Abdul Jabbar’s family members are very happy about him getting this honour.
Abdul Jabbar, who died on November 14 last year left behind a wife and 3 children
Abdul Jabbar of Bhopal, who fought a long battle for the victims of the Bhopal gas tragedy in 1984, has been awarded the Padma Shri. Abdul Jabbar is receiving this honour posthumously.
Abdul Jabbar’s family members are very happy about him getting this honour.
When India Today reached Abdul Jabbar’s house in the Chandbad area on the outskirts of Bhopal, we found that the condition of his house is very bad.
Abdul Jabbar, who died on November 14 last year left behind a wife and 3 children.
Abdul Jabbar’s wife Saira Banu said, “I am happy that the government is giving this honor to us but I am sad that my husband Abdul Jabbar is not with me in this moment of pride and happiness.”
Wife Saira Banu says that if Abdul Jabbar were alive, the joy of getting Padma Shri would have been doubled.
Jabbar’s wife said, Abdul Jabbar never thought about his own family. He made the gas victims his family. Abdul Jabbar’s wife expressed anguish that when her husband was ill, no one took care of him initially. At the last moment, the government approached the family but it was too late.
“He always kept thinking about the gas victims, and at the last moment he had told me not to let the gas victims fight end here but to take this fight further”, added Jabbar’s wife Saira Banu.
Speaking to India Today, Abdul Shamim, brother of Abdul Jabbar said, “When Abdul Jabbar was ill, no one from the government and gas-affected organisations took care of him. His treatment was also not taken seriously.”
Jabbar’s brother demanded a government job for Jabbar’s wife. ‘Financial condition of Jabbar’s family is very bad and sometimes children eat only once a day’, said Jabbar’s brother Shamim. According to Abdul Shamim, if his sister-in-law gets a job, she will be able to take care of her kids and her children will get a good education too’.
Abdul Jabbar’s eldest son Sahil said that he had learned to serve the poor from his father. Sahil said that ‘his father used to stay at home very rarely, he used to go out in the morning to help the gas victims and sometimes when there was no money in his pocket, he would borrow and help the gas victims. ‘I learned the same from my father’.
source: http://www.indiatoday.in / India Today / Home> News> India / by Ravish Pal Singh, Bhopal / January 26th, 2020
Abdul Jabbar Mohammed Khatri is not a name urban dwellers are familiar with, but many get to wear garments made from the natural-dyed, ajrakh-printed fabric that comes from his workspace in Dhamadka near Bhuj, Gujarat.
The ajrakh block printing process at Jabbar Khatri’s workshop in Dasada, near Bhuj / The Hindu
As one enters the muddy lane leading to his workshop, one can spot several metres of fabric, in different stages of dyeing and printing. The workshop has a large outdoor area where water from the borewell is filtered to rid its iron content, a boiling unit where fabric is treated several times during printing and dyeing and a printing room lined with tables and innumerable wooden blocks intricately carved with ajrakh patterns.
Stacks of ajrakh blocks at Jabbar Khatri’s workshop in Dasada, near Bhuj
A part of Khatri’s storehouse has stock that has to be sent to Fabindia. He’s a national-award winningajrakh printer and this is the 10th generation of a family of ajrakh printers that moved from Sind to Dhamadka. “Ajrakh requires running water and my forefathers moved here because of the river Saran, which dried up in 1987. Now we draw water from a depth of 200ft and it has more iron content,” he says.
A staff member treats the printed and dyed fabric with boiling water at the ajrakh workshop of Jabbar Khatri in Dasada, near Bhuj
In the initial stage, an indigenous ‘harda’ root is used as a mordant for the fabric (pomegranate skin and acacia nut skin are the other mordants). The ‘harda’, says Khatri, can react with iron in the water and turn the fabric black. “We use a filtering unit that has a bed of sand, coal, small and large stones to filter the water; iron particles gather on top,” he explains.
The dye varies from alizarine, madder or indigo, according to the colour desired. A mixture of lime and gum is used as a resist dye to keep the white portions intact.
Ajrakh printed saris, dupattas and stoles are now a fashion statement. Khatri recalls that a few generations ago, those who reared animals were the primary customers buying lungis and towels. Double ajrakh or printing on both sides, now a niche domain, was done to make the fabric more useable. “If one is wearing a lungi that flutters in the desert wind, one wouldn’t want the inner side to be not colourful,” says Khatri. Double ajrakh requires precision and is done only by master craftsmen.
An indigenous water system used to wash fabrics at the ajrakh workshop of Jabbar Khatri
If naturally dyed ajrakh printed fabric comes at a premium, it is because of the work that goes into it. In Ajrakhpur village in Kutch, several craftstmen specialise in block prints. “Each tribe has specificpatterns of ajrakh and communities do not copy patterns,” smiles Khatri.
Jabbar Khatri will be demonstrating ajrakh block printing at the International Workshop on Natural Dyes organised by ANGROU in Hyderabad from March 5 to 7.
Weft, warp and a legacy
Visitors to Bhujodi village near Bhuj would be surprised by the number of award-winning weavers in the village. Among them is Vankar Shamji Vishram Valji, known as Shamji bhai, who will also be participating in the International Workshop on Natural Dyes in Hyderabad next week. He gives us an insight into the Bhujodi settlement and its new quake-resistant and weather-proof houses and looms and moves on to talk about indigenous wool from the sheep he uses for weaving shawls, throws and bedspreads. Shamji bhai’s family weaves a small number of shawls in chemical-dyed, acrylic wool for commercial purposes but the larger focus is on indigenous wool and kala (black) cotton that grows in the area and natural indigo for dyeing.
Vankar Shamji at his store in Bhujodi, Bhuj
“I get indigo from Auroville and Hyderabad,” he says, showing us his indigo vat, a 3.5ft clay pot placed partially within the ground. “We use excreta of goats at the base to maintain the temperature of the vat. Goats feed on salty leaves and hence their excreta does not attract ants,” he reasons. One of the vats he now uses has a four-year-old indigo dye that gets replenished after each dyeing process. Date, lime and water are added to the vat from time to time. “A vat can be used up to 20 years if it is in good condition. One has to use the vat each day,” he says. These vats, explains Shamji, are smaller than those used in Rajasthan to dye saris.
Shamji and his brothers work in spaces designed with an understanding of wind and sun direction so that they use minimum or no electricity. “We moved here from Rajasthan 10 generations ago, invited by members of Rabari community. The Rabaris are herders and their garments were the yardstick of their wealth,” he explains. Traditionally, Rabaris wore black and white while Ahirs (farmers) wore multicoloured garments. “The Rabaris wear black to mourn the death of one of their kings (the black shawls worn by Deepika Padukone in Ram Leela is an example) and the Ahirs, believed to be descendants of Lord Krishna, like colours,” adds Shamji.
Natural-dyed fabric with ajrakh block prints
Today, Shamji’s family weaves cotton and wool shawls, stoles and furnishings and has a clientele that extends beyond Gujarat. He shows us prized, award-winning weaves by him and his father, valued at more than Rs. 2 lakh each. “My dream is to open a gallery to showcase such pieces,” he says.
(The writer was in Kutch as part of a textile trail conducted by Jaypore-Breakaway Journeys).
source: http://www.thehindu.com / The Hindu / Home> Features> MetroPlus> Events / by Sangeetha Devi Dundoo / Hyderabad – Bhuj, February 27th, 2014
