Traditional art of Bengal on needlework for quilting; includes some reproductions of designs.

In Bengal, mothers swaddle their infants and cover their beds in colorful textiles that are passed down through generations. They create these kantha from layers of soft, recycled fabric strengthened with running stitches and use them as shawls, covers, and seating mats. Making Kantha, Making Home explores the social worlds shaped by the Bengali kantha that survive from the nineteenth and early twentieth centuries. In the first study of colonial-period women’s embroidery that situates these objects historically and socially, Pika Ghosh brings technique and aesthetic choices into discussion with iconography and regional culture. Ghosh uses ethnographic and archival research, inscriptions, and images to locate embroiderers’ work within domestic networks and to show how imagery from poetry, drama, prints, and watercolors expresses kantha artists’ visual literacy. Affinities with older textile practices include the region’s lucrative maritime trade in embroideries with Europe, Africa, and China. This appraisal of individual objects alongside the people and stories behind the objects’ creation elevates kantha beyond consideration as mere handcraft to recognition as art.

Study on "Kantha" embroidery of West Bengal, India and Bangladesh..

A beautiful book on the tradition of kantha, a Bengali embroidery technique with a rich heritage rooted in storytelling and upcycling, with inspiration and techniques for contemporary makers. The word 'kantha' refers to both the style of running stitch, as well as the finished cloth: quilted textiles made from multiple layers of cast-off cloth, traditionally embroidered with threads pulled out from the borders of old saris and dhotis. These beautiful fabrics were created exclusively by women in the Bengal region of the Indian subcontinent. In this richly illustrated book, textile artist Ekta Kaul explores the history of the kantha tradition and finds objects of extraordinary beauty. She goes on to look at how the kantha spirit is inspiring artists today and discusses creative techniques to help you develop your own interpretations, alongside a dictionary of fundamental kantha stitches with supporting images and instructions. Steeped in the ethos of sustainability, emotional repair and mindful making, kantha will lead you to uncover a slower and more thoughtful approach to stitching.

Of All The Indian Handicrafts, Textiles Form A Class By Themselves Over Which The Rest Of The World Went Into Ecstasies From Time Immemorial.With An Enormous Store Of Myths, Symbols, Imagery And Inspiration From Other Art Forms Indian Textile-Craft Never Faced A Slump Or Stagnation. On The Other Hand It Transcended From A Craft Identity To The Status Of An Art.With Shades Of Classicism, Folk Tradition And Regional Flavour The Rich And Unrivalled Fabrics Of India Have Rightly Been Called Exquisite Poetry In Colour .Indian Fabric Art Can Be Classified Into Three Broad Categories Woven, Painted Or Printed And Embroidered. Within This Broad Outline The Present Study Pinpoints The Historical Background Of Some Representative Forms Each Unique In Its Distinctiveness.A Search For Any Linkage With Allied Art Forms As Well As Their Socio-Cultural Significance Also Provides A New Perspective.Though Apparently Widely Dispersed In Contents, They Form A Composite Tapestry Of Indian Fabric Art Tradition And Call For More Scrutiny Before Our Precious Heirlooms Are Totally Submerged In The Tide Of The Synthetic Era. The Book Is Enriched By Illustrations Of Rare Specimens Of Historical Art Fabrics Collected From Different Museums In The Country. Coupled With Extensive References This Volume Spotlights A New Facet Of Indian Art Heritage Which Will Fascinate Both The Social Scientists As Well As The Connoisseurs Of Indian Art And Culture.

Provides an overview of the geography, history, government, language, art, and food of Bangladesh, exploring its customs and current issues.

This edited volume explores the crucial intersections between Indigenous Land-Based Knowledge (ILK), sustainability, settler colonialism, and the ongoing environmental crisis. Contributors from cross-cultural communities, including Indigenous, settlers, immigrants, and refugee communities, discuss why ILK and practice hold great potential for tackling our current environmental crises, particularly addressing the settler colonialism that contributes towards the environmental challenges faced in the world. The authors offer insights into sustainable practices, biodiversity conservation, climate change adaptation, and sustainable land management and centre Indigenous perspectives on ILK as a space to practise, preserve, and promote Indigenous cultures. With case studies spanning topics as diverse as land acknowledgements, land-based learning, Indigenous-led water governance, and birth evacuation, this book shows how our responsibility for ILK can benefit collectively by fostering a more inclusive, sustainable, and interconnected world. Through the promotion of Indigenous perspectives and responsibility towards land and community, this volume advocates for a shift in paradigm towards more inclusive and sustainable approaches to environmental sustainability. This volume will be of great interest to students and scholars of environmental sociology, postcolonial studies, and Indigenous studies.

Global inequality is growing. Financial markets disenfranchise women, the 99 percent, and the planet itself. But what if we found the source of power and turned it inside out? What if we made the tools of the system available to all? When she launched the world's first stock exchange for social enterprises, Durreen Shahnaz started more than a new financial system; she sparked a movement. Defiant optimism-the stubborn belief that systems that enrich the few can be transformed for the good of the many-requires an indomitable spirit. In these pages, Shahnaz illuminates what investing in those excluded from networks of power and opportunity requires. From growing up with constrained life chances, to working as the first Bangladeshi woman on Wall Street, to becoming a global leader in impact investing, Shahnaz takes us on a mesmerizing trek of innovation, compassion, and enterprise. We accompany her to villages in Bangladesh where she helps women entrepreneurs learn to proudly sign their names, and on visits to venture capitalists who walk past her to shake her male employees' hands. We go to a garment factory where women labour for low wages, and to a town in India where microfinance offers women enough capital to run grocery stores and tailor shops. Along the way, the birth of her two daughters only fuels her relentless pursuit of a world where girls are valued. Finally, armed with financial backers and a plan, Shahnaz successfully launches the Women's Livelihood BondTM Series, the world's first tradable financial product for investing in underserved women's livelihoods. Changing how systems work-and who they work for-isn't for the faint of heart. But The Defiant Optimist offers strategies for placing women, the underserved, and the planet at the heart of systems. Together we can locate the levers of power and pull them defiantly in a new direction.

In today’s world of unequal globalization, Bangladesh has drawn international attention for the spate of factory disasters that have taken the lives of numerous garment workers, mostly young women. The contemporary garment industry—and the labor organizing pushing back—draws on a long history of gendered labor division and exploitation in East Bengal, the historical antecedent of Bangladesh. Yet despite the centrality of women’s labor to anticolonial protest and postcolonial state-building, historiography has struggled with what appears to be its absence from the archive. Poulomi Saha offers an innovative account of women’s political labor in East Bengal over more than a century, one that suggests new ways to think about textiles and the gendered labors of their making. An Empire of Touch argues that women have articulated—in writing, in political action, in stitching—their own desires in their own terms. They produce narratives beyond women’s empowerment and independence as global and national projects; they refuse critical pronouncements of their own subjugation. Saha follows the historical traces of how women have claimed their own labor, contending that their political commitments are captured in the material objects of their manufacture. Her analysis of the production of historical memory through and by the bodies of women spans British colonialism and American empire, anticolonial nationalism to neoliberal globalization, depicting East Bengal between development economics and postcolonial studies. Through a material account of text and textile, An Empire of Touch crafts a new narrative of gendered political labor under empire.