This 700-year-old weaving craft is native to the Dangashiya community of Surendranagar, Gujarat. The community consists of weavers and shepherds. The weavers make the blankets out of sheep and goat wool for the shepherds to wear.

1. Woven with Love…
Woven with Love…

4. "Surendranagar is a hub of cotton and
ginning activities in India, with a large
number of ginning and pressing units. It is
one of the largest producers of quality
Shankar cotton in the world."
STATE: GUJARAT
REGION: SAURASHTRA
Area: 45 km²
CRAFTS: Tangaliya, Single Ikat, Stone Carving.
Metal Work, Durries, Bead Work, Tie & Die

5. A stepped water tank inside of Dedadara.
It is a deep, rectangular depression in the
ground that is completely covered in stone.
The tank is a place of devotion for the
villagers on special occasions. People say
that the water of this kund turns pink a
night before Navratri.
A remarkable illustration of the
exquisite architecture created during
the time of the Jhala monarch in 19th
century. It was never finished. The
unfinished portion, was constructed in
phases is located in actual fort.

6. 1 3
7
8
4
5
2
6
Fig.1: Cow at the street of village Dedara; Fig.2: Gungvo Kund; Fig.3: Stone carving on walls of Gungvo Kund; Fig.4: Entry gate of
Surendranagar; Fig5: Surendranagar railway station; Fig.6: Interior view of Hawa mahal; Fig.7: Surendranagar railway platform;
Fig.8: Bus stand of village Dedara

7.  Gujarat's Surendranagar district is home to the
weaving technique known as Tangaliya, often referred
to as Daana weaving.
 The fabric has the appearance of having bead
embroidery because of the tiny dots of extra weft that
are twisted around several warp threads.
 Earlier, the Tangaliya was a wraparound, 10 feet
long and 4 feet wide and was draped along its length.
 Tangaliya was initially manufactured at the height of
20 by 2 feet, which is then cut in half along the width,
and the two sections are stitched together along the
length.
 It is practised in 26 villages out of which we
visited Dedadra.

8. TANGALIYA
1 2 3
4 5
6
1
Fig.1: Tangaliya zari work;
Fig.2: Tangaliya unstitched Kurti;
Fig.3: Jhad motif of tangaliya;
Fig.4: Borders used in Tangaliya;
Fig5: Complex Zari work;
Fig.6: 200 years old woollen tangaliya

9. Due to a lack of historical sources,
it is difficult to establish the
craft's exact beginnings and
development.
So, according to the elderly
residents of the community, The
story goes that long back, in the
history of Saurashtra, there lived
three Bharwaad brothers. The
middle brother fell in love with a
girl from the weaver community.
Due to social restrictions of caste,
the two families were against the
marriage. However, the boy and
girl still decided to get married.
This new incident ostracized them
and they lived on the outskirts of
the village.

10.  The social stigma of its
history created a new caste-
“DANGASIA COMMUNITY”.
 The word "Dangasia"
derives from the Gujarati
word "dang," which denotes
the stick that Bharwads
carried when they move
their sheep to graze.
DANGASIA COMMUNITY
Bharwads
vankars
Dangasia
Fig.1: Mother of Babu Bhai Rathod (belongs to Dangasia Community)

11. • Heavy bead work​ with
bright colours like vermillion
Fuschia and green are used
along with white for making
the Dana's.​
• The garment's base wool
colour is black, and the
borders are decorated with
woven zari.​
RAMRAJA
• They make Charmalia which
has maroon and black warp
and black weft, which gives
the effect of alternate black
and maroon vertical stripes
throughout the garments. ​
• The beads are sometimes
maroon and mainly of white
colour.
CHARMALIA
• The entire odhni is black
without any beadwork
except at the borders.
GADIA
• This Tangaliya is for aged
women of their community
and therefore has less dana
work on it. ​
• Base colour is black, white
and maroon.
DHUNSLA
• Generally, made up of white
wool and then dyed in red
colour because it is believed
to have religious
significance.​
• It has straightforward dana
work.
LOBADI

13. 1 4
3
2 COTTON THREADS
WOOL ZARI
SILK

15.  A type of loom where a square pit
is dug in the ground where
weavers put their legs.
 It consists of a wooden sley with a
bamboo reed, two shafts with
cotton string healds, a warp
beam, a take-up beam and a pair
of pedals placed in the pit in the
group where the weaver sits and
operates them by their feet.
 The sley has shuttle boxes at the
ends and the shuttle is pushed
from end to end across the sley by
pickers

16.  Frame looms are made using a
wooden box frame and are easily
portable.
 They can warp much longer
warps at a time and the fly
shuttle helps them to weave
faster.
 Some of the weavers have bought
these looms from the Ministry of
Textiles at a subsidized rate of
90% paid by the government.

17. 1. Warp Beam
2. Lease Rods
3. Heald Shaft
4. Reed
5. Sley
6. Cloth roll
7. Treadles

18. 7
6 5
4 3
2
1
1. Bobbin
2. Wrapping frame
3. Heddle hook
4. Panso
5. Blade
6. Sand paper
7. Steel comb

19. 8. Level guide
9. Chalk
10.Magnifying glass
11. Swift (pirta)
12.Suttle
13.Scissors
14.Reeler
8 9
14
10
13
12
11

21. TANGALIYA
1 2 3 4
7 6 5
8
Fig.1: Bobbin filling with the help of Charkha; Fig.2: Spreading the warp from bobbin to the sticks for wall warping; Fig.3: Collecting warp thread for beaming;
Fig.4: Warp threads on warper's beam; Fig5: Denting; Fig.6: Heald Knitting; Fig.7: Starting the weaving process; Fig.8: Making Dana

22. Mor (peacock)
Laadwa
Button
 Tangliya is all about the Dana work done on plain weave fabric.
 The Dana works improve the product's design and give it a unique
appearance.
 The motifs are typically influenced by their daily routines and their
surroundings.
Traditional motifs

23. Pug Navghari
Phool (Flower)
Aambo (Mango tree) Piyali

24. Base colours
 Dark colour
 Black, Maroon
Dana colours
 Bright colors
 Fuscia, White, Purple, Yellow
Border colours
 Black, Maroon, Golden

25. Tangaliya is a handmade craft, so there are perfect imperfections that adorn it and make each
and every piece unique and different from one another. But from an industrial point of view, we
can list down some defects in Tangaliya products.
1.
2.
3.
4.
5.
3.
4.
POSSIBLE DEFECTS IN DANA WORK:
Varying dana size & Missing dana
POSSIBLE DEFECTS IN DESIGN EXECUTION:
Incorrect design placements & incorrect
colour combinations
POSSIBLE DEFECTS IN WEAVING:
Slub yarn, Coarse yarn, Uneven yarn, Double pick,
Broken pick, Missing end & Floats (Chappa)
POSSIBLE DEFECT IN PRODUCT DIMENSION
FINISHING:
Cutting of protruding fibres & flattening a knot

26. SOCIAL
Tangaliya was originally only known to two groups: the Dangasias and
the Bhadwads. It was a part of their daily lives. Wearing or offering 17
tangaliya woven products was required at every memorable event. It has
increasingly fallen out of favour with traditional wearers. This craft was
unknown to the rest of the world until it received GI (Geographical
Indication) certification as part of NIFT's design intervention project in
2007-2008.
The Dangasias practise Hinduism and, depending on the region and
tradition they uphold, they have a variety of Gods and Goddesses they
worship. In the village we visited, Wadhwan, the Artisanal families
fervently worship their Kuldevi, Pitthad Mata. They are devotees of
Jodhalpir, a man whose life is thought to have been 750 years ago. ​They
take part in other regional festivals and fairs as well as all main Hindu
holidays including Holi, Diwali, Uttarayan, and Janmashtami.
RELIGIOUS

28. 1 2 4
3
CLUTCH DUPATTA
NEHRU JACKET
SLING BAG
Price range Price range
Price range
Price range
300-800 Rs/- 1,700-5,000 Rs/-
6000- 15,000 Rs/-
500-1,800Rs/-

29. 1 2 4
3
STOLE UNSTITCHED
KURTI
SILK SAREE
COTTON SAREE
Price range Price range
Price range
Price range
900-4,000 Rs/- 1900-10,000 Rs/-
16,000-1,00,000 Rs/-
9,000-50,000 Rs/-

30.  NIFT organized various workshops for artisans and came up with design intervention.
 They played with different yarns, colours, and contemporary motifs.
 Tangaliya got the GI which helped them to reach more audiences.
 Many workshops and exhibitions have been organized by the government for these artisans to reach a
greater audience.
 Head artisans participate in these exhibitions and sell products and also observe the current demand of
the market and accordingly produce the next batch of products.
 Their consumer has been scattered all around India in pieces although the north is the big market.
 Most of their sales happen through social media.
 Collaboration with handloom brands like ‘ Amouni’, ‘Itokri’, ‘Garvi Gurjari, and ‘craft Centre’, etc. and brands.

32.  Exceptional handloom skill that cannot
be entirely atomized
 Reversal
 The customer might overlook defects
because it is a handloom product
 Work from home and flexible working
hours
 Unity in the community
 Since covid, social media has been their
greatest asset
 No finishing required
 Time-consuming craft which makes it
expensive
 Do not want to share the craft
 They have no interest in working on fusion
initiatives.
 Language barrier
 They occasionally get a bad batch of yarns
 yarn is getting expensive results in less
profit.
 No other yarn can be used for warping since
only cotton warps can be knotted.
.
 By introducing the craft to fashion
designers opens doors to new markets.
 Reduce time consumption by
automating the pre-production
procedures.
 Expansion on a global scale.
 The market has more affordable goods than
Tangaliya.
 The price of yarn has been rising quickly.
 Lower wages.
 Unsuccessful payments when products are
sold online.
 Younger generation wish to study and take
jobs.

34. A time study is a method of measuring the amount of time spent executing a given task or a part of it
under specific conditions, then evaluating the data to determine how much time is required for an
operator to complete the task at a specific rate of performance.
It is a direct observation technique.
The following tools are needed:
 Stopwatch
 Calculator
 Time Study
 Observation sheet
INDUSTRIAL ENGINEERING

35. We prepared the
following time
study sheet for one
of the artisans. In
this, we carried out
5 cycles and
calculated the SAM,
Allowances and
Ratings.

36. A chart that lists a worker’s
hands or other limbs'
activities in connection to
one another.
When one whole cycle of a
repeating operation needs
to be recorded, this method
is typically utilized.
The two-handed process
chart includes operation,
transportation, storage &
delay.

37. Based on our
observation we
created a two-handed
motion chart with the
before-mentioned
symbols.

38.  Anthropos, from the Greek words for "man" and "measuring," is a
subfield of anthropology that deals with the scientific measurement of
the human body.
 Anthropometric data are used to assess disease risk, changes in body
composition over the course of adult life, and health and dietary
status.
 It is also being used by researchers in a variety of health fields, such as
cardiovascular health, nutrition, and occupational health, to assess
health status.
 Basic tool we used during the measurement was measuring tape.
INDUSTRIAL ENGINEERING

39. A n t h r o p o m e t r i c E v a l u a t i o n o f t h e v i s i t e d A r t i s a n s

40.  The science of ergonomics focuses on creating jobs that are comfortable for workers.
 It would guarantee that a shorter worker could reach all of their tools and products
without extending their reach beyond a comfortable and safe range and that a taller
person had enough room to safely complete their task.
 It also removes the necessitate of awkward working positions, repetitive motions, or the
lifting of large objects, all of which could lead to musculoskeletal diseases at work.
 In ergonomics, we looked at different aspects such as Time study, 2 Hand motion chart
and Anthropometry evaluation. With the help of these data, we calculated the SAM,
Standard Deviation, etc.

44.  Force – In this case, it's the cutting machine which is quite heavy.
 Awkward postures – In this case, the workers bend excessively to cut the fabric
bundle with the cutting machine.
 Repetition/Duration – The cutting task is repetitive for workers with the posture
changes being the same throughout.
 Temperature- The cutting section visited was hot, and prolonged work at that
temperature can impact the body.
 Monotonous work- The cutting section work for the workers is monotonous and they
work for quite long hours, only getting a few breaks in between.
 Protection- Nothing was used to cover the worker’s noses and mouths to protect them
from the dust and particles depleted by the fabric.

45. 1. Muscle Pain
 Cramp in hand or forearm- Due to repetitive movements.
2. Tendon Pain
 Trigger finger (stenosing flexor tendinitis)
 De Quervain’s tenosynovitis
 Neuritis
 Osteoarthrosis
3. Carpal Tunnel Syndrome
4. Tennis Elbow (Epicondylitis)
5. Disorders of the neck

46. Artisans have repeatedly mentioned that they enjoy their work.
They have such love for their craft, that when given any miscellaneous household tasks, they prefer
working on their Tangaliya products
. All the members of the bharvad community live together as a family in peace and harmony. They help
each other in times of hardship.
Master artisans pay their employed artisans on time. The women in the artisans’ families would often fill
up the bobbins, known as reeling, and spinning.
ERGONOMICS
Humanization of the workplace implies freedom from worry, fear, and job loss.

47.  ALL INDIA HANDICRAFTS BOARD
 THE HANDICRAFT & HANDLOOMS EXPORTS CORPORATION OF INDIA LTD.
 GUJARAT STATE HANDLOOM & HANDICRAFTS DEVELOPMENT CORPORATION LTD.
 SAATH CHARITABLE TRUST (NGO)

49. Artisan Name: Babu Bhai Rathore
Age: 54 years
Qualification: 10th
Address: 300, DEDADARA
WADHWAN, SURRENDER NAGAR,
363030
Experience: 25yrs
Phone No. : 9726924982
ART ISAN S
D ATABASE

50. Artisan Name: Dayabhai Rathor
Age: 50
Qualification: 10th
Address: DEDADARA WADHWAN,
SURRENDER NAGAR, 363030
Experience: 25yrs
Phone No. : 9879994632
ART ISAN S
D ATABASE

51. Artisan name: Rathore Mahesh Kumar
Age: 24 yrs.
Qualification: 12th
Address: 340, DEDADARA WADHWAN,
SURRENDER NAGAR, 363030
Experience: 5yrs
Phone No. : 9558770569
ART ISAN S
D ATABASE

52. Artisan name: Baldev Bhai Rathod
Age: 39
Qualification: 6th
Address: 153 DEDADARA
WADHWAN, SURRENDER NAGAR,
363030
Experience: 25yrs
Phone No.: 9879994632
ART ISAN S
D ATABASE

53. Artisan name: Vajibhai Rathod
Age: 64
Qualification: 6th
Address: 560, DEDADARA
WADHWAN, SURRENDER NAGAR,
363030
Experience: 20yrs
Phone No. : 7359372175
ART ISAN S
D ATABASE

54. From our wonderful and
informative visit to Surendranagar,
we discovered many things about
the craft, Tangaliya. There was a
positive and insightful outcome of
our experience.

55. C
R
A
F
T
R
E
S
E
AR
CH
&
D
O
C
UME
NT
AT
IO
N
TANGALIYA
DEDADRA | SURENDRANAGAR | GUJARAT
OUR JOURNEY