Search results for: handloom weavers

Authors: Akanksha Pareek

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The Indian Handloom clusters are known for its tradition and heritage of excellent craftsmanship. The design development of Indian handloom clusters are oriented on traditionally dobby and jacquard design. This comprehensive paper proposes practises on handloom woven design based on primary colour gradation with the help of basic weaved on four shaft. The innovative design ideas are inspired from Nature and transferred into the handloom samples to achieve colour gradation with primary colours. In this paper, design methodology where in woven samples are strategically designed in such way that traditional knowledge of the weavers will be oriented to leveraged their skills.

Keywords: handloom, weaving, colour gradation, shaft

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Authors: Hemalatha Jain, M. Vasantha

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Patteda Anchu is one of the first variety of sari woven centuries ago in Gajendragarh village from Gadag district of north Karnataka. The sari played a significant role in bringing together the socio-cultural aspect in ancient days. It was used as wedding sari for bride and also to adorn goddess Yellamma Saundatti by the devotees. Indian traditional art and crafts were rich in culture and diversity, however with the onset of liberalisation and end of the license raj lot of traditional Indian artwork are on the verge of extinction today. Patteda Anchu is one of the examples of traditional art lost to globalisation. The main aim of the study was to document the ancient weaving tradition of the Patteda Anchu and revive by exploring the weaving possibility as yardage with different product layout. To accomplish the formulated objectives a exploratory cum diagnostic study was planned. Data was collected through observations and interviews schedule during the field visits in Gajendragarh village. There are very few weavers weaving on traditional looms and many weavers who have moved to weaving other sari's or construction work were interviewed to understand the downfall of the sari. The discussions and interviews conducted with the local weavers, shop keepers, sales agents, weaving society, NGOs and Self help groups helped in unearthing the new opportunities to develop products for the local and national market and help start weaving of Patteda Anchu and expand its market. The handloom art details in terms of raw materials, loom set up, dyeing, types of Patteda Anchu, weaving process and colors were documented through photographs, video recordings and supplemented with notes. Based on the analysis of the feedback gathered it was recommended to develop products on the handloom without changing the width frame or design of the traditional weaving methods. The weavers, weavers society and other cooperatives centres also were in consent with the new product development which will help sustain the Patteda Anchu.

Keywords: Gajendragarh, patteda Anchu sari, revival of traditional art, weaving, handloom

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Authors: Abhilash Balan Paleri

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Hand woven fabric embellishes an exceptional identity in the social milieu of Kerala; still, the artisans and handloom sector is undergoing crisis due to various reasons. The hand woven school uniform initiative of Govt. of Kerala launched in 2016 aims at enhancing the sector, ensuring sustainability at artisan and end-user levels. The Kerala Government already distributed 23 lakhs meters of cloth (for shirting, suiting, and skirting) woven by 4085 artisans in their traditional looms covering 4.5 lakhs of students in the public education sector which covers cover 3,701 schools in the state. The 2019-20 year production is expected to be 42 Lakhs meters of hand woven clothing catering 8.6 lakhs of students in the primary sector. This particular investigation unveils the upshots of the initiative, and the observations are derived through systematic enquiry with artisans, authorities, and end-users. The findings show a remarkable positive impact in the livelihood of artisans and the entire handloom sector.

Keywords: handloom school uniform initiative of Kerala, hand woven fabric, sustainability, handloom weavers

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Authors: Tanjibul Hasan Sajib, Sarmin Akhter Beauty, Palash Chandra Dev Nath

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This study attempts to uphold a report on an approach to establish design-development model for Bangladeshi handloom fashion industry. This paper uses quantitative research to develop the Bangladesh handloom sector to follow the Indian fashion industry. Moreover, the study will also consider primary and secondary sources of information to analyze the handloom sector’s development. It is motivated by the fact that, over this period, India’s fashion industry has developed, and become well-positioned in the international market. The Indian handloom-based fashion industry includes Jigmat Couture, Raw Mango, Bharatsthali and Southloom, Fabindia, Heirloom Naga, the Calico Guild, and REHWA society. Their New techniques are also already catching the international market’s attention. Based on that formula, handloom sector development is an effective decision for the Bangladeshi handloom sector. In fact, CAD implementation technique will help to develop this sector, which will be briefly discussed in the result and discussion part of this paper. On the other hand, old motifs and concept have been used for a long time; there is no development in the handloom products. This paper is prepared to improve the handloom sector through CAD-based design, and the effective thing is that it is a creative sector as the second employment after agriculture. So, if we take initiative to improve them, we can do it because Aarong, Aranya, Bibiana, Bibi Russell, Bishwo Rang, Kay Kraft, Anjan, and Sadakalo already use handloom fabric. So, if we apply the latest techniques in our fashion brands, we hope that from the local market to the international market will spread its popularity.

Keywords: handloom product, development in handloom, design-development model, CAD, photoshop, fashion industry

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Authors: Anahita Suri

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Craft -an integral part of the conduit to create something beautiful- is a visual representation of the human imagination given life through the hand. The Mirgan tribe in the Naxalite infested forests of Koraput, Odisha are not exempt from this craving for beauty. These skilled craftsmen dye and weave the simple yet sophisticated Kotpad textiles. The women undertake the time-consuming task of dyeing the cotton and silk yarns with the root of the aul tree. The men then weave these yarns into beautiful sarees and dupattas. The root of the aul tree lends the textile its maroon to brown color, which is offset against the unbleached cotton to create a minimalist and distinctive look. The motifs, incorporated through the extra weft technique, reflect the rich tribal heritage of the community. This is an eco-friendly, non-toxic textile. Kotpad fabrics were on the verge of extinction due to various factors like poor infrastructure, no innovation in traditional designs/products, customer ignorance leading to low demand. With livelihood opportunities through craft slowly dwindling, artisans were moving to alternative sources of income generation, like agriculture and daily wage labor. There was an urgent need for intervention to revive the craft, spread awareness about them in urban spaces, and strengthen the artisan’s ability to innovate and create. Recent efforts by government bodies and local designers have given Kotpad handloom a contemporary look without diluting its essence. This research explores the possibilities to leverage Kotpad handloom to find a place in the dynamic culture of the world by its promotion among different target groups and incorporating self-sustaining practices for the artisans. This could further encourage a space for handmade and handcrafted art, rich with stories about India, with a contemporary visual sensibility. This will strengthen environmental and ethical sustainability.

Keywords: craft, contemporary, handloom, natural dye, tribal

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Authors: Jaya Bishnu Pradhan

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Weaving mat is one of the common activities performed in different community generally in the rural part of Nepal. Mat weavers’ practice mathematical ideas and concepts implicitly in order to perform their job. This study is intended to uncover the mathematical ideas embedded in mat weaving that can help teachers and students for the teaching and learning of school geometry. The ethnographic methodology was used to uncover and describe the beliefs, values, understanding, perceptions, and attitudes of the mat weavers towards mathematical ideas and concepts in the process of mat weaving. A total of 4 mat weavers, two mathematics teachers and 12 students from grade level 6-8, who are used to participate in weaving, were selected for the study. The whole process of the mat weaving was observed in a natural setting. The classroom observation and in-depth interview were taken with the participants with the help of interview guidelines and observation checklist. The data obtained from the field were categorized according to the themes regarding mathematical ideas embedded in the weaving activities, and its possibilities in teaching learning of school geometry. In this study, the mathematical activities in different sectors of their lives, their ways of understanding the natural phenomena, and their ethnomathematical knowledge were analyzed with the notions of pluralism. From the field data, it was found that the mat weaver exhibited sophisticated geometrical ideas in the process of construction of frame of mat. They used x-test method for confirming if the mat is rectangular. Mat also provides a good opportunity to understand the space geometry. A rectangular form of mat may be rolled up when it is not in use and can be converted to a cylindrical form, which usually can be used as larder so as to reserve food grains. From the observation of the situations, this cultural experience enables students to calculate volume, curved surface area and total surface area of the cylinder. The possibilities of incorporation of these cultural activities and its pedagogical use were observed in mathematics classroom. It is argued that it is possible to use mat weaving activities in the teaching and learning of school geometry.

Keywords: ethnography, ethnomathematics, geometry, mat weaving, school pedagogy

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Authors: Genevieve Jorolan Quintero

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In Mindanao, the southern island of the Philippines, two provinces, Davao Oriental and Tboli of South Cotabato, respectively, are homes to indigenous communities known for their dream weavers. Davao Oriental is home to the Mandaya, while Lake Sebu is home to the Tboli. The dream weavers are mostly women who have continued the tradition of weaving, a spiritual practice of handicraft embodying the beliefs of the community. It is believed that a weaver is guided by the Tagamaling, or the nature spirit in Mandaya mythology, and Fu Dalu, or the spirit of the abaca among the Tboli. In the dream, the Tagamaling or Fu Dalu reveals to the weaver the design or the pattern of the dagmay as the abaca woven cloth is called among the Mandaya and the tnalak among the Tboli. The weaver then undertakes the production of this nature-spirit-inspired fabric based on her memory of the dream. This interaction between the spirit world and the human world inspired the theme of the short story with the title Loom of Dreams, published in 2015 by Kritika Kultura, an international peer-reviewed journal of language and literary/cultural studies of the Ateneo de Manila University in the Philippines. In Lake Sebu, a collection of the legendary tnalak with various designs is preserved by the cultural advocate and tnalak collector Reden S. Ulo. About a hundred tnalak designs are housed in a mini museum. The paper discusses how the dagmay and the tnalak of the two Philippine indigenous communities, the Mandaya and the Tboli, embody their folklore and cultural heritage. The specific objectives are: 1. To describe the role of the dreamweavers among the Mandaya and Tboli communities in the Philippines; 2. To analyse how folklore influences the designs on the woven fabric, the dagmay, and the tnalak, and 3. To discuss how dream-weaving helps preserve culture legacy. Ethnography was used in the conduct of this research. Specifically, the following data collection methods were done: 1. a series of visits to the Mandaya and Tboli communities; 2. face-to-face interviews with the respondents from the communities, and 3. the recording of the interviews with the knowledge-bearers and material culture keepers from both communities, the narratives of which were used as a basis for the data analysis. The influence of folklore in the culture and the arts of the indigenous communities is significantly evident in the designs of the dagmay and the tnalak. As the dream weavers continue to weave the dagmay and the tnalak, this cultural legacy will continue to prosper and be preserved for posterity.

Keywords: dreamweaver's, Mandaya, mindanao, Philippine folklore, Tboli

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Authors: Suphitcha Charoen-Amornkitt, Chokeanand Bussracumpakorn

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The tendency of the Karen backstrap weaving succession has gradually decreased due to the difficulty of weaving techniques and the relocation of the young generation. The Yang Nam Klat Nuea community, Nong Ya Plong District, Phetchaburi, is a Pwo Karen community that is seriously confronted with a lack of cultural heritage. Thus, a group of weavers was formed to revive the knowledge of weaving. However, they have been gradually confronted with culture assimilation to mainstream culture from the desire for marketing acceptance and imperative and forced the extinction of culture due to the disappearance of weaving details and techniques. Although there are practical solutions, i.e., product development, community improvement, knowledge improvement, and knowledge transfer, to inherit the Karen weaving culture, people in the community cannot fulfill their deep intention about the weaving inheritance as most solutions have focused on developing the commercial products and making the income instead of inheriting their knowledge. This research employed qualitative user research with an in-depth user interview to study communal knowledge transfer succession based on the internal involved parties, i.e., four expert weavers, three young weavers, and three 4th generation villagers. The purpose is to explore the correlation and mindset of villagers towards the culture with specific issues, including the psychology of culture, core knowledge and learning methods, cultural inheritance, and cultural engagement. As a result, the existing models of knowledge management mostly focused on tangible strategies, which can notice progress in short terms, such as direct teaching and consistent practicing. At the same time, the motivation and passion of inheritors were abolished while the research found that the young generation who profoundly connected with the textile culture will have a more significant intention to continue the culture. Therefore, this research suggests both internal and external solutions to treat the community. Regarding the internal solutions, family, weaving group, and school have an important role to participate with young villagers by encouraging activities to support the cultivating of Karen’s history, understanding their identities, and adapting the culture as a part of daily life. At the same time, collecting all of the knowledge in the archives, e.g., recorded video, instruction, and books, can crucially prevent the culture from extinction. Regarding the external solutions, this study suggests that working with social media will enhance the intimacy of textile culture, while the community should relieve the roles in marketing competition and start to drive cultural experiences to create a new market position. In conclusion, this research intends to explore the causes and motivation to support the transfer of the culture to the 4th generation villagers and to raise awareness of the diversity of culture in society. With these suggestions and the desire to improve pride and confidence in culture, the community agrees that strengthening the relationships between the young villagers and the weaving culture can bring attention and interest back to the weaving culture.

Keywords: Pwo Karen textile culture, backstrap weaving succession, cultural inheritance, knowledge transfer, knowledge management

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Authors: R. Kumaravelu, S. Poornima, Sunil Kumar Kashyap

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The optimized and digitalized restoration of the information from the old and used manual jacquard punched card in textile industry is referred to as Jacquard Punch Card (JPC) reader. In this paper, we present a novel design and development of photo electronics based system for reading old and used punched cards and storing its binary information for transforming them into an effective image file format. In our textile industry the jacquard punched cards holes diameters having the sizes of 3mm, 5mm and 5.5mm pitch. Before the adaptation of computing systems in the field of textile industry those punched cards were prepared manually without digital design source, but those punched cards are having rich woven designs. Now, the idea is to retrieve binary information from the jacquard punched cards and store them in digital (Non-Graphics) format before processing it. After processing the digital format (Non-Graphics) it is converted into an effective image file format through either by Row major or Column major parsing technique.To accomplish these activities, an embedded system based device and software integration is developed. As part of the test and trial activity the device was tested and installed for industrial service at Weavers Service Centre, Kanchipuram, Tamilnadu in India.

Keywords: file system, SPI. UART, ARM controller, jacquard, punched card, photo LED, photo diode

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Authors: Sita Yuliastuti Amijaya, Wiyatiningsih Wiyatiningsih, Paulus Bawole

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Weaving skills were not originally a way to earn money for the traditional people on Sumba Island. Weaving is a leisure activity carried out between farming and caring for families. It is quite understandable if the weavers are women. At this time, weaving crafts become a unique potential inherent in an area, so that the weaver women also have the potential to drive economic activity in regional tourism sector. This study aims to measure the sustainability of traditional weaving business activities in Anajiaka Village, Umbu Ratu Nggay Barat, Central Sumba Regency, which is able to support the creative economy. The analysis was performed using qualitative descriptive methods by comparing the criteria of smart living and smart economy in the study of smart city. This study found that business sustainability will be better maintained if it is bound in a joint commitment, for example by forming a group of craftsmen. Other challenges besides the commitment of the group members are aspects of local government support and related agencies, in the form of guidance, funding, and promotion. In addition, fabric order targets, maintaining family and community balance, are recognized as obstacles for craftsmen. The modern marketing model is not yet mastered by the craftsmen group, so it needs assistance for future development.

Keywords: agriculture, craftsmen, creativepreneur, smart economy, smart living

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Authors: Shrutisingh Tomar, Madhu Sharan

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It has been an undisputed fact that the culture of a nation has always been reflected in its practice, visual content and in forms of its oral traditions. Regional and communal costumes in India since ancient times have worked as a strong repository for its people to comprehend not only the locality but also the community of the wearer. Such a strong visual language apparently was ordained to communicate basic details about the person such as age, marital status, and socio-cultural status. Most of the fragments of this visual vocabulary have been intensively investigated, recorded, diversified and revived, while a limited range of these has died a slow death. Some of the rare existent kinds of such threads have survived as a mainstream article of clothing: simpler, apparent and a product for daily life yet unique in their own kind. The paper intends to consider and elaborate the investigated repository pertinent to the Pacchedi weaving tradition of Gujarat. The research involved field surveys across seven districts of the two states of India namely Gujarat and Rajasthan. Ethnographic interviews, observations, recording of oral histories and archival research was conducted through multi-timed and multi-cited studies between from the year 2012 to 2015. The results include varied forms of Pacchedi based on the sartorial expressions in the male costume. The characteristic features of these textiles were accorded by the sumptuous use of brocaded cross borders and weft heavy ends along with the details on the languishing fabrication procedure.

Keywords: handloom weaving, material culture, sartorial expressions and vernacular textile craft

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Authors: Jureerat Buakaew

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The purpose of this research was to investigate Thai Muslims’ way of life through the way their clothes. The data of this qualitative research were collected from related documents and research reports, ancient cloths and clothing, and in-depth interviews with clothes owners and weavers. The research found that in the 18th century Thai Muslims in the three southern border provinces used many types of clothing in their life. At home women wore plain clothes. They used checked cloths to cover the upper part of their body from the breasts down to the waist. When going out, they used Lima cloth and So Kae with a piece of Pla-nging cloth as a head scarf. For men, they wore a checked sarong as a lower garment, and wore no upper garment. However, when going out, they wore Puyo Potong. In addition, Thai Muslims used cloths in various religious rites, namely, the rite of placing a baby in a cradle, the Masoyawi rite, the Nikah rite, and the burial rite. These types of cloths were related to the way of life of Thai Muslims from birth to death. They reflected the race, gender, age, social status, values, and beliefs in traditions that have been inherited. Practical Implication: Woven in these cloths are the lost local wisdom, and therefore, aesthetics on the cloths are like mirrors reflecting the background of people in this region that is fading away. These cloths are pages of a local history book that is of importance and value worth for preservation and publicity so that they are treasured. Government organizations can expand and materialize the knowledge received from the study in accordance with government policy in supporting the One Tambon, One Product project.

Keywords: way of life, rite of placing a baby in a cradle, Masoyawi rite, Thai Muslims

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Authors: Auntika Thipjumnong

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This research study aimed to investigate the production process and the market target of Kraseasin’s woven cloth including the customers’ behaviors towards the local woven products. The suggestions of a better process of production were recommended in this study. This survey research was conducted by using a questionnaire and interview, which were considered as the practical instruments to collect the data. The 200 Kraseasin’s woven makers and consumers were subjects by using a purposive sampling. Percentages, means and standard deviation were used to analyze data. The findings revealed that only 22 local woven members owned their 18 manual weavers in producing the raw materials like cotton or fiber. The main products were flowery woven cloth e.g. pikul, puangchompoo, pakakrong and ban mai roo roiy, and the others were rainy, glass wall, dice glass ball and yok dok etc. At the present, all local woven products were applied to be modernized but the strong point of those products were keeping the quality standard and firming textures, not thickness. The main objective of producing these local woven products was to earn and increase their extra incomes. Moreover, there were two dominant sales: Firstly, the makers sold their own products by themselves in their community and malls; and secondly, they would weave their products by customers’ orders. The prices’ allocation was on the difficulties in producing process. The government officials and non-government officials in local were normally customers. However the drawback of producing this local product was lack of raw material and this brought about the higher investment. The community’s customers were now lacking of interest in wearing these local products, even though they maintained their quality standard. The factors in customers’ purchasing decision were product (M = 3.93), price (M = 3.74), distribution (M = 3.73) and promotion (M = 3.97) for marketing mix well-known. Suggestion was a designing pattern of products had to be matched to the customers’ needs.

Keywords: marketing, consumer behavior, cloth products weaves, Songkhla Thailand

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Authors: Ratna Sharma, Kaveri Dutta

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Assam (India), the gate way to the Northeast India is mainly known for its exquisite silks, the art and craft. The state has a rich collection of traditional jewellery which is unique and exclusive to the state. These jewelleries hold a special place in the heart of the Assamese women. Similarly handloom industry of Assam is basically silk oriented. Among the wild silk, Eri silk fabric has remained as “the poor man’s silk” but it is closely attached to the assamese society, dress for it's warm quality. In view of the changing market trends, fashion and consumer demands, Silk is emerging as a fashion fabric both in India and abroad. In case of Eri silk fabric it has limited use in clothing and accessories. Hence the restructured and redesigned traditional jewellery motifs of Assam (India) over Eri silk products will have greater potential in reviving the decline of art, generate revenue, self employment towards craftsmen and also recognition of the art. The information incorporated in the paper is primary and the data have been collected by purposive sampling method. This work of art was expressed on Eri silk fabric in the form of traditional hand embroidery as it is closely connected with the era of the individual in history of mankind and reflects the personal expression of an entity. For this study selected traditional motifs of Assamese ornaments was used. Some of the popular traditional Assamese jewellery include earrings with exquisite Lokaparo, Keru, Thuriya, Jangphai, etc. An array of necklaces including Golpata, Satsori, Jon biri, Bena, Gejera, Dhol biri, Doog doogi, Biri Moni, Mukuta Moni, Poalmoni, Silikha Moni and Magardana and diversified rings including Senpata, Horinsakua, Jethinejia, bakharpata and others. Selected two motifs each from necklace, earring and finger ring designs. Selected motifs were further developed into 3 categories- the border, the main motif and all over butta followed by placement of developed patterns on products. Products developed were stoles, scarf’s, purses, brooch pins, skirts for women and ties, handkerchief, jackets for men. The developed products were surveyed by selected respondents. From the present study it can be observed that the embellished traditional jewellery motifs resulted in fresh and colourful pattern on developed Eri silk products. Moreover the motifs which were gradually fading among the community itself showed a very good recognition towards art. The embroidered Eri silk fabric also created a huge change in a positive way among craftsman.

Keywords: Art and craft of Assam, eri silk, hand embroidery, traditional Assamese jewellery motifs

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Authors: David Delpine Leila, Demnyo Sunita Femi, Musa David Garkida, Elisha Emmanuel Barde, Emmanuel Allahnanan, Yani Julius Philip

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Birds are among the key components of the earth’s biodiversity and the most diverse and evolutionarily successful groups of animals. The weaverbirds are a large family of birds found mostly in Africa, with a few species found in southern Asia and the West Indian Ocean islands. This study assessed the diversity and abundance of weaver birds and their allies within and around Ngel-Nyaki Forest Reserve in Yelwa, Sardauna Local Government Area of Taraba State, Nigeria. A total of 602 weaver birds and allies’ bird species were recorded using the Point Count Line Transect. The data collected during the research period were analyzed using simple percentages, and diversity was calculated using the Shannon Wiener Diversity Index. The fenced (ungrazed area) was more abundant with 351 individuals while the unfenced (grazed area) was less abundant with 251 individuals recorded. In the fenced (ungrazed area), Yellow Bishop (Euplectes capensis) had the highest abundance of (102; 29.01%), followed by Village Weaver (Ploceus cucullatus) (80; 22.79%), then Vieillot's Black Weaver (Ploceus nigerrimus) (40; 11.42%), Red-collard Widowbird (Ploceus ardens) (6; 1.71%), Dark-backed Weaver (5; 1.42%) and the least was Hartlaub Marsh Widowbird (1; 0.28%) while in the unfenced (grazed area), the Village weaver (Ploceus cucullatus) (85; 33.86%) was the most abundant, followed by Spectacled Weaver (Ploceus ocularis) (36; 14.34%), then Yellow Bishop (Euplectes capensis) (30; 11.95%), Baglefecht Weaver (Ploceus baglafecht) (23; 9.16%), Bannerman’s Weaver (Ploceus bannermani) (17; 6.77%) and the least was Yellow-mantled Widowbird (Euplectes macroura) (5; 1.99%). In terms of diversity, there were more weaver bird species in the fenced area with a Shannon Wiener Diversity Index of (Hˈ 2.03417) than in the unfenced area with a Shannon Wiener Diversity Index of (Hˈ 1.862671). The Shannon Wiener Diversity Index in both fenced and unfenced areas is significant. There was more abundance of bird species in the fenced area than in the unfenced area of the Forest Reserve. Thorough research should be conducted on the abundance and diversity of weavers and their allies because we were only able to access 4 km2 out of 46 km2 of land available, according to the Annual Report of Ngel-Nyaki Forest Reserve of 2020. It shows that there are many species of weaver birds and their allies, such as the Black-billed Weaver (Ploceus melanogaster) and the Red-billed Quelea (Quelea quelea), which are available within the reserve.

Keywords: abundance, diversity, weaver birds, allies, Ngel-Nyaki

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Authors: Fariyal Mir

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The largest minority group over Pakistan lives in the farthest region of KPK, Chitral, which enclosed all its people in one closet despite their diversity. Chitral is considered a tourist hub and piece of paradise on earth. The major attraction of Chitral is the Kalash valley, which is also known as the homeland of kafir or 'weavers of the black robes'. Kalash people are counted as the primitive pagan tribe who practice culture, beliefs, and a lifestyle which dated beyond and distinct from the rest of the region. Their religious belief is known to be as 'animism', which means that objects, places, and creatures all possess a distinct spiritual essence. They also believe that nature plays a highly significant and spiritual role in their daily life. As they have their different festivals like (a) Chilam Josh: celebrated in May to welcome spring, (b) Uchaw: which is observed in late August to ensure good crops of wheat, (c) Chanmos: which is being observed in December for more than two weeks, grand festival and is celebrated to welcome New Year. Their concept of purity and impurity is also very traditional and part of their religious belief as well. They used to call the man as pure 'Oshniru' (pure, holy) and woman as impure 'Chetu' (dirty, polluted, or contaminated). This study is based on ethnomethodology, which focuses on the way people make sense of their daily life. Their unique belief system connects them with the descendants of the armies of Alexander the Great, who called the Hindu Kush 'Parapamisus', meaning mountains over which eagles can fly. With time, their cultural system was molded into many ways, and the same is going on with the true beauty of Chitral in the form of conversion to Islam and adaptation of modern lifestyle. Ethnomethodology also supports this, that people are always good in their original form so they can be called the true representatives of their origin and cultural identity. It also argues that human society is based on the method of achieving and displaying not on the imposition of others' order and laws. So, everybody is obliged to respect and not to harm the beliefs and culture of all other human fellows. Some historians believe that these Kalash people are from Afghanistan and their origin is Saim which is known as Thailand, but those Kalash tribe from Afghanistan were forced to embrace Islam and only Pakistan keeps these people who own unique cultural values, ornaments and entire culture. Kalasha culture has been listed by UNESCO for consideration as World Heritage. It is necessary to save these people from the cultural invasion caused by modernity, forced religious conversion to maintain the pluralistic diversity of our country.

Keywords: Chitral, cultural identity, ethnomethodology, Kalasha culture

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