-woven’ cloth has disappeared in the vast ocean of history. The loom used to make ‘home-
woven’ cloth was made from one type of salla tree (pine tree) that is known as ‘Tangsing’ in the
Magar language, and which is to be found in plenty in Palpa district. That is why its district
headquarter was called Tangsing in Magar, which went on to become present day Tansen.

Regarding the question of when cloth started to be woven using handlooms in Palpa, while
‘home-woven’ cloth was seen here and there as far back as two to four decades ago, in the course
of time with modern advances, weaving cloth using the innovative handlooms probably began
around 1984/85 B.S. Tulsi Meher, who had been sent by Shree Teen Chandra Shumsher at his
expense to Varda in India to learn how to make khadi, returned to Nepal after doing so, and as per
Chandra Sumsher’s wish, established the Çhandra Kamdhenu Charkha Pracharak Mahaguthi in
1983 B.S.

Since the government had a favorable view of the charkha, the Mahaguthi established branches in
Kathmandu, Kirtipur, Panga, Bhaktapur, Banepa, and other parts of the country. At this time, Devi
Prasad Pradhan of Palpa, who had come into contact with Tulsi Meher, took the initiative to bring
in four handloom workers of Kathmandu, and so began the weaving of cloth in Palpa. However,
because the cloth was woven on thicker looms, and the investment costs were high due to less
production, they could not compete with the more finely woven cloth from outside. Thus, the
locally produced cloth could not get the market, and cloth weaving work came to a halt.

2
In 2015 B.S., the beginning of cloth weaving using one-handed loom by Ganesh Man Maharjan,
who had returned to Nepal after learning to weave cloth in India, became a milestone in Palpa’s
textile industry. But this, too, could not be sustained, because in addition to market problems, raw
materials had to be brought in from India, and they had to compete with imported textiles of finer
quality. In 2019 B.S., Maharjan, who had gone to Kathmandu for training, observed that Shree
Teen Junga Bahadur Rana’s daughter, Dambar Kumari, who lived in Banaras, used ‘Chamua
Dhaka’ adapted from a colorful, fine, and valuable textile called ‘Dhaka fabric’ that was woven in
a place called Dhaka in the then undivided State of Bengal.
It was famous as ‘Dambar Kumari Dhaka’ and was used by Rana families and other wealthy
classes. His attention was drawn to the ‘Dambar Kumari Dhaka’. With the thought whirling in his
mind that it would be good to adapt this technique, Maharajan returned to Palpa, where he
introduced the technology to weave ‘Palpali Dhaka’. Although success did not come as hoped for
in the beginning, from 2024 B.S. onwards, overcoming the challenges of inconvenient
transportation facilities, market problems, less production, etc., the attractively colored and
patterned ‘Palpali Dhaka’ succeeded in establishing its own identity all over the country. Gifts and
mementos in the form of shawls, blouses, and caps made of ‘Palpali Dhaka’ helped to establish
‘Palpali Dhaka’ throughout the country by developing a common bond of Nepali identity with the
people.

Along with the daura suruwal, the topi is an important part of the Nepali attire, something that is
not seen in other countries. Wearing the topi is a tradition, whether at a religious ceremony, or a
function, or a gathering. While there is no documented record of when this tradition first started, it
was very prevalent during the Rana era. In fact, wearing a topi was an undeclared order. It was
unthinkable not to wear a topi when going outside. According to old-timers, in those days, people
without a topi were mocked as ‘mudula’ (bald). During the Rana era, high ranking government
employees wore ‘chartodha’ in the office and at functions, while at other times, they wore
malmale printed topis with makkhi and pan leave patterns, just like the common man, as well as
the black Bhadgaunle topi.

One used to be highly respected if one wore a topi when going to an office, or elsewhere. Till
recently, it was compulsory to wear a topi when going to a government office, and generally, it is
still a custom. It is also compulsory for men to wear a cap for the citizenship photo. While there
has been growing social acceptance of the need for Nepalis to wear a topi at festivals, religious
ceremonies, and other occasions, foreigners, when they come to Nepal, like to wear a topi at
festivals and fairs, and they are also presented with a topi at functions. In addition, foreign
dignitaries are also presented with topi, muffler, waistcoat, shawl, etc. made of Palplai Dhaka as
tokens of love.

The cap on the head that bestows the Nepali identity has been taken over by the Palpali Dhaka
topi. Five decades hence, Palpali Dhaka, and the topi made out of it, has enamored one and all.
Additionally, interest has grown in blouses and shawls made of Palpali Dhaka, and among wealthy
families, Palpali Dhaka sarees. Similarly, there is a growing trend among the younger generation
men at celebratory events like marriages and bratabandhs to wear daura sulwar, waistcoat, topi,
and shoes made of Palpali Dhaka, and for women to wear attractive blouses and shawls. New
styles of shoulder bags and purses have also made their way into the market.

Palpali Dhaka, which initially was made with cotton yarn, transformed itself from 2034 B.S. into a
more shiny form with the use of acrylic yarn. Jaishanker Textile Industry, Khanal Textile Industry,
and Nabin Textile Industry used to make Dhaka from cotton yarn, and in later days, when acrylic
yarn began to be available easily, Dhaka began to be made from these. France’s Leon Josef and
Marie Jacard invented the Jacard technique, which introduced big changes to the Palpali Dhaka
that was once woven on handlooms by delicate hands, with great skill, enthusiasm, and effort.
Dhotis, shawls, bedspreads, sarees, etc. of Palpali Dhaka began to be made with fine patterns at
the edges using the Jacard technique. This technique also made it possible to produce many more
meters in a day than the approximately nine inches that used to be woven on the handloom before.

Because they could not meet their daily needs due to increasing inflation, loom workers began to
look for alternative work. The absence of human resource resulted in a decline in the production of
Palpali Dhaka. The Jacard technique reduced investment costs because of higher production, and
middlemen were more benefitted than the industrialists. Since it was produced by hand, Dhaka
had supported the creation of local employment, but this was undone by weavers coming from
across the border.

To state the truth, handloom-woven Palpali Dhaka once enjoyed a virtual monopoly. Now, Dhaka
is made in many other districts using the Jacard technique, and just as it is difficult to differentiate
when touching ice and heat in winter, similarly, it is difficult to differentiate between Palpali
Dhaka and Dhaka produced elsewhere. On top of this, nowadays, the problem has become all the
more severe because of low quality Dhaka from across the border coming in without any hurdles.

Facing all the problems bravely, in a situation when one’s own identity is at risk, Palpali Dhaka
has not only succeeded in earning a place in Nepalis’ hearts, but also made a place for itself among
foreign guests. Just as it is the responsibility of all concerned parties to protect and promote
Palpali Dhaka, there is also dire need for support from the State. Palpali Dhaka is waiting for just
that.

What is dhaka?

Dhaka is an exquisite cotton fabric hand woven in numerous colours with an infinite and
unlimited number of patterns. The duration of weaving and price is dependent on the complexity
of the pattern. The more complex the pattern, higher the price; the simpler the pattern, the lower
the cost.

The unique art and craft of dhaka has its roots in an eastern Nepali village 'Terathum'. Started by
'Rai' and 'Limbu' women, dhaka is a truly indigenous traditional form of artistic expression
reflecting Nepali mastery of craftsmanship.

Dhaka has a history of more than one thousand years and has numerous turbulent experiences.
With the introduction and development of power-looms, dhaka suffered a major setback and
nearly lost out to cheaper fabrics. But the efforts by villagers to preserve the art brought the dhaka
back to life.

Nepali dhaka

Production
Nepali Dhaka is an exquisite cotton fabric hand woven in numerous colours with infinite and
unlimited number of patterns. ‘Its manufacturing is concentrated mainly in Kahtmanduvalley,
Pokhara and Palpa and in recent years in the hills of eastern NepalTherathum etc.’ [1]
This traditional weaving is done on wood and bamboo treadle looms. Woven in hilly areas of
Eastern Nepal.
Every change of shed produces a different kind of weave.
The weaver decides the print pattern without a chart or counting threads into which section of the
warp she lays down the colours, which forms the patterns.

Importance
The Dhaka Topi got this name as the fabric used to make it, was manufactured in the Bangladesh
capital of Dhaka in the past.
‘The Dhaka topi is so called because the design of the print can be traced to a traditional weaving
and design style originating in Dhaka, Bangladesh.’[2]
It is truly an indigenous form of expression reflecting Nepali mastery of craftsmanship.
It is an intricate art in the traditional hand weaving technique that has been practiced in Nepal for
many generations.
The Nepali Dhaka is considered as a symbol of pride as it is interlinked with their culture to a very
large extent and hence it is a representation and symbol of the Nepali culture.
Despite of the fact that the history of the Dhaka Topi and its origin is still debated, it is said that
people of Nepal have been wearing it since the two hundred years and is the replica of Bhadgaunle
topi ( a black round hat, used in nepal) made from dhaka fabric.
Usage
The Neplai Topi or the Dhaka Topi is made from the fabric Dhaka which is also used to make a
type blouse called ‘dhaka-ko-chulo’.
‘Men wear a long kurta dawra suruyal and patuka instead of a belt. Patuka, is a piece of cloth or
linen that is made like a rope and
worn around the waist, sometimes to act as a belt and sometimes as a place to hold utensils/knife.’
[3]
The Dhaka Topi is mostly worn by men and very unusually are they worn by women. they are
worn by government officials as a part of their national uniforms.

Dhaka Topi is available is many colours, patterns and forms, worn on the basis of the function and
the person wearing the hat.
Availability
Despite of the fact that Dhaka was originally produced in Bangladesh, Nepal has adopted the
dhaka topi as an itegral part of their culture such that Dhaka is produced all around Nepal now.
The Dhaka Topi is available in almost all the fabric stores in Nepal and souviner shops or
handicraft stores. ‘Western town of Palpa is known for its quality dhaka topis’.
Perseverance
Quite a few communities are dedicated to preserving the Nepalese weaving art and hence the
encourage
women to involve themselves in this art by helping them teach this technique.
Dhaka products are woven in eastern rural villages of Nepal by women, who are abused, disabled,
and or economically
under-privileged. They use their skill and earn a living and adapt a better standard of living.

BIBLIOGRAPHY
[1] http://tujournal.edu.np/index.php/TUJ/article/view/268
[2][3] http://www.nepalabout.com/nepali-dhaka-topi/