i An Investigation of Isan Textiles at the Village Level in North ...

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An Investigation of Isan Textiles at the Village Level in North-Eastern Thailand with Particular Reference to Design and Manufacturing Strategies

Anasee Pengsaa Stone

Thesis submitted to the Faculty of Art and Design, University of Canberra for the degree of Doctor of Philosophy in Environmental Design

February 2009

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Abstract

This research is set in the context of a collaborative agreement between the Industrial Design

Department, University of Canberra and the Faculty of Applied Art and Design at Ubon

Rajathanee University in the northeast or Isan region of Thailand. In this thesis the textile

production of the region was studied with an objective of evaluating the potential for

product design process to positively influence production outcomes. Traditional textile

production techniques could be lost because these processes are complex and slow, and

the current environment, both physical and operational, is changing rapidly. Product

design and the design process are relevant to the industrial development of Thailand and

village textile production could benefit from structured design and manufacturing

strategies that have a consumer focus and improved production outcomes. From a critical

review of the relevant literature, it was found that village weavers valued the traditions of

their craft and traditional patterns and colours were important in terms of cultural identity and

village social organization. Product design process or more specifically, the Generic Design

Process (GDP) was reviewed and a model developed that adapted the GDP to the prevailing

research environment. The findings led to a program of field research including village

interviews where the major issue of the devaluation of traditional natural material dyeing

techniques was identified. Field experiments tested alternative dyeing techniques which were

evaluated in a survey by village weavers. During the field research care was taken to adapt to

the way in which village weavers lived and worked as the two activities were closely

interrelated. The degree of skill and knowledge residing in the aging women, who constitute

the majority of village weavers, in extensive and profound, and is often described as an

example of local wisdom. The theoretical and experimental work has been related, with

appropriate results and conclusions, to the potential for maintaining traditional natural dyeing

processes albeit with different preservation techniques. The findings from this research

suggests that product design processes are appropriate for village production and that the

tradition of natural material colour dyes will survive, new colours were created and the

potential for new trade in preserved colour dye products. Substantial databases of useful

relevant information have been compiled and recommendations are made for future

research.

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Acknowledgements

First of all, the author would like to thank my supervisor Dr Don Carson for having

given so kindly of his time throughout all the stages of her stay in Australia. The author

will forever be grateful to his caring, understanding, and limitless patience. The author

wishes to thank Emeritus Professor Dr Elivio Bonollo for his astute supervision, valued

guidance, and a huge encouragement to the author. The author is thankful to Dr Dianne

Firth, Dr Bill Green, and the staff from Faculty of Arts and Design, University of

Canberra. The author is grateful to Professor Dr Prakob Wirojanagud, the President of

Ubon Rajathanee University and (the late) Associated Professor Dr Wiroj Srisuro, the

foundation Dean of Faculty of Applied Arts and Design for giving the author the research

opportunity. The author is also grateful to Assistant Professor Dr Janpen Intaraprasert,

the Dean of Faculty of Science for her nice friendship and supervision, and for kindly

providing Miss Jiranan Kanapan and Miss Wanwisa Songserm from Department of

Chemistry to assist with the experimental program. The author also wishes to thank Dr

Kanya Jungvimutipan and the staff from the Faculty of Applied Arts and Design. Special

thanks are due to Mrs. Tuanjai Kaewvongsa and 30 villagers from Ban Pa-aw Moo 1-5

for assistance during the experiments and field survey of village opinions. Additional

thanks to Mr. Pinai Hongtongdang, Ms. Urai Sroi-soon-gnern, and Ms. Marisa Vorakot-

soong-nern for the case study in Nakhon Ratchasima. Importantly, this research occurred

principally because of the generosity of the following people who gave interviews;

Janhorm Tao-yeun, Vichai Jantawong, Lodd Jai-nan, Songyot Waree-sri, Noi Lapapan,

Kanittha Sa-san, Lika Buttrarin, Janmorn Sai-hong, Duangjan Nantralohit, Onnta Sueb-

phrom, Prapassorn Pluem-jit, Ammorn Pluem-jit, Punn Tree-jit, Vilai Tong-luan,

Cheamjit Suppasorn, Udom Sa-ra-chat, Somporn Nantasan, Kampaew Meerawong,

Jantra Chompoojak, Kamsorn Paj-ja, Yon Maliwong, Koom-pa Pan-sri, Pranom Khao-

ngam, Ajan Viratum Trakool-ngoen-tai, Bot Tong-sook, Banyat Kleep-muang, Samreun

Mee-kaew, Ra-nong Pra-win, Lamyai Dee-yak-dai, Boonmee Panya-ake, Amporn Tong-

thisan. Finally, very special thanks are due to the author’s parents Professor Dr Prasit

and Professor Dr Krisana Pengsaa, and the author’s husband Mr Gavin Stone and our

precious little boy Anakin Tiger, for their enduring support, encouragement, and

unconditioned love.

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Table of Contents

Title Page i

Abstract ii

Certificate for Authorship of Thesis iii

Acknowledgements iv

Contents v

List of Appendices x

List of Figures xi

Glossary of Thai Terms xii

Chapter 1: Introduction

1.1 Background 1

1.2 Context and Scope of Research 3

1.3 Aims and Research Questions 5

1.4 Layout of the Thesis 6

Chapter 2: Literature Survey and Information Search

Preamble 8

2.1 The Sufficiency Economy in Thailand 9

2.1.1 Background and context to the study 9

2.1.2 Sufficiency Economy 10

2.1.3 History of Royal and Government support for Textile Production 13

2.1.4 One Tambon One Product (OTOP) 14

2.1.5 OTOP: Structure and Management 15

2.1.6 OTOP Today 16

2.1.7 Findings 17

2.2 A Brief History of Textiles in Thailand

Preamble 19

2.2.1 Archaeological aspects of Textiles 19

2.2.2 Thai Regional Costumes 21

2.2.3 Thai Textiles Today 27

2.3 Traditional Village Textile Technology

Preamble 29

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2.3.1 Textile production from silk and cotton 29

2.3.2 Weaving Equipment 31

2.3.3 Weaving Techniques and Patterns 33

2.3.4 Patterns 34

2.3.5 Current trends of Isan textile production 35

2.3.6 Findings 36

2.4 Relating colour to design

Preamble 37

2.4.1 Colour as a basic variable in textile design 37

2.4.2 Colour and Tradition 39

2.4.3 Colour in Isan Textiles 41

2.4.4 Colours and the natural materials they are derived from 42

2.4.5 Findings from the survey of colour in Isan textiles 44

Chapter 3: Theoretical Development and Constructs

3.1 Preamble 45

3.2 Revue of research proposals in light of literature search findings 46

3.3 Developing a Research Strategy 48

3.3.1 Research Method – Pragmatic verses theoretical 48

3.3 2 Design theory, process and research 50

3.3.3 Models of the design process 52

3.3.4 Product Design and the Generic Design Process (GDP) 54

3.4 The Generic Design Process (GDP) and Design Research Methodology-

A theoretical model for investigating the research questions 55

3.5 Summary of theoretical development and constructs 61

Chapter 4: Experimental Program: Research Methodology

Surveys and Field Work

Preamble 62

4.1 Introduction: Survey and Experimental Program – Scope and Context 62

4.2 Research Methodology

Field Surveys and Experiments 65

4.2.1 Research Methodology

Survey 1: Understanding textile production in Isan villages 67

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(Ten Village Interviews)

4.2.2. Interview Theory and Ethical considerations 68

4.2.3 Survey 1: Interview Procedure 70

4.2.4 Survey 1: Details of Subjects 72

4.2.5 Survey 1: Interview Questions 72

4.2.6 Survey 1: Issues with Interview Process 73

4.2.7 Survey 1: Analysis of Data 75

4.3 Research Methodology Preamble - Experimental Program 77

4.3.1 Research Methodology: Survey 2 Part 1

Development of experiment

Comparison of Natural Dye Preparations Techniques 79

4.3.1.2 Survey 2 Part 1: Background and benefits of the experiment 80

4.3.1.3 Survey 2 Part 1: Aims and Objectives 81

4.3.1.4 Survey 2 Part 1: Scope of the experiment 81

4.3.1.6 Survey 2 Part 1: Experiment Preparation and additional details 83

4.3.1.7 Analysis of Survey 2 Part 1:

Comparison of Natural Dye Preparations Techniques 84

4.4 Analysis of Survey 2 Part 2:

Analysis of Natural Dye Preparation Techniques

Field Survey of Weavers Opinions 85

4.4.1 Introduction and objectives 85

4.4.2 Survey 2 Part 2: Methods and Analysis 85

4.4.3 Survey 2 Part 2: Details of Subject Samples 87

4.4.4 Survey 2 Part 2: Questions and Explanation for the Questions 87

Chapter 5: Analysis of Experimental Program

Preamble 90

5.1 Introduction: Methodology supporting the evaluation of the experiments 90

5.2 Survey 1: Analysis of Understanding textile production in Isan villages

Ten Village Interviews 91

5.2.1 Impact of an Aging Textile Worker Population 93

5.2.2 The Importance of Textile Production and Tradition in Isan 93

5.2.3 Village Textile Production: the people and how they work 94

5.2.4 Knowledge and Skill Acquisition 96

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5.2.5 Textile Workers and Village Organization 96

5.2.6 Textile Production 97

5.2.7 Survey1: Conclusions and Research directions 103

5.3 Introduction to Survey 2: Experimental Program

Survey 2 Part 1: Comparison of Natural Dye Preparations Techniques 106

5.3.1.1 Organisation 108

5.3.1.2 Selection of Natural Material 108

5.3.1.3 Experimental Equipment and Procedure 109

5.3.1.4 Trial 110

5.3.2 Conclusions and Discussions 111

5.4 Survey 2 Part 2 Experimental Program: Analysis of Field Survey of

Weavers Opinions 112

5.4.1 Survey 2 Part 2 Questions Part 1:

Main Findings from the Individual Questions 113

5.4.2 Survey 2 Part 2 Questions Part 2:

Main Findings from the Individual Questions 115

Chapter 6: Results and Discussions

6.1 Preamble 117

6.2 Understanding Village Textile Production 117

6.2.1 The Sufficiency Economy in Thailand 118

6.2.2 A Brief History of Textiles in Thailand 119

6.2.3 Traditional Village Textile Technology 120

6.2.4 Relating colour to design 121

6.3 Theoretical Development and Constructs

The Integrated Design and Development Framework (IDDF) model 122

6.3.1 Results and Discussion: Task Clarification (TC) 122

6.3.2 Results and Discussion: Concept Generation (CG) 123

6.3.3 Results and Discussion: Evaluation and Refinement (ER) 123

6.3.4 Results and Discussion: Detailed Design (DD) 124

6.3.5 Results and Discussion: Communication of Results (CR) 124

6.4 Research Program 125

6.4.1 Developing field research methods 125

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6.4.1.2 Developing field research methods

Survey 1: Understanding textile production in Isan villages 126


Survey 2 Part 1: Experiment: Comparison of Natural Dye Preparations

Techniques 127


Survey 2 Part 2: Analysis of Natural Dye Preparation Techniques

Field Survey of Weavers Opinions 128

6.5 Results and Discussions

Survey 1: Analysis of Understanding textile production in Isan villages


6.5.1 Theme 1: Impact of Aging Textile Worker Population 129

6.5.2 Theme 2: The Importance of Textile Production and Tradition in Isan 129

6.5.3 Theme 3: Village Textile Production: the people and how they work 129

6.5.4 Theme 4: Knowledge and Skill Acquisition 130

6.5.5 Theme 5: Textile Workers and Village Organization 130

6.5.6 Theme 6: Textile Production 130

6.6 Survey 2: Experimental Program

Survey 2 Part 1: Comparison of Natural Dye Preparations Techniques

Survey Trial 132



6.5.6 Survey 2: Experimental Program

Results of Survey 2 Part 2 Experimental Program

Analysis of Field Survey of Weavers Opinions 134

Chapter 7: Findings and Conclusions

Preamble 135

7.1 Findings and Conclusions:

Integrated Design and Development Framework (IDDF) 136

7.2 Findings and Conclusions: Field Research Findings

Field Surveys and Experiments 137

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7.2.1 Findings and Conclusions






Findings of Survey 2 Part 2 Experimental Program

Analysis of Field Survey of Weavers Opinions 140

7.3 Review of Findings in Relation to Original Aims 141

7.3.1 Proposal 1 141



7.4 Recommendation for Future Research 143

Chapter 8: References 145

Chapter 9: Appendices

Appendix 2.3.1 Traditional Village Textile Technology 151

Appendix 4.2 Developing Appropriate Field Survey Research Methods

for Village Product Development in North-Eastern Thailand 170

Appendix 4.2.2.1 Informed Consent Form 174

Appendix 4.2.2.2 Participant Information Sheet 176

Appendix 4.2.2.3 Cover Letter to University Ethics Committee 179

Appendix 4.2.2.4 Invitation to participate form 181

Appendix 4.2.4.1 List of Participating villages 183

Appendix 4.2.4.2 List of Subjects Demographic Data 184

Appendix 4.2.5.1 List of Interview Questions 187

Appendix 4.3.1 Experimental Plan 189

Appendix 4.3.1.1 Linking Village Textile Workers in north-eastern Thailand, Laos and

Vietnam by Adapting Field Research Methods in Product Design 197

Appendix 4.3.1.2 Case Study Ban Pa-aw 2005 203

Appendix 4.3.1.4 Experimental Diary 212

Appendix 4.4.5A Survey 2.2 Questionnaire English version 230

Appendix 4.4.5B Survey 2.2 Questionnaire Thai version 236

Appendix 5.2A Analysis of Village Interview Data 239

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Appendix 5.2B Village Interview Data 275

Appendix 5.3 Images from Village Interviews 320

Appendix 5.3.1.3 Freeze Dry Process 355

Appendix 5.3.1.4 Images from Village Experiments 358

Appendix 5.3.1.4A Woven Silk Samples 379

Appendix 5.4A SPSS Analysis 381

Appendix 5.4B SPSS Supporting Data 394

Appendix 5.4C SPSS Raw Data 402

List of Figures

Figure 2.2.1 Ban Chiang Archaeological Site in Thailand 19

Figure 2.2.2 Hill tribe people in Thailand 21

Figure 2.2.3 Lanna Village Costume 22

Figure 2.2.4 Pha Yok cloth of Southern Region 23

Figure 2.2.5 Textiles used in central court and in the villages 23

Figure 2.2.6 Traditional Pha Prae Wa textiles, Phu Tai traditional costume 23

Figure 2.2.7 Mudmee from Khon Kaen, Khit Sik of Khmer group from Surin 24

Figure 2.2.8 Isan tradition and costume 25

Figure 2.2.9 Styles of Isan clothes for male and female 26

Figure 2.3.10 HM Queen Sirikit plays a leading role in promoting Mudmee silk 28

Figure 2.3.1 Example of drawing art from a temple wall 29

Figure 2.3.2 Silk worm on the jaw 30

Figure 2.3.3 Silk reeling clay pot 30

Figure 2.3.4 Tradition Isan Loom (kee) 31

Figure 2.3 5 Traditional Akk for organizing threads 32

Figure 2.3.6 Traditional Hoang Kan Mee for Mudmee 32

Figure 3.3.3 Diagram of the Generic Design Process 53

Figure 3.4 Integrated Design and Development Framework (IDDF) 60

Figure 4.4.3 Graphic Rating Scale 86

Figure 5.3 Example of Data taken from Village Interviews 107

Figure 5.4.A Example of Data from Appendix 5.4: Survey 2 Part 2 112

Figure 5.4.B Example of Data in Bar Graph from Appendix 5.4: Survey 2 Part 2 113

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Glossary of Thai Terms

Thai Terms and Description are based on Susan Conway1 text on Thai Textiles, and the

author’s own understanding of Thai and Isan languages

Akk The equipment uses for rolling thread

Ampoer District

Ban (Moo Ban) Village

Cheak Fuem Beam cord

Cheak Khao Heddle shaft cord

Cheak Mai Haab Hook or cord holder

Cheak Tor Krueng Pook Loom-holding cord

Chok Weaving technique whereby the warp yarns are

picked out by hand to weave discontinuous

supplement weft. Chok means ‘pick’ in Isan

language. (see also Teen Chok)

Dok Flower

Dok Bua Lotus flower; represented religious symbol

Dok Kaew A small white flower

Dok Mali Jasmine flower; represented Mother’s Day

Dok Pikul A small yellow flower

Dok Ratchawat Khom A tiny diamond motif flower

Ew Fai One of the cotton making process for separating the

cotton seeds out of cotton fibre

Fai Cotton

Fuem Reeds with teeth; equipment for textile weaving

Fun Wee Reeds; equipment for textile weaving

Hang Krarok A technique of twisted two colours yarn in a weft or

a warp where desirable

Hoang Kan Mee An equipment for creating Mudmee patterns

Hook Loom (Isan language)

1 Conway, S. (2001). Thai Textiles. London: The British Museum Press

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Ikat Malay-Indonesian words for a resist-dye process in

which yarns are tied in selected areas to prevent

penetration of dye and to form patterns when the

yarn is woven

Isan A word represented people and the region of North-

eastern Thailand

Jaw A large, flat, bamboo tray approximately 152 com

in diameter with concentric compartments in which

silk worms are placed to spin cocoons

Jang Light (colour)

Kee Loom (Central Thai language)

Khit A weaving technique using a continuous

supplementary weft in geometric forms

Kho A continuous supplementary pattern of many

colours weft with the catch in different places

creating a ream rolling river (Lai Nam Lai)

(Kho in Thai word means to ‘hold together’)

Khao Heddles (Isan language)

Khmer Citizen of Cambodia

Kob Feum Breast beam

Kong Deed Fai An equipment for making cotton fluffy before the

spinning process to get cotton fibre

Krang Shellac used for red colour dye

Kram Indigo colour

Lai Pattern

Lai Mak-rook Chequered or Scott patterns

Lak Hua Khao Cloth beam pole

Lanna A word represented people and the region of

Northern Thailand

Lao Khang A Tai ethnic sub-group from Phichit province, also

called Lao Nam Khang

Liang Mai Raising silk worms

Luang Same weaving style as Kho; in Nan province

(Luang in Thai word means to ‘pull out’)

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Mai (Pha Mai) Silk

Mai Wood

Mai Haab Hook Beam holder

Mai Hua Hook Cord rod

Mai Kam Pan Cloth beam

Mai Kand Kee Loom frame

Mai Kue Kee Upper loom frame

Mai Na Dak Warp beam

Mai Poang Peng Extended warp wood support

Mai Yeab Hook Treadles

Mee Hole Type of Mudmee in Khmer style found in Surin

province (see also Pha Hole)

Moo Street number of the village

Muk A weaving technique using a supplementary warp

yarn to design the pattern of textile

Mudmee A weaving technique using a resistance to dye on

the yarns before weaves to produce the different

shades of colours, known also as Ikat.

Naak A mythical animal looks like a snake

Naga A mythical serpent capable of assuming human

forms

Ngam Beautiful

Ob-hang Oven-dried

Ob-tak-dad Sun-dried

Onn Light (colour)

Pan Nang Weaver’s bench

Pha Textile

Pha Am-prom A Khmer style textile found in Surin province (Am-

prom in Khmer language means ‘Prom Buddha’)

Pha Biang Isan words of Pha Sa-bai

Pha Hole A Khmer style textile found in Surin province (Hole

in Khmer language means ‘spread’)

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Pha Khao-ma A rectangular textile used as a sash, turban, bathing

wrap or as a cradle for a baby; usually in checkered

patterns

Pha Prae Wa A shoulder-sash worn by Phu Tai women in

Northeast Thailand (see also Prae Wa)

Pha Puen Plain woven textile

Pha Sa-bai A rectangular textile worn over the shoulder or

across the chest

Pha Sin A woman’s woven tubular skirt with one or two

side seams

Pha Tor Woven textile

Phu Tai Tai ethnic sup-group living in north-east Thailand,

mainly in Kalasin, Sukolnakorn and Mukdahan

Plook Mon Cultivate Mulberry tree

Prae Wa A weaving technique using supplementary weft in

the same technique of Chok.

(Prae mean silk. Wa mean two metre)

Rai Measurement of land: 1 rai = 0.16 ha.

Saboo-daeng Bellyache bush (Central Thai language)

Saboo-luead Bellyache bush (Isan language)

Sao Pole

Sao Kee Loom pole

Sao Mae Kee Main loom pole

Sa-roang Man’s tubular loincloth

Sa-wang Bright (colour)

Sen Dai Yarn, Thread

Sen Dai Yuen Extended warp

Siamnese Central Thai People

Sin Central panel of a woman’s Pha Sin skirt

Sirikit First name of the current Queen of Thailand

Sod Fresh

Suay Beautiful

Suay Ngam Beautiful

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Tai An ethnic group, made up of several sub-group,

inhabit from Assam through Burma, Thailand, Laos

and Vietnam and parts of southern China

Tai Lao Tai ethnic group from Laos

Tai Lue Tai ethnic group from Sibsong Panna, China

Tai Phuan Tai Lao group from Xieng Khouang province, Laos

Tai Yuan Tai ethnic group living in Lanna

Takor Heddles (Central Thai language)

Tambon Sub-district

Teen Chok Hem border of a woman’s Pha Sin woven with a

discontinuous supplementary weft

Thai Citizen of Thailand

Tor Pha Mai Weaving silk yarns

Triam Sen Mai Preparing silk yarns

Yok A weaving technique used to refer to various types

of twill weave. The design is usually related add

environment and religious beliefs

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Chapter 1: Introduction

Preamble

The research described in this document was undertaken in the northeast of

Thailand and analysed and documented in Canberra, Australia. This is a collaborative

research project involving the Faculty Applied Art and Design, Ubon Rajathanee

University and the Department of Industrial Design at the University of Canberra in

Australia. The research focus is textile production in rural northeast Thailand and

understanding how the practice of Industrial Design is able to positively influence this

traditional craft by evaluating natural material preservation techniques for the production

of traditional dye colours. This Chapter describes the background to the research and

identifies the context, research aims and structure of the document.

1.1 Background

The Thai economy is moving past the traditional advantages of low labour costs

into an environment requiring the design and development of nationally generated

intellectual property, especially in the area of textile design and manufacture. In order to

achieve this level of maturity, Thai industry at the village level will require more

sophisticated capacities with respect to consumer product design and development. In this

respect, the North-eastern region of Thailand, known in ancient times as the Isan Kingdom,

and today still referred to as Isan, has a long, proud and significant history in textile

production. Continual textile production in this region still utilizes production techniques

and processes drawn from the historical Isan period. Textiles in silk and cotton have an

important social and economic role in modern Thai culture, contributing to the regions

economical development.

However, the village-based textile industry in Isan is relatively undeveloped

compared to textile production in other regions in Thailand. Improved design and

manufacture of Isan textiles could play an important role in terms of social equity and

quality of life for textile workers who are mainly aging females. The economic benefits of

an improved textile industry include intellectual property from improved process and

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garment design, increased product options for the tourist industry and general product

exports from Thailand, as well as possible conservation of scarce and precious resources of

natural materials from which colour dyes can be produced.

Over the past decade the Industrial Design department from the University of

Canberra (UC) has collaborated with counterparts in the Faculty of Applied Art and

Design, Ubon Rajathanee University (UBU), in developing product design education as a

means of improving product outcomes in rural village production. UBU is situated in the

north-east or Isan region of Thailand known for the quality and beauty of hand crafted

products and especially textiles woven from cotton and silk.

UBU is a prominent university involved in many aspects of regional development

and closely linked to Thai Government initiatives to encourage the maintenance and

advancement of village production in order to improve village sustainability. The

collaboration between the UC and UBU has led to the introduction of graduate product

design courses with a research focus on increasing the variety, quality and marketability of

village products. Importantly, the collaboration has encountered a need to develop

approaches to product design research and development that are sensitive both to the

village weavers and the social organisation of rural village life. And the latter is one of the

major concerns of this thesis and its research questions.

Isan textiles have a rich and extensive history, the skill and knowledge required in

their production is under threat. Often this noted collaborative research confronts the issue

of traditional skills and knowledge that have slowly been lost over time. This is

particularly the case with textiles as the processes involved in producing the thread and

weaving the cloth are very intricate and require a high level of skill and knowledge

traditionally pasted down through the generations as part of village life. Frequently the

first task in village research work is the process of identifying, understanding and

documenting this knowledge. This thesis is also concerned with these aspects.

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1.2 Context and Scope of Research

An explanation follows of the context of the research in terms of collaborative

arrangement between the University of Canberra and Ubon Rajathanee University. The

collaboration began with the commencement of graduate product design course and

curriculum development for the Faculty of Engineering at UBU. Previously UBU had

developed a corporate objective of providing constructive support to the region described

as Isan and contributing to regional growth through the support and development of

traditional crafts. UBU considered the initiative had great potential for new product

development and importantly the refinement and development of existing traditional

handcrafted products. Initial collaborative steps included product design course and

curriculum development leading to graduate courses with a focus on design education and

skills training for a new generation of product design teachers. Significantly this led to the

study of product design research methodologies that were applicable and relevant to village

production.

UBU and UC have collaborated in many fields of product design education and

research. Product design, also known as industrial design, was selected as the new name

for the course because it translated easily into Thai and was understood by village

craftsmen and women who are important to the program and therefore could be considered

stakeholders. In this case, the researcher is a Lecturer in the Faculty of Applied Art and

Design (UBU) who is enrolled in a graduate program at the UC, and she is therefore

governed by the guidelines and procedures the UC places on research activity. However,

under the collaborative arrangement, the researcher had access to the graduate support

programs in both the UC and UBU including access to academic staff from a range of

disciplines in both of the universities. For example, the study consisted of periods of field

research in Isan such as village surveys and experiments over a period of four years.

During this time the research program was directed from the UC however, senior

academics from UBU were able to supervise when the circumstances required local

knowledge and expertise. The UBU academics involvement greatly contributed to the

research outcomes and their contribution have been acknowledged in the body of this

document.

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The overall context of the research is best described as an environment that is

potentially strong for the development of product design research. Internationally, the past

five years have witnessed extraordinary growth in all areas of design research. National

economies are becoming increasingly drawn towards exported products that have been

generated from domestically developed intellectual property. This is especially relevant to

the industrial development of Thailand where many traditional industries and crafts have

contributed to the general economy. Village textile production in north-eastern Thailand

could benefit from structured design and manufacturing strategies that have a consumer

focus and improved production outcomes without detracting from traditions and quality of

lifestyles.

The village textile workers have little knowledge of design and production methods

that have the potential to make their product more valuable. Workers use techniques

handed down from the preceding generation which in some cases have not adapted to

changing circumstances such as real change in their physical environment. This situation

can lead to workers not developing financially as the textile market in Isan still remains

relatively under-developed, even though the villager weavers have immense textile

knowledge and production skills.

Traditional Isan textile production techniques could potentially be lost from the

culture of the region because these processes are complex and slow, especially when

compared to new textile production in industry. However, modern techniques such as

chemical dyes are recognised as being dangerous to the environment. The villagers require

a compromise between the advantages of new technology and the disadvantages of

dangerous manufacturing techniques. The Isan textile market is still a relatively small

section1 of the total textile market and the textiles are often sold within the village and

produce a small level of profits compared to other textile industry such as the northern

region. Textile production is considered to be challenging work undertaken mostly by

village women who typically prefer to sell their product within the village as opposed to

‘middle-men’ or merchants.

1In the first half of fiscal year 2004, five-star products from the north-eastern provinces generated 5.8 billion baht. Source Thai Government website www.prd.go.th accessed Dec 2007

5

The scope of the research reported in this thesis is founded on the proposition that

product design and manufacturing strategies can be implemented at a village community

level that support and re-invigorate the cultural tradition of textile design and production.

The scope of the thesis involves a detailed survey of the historical and cultural traditions of

Isan textile production such as the methods and techniques and their influence on current

textile production. This is considered in light of the pressures facing village weavers today

especially the influence current production techniques on village production. The way

village weaver’s deploy traditional techniques for silk and cotton production has been

analysed in a program of field surveys which highlighted many issues and concerns facing

the workers.

Analysis of the findings of these surveys is discussed in conjunction with current

thinking in product design research and in particular adapting a generic design process as a

model to guide the research methodology. Analysing village production using an adaption

of this design process has led to the development of alternative natural dye preparation

techniques which led to a specific series of unique colours. The resulting colours were

presented to village weavers and their reactions were surveyed. The new preparation

techniques have produced new design colours and the research methods deployed have

provided an effective model for villagers to follow in the development of new dyes and

colours made from natural materials – it will be shown that this methodology has the

potential to be deployed on a larger and broader scale in village based silk and cotton

textiles weaving communities. Finally, the significance of the findings and conclusions in

relation to the thesis aims and objectives are discussed with options for further research.

1.3 Aims and Research Questions

The overall goal of this investigation is to identify and develop potential design

research activities that can affect positive change at a village level in ways that are socially

constructive, and beneficial. This research aims to assist in the maintenance of the

distinctive character of traditional regional textile production in north-eastern Thailand by

restoring natural dyes and traditional patterns that can be produced using existing textile

production processes – it is also essentially a demonstration of how the design process and

a research approach can be applied for the benefit of textiles village communities. In

6

addition, this research has been informed by the practice and processes of product design

as an appropriate model to underpin research methodologies:

The aims of this thesis are reflected in three, interrelated research hypotheses or

propositions, namely:

1.3.1 Applying and conserving traditional methods of dying textiles is a valued process

basic to the design and production of textile products at the village level.

1.3.2 Development and application of natural dyes, as part of the textile design process,

is a feasible and continuing resource at the village level.

1.3.3 The design process employed in the development of textiles based on natural dyes

is a beneficial process in terms Occupational Health and Safety (OHS).

These propositions will be informed by the following research questions in relation

to textile design and production in the Isan region of Thailand:

1 What is the current state of the art and characteristics of textile production in rural

villages?

2 Is colour and colour dyeing a major factor in the design and production of village

textiles? Do villagers value the use of natural dyes?

3 Is the use of natural dyes a fundamental component of village textile production?

4 Can natural dye materials be developed and applied safely, and what are the

responses of village weavers to the colour outcomes of preserved dyes?

5 What improvements can be implemented at the village level with respect to

preserved natural dyes and colour applications in the context of product design?

6 Are pragmatic design research methods applicable at a village level in the context

colour dye development and application?

1.4 Layout of the Thesis

Following this introduction, Chapter 2: Literature Survey and Information Search,

starts with a discussion of the sufficiency economy in Thailand. It includes a history of the

Isan region and textile developments, a review of traditional textile production, and

assesses the relationship between colour and design in an Isan context.

7

Chapter 3: Theoretical Development and Constructs, explains the research

proposals and research questions and introduces design research methods that are

applicable to the discipline of product design and appropriate for gathering data concerning

rural village textile production. A model is proposed that links components of research

activities to the various phases of the Generic Design Process: this model is explained and

methods are proposed for trialling and assessing the model in village communities.

Chapter 4: Research Program and Experimental Investigation, describes the aims

and objectives of a series of surveys and experiments undertaken in NE Thailand during

2004 to 2007. The surveys are described in terms of their objectives, methods and

relevance to the research proposals and the subsequent research questions developed in

Chapter 3.

Chapter 5 describes the final survey procedures, experimental data and analysis of

the three surveys described in Chapter 4. The surveys were structured in an iterative and

pragmatic manner because knowledge of the issues facing textile workers in NE Thailand

had to be determined prior to the final experiments, and surveys evaluating the viability

and acceptance of alternative techniques for preparing natural materials for colour dyes.

This chapter includes details of the results from each survey.

Chapter 6 Results and Discussions, summarizes the results in relation to the major

research areas, the original aims of the thesis, the theoretical development and the

experimental investigation described in Chapters 4 and 5. Chapter 7 discusses the research

outcomes in terms of their importance and contribution to the body of knowledge

pertaining to village textile production in NE Thailand and makes recommendation for

future research. Chapter 8 contains all references and Chapter 9 records and lists the

underlying qualitative data, results and related analyses that validates research findings and

conclusions.

8

2 Literature Survey and Information Search

Preamble

Textile production has been an integral part of rural village life in northeast Thailand

for literally hundreds of years. However as the country develops and changes rural textile

workers confront difficult and challenging times that threaten their ancient craft. This chapter

provides the information required to gain an understanding of the background of Isan textile

production and some comprehension of the problems influencing the current operating

environment.

The chapter assesses the current working environment by analysing the thinking and

actions behind the concept of ‘sufficiency’ in Thailand. This is followed by a brief history of

textiles in Thailand and a review of traditional village textile production in order to develop an

historical context and some understanding of the complexity of weaving. Colour in Isan

textiles is reviewed in order to appreciate the variety and wealth of Isan colour and to identify

the main natural materials that produce the colours.

The information detailed in this chapter comes from a variety of sources ranging from

Thai Government websites, texts and journals written in Thai and English, and from

practitioners in the relevant fields. For example, information on the Thai sufficiency economy

was taken from presentations by visiting Thai academics at the Centre for Thai Studies at the

Australian University of Canberra, alternatively information on natural materials and dye

colour was found in Thai books bought from the Roi-et Museum in northeast Thailand.

Eliciting information was both challenging and rewarding as the real knowledge of Thai

textile production resides in the minds of Isan village weavers.

9

2.1 The Sufficiency Economy in Thailand

2.1.1 Background and context to the study

Village design and manufacturing activities in Thailand are regarded as especially

important, from both a craft and professional design point of view, firstly, for example, by the

Royal Family – His Majesty King Bhumibol Adulyadej, has been proactive over many years

in this regard, with many patents and projects favouring rural communities to his credit – and

secondly, through the policies of the Thai Government such as through its One-Tambon-One-

Product initiative (OTOP). This policy was introduced to encourage village communities to

develop specialised products that have commercial value whilst maintaining cultural heritage

and traditional craft and design skills. The Government is especially proud of its regional

crafts, such as textiles produced in the Isan region, and has made it clear that these should be

preserved, updated and developed further in order to improve the quality of village life in

economic and socially worthwhile terms.

However, village design and manufacturing practices in the area of textiles have

developed slowly in recent years and, moreover, the use of chemicals in the textiles dyeing

processes have serious health and occupational safety implications as noted in the

Introduction. This is a critically important issue, especially as the dyeing of textiles is one of

the first steps in the design and manufacturing process. It is proposed that the introduction of

methods based on the design process will have a notable effect in improving the design and

manufacture of textiles at the village level and this is one of the main reasons for undertaking

this thesis. In addition, the way in which village people approach the design and manufacture

of textiles, beginning with the fundamental dyeing of materials, needs to be investigated at

first hand in order to obtain a better understanding of village life.

The village tradition of making objects necessary for living still exists with an historic

emphasis on the importance of skill and craftsmanship in design and making. Traditions

associated with the family unit prevail, such as handing skills down through the generations

and making objects as a family unit during the rainy season. Village production such as

10

textiles, ceramics, metal casting, and cane-ware and timber fabrication are primarily concerned

with the manipulation of natural materials that employ traditional technologies in their

construction. There is a tendency for villagers to group together and concentrate on a

particular production category and, although this happens for mainly social reasons, it has the

effect of improving their capacity to penetrate a commercial market. Importantly, the

knowledge and skills of village production are significant and deployable to other market

categories. If the villagers are led through a process of diversification in a sensitive manner, it

may well have the effect of empowering their overall business acumen and subsequent

economic sustainability. This process of leading or guiding village production has grown

from the principles of the Sufficiency Economy and subsequent Thai Government programs

such as OTOP. However, it is necessary to understand the background and importance of

Sufficiency Economy in order to appreciate the significance of OTOP and its relevance to the

operational and research context of this study.

2.1.2 Sufficiency Economy

As discussed above, OTOP is essentially a response to the concept of the Sufficiency

Economy which was initiated by the King of Thailand in the 1970s and, importantly,

subsequently developed and articulated in a series of speeches to the people of Thailand.

Pootrakool (2007) described the three underpinning principles of sufficiency such as (1)

moderation, (2) reasonableness, and (3) self-immunity from internal and external changes. He

also noted that sufficiency is founded on an acceptance by all Thais of the importance of

personal qualities such as honesty, integrity, and patience and perseverance. Pootrakool1 then

described the philosophy of the Sufficiency Economy as one that emphasised the middle path

as an overriding principle for appropriate conduct for all of Thai society, such as ‘the level of

families, communities, as well as the level of (the) nation in development and administration’.

Pootrakool’s description of these principles have been clearly articulated by the King

Of Thailand in a speech he made to the Thai nation in 1999, following a period of financial

1 Pootrakool, K., (2007). Sufficiency Economy and the Government. National Thai Studies Centre, ANU. Paper Presented at the Thailand: The Sufficiency Economy Concept. ! June 2007

11

turmoil largely resulting from external currency speculation. In this instance the King

emphasised the need for Thai society to be less vulnerable to external economic pressures.

“Sufficiency” means moderation, reasonableness, and the need of self-immunity mechanisms

for sufficient protection from the impact arising from internal and external changes. To

achieve this, an application of knowledge with due consideration and prudence is essential At

the same time, it is essential to strengthen the moral fibre of the nation, so that everyone,

particularly political and public officials, academic and business at all levels, adhere first and

foremost to the principles of honesty and integrity.”2

The Thai Government, responding to the principles of the Sufficiency Economy has

identified three relevant policy directions. Firstly, at a macroeconomic management level, a

Sufficiency Economy calls for fiscal conservativeness, prudent monetary policy, appropriate

level of external debt and adequate international reserves — the approaches taken in response

to macroeconomic management will directly impact on growth, inflation, budget deficit verses

adequate saving, energy security and national risk management. Secondly, Sufficiency

Economy principles have influenced the design of the government’s policies and projects in

order to make Thai people more self-sufficient; for example, policies such as village funds,

farmer’s debt forgiveness and mega-projects. Thirdly, the search for alternative development

strategies that may influence the balance of a national economic development framework,

strategies, such as rural development together with industrial development, building strong

communities and quality growth at a reasonable pace with an emphasis on public well being.

It is the second and third levels of policy direction that directly affect this

investigation. Strategies that encourage Thai people to be more self-sufficient along with

alternative development strategies have a clear impact on rural village life. These strategies

encourage villagers to be more independent and self-sufficient by introducing concepts such as

standing on ones own feet, not being too extravagant, not over-extending yourself and live

beyond your means, not being too greedy and only borrowing for good reasons. Importantly,

2Royal Speech (1999). Dusidalai Hall, Chitralada Villa, Dusit Palace. http://www.amarin.co.th/royalspeech/speech98E.htm. Accessed 12October 2007

12

Government policies were introduced to encourage and facilitate the organization of village

production.34

An example of the influence of Sufficiency Economy principles can be observed in the

subsequent changes to rice production in rural centres. Previously, Thai agriculture was rice

production dependent and suffered from problems typically associated with a monoculture or

single industry dependence. Each year, everything depended on the success of the rice crop

which left villagers vulnerable to problems of supply and demand, the weather, debt issues and

the changing demographic of village populations especially migration to larger centres.

Sufficiency Economy principles called for rice farmers to be more self-sufficient, therefore if

the main problem was adequate water supply then they might need and should be able to

obtain government support to increase water storage. The farmers would be encouraged to

form a co-operative in order to increase their production cost effectiveness and to strengthen

their ability to negotiate in the market. Additionally, the co-operative benefited from

assistance from commercial banks which enabled further rice production expansion

possibilities such as village-based storage and milling.

The rice production case study can be viewed as a new approach to development, however it is

considered to be ‘still a work in progress but with great promise5.’ Sufficiency Economy

principles provide a different approach that still functions within an existing market system

and offers potential for balanced and equitable growth that should empower rural Thai

villagers to becomes more self-sufficient over time and improve the quality of rural life.

Importantly, the development strategies identified in the rice production case study were

considered to be deployable to other village industries such as textile production.

3Pootrakool, K., (2007). Sufficiency Economy and the Government. National Thai Studies Centre, ANU. Paper Presented at the Thailand: The Sufficiency Economy Concept. 1 June 20074 Pootrakool, K., (2007). Powerpoint Presentation: Understanding Sufficiency Economy Concept and its Applications: a View from Thailand National Thai Studies Centre, ANU. Paper Presented at the Thailand: The Sufficiency Economy Concept. 1 June 20075Pootrakool, K., (2007). Powerpoint Presentation: Understanding Sufficiency Economy Concept and its Applications: a View from Thailand National Thai Studies Centre, ANU. Paper Presented at the Thailand: The Sufficiency Economy Concept. 1 June 2007

13

2.1.3 History of Royal and Government support for Textile Production

Sericulture, that is growing silkworms to produce raw silk, is the first stage of the

ancient craft of silk textiles production and has an extensive history of Government and,

importantly, Royal patronage. Sericulture commenced in the reign of Rama V (1901) and a

Department of Silk Craftsmen was established in 1903 to promote silk production.

Subsequent Governments support focused on increasing silk production leading to a research

centre located in Nakornratchasima, now known as The Queen Sirikit Sericulture Centre

(Nakornratchasima). In regional centres, for example Ubon Ratchathani province, sericulture

gained Government support in 1958 with the establishment of a Silkworm Feeding Promotion

Station set up by the Department of Agriculture. Today, the centre is known as the Queen

Sirikit Sericulture Centre (Ubon Ratchathani, 2005) and is part of the Queen Sirikit Institute of

Sericulture, supervised by the Ministry of Agriculture and Cooperatives.6

In more recent times, Queen Sirikit is considered to be primarily responsible for the

revival in silk production and the production of regional textiles. The Queen wanted to

encourage and maintain traditional Thai silk production as a means of improving the quality of

village life. In the past, traditional textiles were worn by royalty and nobles; the Queen re-

introduced Thai costumes and promoted their use as formal wear by members of the Royal

Family and Government officials and Thai people generally. This action began to reinvigorate

public interest and was enhanced by subsequent textile exhibitions, supporting educational

activities and fashion events that clearly identified the inherent beauty of Thai silk textiles. In

1976, The Queen authorized the establishment of the Support Foundation, sustained by royal

patronage as a centre for the conservation, research and development, and promotion of

traditional Thai silk production. The Foundation has underpinned the rejuvenation of Thai

textiles and enhanced national and international consumer awareness in the product.

Subsequent Royal support for Textile production in Thailand is a direct result of the King’s

hypothesis and subsequent articulation of the Sufficiency Economy, which led to the Thai

6http://www.moac.go.th/builder/mu/images/The%20Queen%20Sirikit%20Institute%20of%20Sericulture.doc. 18 October 2007

14

Government introduction of OTOP in 2001. The organization and benefits of the OTOP

program are described in the following section.

2.1.4 One Tambon One Product (OTOP)

As foreshadowed above, the Thai Government developed economic policy in response

to the principles of Sufficiency Economy. It was the second and third levels of policy

development, that is, the design of the government’s policies to make Thai people more self-

sufficient and the search for alternative development strategies that influenced the balance of a

national economic development framework and the subsequent introduction of a program

known as OTOP. OTOP is consistent with the goals of policy strategy because it facilitates

rural development by steadily building strong communities together with an emphasis on

public well-being.

The OTOP (One Tambon One Product) program was originally introduced in 2001 by

the Thai Rak Thai government (2001-2006), using Japan's successful One Village One

Product (OVOP) as a model for the scheme. The OTOP program has successfully introduced

a form of co-operative organization into village life that is consistent with village social

organization and the Governments7 objective of broadening the trading basis of villages. The

name Tambon is the equivalent of village or town in English, which is the program’s

demographic target. As noted, OTOP searches at a village level for products with potential for

national and international distribution. In this way the Thai government has been promoting

local village industry by utilizing the culture, traditions and the natural resources of the region.

This program assists villages to improve the quality of their product and provides assistance in

promoting and marketing to wider national and international markets. OTOP works alongside

individual villages encouraging them to use their extensive craft skill and knowledge together

with natural materials from their region in the production of distinctive products and

handcrafts. Village products8 may include cotton and silk textiles and clothing garments,

pottery, fashion accessories, household items, food items and beverages, woven handicrafts, 7 Pengsaa, A., Carson, D., Bonollo, E., (2007) Developing Appropriate Field Survey Research Methods for Village Product Development in North-Eastern Thailand. ConnectED 2007 International Conference on Design Education, University of New South Wales; Sydney8Leicester, J. Handcrafted products of Thailands Village communities. http://www.tatnews.org/emagazine/2178.asp Accessed 15 10 07

15

artistry items, gifts, household and decorative items, and non-edible herbal products.

Currently, there are approximately 36,000 groups9 across Thailand with between 30 to 3,000

people per group.

2.1.5 OTOP: Structure and Management

OTOP works with village production that already exists in order to cater for the needs

of the people, with any excess production being exchanged or bartered with other villagers.

The program has helped villagers to confront issues such as increasing production in order to

respond to increased demand and deadlines. Interestingly, the program has brought a wealth

of support from a range of Government Departments providing advice on ‘production, quality

control, packaging and designs10 that make them even more attractive to domestic and export

markets’. The Government ‘Agency Integration’11 approach of involving a number of

different departments can be observed in the following examples:

1. National OTOP Committee, Department of Community Development, Ministry of

Interior: This important body has a central committee with regional and provincial level

committees that work alongside villagers in identifying, developing and grading potential

products. Included in their function is the nomination and award of a "starred OTOP product"

for significant achievement.

2. OTOP City, Department of Community Development, Ministry of Interior: A

biannual exhibition is held in Bangkok providing the general public, national and international

tourists and international buyers access to the extensive wealth of Thai village products. This

is arguably the largest single exhibition held in Thailand deploying a range of OTOP

initiatives including four and five-star star products and the Hall of Fame for examples of

OTOP best practice in village products.

9 http://en.wikipedia.org/wiki/One_Tambon_One_Product 15 10 0710Leicester, J. Handcrafted products of Thailands Village communities. http://www.tatnews.org/emagazine/2178.asp Accessed 15 10 0711Suchinda, N, (2006). One Village One Product. http://www.asiaseed.org/apec2006sme/presentation_pdf/session1_natiya_2.pdf. Accessed 9 November 2007

16

3. Department of Export Promotion (DEP), Ministry of Commerce: This Department

concentrates on promoting and exporting OTOP products by using a range of promotional

activities, including:

3.1 The display of selected products at trade fairs in Thailand and overseas

3.2 The in-store promotion of OTOP products in Thailand and overseas

3.3 The promotion of OTOP products in Thailand Exhibitions held in various

countries.

3.4 Established a Product Development Centre (DEP)12 where ‘teams of designers to

work with villagers to create marketable designs and packages for their products.’

3.5 Establishing OTOP shops and centres for international buyers and tourists

including smaller centres within major department stores and duty free product centres

in international airports.

3.6 Establishing OTOP outlets in export promotion centre in major Thai cities.

3.7 Establish the InterTrader scheme (DEP) which uses Thai trade shows to connect

international buyers with OTOP manufacturers. This includes an OTOP display

pavilion and an OTOP section for individual booths for product manufacturers.

4. Department of Industrial Promotion, Ministry of Industry: This Department has an

important role in developing products, training villagers and advising on quality control;

5. OTOP Online Support: This program began in 2000 and provides online access to

OTOP products through the www.thaitambon.com website.

2.1.6 OTOP Today

At the time of writing this thesis, the interim Thai Government led by Prime Minister Surayud

Chulanont clarified its position13 regarding OTOP with the following words: ‘although the

"One Tambon, One Product" (OTOP) program was initiated by the previous government, his

administration considers it an important policy to be implemented on a continual basis’. In the 12Leicester, J. Handcrafted products of Thailands Village communities. http://www.tatnews.org/emagazine/2178.asp Accessed 15 10 0712Thai Government Press Release (2007). http://www.boi.go.th/english/how/press_releases_detail.asp?id=1773. Accessed 15 October 200713Thai Government Press Release (2007). http://www.boi.go.th/english/how/press_releases_detail.asp?id=1773. Accessed 15 October 2007

17

press release, the Prime Minister emphasised the importance of the program and its connection

to the concept of Sufficiency Economy ‘advocated and developed by His Majesty the King’.

The Prime Minister14 also said ‘the policy of promoting community products is useful to

villagers at the grassroots level, and it is also serves as the country's major economic

foundation’, he also discussed how the policy ‘help improve the living standards of the local

people, who would not have to migrate to cities, especially Bangkok, in search of jobs’.

2.1.7 Findings

It is found that in Thailand the activity of village textile design and production is fully

supported by regional and national Government, the activity makes a vital economic

contribution and it is a significant cultural component to village life. In recent times, this has

been reinforced through the following initiatives from the Royal Thai Family and

Government:

1 The revival in silk production and regional textiles as a means of improving village

life is primarily the result of the actions of the Queen of Thailand who reinvigorate public

interest in traditional Thai textiles and garments and enhanced national and international

consumer awareness of these products.

2 The introduction of OPOP in 2001 as the main Government program assisting village

textile production. OTOP is founded on the Sufficiency Economy concept articulated by the

King of Thailand. The underpinning principles of the Sufficiency Economy are (1)

moderation, (2) reasonableness, and (3) self-immunity from internal and external changes.15.

These principles led to Thai Government policy directions important to the economic

development, self sufficiency and building of strong communities in Thai villages.

Importantly, the Government policies1617 have encouraged and facilitated the organization of

village production within an existing market system.

14Thai Government Press Release (2007). http://www.boi.go.th/english/how/press_releases_detail.asp?id=1773. Accessed 15 October 200715 Pootrakool, K., (2007). Sufficiency Economy and the Government. National Thai Studies Centre, ANU. Paper Presented at the Thailand: The Sufficiency Economy Concept. 1 June 200716Pootrakool, K., (2007). Sufficiency Economy and the Government. National Thai Studies Centre, ANU. Paper Presented at the Thailand: The Sufficiency Economy Concept. 1 June 200717 Pootrakool, K., (2007). Powerpoint Presentation: Understanding Sufficiency Economy Concept and its Applications: a View from Thailand National Thai Studies Centre, ANU. Paper Presented at the Thailand: The Sufficiency Economy Concept. 1 June 2007

18

3 OTOP introduced co-operative organization into village life consistent with village

social organization thereby broadening village trade by utilizing the culture, traditions and the

natural resources of the region. OTOP is supported by a range of Government Departments

using an ‘Agency Integration’ approach that trains village workers in ways to increase

production, improve product quality, develop packaging and new designs, and how to respond

demand and deadlines.

However, despite these initiatives much work still needs to be done at the village level

in order to safeguard traditional and encourage the use of natural dyes in the textile design

process. It follows that research at the village level, which aims to improve the practice textile

design and production, is worth undertaking especially if it improves the quality of life of the

villages, and is sensitive to their cultural and family traditions. Moreover, this research will be

compatible with Thai Government policies. Furthermore, there is little published evidence on

how the design and manufacture of textiles can benefit from the development of natural dyes

in the village environment.

19

2.2 A Brief History of Textiles in Thailand

Preamble

A brief survey of the history of textile design and manufacture in Thailand is

important and relevant to the context and aims of the research documented in this thesis.

This follows because this survey will help to map the development of textiles at the village

level and highlight areas where possible improvements in textile production may be

possible — especially in the development of natural dyes as a fundamental step in the

design process where the selection of colours and their effects on the subsequent design of

textile materials is a critical consideration for successful product outcomes.

2.2.1 Archaeological aspects of Textiles

Thailand has an extensive history of textile production. Evidence of textiles’

knowledge has been uncovered in many archaeological sites. One of the well-known pre-

historic sites is at Ban Chiang, Nong-han district, Udorn Thani province (figure 2.2.1).

Patricia Cheesman Naenna (1994)1 from Chiang Mai University stated that “the earliest

evidence of weaving in Thailand comes from four-thousand-year-old clay tools for making

hemp cloth in Ban Chiang. This site is considered by many archaeologists to be Southeast

Asia’s oldest civilization. Cheesman Naenna also maintains that “silk yarns dating from

500 B.C. were also found at Ban Na Di in the same region; cotton was grown and

processed into fabric2 by 300 BC.”

2.2.1 Ban Chiang Archaeological Site in Thailand3

1 www.tatnews.org Traditional Thai Textiles by Patricia Cheeseman, Chiang Mai University, accessed 25 September 2007.2 http://www.bangkok-thailand.com/faq-who-discovered-silk.htm (10 December 2007) 3

http://www.thesalmons.org/lynn/wh-thailand.htm (12.12.2007)

20

According to Cheesman Naenna, “Several rock paintings (circa 3000-4000 B.C.) in

Ban Chang region of Thailand show that people did not go naked. They covered their

bodies from the waist down with small pieces of unknown fabric. Unfortunately all the

early clothing found disappeared within a very short period of time because of

environmental factors. The climate in Thailand was too moist and warm to permit the

survival of such materials. Therefore, only a small number of these early textiles have

survived.”

Viboon Leesuwan4 has explained how a fragment of fabric found attached to

jewellery, from an archaeological site, indicated that the pre-historic people used fabrics

made of cotton and silk. He stated that “the fragments of plain woven hemp found attached

to the bronze bracelet by copper rust protected it from decay.” He also indicated that silk

must have been extensively used in pre-historic times, that is, before China introduced silk

as a trading commodity. From these examples of evidence of use, it may be assumed that

the process of textile and weaving has been a part of village life since ancient times.

Various ethnic cultures have contributed to the nature and history of Thai textiles

production. Tai ethnic groups from the Theravada Buddhist tradition, who inhabit several

Southeast Asian countries including Thailand, Myanmar, Cambodia and Laos, have

brought their own traditions, style and techniques to Thai textiles production.5 The Tais

brought important weaving technology, such as that based on frame loom and spindle

wheels, with them when they migrated from China around the 13th century.

Other ethnic groups have also contributed to Thai textile development. For

example, “The hill tribes of Northern and North-eastern Thailand also make significant

contributions to the country’s body textiles. Two of the most important hill tribes are the

Karen and the Hmong people. Because of environmental reasons, many of the Hmong

have again been relocated by the Thai government and have resorted to making and selling

crafts and textiles to tourists. Despite, or partly because of, the political troubles that both

the Hmong and Karen have endured, textile production remains central to their ways of

life” — as quoted from the website for the exhibit ‘Traditional Textiles of Indochina’ at

Truman State University (2007), with photos of hill tribe people (see figure 2.2.2 below).

4http://www.thaitextilemuseum.com/English/Information_on_Thai_textiles/The_Evolution_of_Textiles/the_evolution_of_textiles.html.Accessed 9 September 20075 http://finearts.truman.edu/Textiles/Thailand.htm (10 December 2007)

21

Figure 2.2.2: Images of Hill tribe people in Thailand6

2.2.2 Thai Regional Costumes

One of Thailand cultural heritages and marvellous art forms is, of course, textile

weaving. Many of the ancient textile patterns and technical intricacies are still maintained;

they still preserve their unique characteristic today especially in the tribal communities7.

Four tribal groups can be categorized according to the following regions:

1 Northern region (or Lanna Thai)

Lanna is the name of the old kingdom in the north of Thailand. Cotton textiles are

mainly produced here in smooth blends of natural dye colours, or textured fabrics made

from hand-spun yarns8. Many ethic groups that have settled in this region created various

textile techniques. Most textile weavers in Northern Thailand villages are Tai Yuan, Phuan

and Tai Lue people who still preserve the weaving styles and patterns that have been passed

down for generations, e.g., the Chok textiles style. Their famous creations are called Pha

Sin Teen Chok, Pha Kit and the weaving technique is called Kho. Naenna reported that the

Tai Lue specialise in another intensely skilled technique called tapestry weave, which is not

woven elsewhere. She also reported that the Lao Khang people make silk Mudmee and

Chok with great skill choosing red lacquer as their principle colour.

6 http://finearts.truman.edu/Textiles/Thailand.htm (12 December 2007)7 Source: www.thaitextilemuseum.com (From: Thailand Junior Encyclopaedia: volume 21 Local Fabric Weaving: a survey of production across the country, Silapakorn) Accessed 9 September 20078 http://finearts.truman.edu/Textiles/Thailand.htm (10 December 2007)

22

The photos below show examples of the northern style of textiles and costumes9:

Figure 2.2.3 Lanna Village Costume10

2 Southern region

Southern Thailand is well-known for the gold and silver brocade textiles called Pha

Yok. Naenna has reported that the weavers today still weave traditional motifs such as Dok

Mali (jasmine flower), Dok Bua (lotus flower) and Dok Rachawat Khom (a tiny diamond

motif). “These sumptuous textiles were often sent as tributes to the royal court”. Other

motifs found from ‘A survey of production across the country’11 include Lai Lookkaew, Lai

Dok Pikul, Lai Rajawat,, Lai Kanyang and animal motifs.

Photos of southern textiles are shown below in figure 2.2.4 (from Sunsite Thailand

at Assumption University website12).

9 Source: http://sunsite.au.ac.th/thailand/Thai_Handicraft/Thai%20Cloths/his_north.html (12/10/07)10http://sunsite.au.ac.th/thailand/Thai_Handicraft/Thai%20Cloths/his_north.html (10/10/07)11 Source: www.thaitextilemuseum.com (From: Thailand Junior Encyclopaedia: volume 21 Local Fabric Weaving: a survey of production across the country, Silapakorn) (9/10/07)12 Source: http://sunsite.au.ac.th/thailand/Thai_Handicraft/Thai%20Cloths/his_south.html(12/10/07)

23

Figure 2.2.4 Images of Pha Yok cloth – Southern Region13

3 Lower Northern and Central region

According to Naenna, the Siamese (or central Thai people) have imported most of

their textiles since Ayutthaya times, leaving little evidence of a central Thai weaving

tradition. Nevertheless, hand weaving of textiles was sustained in villages where ethnic

groups known as Lao Song Dam, Lao Khang and Tai Yuan lived. The minority Tai groups,

such as the Tai Lao sub-groups Phuan, So, Phutai migrated to this area at various times in

the history, in relation to Thailand Junior Encyclopaedia. Each of these ethic groups residue

strong in conserving their traditions. The technique of making Tin Chok fabric and Khit are

learnt by the women weavers for ceremonial costume and for decoration on the garments.

Chok textiles for hem pieces, and tube skirts, are woven in magnificent designs featuring

hook, step and lozenge motifs14.

Photos below show textiles from lower northern and central Thailand15 .

Figure 2.2.5 Textiles used in central court and in the villages16

13 http://sunsite.au.ac.th/thailand/Thai_Handicraft/Thai%20Cloths/his_north.html (10/12/07)14 www.tatnews.org Traditional Thai Textiles by Patricia Cheeseman, Chiang Mai University, accessed 25 September 200715 Source: http://sunsite.au.ac.th/thailand/Thai_Handicraft/Thai%20Cloths/cl_his.html(10/12/07)16 http://sunsite.au.ac.th/thailand/Thai_Handicraft/Thai%20Cloths/his_north.html(10/12/07)

24

4 North-eastern region (or Isan)

The majority of people who live in the northeast province of Thailand, better known

as Isan, are the Tai Lao ethnic group. The Tai Lao village women have been carrying on

textile weaving for many generations, especially the weft Ikat skirts called Mudmee.

Naenna maintains that Isan is the home of Mudmee, a weft Ikat technique that places the

pattern into the weft yarns, before they are woven, by tying sections with string to resist the

dye colours. Some favourite traditional motifs are naak, the sacred river serpents, pine

trees and lattice designs filled with fens and geometric flowers17. Other examples of

individual Isan textiles from Silapakorn18 include Pha Prae Wa, Pha Khit, Pha Poom and

Hang Krarok, classic Khmer designs in silk weft. Figure 2.2.6 and 2.2.7 show Pha Prae

Wa and Mudmee respectively.

Figure 2.2.6 Traditional Pha Prae Wa textiles from Ban Pone, Kalasin 19

Phu Tai traditional costume at Ban Pone, Kalasin

Figure 2.2.7 Mudmee from Khon Kaen11 Khit Sik from Khmer group from Surin

17

www.tatnews.org Traditional Thai Textiles by Patricia Cheeseman, Chiang Mai University, accessed 25 September 200718 Source: www.thaitextilemuseum.com (From: Thailand Junior Encyclopaedia: volume 21 Local Fabric Weaving: a survey of production across the country, Silapakorn)19 Source of all photos on this page: Siri Pha-suk, Handwoven Thai Silk, 2002

25

Isan has very long historical background. The oldest identified residents which are

known to have exited around 3600 B.C. belonged to Ban Chiang civilization. The journal

found on Sunsite Thailand at Assumption University website20 maintains that, “There is

evidence of advanced cultural developments such as bronze making since 2700 B.C. and

fabrication of cotton and hemp since 700 B.C. Pottery rollers have been found with traces

of colour pigment still attached to their carved surfaces, suggesting possible use as a textile

printing mechanism.” The author also assumed that, it is possible then that the prehistoric

people of Ban Chiang were wearing or using printed textiles, and had made convention

with island people in Southeast Asia, seeing that seen in the exchange of design elements

with their culture.

In the past, the types of textiles used in Isan divided into the main categories of

costume, household and ritual use21. The costumes were particular to the racial groups and

often designated status as well as showing off the weavers’ skills (Figure 2.2.8). In earlier

times, the young women could present their weaving skills occasionally on the social

events, mainly to impress the suitors, as this was an important criterion of a good wife.

Figue 2.2.8 Pictures taken by the author from Roi-et Museum, Thailand (2005)

Although, Isan has been known as the poorest area in Thailand, and silk is

identified as the highest-priced product in the market, Isan people still wear silk to their

daily work in the field. The reason is because the Isan area is too arid to grow cotton and

therefore the silks are more efficient, necessitating only the leaves of the mulberry trees to

feed the silk worm that are grown at residence. Formerly, Isan women wove their own silk

for everyday uses and did not sell their product as much as nowadays.

20 Source: http://sunsite.au.ac.th (2007) Isan Thai Clothes by Songsak Prangwatthanakun and Patricia Cheesman Naenna (12/10/200721 Source: http://sunsite.au.ac.th (2007) Isan Thai Clothes by Songsak Prangwatthanakun and Patricia Cheesman Naenna (12/10/2007

26

Figure 2.2.9: The styles of Isan clothes for male and female22

The traditional dress of Isan is sarong. The sarongs for female most regularly have

an embroidered border at the hem. While the sarongs for male are in a chequered pattern

called Lai Mak Rook which are worn straight, and not hitched between the legs in Central

Thai style. Male also wear a Pha Khao-ma, adaptable length of cloth which can be used as

a belt, a money and document belt, as headwear for protection from the sun, as a hammock

or as a bathing garment.23 Figure 2.2.9 are examples of Isan style clothes.

There are three most important styles that had been presenting in Isan up till today

are the Lao, the Khmer and the Phutai. These different styles can tell the ethnic origin of

the costumes, financial condition, and differentiate marriage status24.

In upper Isan, the Tai Lao and Lao Phuan who migrated from Vientiane and some

minority Tai ethnic groups made cotton for the most part, with patterns in weft ikat cloth or

Mudmee (tie-dyed) and additional weft techniques.

For central Isan and Mekong River Basin, Lao people who came from Pakse and

Savanakhet migrated into this area with traditional silk weaving skills. This area was

fortunate that King Rama V introduced advanced technology in the late 19th century and

made the finest export silks are produced today.

The lower area is occupied by ethic Khmer group who specializing in silk weaving

in ikats with three heddles weft. The women weave on Khmer style looms which are

different from the Lao standing looms seen in the upper and central Isan region. 22 Source: http://sunsite.au.ac.th/thailand/Thai_Handicraft/Thai%20Cloths/ (10/102007)23 Source: http://en.wikipedia.org/wiki/Isan(10/102007)24 Source: http://sunsite.au.ac.th (2007) Isan Thai Clothes by Songsak Prangwatthanakun and Patricia Cheesman Naenna (12/102007)

27

2.2.3 Thai Textiles Today

From ancient times, the manufacture of textiles remains fundamental to Thailand’s

affluence and financially viable expansion. Many countries in Southeast Asia recognized

Thailand as a well-known silk production centre. In the 19th century when textile

manufacturers began importing silk from China and Japan, the Thai silk industry became

to be viewed as old-fashioned. The online literature on ‘Traditional Textiles of Indochina’

from Truman State University (2007)25 found that, when Asian textile enthusiast Jim

Thompson attempted to revive textile manufacturing and silk production throughout all of

Thailand before the 1950s, the world began to recognize the traditional beauty and skill

inherent in Thai textiles for another time. Nowadays, Isan is renowned as the main centre

for Thai silk production. One of the best-known types of Isan silk is Mudmee silk.26

The trade received a major boost in the post-war years, when the Queen of

Thailand popularized Thai silk among westerners. Since the second half of the 20th

century, the Queen of Thailand has continued to encourage attention in traditional textile

forms and production, for the more modern look or function. “It was the insight of her

Majesty Queen Sirikit to encourage Thai women to produce traditional Thai textiles to

subsidise their livelihoods, and promote a sense of pride and respect for their traditional

skills”, Naenna (1994)27 was in agreement. The Queen herself has individually scrutinized

textiles and has been visiting villages throughout the country. The Queen has supported the

villagers in joining together to produce the raw materials needed for manufacture, and also

gave suggestion ways in which the quality of textiles can be improved for villagers

income.

25 Source: http://finearts.truman.edu/Textiles/Thailand.htm(10/102007)26 Source: http://en.wikipedia.org/wiki/Isan (10/10/2007)27 Source: www.tatnews.org (Traditional Thai Textiles by Patricia Cheeseman, Chiang Mai University) (10/102007)

28

2.2.10 HM Queen Sirikit plays a leading role in promoting mudmee silk28

Progressively, the world has begun to distinguish Thailand as a source of high

quality textiles with traditional unique style and highly-skilled methods. Thai weavers create

massive amounts of silk and cotton for local consumption and also global export.

In modern decades textiles have become the most important occupation after

tourism29. The funding of textile manufacturing by such high-profile statistics as Queen

Sirikit has furthermore guaranteed that the textile production will continue a significant

tradition for the Thai people in the future. This up to date restoration of traditional textiles in

the current economy in Thailand has proven that an ancient tradition can successfully

combine with our modern life.

28 Source:http://www.thaiwaysmagazine.com/thai_article/1921_thai_textiles/thai_textiles.html29 Source: http://finearts.truman.edu/Textiles/Thailand.htm

29

2.3 Traditional Village Textile Technology

Preamble

Traditionally, Isan textiles have played an essential role in village lifestyles for a

very long time. Naenna1 reported that young women in the past would show off their latest

creations at ceremonies where they hoped to catch the eye of a suitor and win the praise of

elders. In those early times, Isan women were respected for their weaving talents.

Nowadays, young Isan women have less interest in textiles weaving occupations —“The

great skills and artistic abilities of Thai women created fine textiles now found in museum

collections all over the world”2 .

The historical aspects of the following four areas of textile production in Isan will

be briefly discussed in this section, namely: Textile Production from Silk and Cotton;

Weaving Equipment and Weaving Techniques and Patterns:

Figure 2.3.1: Example of drawing art from a temple wall illustrating

traditional weaving by Isan women3

2.3.1 Textile production from silk and cotton

Textile production has been a major part of in Isan village tradition for hundreds of

years. Naenna found that many of textile village workers wove their own textiles on

simple standing looms. Each region has an individual way of weaving which is

appropriate to their culture and environment. Textiles produced from silk and cotton is the

main preoccupations for the villagers in many areas in the Isan region. There are

numerous production steps starting with the raw materials until they become a fine piece of

1 www.tatnews.org (2007) Traditional Thai Textiles. Retrieve 15 November 20072

www.tatnews.org Traditional Thai Textiles by Patricia Cheeseman, Chiang Mai University, accessed 25 September 20073 Source of image: Roi-et museum, Roi-et, Thailand (2005)

30

textile. Listed below are brief explanations of silk and cotton production using traditional

village techniques.

(a) Silk

As is well known, silk is produced from sun dried silk worm cocoons which have

been boiled and then made into yarn as silk thread. The silk yarn is bleached and dried and

sections are joined together to make longer lengths of yarn before they are colour dyed

prior to weaving.4 Village weavers in Isan have described how silk in general production

can be simply divided into three main processes;

1 Plook Mon – Liang Mai means the culture of growing mulberry trees and raising silk

worms.

2 Triam Sen Mai or silk yarn preparation, which includes Sen Poong (weft) and Sen Yuen

(warp). This process begins with spinning threads from silk cocoons, and dyeing threads

with natural or chemical colours, before weaving the design motifs and desired patterns

3 Tor Pha Mai or silk weaving process; a more detailed description of the silk weaving

process has been adapted from Phasook5 (2002) and can be found in Appendix 2.3.1:

Traditional Village Textile Technology.

Figure 2.3.2: silk worm on the jaw6 Figure 2.3.3: silk reeling clay pot7

4http://www.thaitextilemuseum.com. Retrieved 20 November 20075 Phasook, S. (2002). Handwoven Thai Silk. First Edition, Odian Store: Thailand6 Source of image: Mai Thai Pavillion, Khon Kaen, Thailane (2005)7 Source of image: Roi-et museum, Roi-et, Thailand (2005)

31

(b) Cotton

In general, cotton is picked during the Thai winter season in November and

December. The cotton is cleaned and the fibre is separated from the seeds: this process is

called Ew Phai. The fibre is beaten until it is fluffy with a bowstring called Kong Deed

Fai and then is spun into thread. Threads are separated into two groups; one for the warp

and one for the weft. After that, threads are spun on a spinning wheel into skeins and then

dyed8.

2.3.2 Weaving Equipment

The equipment employed in textile production is basically similar in all regions in

Isan. The basic weaving equipment is called a Loom (see Figure 2.3.4) which is necessary

in all textile production.

Figure 2.3.4: Tradition Isan Loom (kee) image (taken from Roi-et Museum, Thailand).

8 http://www.thaitextilemuseum.com. Retrieved 20 November 2007

32

The numbers in this figure refer to the following components of the loom.9

1 Mai Kue Kee or upper loom frame ; 2 Sao Mae Kee or main loom pole; 3 Mai Kand Kee

or loom frame; 4 Sao Kee or loom pole; 5 Mai Na Dak or warp beam; 6 Pan Nang or

weaver’s bench; 7 Lak Hua Khao or cloth beam pole; 8 Mai Kam Pan or cloth beam; 9

Mai Yeab Hook or treadles; 10. Kob Feum or breast beam; 11. Fun Wee or reeds; 12 Khao

(Takor) or heddles; 13 Cheak Fuem or beam cord; 14 Cheak Khao or heddle shaft cord; 15

Mai Haab Hook or beam holder; 16 Cheak Mai Haab Hook or cord holder; 17 Sen Dai

Yuen or extended warp; 18 Mai Poang Peng or extended warp wood support; 19. Mai Hua

Hook or cord rod; 20 Cheak Tor Krueng Pook or loom holding cord; and 21 Pha Tor or

fabric. The images below in Figure 2.3.5 and 2.3.6 are two examples of Isan traditional

textile production equipment taken from Roi-et Museum (2005).

Figure 2.3 5: Traditional Akk for organizing threads

Figure 2.3.6: Traditional Hoang Kan Mee for Mudmee

9

Source of image and description: Roi-et museum, Roi-et, Thailand (2005)

33

2.3.3 Weaving Techniques and Patterns

“Weaving is a textile production method which involves interlacing a set of longer

threads (called the warp) with a set of crossing threads (called the weft).”10 The following

examples of cloth (see below)11 are typical of the textile weaving techniques used in Isan.

They include Puen or plain weaving, Khit, Chok, Yok, Prae Wa and Mudmee (ikat). These

examples are described in detail in Appendix 2.3.1: Traditional Village Textile

Technology.

Weaving Techniques:

(a) Plain

(b) Khit

(c) Chok

10 http://en.wikipedia.org/wiki/Textile#Production_methods. Retrieved 8 August 200811 Source of images: http://www.thaitextilemuseum.com. Retrieved 22 November 2007

34

(d) Yok

(e) Mudmee

(f) Prae Wa12

2.3.4 Patterns

Conway 13 has stated that the Isan region is famous for the silk weaving skills and

also the quality of the silk, especially Mudmee. Isan Mudmee has a great variety of

patterns and colours, which imitate nature including flowers, trees, fruit, animals and birds.

“These complex patterns are interspersed with squares, triangles, circles, zigzags and

stripes.”

The following list of patterns was collected in selected villages in north-east

Thailand: “Cobra, king of snakes, trees, birds, serpent, weeds, white flower, rocket, melon 12

Image taken by the author: from Ban Pone, Kalasin, Thailand (2005)13 Conway, S. (1992) p 157 Thai Textiles. The British Museum Press; London

35

seed, diamonds, waves, water melon, turtle, cones, stripes, hooks, squid, spider, dragon,

bamboo, lions, butterflies, elephants, rice, and water hyacinth”14.

2.3.5 Current trends of Isan textile production

Isan textile production nowadays is continually developing. In the past, textile

production was never a main business activity, but currently people give great value to

marketing but at the expense of preserving the traditional textile production methods.

Traditional costumes, colour dyeing, weaving and pattern processes are barely seen in

some areas of Isan, but chemical dyes are used almost everywhere in Isan due to the

convenience of use; however, without taking precautions regarding the occupational health

and safety issues for textile workers.

Isan textiles have been influenced by central Thai (Bangkok) textiles; this has been

a rapid development in the past ten years. Foreigners, mainly western people, tend to be

more interested in the traditional Thai textile production than modern production. The

unique and attractive Isan weaving skills have made a big impression on the world where

textiles made by local Isan women are considered to be a piece of art. Hence, research that

aims to preserve and enhance these traditional skills is especially worthwhile.

As noted before, Her Majesty Queen Sirikit has spent much time trying to

encourage Thai people to see the precious quality of their own traditional textile skills.

Over many years the Queen has made clear her desire to preserve traditional methods of

weaving silk as a well thought-out part of the Thai national inheritance. This effectively

made the Thai government realise how important it is to promote traditional textiles

particularly products from the North and North-eastern (Isan) Thailand that have caught

the attention of the world textile and fashion industries.

2.3.6 Findings

The basic differences between textiles production in the past compared to the

current times are described below:

14 Conway, S. (1992) p 157 Thai Textiles. The British Museum Press; London

36

1. The basic reasons for most of the textile production in the past was to

produce cloth for costumes and households products that were required for daily use.

Today, although cloth is still produced for village ceremonies and rituals, most textile

production is for sale in the market.

2. In the past, village weavers used traditional methods which employed pure

natural materials to produce textiles. Today, the weavers add new techniques, textile

machines and either blend natural dyes with chemical dyes or just pure chemical dyes.

3. Social value: skilled weavers in the past were highly respected and had a

senior social position in the village. Today, especially among the younger generation there

is little respect for these skills and therefore reduced social value or status for the Isan

village weaver.

It follows that an investigation into the dyeing of textiles using natural materials

may well reverse these negative trends, especially if it can be shown that new, appealing

colour production methods can be used in the design process at the village level whilst

improving health and safety, and the marketability of village textiles based on new colours.

In view of the very large range of colours that may be produced from natural materials, the

range of colours so developed in this research will need to be restricted mindful of any

related toxic effects.

37

2.4 Relating colour to design

Preamble

As is well known, colour is a fundamental parameter in the design and production

of textiles and in product design generally. Designers and craft persons use a palette of

colours to enhance the visual perception of form, pattern and texture as well as the

character or personality of designs (semantics or embedded meanings), especially in the

design of textile materials and subsequent design of garments and other fashion items. The

determination and selection of colours is usually the basic starting point in the design

process. It follows that this reasoning may also be applied to the production of colours for

textiles in Thai village situations where, as will be shown later in the experimental work of

the thesis, village textile craft persons are extremely conscience of the importance of

colour production and selection: the following review expands on these aspects.

2.4.1 Colour as a basic variable in textile design

Research carried out by textile and garment manufacturers indicates that a

consumer’s first response is to the colour of a garment or piece of textile1. The colours in

industrial textile production are usually selected from the Munsell Wheel or similar colour

matching systems used by dye manufacturers to select colours for yarns and fabrics2. In

contrast, village based textile production is founded on local wisdom, knowledge of natural

dye making materials and the cultural heritage of the village weavers. Hence, the strictly

controlled colour selection processes that drive industrial textile production have little

impact on colour determination in village textile production, which is a tangible

manifestation of centuries of making cloth to meet the practical and aesthetic needs of

village life. However, in order to understand the use of colour in Isan textiles the colour

theory underpinning industrial colour matching systems needs to be briefly reviewed.

Colour theorists describe the three components of colour as: (1) hue or the

nominated colour, (2) value which is the lightness or darkness of a colour, and (3) chroma

or the saturation or brightness of the colour. Colours are often perceived differently, for

example, a viewer will see yellow and green first, assuming they are of equal brightness, 1

Jones, S. J. (2005). p112 Fashion Design. Laurence King Publishing: London2

Anderson Feisner. E (2001). p11 Colour: How to Use Colour in Art and Design. Laurence King Publishing: London

38

because they appear brighter than all the other colours; this hierarchy of colour registration

is referred to as the Perception Curve3. The impact of a colour (hue) is a function of its

intensity (chroma) which is increased when a bright colour is placed next to a dull colour.

Pure colours tend to dominate tints, shades and broken colours4. The visual impact of a

colour can be heightened by increasing the contrast between lighter or darker values of a

colour especially by increasing the degree of contrast between the high and low values.

Colour can be used to create emphasis by drawing the viewer’s attention to a particular

area or foci.

People react to colour in different ways, especially people from varying cultural

backgrounds because culture, memory and experience can affect the embedded meaning or

semantics of a colour. Feisner5 maintains that although colour perception is consistent

between viewers, the ‘perception [of colour] will mean different things to different people’.

Colour perception in the Isan region is greatly influenced by the particular significances

and meanings associated with colours used in traditional Isan textiles. Whilst it is

important to acknowledge Isan cultural influences on colour selection in textiles, colour

perception and meaning is not the subject of this study and will therefore not impact

directly on the thesis research questions.

Harmony, described by Feisner6 as the ‘visual agreement of all parts of a work’, is

achieved through the repetition of colours and pattern elements. The selection of colour is

critical as harmony is best achieved through repetition of colours within a hue or by using

analogous colours (colours that are adjacent on the colour wheel) from a common hue,

including shades or tints of the hue. Harmony can also result from using a dominant hue in

the background or field which will affect the coherence of the entire piece of cloth.

Texture has long been used to create emphasis: the rougher a texture is the greater the

impact on the eye. Rougher textures make colours look darker. Therefore, the more the

surface of a colour is fractured the darker in value it will appear.

3

Anderson Feisner. E (2001). p5 Colour: How to Use Colour in Art and Design. Laurence King Publishing: London4


Anderson Feisner. E (2001). P5 Colour: How to Use Colour in Art and Design. Laurence King Publishing: London6

Anderson Feisner. E (2001). p74 Colour: How to Use Colour in Art and Design. Laurence King Publishing: London

39

2.4.2 Colour and Tradition

The following points are made about colour selection and the importance of colour

in traditional Isan textiles, while acknowledging the wealth of information available on this

subject but not recorded here. Some of the Thai words referring to textile production

terminology are explained below: for additional information on colour terminology and

natural dyeing materials see Appendix 2.4.2 Traditional Village Textile Technology

Traditional Isan textile production employs a wide range of colours and although it

is an extensive process to categorize specific regional influences on colour, there are

observable influences on colour selection. Isan textiles are notable for their visual unity

and coherence (harmony) which results from careful colour selection and pattern

application. The cultural heritage of the people in the different Isan regions clearly

influences the type of weaving they perform, the clothes they wear and the colours they

prefer: this can be observed in following description:

“The tubeskirts of the Phutai women from the Kalasin, Mukdahan and Chanuman

areas are typical of their ethnic origin. These are made in silk ikat (hand woven Mudmee

Thai silk or ikat) on narrow looms with the ikat patterns in the main body of the pha sin

(skirt cloth), spaced with two of four sheds of plain yarns giving the design a striped, open

multi-coloured effect. The traditional colours are dark purple or brown ground colors with

yellow, red and green designs.”7

Everyday village customs and events determine the clothes villagers will wear and

a special village event can influence colour selection. These events typically require either

normal household clothing or specific costumes for ceremonies that are closely connected

to the ethnic background of the villagers. Costumes for weddings, festivals, religious

events and formal occasions are often very elaborate. For example, “textiles made for

ceremonial wear…were woven without giving consideration to expense or time, thus the

resulting fabrics were of spectacular quality and complex in technique and design.”

7 sunsite.au.ac.th/thailand/Thai_Handicraft/Thai%20Cloths/his_isan.html. Retrieved 6th July 2006

40

The description of the shoulder cloth below is an example of how changing the colour

directly affects the meaning and use of the garment. ‘The shoulder cloth of the lower Isan

people is white or cream colored silk made in a diamond twill…there is a black version of

this cloth which today is worn for funerals but in the past was used by some women as an

alternative to the white colour.”8

The practice of weaving, or weaving style, and the practices of natural dyeing,

handed down over generations also influence the process of colour selection. The

following description of Mee hol weaving illustrates the complex relationship between

colour preparation and weaving. “Mee hol is an extremely delicate ikat design dyed with

three natural dyes that overlap to create six shades. The complex process for tying and

dyeing is memorized, starting with red from stick lac, a resin obtained from the secretions

of an insect (coccus lacca), then yellow from emarginate wood (cudriania javanensis).

Finally, the yarns are placed in an indigo jar which is “sweetened” with a red ant nest so as

not to damage the silk.”9 This type of dyeing process based on natural materials is, of

course, exceptionally valuable as it maintains traditional methods and culture, can lead to

outstandingly beautiful results, has a high esteem value, is desirable from a health and

safety view point and is consistent with the Thai Government OTOP policy.

Although the above examples of colour application in Isan textiles represent only a

small fraction of the complexity of textile production in north-eastern Thailand, they do

provide some insights into the spectacular knowledge base sometimes referred to as local

wisdom. Traditional colours especially from the original natural dying techniques have

overtime produced regional textile products that are renown throughout the world. As

mentioned earlier in this thesis, there have been many warnings about the decline in

knowledge of materials and processes for natural dying, the reduction of the forests that

supply the natural materials and the ease and availability of chemical dyes (see paper in

Appendix 4.2: Developing Appropriate Field Survey Research Methods for Village

Product Development in North-Eastern Thailand). Traditional textiles represent

knowledge of materials and production techniques perfected by countless generations of

8 ibid9 tatnews.org/emagazine/3095.asp. Retrieve 10 July 2007

41

village weavers, and in this context the current generation of weavers is effectively

maintaining the wisdom and traditions of the region.

2.4.3 Colour in Isan Textiles

As discussed above, the colours in traditional Isan textiles were, and in some cases

still are, derived from natural materials. Generally, dyes produced from natural materials

produce secondary or tertiary colours; there are primary colours in Isan textiles but colours

derived from natural dyes tend toward mixtures of primaries. Traditional Isan colours

derived from natural materials tend to be softer and more subdued, although the increasing

use of chemical dyes is responsible for some of the recent textiles which are brighter and

gaudier designs, out of character with the traditional practices.

In a private communication (15 January 2008) with Dr Viroj Srisuro, the then Dean

of the Faculty of Applied Art and Design, maintained that colours obtained from natural

materials are normally secondary and tertiary. There are some colours that are primary

colours such as red, blue or indigo and black. Moreover, the natural dyes often have a

different result on silk compared to cotton. When using plant material for natural dyes, the

villagers normally don’t combine colours to make a secondary or tertiary colour; they go

into the forest to find the specific plant for the colour they want, or they will realize the

colour by weaving two colours (yarns) together to achieve the desired colour. Mixing

colours is considered uneconomical as the resulting colour often fades over time. Value in

Isan textiles colours can easily be observed where two values or shades of a single colour

are often used in textile design. Dyeing techniques such as Mudmee (tied dyed), and

weaving techniques produce shades or tones of a particular colour, and in some cases the

technique can create up to six shades of a particular colour.

Colour schemes found in Isan textiles are consistent with Feisner’s10 (2001, p75)

description of colour harmonies as “time tested recipes for colours that work well

together.” The colour schemes can be harmonies of adjacent colours; that is, colours with

a common hue or three or more hues which are adjacent on the colour wheel.11 An

10


Jones, S. J. (2005). p115 Fashion Design. Laurence King Publishing: London

42

analogous scheme can be based on one common hue; for example, yellow-orange, yellow,

and yellow-green: in this scheme yellow would be the common hue. Example of

analogous colour schemes can be found in Appendix 2.4.2 Traditional Village Textile

Technology

Colour schemes can also be harmonies of complimentary colours which are

optically opposed or opposite each other on the colour wheel. Jones describes these

schemes as simultaneous contrast and she believes they are important because colours may

change their appearance depending on the context. “In any colour scheme, as important as

the identity of a particular colour is the relationship it shares with the other colours in the

composition. A dull colour can be brightened, a strong colour can be subdued, and an

individual colour can change its identity in many ways, depending on the colours with

which it is surrounded.” 12 Examples of colour schemes which can be described as

simultaneous contrast can be found in Chapter 2.3 Traditional Village Textile Technology.

2.4.4 Colours and the natural materials they are derived from

Pigments come from both natural and artificial sources. Natural pigments are

derived from animal and vegetable substances, as well as from inorganic materials. This is

important because we are dealing with those dyes affected by loss of forests and bushland.

The inorganic materials may include various oxides, metal compounds, minerals, and clays,

which must go through a series of transformations prior to their final use as pigments.

They are mined, sifted, washed, crushed, pulverized, sometimes baked (calcinations),

ground, baked again and reground. Natural organic pigments are derived from all aspects

of nature – plants, woods, mosses, roots, nectars, animals, and so on – which are chopped,

ground, boiled, and dried to extract the pigment powders. Natural pigments have a

tendency to fade, but as they fade their basic colour does not change as opposed to

chemical colour pigments, which often fade to a different colour.13

12 Jones, S. J. (2005). p114 Fashion Design. Laurence King Publishing: London13 Anderson Feisner. E (2001). p24 Colour: How to Use Colour in Art and Design. Laurence King Publishing: London

43

Descriptions of the following natural materials taken from Phasook14, are used in

the preparation of natural dyes in Isan. They are included to give an indication of the

extent of the colours used and how they are derived from natural materials. Additional

examples can be viewed in Appendix 2.4.2 Traditional Village Textile Technology.

Red: The red dye krang (shellac), is secreted by the insect lakshadia chinensis and

the resulting dye produces red on silk and pink on cotton. The female insect deposits the

resin along rain-tree branches (samanea saman). To harvest the resin women use long

sticks to dislodge the deposits. The resin is left to dry in the sun and then ground to a

course powder which forms the basic dye ingredient.

Indigo: In the past indigo was planted with cotton as a secondary crop following the

rice harvest, but the pressure on land for cultivating cash crops has meant that it is grown

only in areas where there is a specialist demand for hand-woven indigo dyed silk, which

occurs mostly in Surin province, north-east Thailand.

Black: The old method for making black was from ebony berries. Thai women

cultivated ebony (diospyros mollis) in their gardens or harvested the berries from trees

around the village. First the ripe berries were crushed to a pulp and mixed with lye, then

water was added in measured amounts and stirred until a smooth liquid was produced.

Yellow: Traditionally, yellow dye was made from turmeric khamin (curcuma

longa). The roots of the turmeric are ground to a powder and mixed with water to form a

paste. More water, a few pinches of salt, and some seed pods, ma tum (aegle marmelos)

are stirred together and the resulting liquid left to stand overnight to ensure that the fibres

dye evenly. Recently, an alum solution (mordant) obtained from the market is used as well,

but the traditional method was to soak the fibres in the smooth mud collected from buffalo

wallows. To dye silk yarn with turmeric, the juice of an acid fruit is added to the dye bath.

Before the advent of aniline dyes, monk’s cotton robes were dyed according to the rules

laid down in religious texts. Bright colours were forbidden, and a dull yellow-brown was

considered to be the correct colour.

14 Phasook, S. (2002).pp 258-9 Handwoven Thai Silk. First Edition, Odian Store: Thailand

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2.4.5 Findings from the survey of colour in Isan textiles-

This survey on colour suggests that Isan has a strong cultural connection to the

traditional colours and textiles resulting from their long and complex history. These

traditional colours and patterns are still relevant today especially to village social

organization and ritual. Colour selection is directly influenced by traditional village

customs and ceremonies. In this context, scientific knowledge of colour cannot fully

communicate the sensation or emotional responses to colour which are subjective to a

particular culture and a place.

The wisdom, skills and knowledge of textile production that village weavers

possessed in the past are declining especially as the weaver population is becoming older.

This is occurring as the physical environment that provided the natural materials for dyeing

silk is changing in a way that removes the forests that contained the natural material

needed to produce dyes. The capacity to maintain traditional colours by re-introducing

natural dyes would help to resist the increasing use of gaudy colours derived from

chemical dyes. This would have the effect of maintaining the character and the tradition of

Isan village textile production, as well as protecting weavers from the dangers associated

with chemical dyes. Hence, further studies in the developments of colours based on

natural materials could well form an important contribution to the design and production of

textiles in village contexts as well as improving the health and safety of villagers.

45

Chapter 3: Theoretical Development and Constructs

3.1 Preamble

Village textile production in NE Thailand is confronting many issues which may well

threaten its very existence unless new strategies for design and manufacture are introduced.

The main findings from the literature and information search clearly indicate the potential for

a significant loss of knowledge and skills unless more effort is made to identify and respond to

the changing circumstances facing the weavers responsible for village textile production in

North-eastern Thailand. A major issue identified in the information search is the loss of skill

and knowledge pertaining to the production of colour dyes made from natural materials and

their fundamental role in the design process.

As outlined in the introduction, a major objective of this thesis is to investigate

whether product design knowledge and skills can affect positive change at a village level in

ways that improve village life and which are socially appropriate, constructive, and beneficial.

This thesis will introduce design research methods that are applicable to the discipline of

product design and appropriate for gathering data about rural village textile production.

Moreover, relevant new knowledge will be identified and its significance discussed.

The first thesis research phase, then, builds an overview of the problems and issues

facing village weavers and identifies those issues relevant to textile production: the second

phase deliberately targets the issue of natural dyes within the context of textile design and

production. The first phase is important as it provides an informed background and an accurate

operational framework wherein decisions can be made about future research directions

regarding the role and value placed on natural dyes in textile design and production. The

second research phase is based on the assumption that natural dyes are still relevant to village

textile production, and will produce new knowledge by assessing, through experimental

procedures, whether natural dyes can be prepared, stored and potentially sold as discrete

products. This is important research as the literature search has found that the loss of skill and

46

knowledge in the production of natural dyes is largely a result of the non-availability of these

materials with attendant consequences for the resulting textiles. It is now timely to review the

findings of the literature search in order to progress this investigation and begin the process of

formulating a research direction.

3.2 Revue of research proposals in light of literature search findings

The literature reviewed in Chapter 2 produced a number of significant findings that

influence the formulation and refinement of relevant research proposals (or hypotheses) and

questions, namely:

3.2.1 Information gained about the ‘Sufficiency Economy in Thailand,’ emphasises the

importance of textile production as a component of the ‘sufficiency economy’ in rural village

life. In addition, this production is an important cultural and economic endeavour and, as

such, has been given extensive Thai Government support through programs such as OTOP.

3.2.2 The ‘History of Isan and textile design and colour production’ indicates that traditional

textiles production is alive and functioning in NE Thailand; however these traditional skills

are threatened by commercial pressures, availability of natural materials and an aging

practitioner base. It is realised that there are many different areas of skill and knowledge

relevant to textile production: particularly threatened and of special interest to this thesis are

the critical skills in the design of traditional patterns as well as the production of colour dyes

from natural materials.

3.2.3 The study of ‘Relating colour to design’ has found that producing colours associated

with traditional weaving skills from specific regions in Isan is a fundamental design

component in textile production. The availability of natural dye making materials is

diminishing as a result of agrarian changes to the rural landscape brought on mainly by

economic pressures. With the change in rural landscape, the knowledge and skill required to

47

produce natural colour dyes is declining. A significant aspect to be examined is the degree to

which this knowledge and skill is declining.

3.2.4 In general, the conclusions drawn from the literature review point toward a strong

demand for natural dyes in NE Thailand and that the colours from natural dyes are an

important component of the design of traditional textiles; additionally, natural dyes are

difficult to obtain because of changes in the rural landscape.

3.2.5 Overall, the findings of the literature and information search suggest ample scope for

design research activities that can affect positive change at a village level. These changes

relate to improving the quality of village life in ways that are socially constructive, and

beneficial. Furthermore, this research will be informed by the practice and processes of

product design as an appropriate model to underpin research methodologies. In sum, the

findings drawn from the literature search lead to the following research proposals (or

hypotheses):

3.2.5.1 Applying and conserving traditional methods of dying textiles is a valued process basic

to the design and production of textile products at the village level

3.2.5.2 Development and application of natural dyes, as part of the textile design process, is a

feasible and continuing resource at the village level

3.2.5.3 The design process employed in the development of textiles based on natural dyes is a

beneficial process in terms Occupational Health and Safety (OHS).

Testing the above proposals has required a variety of research approaches appropriate

to the environmental and cultural circumstances of the study. Specifically, it has been

necessary to investigate the type of research to be undertaken and to consider research

methods that are relevant to the proposals outlined above.

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3.3 Developing a Research Strategy

The findings of the information search have been drawn to specific research questions

that correspond to the noted research proposals, namely, questions that can be examined and

analysed by undertaking field research as discussed further below:

3.3.1 Research Method – Pragmatic verses theoretical

It is argued that there are two levels of research required for this study. The first level

concerns the theoretical positions identified as ‘hypotheses or proposals’ in Chapter 3.2.5.

Typically, this is a form of research which starts “with the theoretical and philosophical

considerations and analysis of paradigms”1. However, these proposals can only be examined

from the perspective of a thorough understanding of the modus operandi of textile production

in villages in NE Thailand. And, consequently, a second level of research has been required

that calls for the development of research questions that enabled the proposals in Chapter 3.2.5

to be examined and tested when necessary. These research questions pose a series of

problems to be addressed prior to any experiments concerning the preparation of natural dyes.

Therefore, in this sense, the underlying research method required for this study can be

described as pragmatic as described by Punch2, this is research that derives purpose from an

investigation and analysis of the questions implicit in the problem under investigation. In this

regard, the research questions relevant to this study have been formulated by analysing the

research proposals from Chapter 3.2 as listed hereunder:

Proposal 1: Applying and conserving traditional methods of dying textiles is a valued process

at a village level.

This proposal calls for an investigation of the current position of and character of

textile production in rural villages, as well as information regarding the use of natural dyes in

the textile production process

1 Punch, Keith F., 2000. p3 Developing Effective Research Proposals. London: Sage Publications. 2 ibid

49

Proposal 2: The development and application of natural dyes, as part of textile design and

manufacturing, is a feasible and continuing process at the village level.

In order to test this proposal, accurate information regarding the use and role of colour

in village textiles has been required; and whether or not natural colour dyeing is still an

important and valued factor in the design and production of textiles.

Implicit in the proposal is the need to evaluate whether natural dye materials can be developed

and applied safely and, furthermore, if village weavers will respond positively to new colour

outcomes of preserved natural dyes.

Proposal: The product design process employed in the development of textiles based on

natural dyes is a beneficial process in terms of design practice and OHS.

This proposal calls for research into design and OHS improvements that can be

implemented at the village level with respect to preserving the skills of preparing and applying

colour dyes made from natural materials. This research has been undertaken in the context of

a model of the design process and design research methods derived from this process.

From these proposals it has been possible to pose the following research questions:

1 What is the current state of the art and characteristics of textile production in rural

villages?

2 Is colour and colour dyeing a major factor in the design and production of village

textiles? Do villagers value the use of natural dyes?

3 Is the use of natural dyes a fundamental component of village textile production?

4 Can natural dye materials be developed and applied safely, and what are the responses

of village weavers to the colour outcomes of preserved dyes?

5 What improvements can be implemented at the village level with respect to preserved

natural dyes and colour applications in the context of product design?

6 Are pragmatic design research methods applicable at a village level in the context

colour dye development and application?

50

The next section of the thesis will describe a research framework based on a generic

model of the design process: a framework will be proposed that integrates relevant research

activity with the different phases of the design process

3.3 2 Design theory, process and research

In the context of research, Design Theory may be interpreted to mean a rational

collection of guidelines and strategies relevant to the product and industrial design

professions. Ideally, this theory can be used to inform research methods relevant to the noted

professions3. This theory is also important in providing guidelines for professional design

practice4. In addition, design theory needs to be considered in the light of relevant published

work in the field of design research.

What constitutes relevant thinking in design research can be appreciated in the context

of epistemology, the theory of knowledge. In brief, epistemology is a way of understanding

and explaining how people know what they know in particular contexts5. In the context of this

research thesis, design epistemology is about how researchers may go about conducting their

investigations in the relation to the design process and how this needs to be done according to

a logical order as explained further below. This is important because design process

knowledge and procedures may be used to develop investigative methods6 and, hopefully,

improve the quality and output of the research experience.

In a general and related undergraduate context, Rogers7 called for a change from

educational methods which concentrated on academic instruction to those that focused on an

environment that valued students, and encouraged and helped them to assume responsibility

3 Bonollo, E. & Lewis, W.P. (1996) The industrial design profession and models of the design process. Design and Education Journal, 6(2), Australia: Design in Education Council: 4-194 Schön, D. (1983). The Reflective Practitioner. New York, NY: Basic Books5 Crotty, M. (1998) The Foundations of Social Research. Allen Unwin6 Note: Extensive research has been undertaken in the field of Design Process by Steve Cummings, Tan Ah Kat, Lance Green and Don Carson. This research can be viewed at the University of Canberra Library, Australia.7 Rogers, C. R. (1969). Freedom to Learn. Columbus, Ohio: Charles E. Merrill

51

for their own scholastic development. This is essentially the notion underlying the self-

directed, problem-based learning approach, which is practically always used in teaching

design in a studio situation8 as well as in other disciplines. Similar arguments can be applied

to how design research is undertaken in practice where self-directed, experimental

investigations are often required.

Following the work of educators such as Rogers, there seems to have been a general

shift in education in many quarters from the scientific method or positivist epistemology of

instruction, where truth and meaning were often assumed to reside in the object, to an

epistemology that proposed the view that human beings construct meaning as they engage

with the world they are trying to understand or interpret9. It is reasonable to assume that this

constructivist approach can also be applied in design research especially that involving

pragmatic field work at the village level as in the case of this thesis. That is, research findings

may be constructed insightfully as the research is conducted by the researcher in the field.

This is similar to the concept of reflective practice as proposed by Schön10 when one is

engaged in the design process: in an analogous framework, a researcher will be thinking about

the research as he or she is undertaking it. What may be inferred from this brief discussion

about how meaning is perceived in design and design research? Reflective practice, then, is

consistent with the notion of an epistemology for design research in which meaning is

constructed progressively in a researchers mind: in this respect, the design process can act as

an important framework that can be related directly to research methods because it has similar

characteristics and objectives as explained below.

8 Boud, D. ed., (1981). Developing Student Autonomy in Learning. London: Kogan Page. Cowan, J. (1998). On becoming an Innovative University Teacher. Buckingham: Open University Press9 Crotty, M. (1998) The Foundations of Social Research. Allen Unwin10 Schön, D. (1983). The Reflective Practitioner. New York, NY: Basic Books

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3.3.3 Models of the design process

An important area, relevant to the epistemology of design, relates to models of the design

process and how they may be adapted to develop a research method. Modeling the design

process helps to better understand the cognitive and social nature of design tasks and how to

use and manage the process effectively, especially when engaging in research tasks as

discussed later. The following operational model of the design process is based on a generic

framework that can also be represented with a simple graphic (see Figure 3.3.3). In this work,

this generic design process model (GDP) is being used to describe the broad types of tasks

usually involved in the main phases of the process, namely:

(1) Briefing and task clarification (TC – task clarification)

A set of mainly analytical tasks aimed at identifying and formulating a design problem,

including activities like searching for information, data collection and analysis, scheduling of

design tasks, user surveys, developing the design project brief, deciding client reporting

points, preparing estimates and quotes of design costs as appropriate.

(2) Generation of design concepts or ideas (CG – concept generation)

A set of creative, divergent tasks in which the aim is to synthesise (or generate) a wide range

of ideas as potential solutions to the problem specified in the project design brief. In this

phase the implied assumption is that all concepts are equal in merit or credit value, and

independent of the actual materials and technology required to realise these concepts.

(3) Evaluation and refinement of ideas (ER – evaluation and refinement)

A set of convergent, analytical and creative tasks in which the concepts in (2) are evaluated

against specific criteria, and reduced in number to two or three possible alternatives These

alternatives are then refined and synthesized leading to a selection, with the client’s approval,

of a preferred design concept for further development. In theory, a decision needs to be made,

at a suitable time during this phase, to freeze further development of the preferred concept so

that detailed design tasks can proceed in the next phase.

(4) Detailed design of the preferred concept (DD – detailed design))

53

A set of analytical and synthesizing tasks in which the selected concept - and its components

or sub-problem concepts – are tested, refined, validated, detailed and specified, for example,

via calculations, layout and technical drawings, bills of materials, tolerances and finishes.

(5) Presentation or communication of results (CR – communication of results)

A set of tasks whereby the concept detailed in (4) is presented to the client as the proposed

solution to the design brief with the aid of suitable two and three-dimensional, communication

media, such as digital photographs, videos, illustrations, drawings and renderings.

Note that these phases are not necessarily enacted in a strict linear sequence: the first

two phases in particular may take place more or less in parallel or even concurrently. This

often occurs because these tasks are iterative and interactive. The detailed task contents or

microstructure of the various phases, including the difficult to predict iterative and non-linear

work, is best left open as this varies with different design projects, as well as with the

cognitive, problem-solving styles of individual designers and also researchers as explained

hereunder.

Figure 3.3.3: Diagram of the Generic Design Process

54

3.3.4 Product Design and the Generic Design Process (GDP)

The reader will recall that the main thesis objective is to establish whether the

knowledge and skills of product design can affect positive change at a village level in ways

that improve village life and are socially appropriate, constructive, and beneficial. In this

context the main issue in formulating a research approach emerges from Research Question 6:

Are product design research methods applicable at a village level in the context of natural dye

development and application? According to Punch11, “how we do something in research

depends on what we are trying to find out;” the point he is making is that research methods are

influenced by the specific research problem and questions arising. In this thesis the initial

field research is anticipated to generate additional questions for the researcher.

Punch also maintains that one rationale for making a prediction is on the basis that it is

supported by other research12. This is a sound reason for deploying a model of the Generic

Design Process (GDP) as the primary framework or methodology for undertaking further

research13. The proposition here is that a GDP model of the design process is deployable to

product design research. Moreover, the model has been adapted and elaborated upon for more

complex design projects that may take several years to complete14. The GDP model has had

some previous exposure and acceptance in Thailand15, and is similar in structure and content

to a number of others which may be found in the literature. Therefore it is assumed that the

Generic Design Process which, as noted, has been adapted successfully to various products,

design research and manufacturing scenarios and the development of university courses can be

adapted to facilitate a design research method that can be related to affecting positive change

at a village level in the region.

11 Punch, Keith F., 2000. p5 Developing Effective Research Proposals. London: Sage Publications12 Ibid p39,4013 Bonollo, E. & Lewis, W.P. (1996) The industrial design profession and models of the design process. Design and Education Journal, 6(2), Australia: Design in Education Council: 4-1914 Cummings, S Bonollo, E. (1999). pp D6-1 to D6-8. Experience with dual flush technology in Australian W.C. design. CIB W62Water Supply and Drainage Conference. Heriot-Watt University, Edinburg, Scotland15 Chummuel, C., Carson, D. & Bonollo, E. (2001) Design process and CAD/CAM connections in industry. Proceedings of the 2001

Industrial Engineering (IE) Network Conference, Ubon Ratchathani, Thailand.Carson, D., Bonollo, E., Wirojanagud, P. (2007) Graduate Design Education in North-East Thailand - a Case Study. ConnectED 2007 International Conference on Design Education, University of New South Wales; Sydney

55

3.4 The Generic Design Process (GDP) and Design Research Methodology – a

theoretical model for investigating the research questions.

The model of the design process described above has been shown to work reasonably

well in an educational setting and when designing products whose structural configuration or

syntax is relatively simple. Moreover, and most importantly for the purposes of this thesis, the

respective phases may be adapted and elaborated upon in detail for more complex design

research projects that may take several years to complete16. The application of this model of

the process in a research context is explained hereunder and is further developed in Chapter 4

onwards.

Design Research may be interpreted as scholarly investigations into phenomena in the

various fields of design including architecture, art and design, industrial design and

engineering design. It will be shown that useful research outcomes can be achieved at the

village level in Thailand by a flexible research methodology related to a generic model of the

design and development process. However, it is realized that there are many ways of

structuring a research project17 and the resulting thesis in which the results and findings of this

research are documented. The methodology, outlined in this thesis is one way of going about

structuring research work which has been found to work reasonably well across a range of

different design research projects and in different cultural contexts18. It is now appropriate to

postulate how a generic model of the design process that can be used as a guide to structure a

design investigation thesis of the type undertaken in this work19.

The following section reports on the construction of a framework for researching the

development of village textile products with particular reference to the preparation of natural 16 Cummings, S., Bonollo, E. (2000) pp11. Sustainable utalisation of water recourses through improved design of W.C. Systems. Conf. Proceedings CD Shaping the Sustainable Millennium, Brisbane. QUT International Council for Innovation in Building and Construction. (CIB)17 Frayling, C. (1993, 4) Research in art and design, Royal College of Art Research Papers, 1 (1), RCA, London. 18 Cummings, S., Bonollo, E. (2000) pp11. Sustainable utalisation of water recourses through improved design of W.C. Systems. Conf. Proceedings CD Shaping the Sustainable Millennium, Brisbane. QUT International Council for Innovation in Building and Construction. (CIB)19 Lewis, W. P. Bonollo, E. (2002) An analysis of professional skills in design: implications for education and research. Design Studies, 23: 385-406Bonollo, E. & Lewis, W.P. (1996) The industrial design profession and models of the design process. Design and Education Journal, 6(2), Australia: Design in Education Council: 4-19

56

dyes used in the dyeing process. This framework, described as an ‘Integrated Design and

Development Framework for Village Production (IDDF),’ has been applied to connect the

research activity proposed in this study with the GDP (as illustrated earlier in Figure 3.3.3).

As summarised in Figure 3.4, the following section provides an overview of the IDDF

research method and how it would be integrated with the GDP.

(1) Task Clarification (TC)

The initial research activity will be a component of Step 1 of the Generic Design

Process: Briefing and Task Clarification (TC) is described as a set of mainly analytical tasks

including activities like searching for information, data collection and analysis, scheduling of

design tasks, user surveys and developing the design project brief.

At this point in the thesis the research proposals and questions have been articulated

(see Chapter 3.2.1) and relevant information has been collated about the proposed research

project from as many sources as possible (see Chapter 2). In this sense Task Clarification

becomes the research focus, increasing the researchers’ understanding of the region, the

people and the types of textile products and processes involved in village textile production.

The findings from the literature and information search have been classified and analysed and

the conclusions point to the need for further field research ― in order to find opportunities for

developing frameworks that could underpin new design work and/or product development.

Importantly, a rationale from the field work will be provided that justifies the need for future

design proposals.

Task Clarification will correspond to research proposal 3.2.5.1, namely, ‘Applying and

conserving a traditional method of dying textiles is a valued process at a village level.’ The

form of research required in the Task Clarification phase will facilitate the interaction of the

primary researcher with village weavers across NE Thailand in order to develop an

understanding of their concerns and the issues they confront as textile production workers.

The questions addressed in Task Clarification will include Research Question 1, concerning

57

the current state of the art and characteristics of textile production in rural villages, and

Research Question 2, concerning the importance and value of colour in traditional textile

production, and Research Question 3 concerning the importance of natural dyes in village

textile production.

(2) Concept Generation (CG)

In keeping with the noted model of the design process, the Concept Generation phase

typically includes the generation of concepts or ideas for the general form configuration and

major technical components of a new product/machine/process in order to provide a number

of solution candidates. In the context of this research, Concept Generation will involve a

description of potential design strategies and solutions generated by the researcher which will

be presented to the villager weavers. The design strategies proposed in Concept Generation

will commence a response to Research Question 4 concerning the safe development and

application of natural dye materials, and Research Question 5 regarding the benefits of

preserved natural dyes and colour applications in the context of product design.

(3) Evaluation and Refinement (ER)

The Evaluation and Refinement phase accommodates the ideas generated in the

Concept Generation phase described above, where the ideas are reduced down to a few

promising potential solutions and evaluated and refined in order to arrive at a preferred

solution concept. Analysis of the research proposal 3.2.5.2, namely, ‘Development and

application of natural dyes as part of the textile process is a feasible and continuing process at

the village level,’ will occur in the Evaluation and Refinement phase and include field

experimental processes in order to evaluate new techniques for natural dye preparations.

(4) Detailed Design (DD)

This phase of the design process normally involves design refinement of the preferred

concept, up to the point where the design can be seen to satisfy the design brief and

specification parameters, and quality criteria prior to prototype construction and testing.

Detailed Design in this research is closely linked to the Evaluation and Refinement phase and

58

takes the preferred solution into an experimental investigation and testing program. The

Detailed Design phase involves design activities such as prototype or functional model

construction and/or computer simulations if a prototype is not possible. Importantly, it

includes testing of the prototype and the conduct of user trials where appropriate and short

term field testing if required. This is followed by analysis of the results of testing and

consequent updating of the proposed solution when necessary. In the context of this research,

Detailed Design will allow the researcher to select and evaluate different methods of preparing

natural materials to be used as dyes. Detailed Design will therefore address research proposal

3.2.5.3, that is, ‘the product design process employed in the development of textiles based on

natural dyes is a beneficial process in terms of the criteria and viewpoint of design and Health

and Occupational Safety’.

(5) Communication of Results (CR)

The Communication of Results phase of the design process includes the finalization of

all design drawings and specifications, such as full documentation of the final prototype of the

preferred design. In design research, Communication of Results corresponds to a summary

and an overview of all research findings; for example the various phases of the design research

project will be summarized succinctly, new knowledge and developments highlighted and the

benefits and the deployability of the results explained. In the context of this particular study,

Communication of Results will include a response to Research Question 6 regarding the use of

product design research methods deployed at a village level for colour dye development and

application.

(6) Integrated Design and Development Framework (IDDF)

The proposed Integrated Design and Development research framework (IDDF) for

Village Production (see below) illustrates how components of research activities link to each

phase of the GDP. The model outlines the deployment of each step of the GDP as described

above and links the activity described in the step with the research activity being undertaken.

For example, Task Clarification, described above as an analytical and research step, provides

the opportunity to connect the design researcher with the village weavers ― this is an

59

opportunity to develop empathy and increase the researcher’s understanding of the region, the

people and textile product production. Concept Generation in terms of research activity is

concerned with the design response; that is, identifying potential design strategies and

solutions, identified in Task Clarification, to the problems facing the villagers. Evaluation and

Refinement evaluates the more promising potential solutions, a process whereby ideas are

refined in order to arrive at a preferred solution through research activity such as experimental

investigation and a testing program of the preferred solution, including user trials, analysis and

short term field testing. Finally the research activity in Communication of Results involves

analysis of results and reporting of findings by researcher, along wit recommendations for

future research. The research methodology deployed in each of the above process phases will

be described in Chapter 4: Experimental Program: Research Methodology, Surveys and Field

Work.

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Figure 3.4 Integrated design and development framework for village production (IDDF)Develop empathy Task clarification and research step - 1

Identify issues (design, production & marketing) Task clarification and research - step 1

Design response to design, production, marketing issues Concept generation step 2

Propose solutions Evaluate and refine - step 3

Research project resolution Evaluate and refine -step 3 Detailed design - step 4

Project analysis of results and reporting by researcher Communication of results - step 5

Designer as researcher•who I am and what I can do•develop empathy and anthropological connections.

Village textile workers.•who we are and what we need•tell the story of my village and the issues we face

•increasing the researchers’ understanding of the region, the people and textile product production.•identify potential research issues

•describe design response in terms of potential design strategies and solutions.•working with the villagers to identify those design responses are useful and achievable

•ideas are evaluated to promising potential solutions.•ideas evaluated and refined in order to arrive at a preferred solution.

•Experimental investigation and testing program of preferred solution.•User trials and short term field testing.

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3.5 Summary of theoretical development and constructs

This Chapter contains research proposals constructed, as a result of the findings of the

literature and information search, in order to develop a pragmatic research method appropriate

to the nature of the study. Design theory, process and research method have been discussed

with respect to a published model of the design process (GDP). A design research

methodology has been postulated as a theoretical framework for investigating the research

questions posed in this thesis. This framework, termed an Integrated Design and Development

Framework (IDDF), facilitates and connects the different research activities anticipated in this

investigation. Moreover, this framework underpins the field research activities described in

Chapter 4, as appropriate and relevant to village textile production in North-East Thailand.

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Chapter 4: Experimental Program:

Research Methodology, Surveys and Field Work

Preamble

The chapter describes the aims and objectives of a series of surveys and experiments

undertaken in NE Thailand during 2004 to 2007. The research is founded in the overall

objective of determining the validity of the major research objective of whether the theory and

practise of product design can affect positive change at a village level in ways that improve

village life and which are socially appropriate, constructive, and beneficial. The surveys are

described in terms of their objectives, methods and relevance to the research proposals (See

Chapter 3.2: Revue of research proposals in light of literature search findings), and the

subsequent research questions (see Chapter 3.3: Developing a Research Strategy)

The three surveys are listed below:

1 Survey 1 Research Methodology: Survey 1: Understanding textile production in Isan

villages

2 Survey 2 Part 1: Research Methodology: Development of experiment: Comparison of

Natural Dye Preparations Techniques

3 Survey 2 Part 2: Analysis of Natural Dye Preparation Techniques: Field Survey of

Weavers Opinions

4.1. Introduction: Survey and Experimental Program – Scope and Context

As foreshadowed in Chapter 1, the field research described in the following Chapters is

an example of collaborative research undertaken between the University of Canberra and

Ubon Rajathanee University completed under the 1999 Memorandum of Agreement organised

by Professor Elivio Bonollo (then Dean of the Faculty of Environmental Design). At this point

in the thesis it is also important to acknowledge the help provided by the Faculty of Applied

Art and Design, Ubon Rajathanee University (UBU), and in particular the guidance from

Professor Dr Prakob Wirojanagud, the President of UBU, and Associate. Professor Viroj

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Srisuro, former Dean of the Faculty of Applied Art and Design. The research described

hereunder has been linked back to the theory developed in Chapter 3, especially in relation to

the generic model of the design process.

As outlined in Chapter 3.3.4: Product Design and the Generic Design Process (GDP),

the research activities necessary to complete this study have been coordinated into a Generic

Design Process model (GDP), which is based on the assumption that it is deployable to

product design research. Furthermore, the GDP model has been related to research activities

in Chapter 3.4: The Generic Design Process (GDP) and Design Research Methodology,

which has been further developed in the Integrated Design and Development Framework for

village production (IDDF) (see Figure 3.4). Task Clarification (TC) activities have enabled a

research focus by increasing the researchers’ understanding of the region, the people and the

types of textile products and processes involved in village textile production. In this sense,

Task Clarification responds to Research Proposal 3.2.5.1 ‘Applying and conserving a

traditional method of dying textiles is a valued process at a village level’.

As discussed earlier, the questions that have been addressed in Task Clarification

include Research Question 1, concerning the current state of the art and characteristics of

textile production in rural villages; Research Question 2, concerning the importance and value

of colour in traditional textile production, and Research Question 3 concerning the importance

of natural dyes in village textile production. The research required for this component of Task

Clarification has involved a form of field research that facilitates interaction between the

primary researcher and village weavers across selected villages in NE Thailand in order to

develop an understanding of their concerns and the issues they confront as textile production

workers. A discussion of the form of research required for this process can be found in 4.2

Research Methodology.

In keeping with the GDP, the Concept Generation (CG) phase contains descriptions of

potential design strategies and solutions to the primary issues that were presented to the

villager weavers. This included design strategies in response to Research Question 4

concerning the safe development and application of natural dye materials, and Research

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Question 5 regarding the benefits of preserved natural dyes and colour applications in the

context of product design. The Evaluation and Refinement (ER) phase has included analyses

of potential solutions with the aim of arriving at a preferred solution concept. This has

accounted for the primary issue identified in Research Proposal 3.2.5.2 ‘development and

application of natural dyes as part of the textile process is a feasible and continuing process at

the village level’, and also field experiments to identify the most appropriate natural dye

preparations technique.

The Detailed Design (DD) phase of the GDP has selected and evaluated different

methods of preparing natural materials to be used as new dyes; DD has further developed the

preferred natural dye preparation technique in an experimental investigation and testing

program including a series of user evaluations. This research therefore has provided original

data relevant to the Research Proposal 3.2.5.3: ‘the product design process employed in the

development of textiles based on natural dyes is a beneficial process in terms of the criteria

and viewpoint of design and Health and Occupational Safety’. Communication of Results

(CR) then summarises the phases of the design research project highlighting new knowledge

and developments, benefits from the study and their deployability. CR also provides some

insight into Research Question 6: regarding the use of product design research methods

deployed at a village level for colour dye development and application.

From the above description of the scope of the research, the primary research activities

can be divided into two sections. The first section attempts to build an understanding of the

people involved in village textile production in NE Thailand, the types of textile products and

processes, and importantly the primary issues that textile workers face. The second section

investigates a significant issue confronting the weavers, that is, the viability of developing new

and alternative methods of producing dyes from natural materials, and whether or not the

village textile workers will accept the result dye colours in the design process for village

textiles.

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In Chapter 4.2: Research Methodology (outlined below) the first section of the

research is referred to as: Research Program: Survey 1 Part 1 - Understanding textile

production in Isan villages.

The second section of the research is referred to as Survey 2: Experimental Program

and has two components; Survey 2 Part 1 - Development of experiment: Comparison of

Natural Dye Preparations Techniques and Survey 2 Part 2 - Analysis of Natural Dye

Preparation Techniques: Field Survey of Weavers Opinions .

The research methodology deployed for each section has depended upon the particular

problem or Research Question being posed. These research methods are described below.

4.2 Research Methodology

Field Surveys and Experiments

In the context of this investigation, and from a global view of design research, product

design thinking addresses the issue of adapting a predominantly western educational model for

use in a fundamentally different culture. Insensitive planning between two different cultures,

despite the best of intentions, can be counterproductive and the consequences of poor planning

have been debated since Amin (1990)1 described the affects of western economic aid

programs in Africa in the 1970s. This led the writer to the view that the prevailing culture

should guide the development of the model wherever possible, that is, to encourage

developments that reflected the subjective cultural paradigm of NE Thailand2. The research

methods underpinning the Village Interviews has been reported at the 2007 ConnectED

Conference on Design Education in Sydney, Australia (see Appendix 4.2: Developing

Appropriate Field Survey Research Methods for Village Product Development in North-

Eastern Thailand).

In order to understand the concerns and issues faced by village weavers a research

methodology was required that brought the subjects and the researcher together. Babbie3

1 Amin, S. (1990). Maldevelopment – Anatomy of Global Failure. Zed Books Ltd.2 Carson, D., Bonollo, E., Wirojanagud, P. (2007) Graduate Design Education in North-East Thailand - a Case Study. ConnectED 2007 International Conference on Design Education, University of New South Wales; Sydney3 Babbie, E. (2002).pp 103, 214. The Basics of Social Research, Belmont: Wadsworth Group.

66

maintains that all quantitative and qualitative research methodologies available to social

scientists can be roughly divided into 5 categories: Experimental Research, Survey Research,

Field Research, Unobtrusive Research and Evaluation Research. Of these methodologies,

Field Research is typically deployed in order to observe social life in its natural setting, and

Babbie4 suggests it is normally used for the collection of qualitative data that can be helpful in

the generation of theories pertaining to the social setting.

In Chapter 4.2.1 Research Program: Survey 1 Part 1 - Understanding textile

production in Isan villages, which follows, the research has been planned and structured in a

program that responds to the specific problems, context, aims and objectives as described in

the research proposals and the relevant research questions. The particular context and setting

of this investigation calls for sensitive and adaptive research approaches: however, as Crotty5

puts it, “In a very real sense, every piece of research is unique and calls for a unique

methodology.” A basic research tool in this context has been the ability to interact with the

village weavers and gathering their views and opinions as qualitative data.

Qualitative research can be described as empirical research that does not rely on

measurable or numerable data to solve problems and seek answers6. In recent times

qualitative research has become increasingly accepted and as a result more widely used. This

has occurred primarily in the field of social science research methodologies which have

become large and complex because of the large diversity of paradigms, views and approaches

in particular to data analysis within qualitative research.

Qualitative research, in epistemological terms, is largely constructionist in principle.

In a constructionist epistemology, all knowledge (meaningful reality) is viewed as constructed

by humans via their interactions with each other and the world, and developed and transmitted

within an essential social context; meaning appears only as one’s conscious mind interacts

with objects and the world as one cannot have thinking without a mind. Design is normally

4 Ibid pp279-2815 Crotty, M. (1998) p 20.The Foundations of Social Research. Allen Unwin6

Babbie, E. (2002).pp 103, 214. The Basics of Social Research, Belmont: Wadsworth Group

67

viewed as constructionist epistemology insofar that meaning in product design typically

occurs as the object is being designed, it is not necessarily discovered but ‘constructed’ as an

object is developed in two or three-dimensional forms in the mind of the designer7. The

design research reported in this thesis can be associated with a constructionist epistemology:

meaning that it is based largely on ethnographic forms of field research that, in turn, rely on

qualitative data gathering and analysis. The following sections of the thesis describe the

underlying research methodology, and the arguments for choosing the particular research

methods used in this study.

4.2.1 Research Methodology:

Survey 1: Understanding textile production in Isan villages (Ten Village

Interviews)

The following discussion regarding research methodologies occurs within the research

framework of the first step of the Generic Design Process (Task Clarification), which calls for

a form of field research that facilitates interaction between the primary researcher and village

weavers across NE Thailand. Therefore, an understanding of the current state of village textile

production in conjunction with a means of gathering the required information became a

research priority to the writer. The process of understanding the opinions and views of village

textile workers points towards a constructionist epistemology; this view is supported in the

literature which proposes qualitative research methods such as surveys or questionnaires, and

interviews employing predetermined questions8. Literature on qualitative research within the

discipline of product design can be found in studies on usability and user centred design9.

There was little information from product design studies discussing issues relevant to this kind

of research, however qualitative research is well represented in cross-cultural studies in the

social sciences and these texts have been found to be very useful10.

7 Glanville, R, Keeping Faith with the Design in Design Research, in Designing Design Research 2:The Design Research Publication, Cyberbridge -4D Designhttp//:www.dmv.ac.uk/dept/schools/des-man/4dd/drs2html, Editor – Alex Robertson – De Montford University, Leicester. 26 February 19988 Crotty, M. (1998) p6 The Foundations of Social Research. Allen Unwin9 St Pierre, L. (2002). Research and design collaboration. Design and the Social Sciences: Making Connections. J Frascara (ed) Taylor and Francis10

Babbie, E. (2002).pp 103, 214. The Basics of Social Research, Belmont: Wadsworth GroupPunch, K. F. (1999). Introduction to Social Research Quantitative & Qualitative Approaches, Sage Publications, London

68

Field research methods such as surveys and interviews have had the advantage of

presenting the researcher with an encompassing and inclusive viewpoint of the primary issues

facing village textile workers. Additionally, this approach is ‘appropriate to the study of those

attitudes and behaviors best understood within their natural setting’11. The value of field

research is the role of different options available to the researchers, such as a purely

observational role to one where the researcher acts as a participant. However, the writer’s

experience of trialling different field research techniques quickly indicated that the subject

population required flexible and adaptable systems of data gathering12.

4.2.2. Interview Theory and Ethical considerations

Field research, the primary research approach deployed in this study, is based on the

idea of surveying people in order to ask questions relevant to the research objectives.

Questionnaires and interviews are the most common techniques and occupy a major place in

small-scale social science research projects. Bulmer13 lists two types of surveys; analytical

surveys and descriptive surveys. Descriptive surveys are appropriate to the context of this

study because they are designed to portray accurately the characteristics of particular

individuals, situations or groups.

Hutton14 describes survey research as a method of collecting information by asking a

‘set of pre-formulated questions in a pre-determined sequence in a structured questionnaire to

a sample of individuals drawn so as to be representative of a defined population’.

Greenfield15 lists five issues in survey research that can affect the access to subjects as well as

their cooperation and confidentiality. These issues include obtaining a sample, data collection,

gain cooperation, data collection and confidentiality, and mode of data collection.

11 Babbie, E. (2002). p281 The Basics of Social Research, Belmont: Wadsworth Group.12 Carson, D., Bonollo, E., Wirojanagud, P. (2007) Graduate Design Education in North-East Thailand - a Case Study. ConnectED 2007 International Conference on Design Education, University of New South Wales; Sydney13 Bulmer, M. (1984). The Chicago School of Sociology: institutionalization, diversity, and the rise of sociological research, University of Chicago Press14 Hutton, P.F. (1990). p8. Survey Research for Managers, Palgrave Macmillan15 Greenfield, T. (1996). Research Methods: guidance for postgraduates, London: Arnold: New York: J.Wiley

69

Recall that the field work reported in this thesis has involved building knowledge

about textile production in NE Thailand in order to develop design and manufacturing

strategies for textile design and production. Therefore, 10 villages were selected for field

surveys from over 200 villages in the 17 provinces of Isan region in NE Thailand. As

discussed previously, this study addresses the issue of retrieving and enhancing traditional

skills and knowledge that have slowly been lost or put aside over time. As noted earlier, this

is particularly the case with textiles as the processes involved in producing the thread and

weaving the cloth are very intricate and require a high level of skill and knowledge

traditionally passed down through the generations as part of village life. Frequently, the first

task for the writer in this village research work has been the process of identifying,

understanding and documenting this knowledge. As a result, the survey techniques deployed

were adapted to suit the prevailing circumstances; this has especially been the case when

incorporating western survey theory (as noted above).

Careful preparation was found to be an most important part of the interview procedure

and this included an undertaking by the writer that the research was ethically sound and

founded on premises that were sensitive to the human rights of the subjects. Firstly,

permission from the Committee for the Ethics in Human Research in University of Canberra

was obtained, including submission of interview documents for Committee approval. For

example a list of typical questions and topics for the village textile weavers, including open-

ended interviews and formal University documents such as the Informed Consent Form

(Appendix 4.2.2.1), the Participant Information Sheet (Appendix 4.2.2.2), the Cover Letter to

University Ethics Committee (Appendix 4.2.2.3), and the Invitation To Participate form

(Appendix 4.2.2.4).

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4.2.3 Survey 1: Interview Procedure

The interview component of field surveys was anticipated to represent about half of the

research methods to be used in this study. Patton16 maintains that the purpose of interviews

research “is to find out what is in and on someone else’s mind. We interview people to find

out from them those things we cannot directly observe.” Interviewing subjects is a means of

quickly obtaining large amounts of expansive and contextual data. Interviews are useful for

discovering complex interconnections in social relationships, good for obtaining data on non-

verbal behaviour and communication, data are collected in natural setting, and interviews

provide background context regarding activities, behaviours and events.

Greenfield17 describes various interview stages (taken from Hughes 1981). The first

stage is preparations, such as gathering background information on host organisations,

checking interview guides and tape recorders, have maps of locations, and a plan to arrive on

time. The second stage is introductions, in this stage interview success often relies on the

interviewer being similar to the respondent in terms of class, sex, age and interests. Body

language and a need to establish the purpose of the interview also play a significant role in

interviews. The third stage is the uneven conversation, which means the interviewer’s role

should be to listen, along with the conventional social rule of “you speak and then I speak”.

The last stage of interview process is the period after the interview. Great emphasis is placed

upon field notes that made immediately after the interview18. Contact summary sheets and

data accounting sheets provide a vehicle for a summary of the main points of interview, and to

check that all the research questions have been addressed19. A letter of thanks can

demonstrate appreciation for the time the respondent provided for answering questions, and it

is also in the research tradition of helping to keep the door open for future research20.

16 Patton, W.L. (1980). An author’s guide to the copyright law, Lexington Mass: Lexington Books17 Greenfield, T. (1996). p 172-174Research Methods: guidance for postgraduates, London: Arnold: New York: J.Wiley18 Patton, W.L. (1980). An author’s guide to the copyright law, Lexington Mass: Lexington Books19 Miles, M. B. & Huberman, A. M. (1994). Qualitative Data Analysis: An Expanded Sourcebook, Sage Publications, thousand Oaks, Calif.20 Bell, M. (1987). Knowledge, information skills, and the curriculum, British Library Research and Development Dept; Wolfeboro, N.H., USA

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Greenfield’s21 term, mode of data collection included three relevant methods; face to

face interview, observation of behaviour and self-completion questionnaires, including diaries.

For example, interviews can be undertaken either face to face with the subject or at a distance,

such as over the telephone. In the writer’s case, telephone interviews would be ideal for

obtaining permission and sourcing basic information from the head of the village prior to a

face to face interview. The interview process may be tightly structured with a set of questions

requiring specific answers, or it may be very open-ended taking the form of a discussion.

Again, in the writer’s case, an appropriate method of using open-ended questions and talking

to the workers in a friendly manner with due regard their culture was employed.

Different forms of questioning may be practiced during the interviews, and prompts,

such as photographs, can be useful for stimulating discussion. The subjects may or may not be

given advanced warning of the topics or issues to be discussed and the briefing can be detailed

to allow the subject time to gather information. It was anticipated that the interviews could

involve just two individuals, the researcher and the interviewee. There may be group events

such as discussions with a group of villagers, however in this event there will be only one

interviewer. Interviews may be recorded in a variety of ways, for example they may be taped

and later transcribed. Transcripts of the interviews could be sent to the subject for comment,

further questions might be subsequently sent to the subject in writing and a whole series of

interviews could be held over a period of time, building upon each other or exploring changing

views and experiences.

The above interview theory suggests the following for the specific circumstances facing the

researcher interviewing village textile workers. The use of a tape recorder is appropriate as it

enables the interviewer to concentrate on the process of the interview, focusing attention on

the subjects, and engaging in suitable eye contact and non-verbal communication.

Additionally, the tape recorder will provide a verbatim record of the whole interview. Sorting,

categorizing and analysing the data is required after the interview process. Tape recording is

21 Greenfield, T. (1996). Research Methods: guidance for postgraduates, London: Anold: New York: J.Wiley

72

deemed to be superior to the note taking method as it is a more complex process of listening to

the responses and taking notes.

4.2.4 Survey 1: Details of Subjects

The subjects involved in the interviews were village textile workers selected from the

ten villages identified above (see List of Participating villages, Appendix 4.2.4.1). The

subjects were experienced textile workers who identified with the particular village, that is,

they had a history and an extended family in the village: importantly they were recognised as

textile weavers by their fellow villagers. The subjects were selected from workers that had

expressed an interest in the project and were approachable and keen to participate. This was

important as the study was expected to develop into textile production experiments which

called for experienced textile workers — for a list of the subjects refer to Appendix 4.2.4.2:

List of Subjects Interviewed. Demographic and other information pertaining to the subjects is

recorded in Appendix 5.2B Village Interview Data.

4.2.5 Survey 1: Interview Questions

The selection of Interview Questions (see List of Interview Questions Appendix

4.2.5.1 for details) was based on identifying questions that could solicit data that respond to

the Research Proposals described in Chapter 3.2 Revue of research proposals in light of

literature search findings. More specifically, the interview questions were aligned to provide

data on Research Questions 1, 2 and 3 (see Chapter 3.3.1 Research Method – Pragmatic

verses theoretical. In light of the above considerations, the following topics were adopted to

provide a framework for the interview questions:

1 Textile production

2 Textile qualities

3 Type of textiles used

4 Use of patterns and how the weavers make the patterns

5 Texture pattern: historical verses conceptual

6 Materials and Machinery

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7 Marketing

8 Problems and Needs

Interview questions were subsequently generated to solicit information about the above

topics (see Appendix 4.2.5.1: List of Interview Questions). As noted, the questions had to be

submitted to the University of Canberra Committee for Ethics in Human Research and as a

result a number of questions addressing a particular topic were constructed even though it was

not anticipated that all the questions would be used: for example, the following questions

address the issue of marketing:

How do the village weavers sell their products?

In the village?

In the local market?

Middle-person comes to pick up?

Through OTOP (Thai government program)

What is the price?

Is it an appropriate price or would they like a better price?

4.2.6 Survey 1: Issues with Interview Process

The surveys and interviews presented the researcher with an encompassing and

inclusive viewpoint of the primary issues facing village textile workers. Additionally this

approach is ‘appropriate to the study of those attitudes and behaviors best understood within

their natural setting’22. The value of field research is the role options available to the

researchers, such as a purely observational role to one where the researcher acts as a

participant. However, the experience of trialling different field research techniques quickly

indicated that the subject population required flexible and adaptable systems of data gathering.

22

Babbie, E. (2002) p281. The Basics of Social Research, Belmont: Wadsworth Group.

74

Clearly the research required ethical guidelines to ensure the probity of the study;

however it became apparent that the issue of ethical policy would be problematic in a

collaborative context. Although ethics policy differed slightly between the two collaborating

universities, that is Ubon Rajathanee University and University of Canberra (UC), the

researcher was enrolled at the UC and she was therefore governed by their guidelines (UC

Committee for Ethics in Human Research). UC policy is based on current thinking in Western

countries, it is appropriate in an Australian framework although it was found to be

cumbersome to field research in north-eastern Thailand. For example, the villagers were

found to be distrustful of any formal documentation; they did not understand why a signature

was needed or why it was important. In rural village social organization, seniority is very

important and it was frequently difficult to gain survey approval if the village head was not

available. It was found that villagers preferred an informal, collaborative arrangement free

from official documentation that they did not really understand despite the researcher’s efforts

in translating the policy using a familiar language structure.

Even though the primary researcher is a Thai national who spoke some Isan dialect,

simple issues such as interview equipment made some village workers apprehensive, and often

equipment could only be deployed after they became familiar with the researcher. However,

by working collaboratively and presenting in an open and friendly manner eventually

delivered the kind of welcome and co-operation Isan people are famous for, although in this

situation it was clear that formal approaches to obtaining ethical agreement were not

appropriate. This finding led the researcher to adapt her approach to field research in a

manner more inline with descriptions of Participatory Action Research (PAR)23. In order to

gain confidence and trust, and a belief in the value of the study, the distinction between the

researcher and the subjects had to diminish. Participant action research allowed the researcher

to act as a resource, and therefore, she was able to meet the needs of the villagers in a manner

consistent with UBU and Thai Government objectives.

23 Babbie, E. (2002). p294 The Basics of Social Research, Belmont: Wadsworth Group.

75

The eventual interviewing technique was an informal dialogue between the researcher

and villagers and did not follow any predetermined question list or follow any particular order.

Interviews were discussions and the themes underpinning the discussion were based on the

researcher’s familiarity with questions that would elicit information beneficial to the study

objectives. Babbie24 describes this informal approach as qualitative field interviewing and it

proved to be suitable to the field surveys encountered in this study. Adapting field research to

the prevailing operational conditions proved to be a rewarding exercise that has provided rich

data on the villagers and their working conditions. These data enabled insights into social and

environmental concerns that may not have surfaced from a more formal research approach.

Importantly, this approach is sensitive and inclusive and is deployable to other cross-cultural

design research25.

4.2.7 Survey 1: Analysis of Data

Current interview theory suggests that the analysis of qualitative information, in this

case the documentation of the villagers’ verbal responses to the interview questions, follows

an iterative process. The initial task is a review of research goals in order to organize the data

and focus the analysis. Similar statements, opinions and comments from the interviews are

then categorized and the categories labelled in order to identify themes and patterns in the

data, especially associations and relationships in the emerging themes and patterns26.

The analysis of data collected from interviews can be long-winded and difficult and in

order to streamline the process the following methods were trialled. For example, the use of

digital audio recorders combined with a computer program that could transcribe the interview

data was considered. However this was not successful as the Isan dialect is not a transcribing

option. This meant that the interviewer had to analyse the tape recordings direct using a

process of looking for significant statements, and comparing what was said in different

interviews. Some interviews were not recorded, with the interviewer working from her notes 24

Babbie, E. (2002). p298 The Basics of Social Research, Belmont: Wadsworth Group25 Pengsaa, A., Carson, D., Bonollo, E., (2007) Developing Appropriate Field Survey Research Methods for Village Product Development in North-Eastern Thailand. ConnectED 2007 International Conference on Design Education, University of New South Wales; Sydney26 McNamara, C. (2000). General Guidelines for Conducting Interviews. Retrieved August 25, 2004, from The Management Assistance Program, St. Paul, Minnesota Website

76

which were later analysed, again looking for significant statements and common themes in the

data. The final method was a response to the conditions facing the interviewer, for example,

as discussed the villagers preferred an informal collaborative arrangement free from official

documentation. The villagers were accustomed to digital movie cameras which are often used

to filming different components of the production process. The advantage of the movie

camera is the inbuilt audio taping which enriched the process by contextualizing data

collection. This allowed for analysing and observations to be concurrent. Observation, like

other research techniques, is very often used in conjunction with other methods, both to

contextualize and to extend the analysis being carried out.

The noted Interview Questions are recorded in Appendix 4.2.5.1: List of Interview

Questions. The data were collated, labelled and analysed in terms of meaning and relevance

to the interview objectives described above (the data from the Ten Village interviews can be

viewed in Appendix 5.2B Village Interview Data). Samples of the data obtained from the

interviews and an analysis of the interviews are given in Chapter 5.2.2 Survey1: Analysis of

Themes. The primary issues detected from the data are summarised below:

1 Impact of Aging Textile Worker Population

2 The Importance of Textile Production and Tradition in Isan

3 Village Textile Production: the People and how they work

4 Knowledge and Skill Acquisition

5 Textile Workers and Village Organization

6 Textile Production

7 Summary of Primary Issues

8 Research Directions

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4.3. Research Methodology Preamble - Experimental Program

At this point in the thesis it is important to acknowledge the recourses provided by the

Department of Chemistry in the Faculty of Science, Ubon Rajathanee University (UBU). In

particular, by the Dean of Faculty Dr. Janpen Intaraprasert provided invaluable support in the

logistical organisation of the field experiments, and the use of Faculty Laboratories for

preparation dyes made from natural materials.

This section reports on the research activities required to assess the viability of

alternative methods of producing dyes from natural materials and whether the textile workers

would accept the resulting new dye colours. These activities are consistent with the noted

Generic Design Process and the Integrated Design and Development Framework (IDDF) for

village production (see Figure 3.4) that has been used as the guiding structure for this research.

The Concept Generation (CG) phase activities have descriptions of design strategies

and solutions to the primary issues that were presented to the villager weavers. The design

strategies can be found in the conclusions to the analysis of Village Interview Data (Chapter

5.2.3: Survey1: Conclusions and Research directions). However, for the sake of readability

they are briefly summarized here as they impact on the research activities described further

below. The strategies respond to the consistent and almost universal message from the Village

Interview data that emphasises the importance that weavers, across NE Thailand villages,

place on traditional textile production processes. The desire to maintain traditional skills and

knowledge is founded on the value weavers place on producing textiles that are distinctive and

recognisable. It is found that strategies that respond to the weaver’s desires include ways of

recording and understanding the intricacies of traditional patterns, the process of dying silk

yarn and generating new products from village textiles by value-adding to the main textile

production activity: that is, very much design and development activities.

Chapter 3.3.3: Models of the design process, outlines the research approach that is consistent

with the Evaluation and Refinement (ER) and the Detailed Design (DD) phases of the Generic

Design Process. The ER phase analyses potential solutions arriving at the preferred solution

78

concept which in case is the study of natural dye preservation techniques. Detailed Design

(DD) selects and evaluates different methods of preserving natural materials for colour dyes to

be trialed in an experimental investigation and testing program described Survey 2 Part 1

including user evaluations from the village weavers themselves. The Communication of

Results phase occurs in Chapter 5 including reports on an analysis of the research results.

The research is divided onto two sections along the lines described above, namely:

Developing and evaluating the different methods of preparing natural materials occurs in

Survey 2 Part 1 - Development of experiment: Comparison of Natural Dye Preparations

Techniques (see Chapter 4.3.1). The process of obtaining and analysing the village weaver’s

evaluations of the different dying techniques are described in Survey 2 Part 2 - Analysis of

Natural Dye Preparation Techniques: Field Survey of Weavers Opinions (Chapter 4.3.2)

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4.3.1 Research Methodology: Survey 2 Part 1

Development of experiment: Comparison of Natural Dye Preparations

Techniques

The research methodology used by the writer in this survey is consistent with

description of field research by Babbie27 which adequately explains the majority of the

research activities in this study. Babbie28 maintains that field research is employed when

researchers want or need to observe social life in its natural environment, or in this case a

particular social activity in its natural setting. In this sense field research methodology

validates the rationale behind the research methods used in the field experiments described

below. However, as the research method is basically a series of experiments they could be

considered experimental research because it involves taking action, as in doing something to a

group of selected participants, and observing the results of that action29.

Traditionally, experimental research is associated with science and is particularly

suitable for hypothesis testing. In the context of this investigation, the experiments are not

testing a hypothesis; they are comparing alternative processes for preparing natural materials

to be used as dyes in an environment that values the subject’s attitudes and opinions which is

consistent with Proposal 2: The development and application of natural dyes, as part of textile

design and manufacturing, is a feasible and continuing process at the village level. Therefore,

the research approach is to respond to the desire of village weavers to maintain traditional

skills and traditions in textile production through the development of alternative processes of

preparing natural materials for colour dying silk yarn (Appendix 5.2A Analysis of Village

Interview Data). The selected research method is, therefore, a series of village based

experiments in collaboration with the weavers, using their skill, knowledge and where

possible, the equipment they use to prepare natural materials for colour dyes. The planning

and justification for the experiments is described in Appendix 4.3.1: Field experimental

programs to compare 4 methods of adapting of natural materials to produce colour-dyes for 27 Babbie, E. (2002). The Basics of Social Research, Belmont: Wadsworth Group.28 Ibid pp 279-28129 Ibid p 217

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silk dyeing (undertaken in Pa-aw village in NE Thailand). The experiments and the analysis

of weavers opinions have also been reported at the 10th International Conference on Thai

Studies in Bangkok in 2008 (see Appendix 4.3.1.1).

4.3.1.2 Survey 2 Part 1: Background and benefits of the experiment

This experiment plan was developed from research commencing in July 2005,

following the Village Interviews in 2004. In 2005, a case-study into textile production was

undertaken in Ban Pa-aw, a village near Ubon Rajathanee in NE Thailand, and many problems

were found to impact on village textile production. For example, problems such as a reduction

in textile workers, decreased interest and loss of skill and knowledge and concerns regarding

health risks due to the increasing use of chemical dye. The Ban Pa-aw Case Study is recorded

in Appendix 4.3.1.2 Case Study Ban Pa-aw 2005.

The most significant problem found in the Ban Pa-aw case-study was the concern

expressed by weavers regarding the silk dyeing process, especially the relatively modern use

of chemical dyes for new colours that are known to be dangerous in terms of Occupational

Health and Safety. Some issues and questions were raised in the Ban Pa-aw Case Study that

called for additional field experiments in order to uncover potential solutions. Some of the

more prominent issues needing answers are listed below:

•Do the villager weavers prefer chemical dyes over dyes made from natural materials?

•How much do they know about the dangers of using chemical dyes?

•Which natural materials are available all year long?

•Can the traditional colours made from natural materials be preserved and how important are

they to the weavers?

Apart from OHS issues, the benefits of further field research include increased

knowledge about the availability and seasonality of natural materials, potential reduction in

dye costs and the possibility of preparations of natural materials for dyeing silk yarn sold as a

discrete product.

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4.3.1.3 Survey 2 Part 1: Aims and Objectives

The primary objectives of the experiments was to develop, trial and evaluate the new

techniques for preserving natural dyes that help to restore the regional character of natural dye

colour and traditional silk weaving. This was achieved by comparing methods of preserving

natural materials for silk yarn dyes under experimental conditions. The experiments occurred

at Ban Pa-aw village and a natural material used for dyeing silk yarn was selected from those

available to village weavers from their immediate village environment. Three methods of

preserving natural materials for silk dyes were developed by the writer, namely, sun drying,

oven drying and freeze drying methods. The three methods produced dye materials which

were compared to the known colours obtained from the traditional village methods of dye

making produced from fresh natural material.

4.3.1.4 Survey 2 Part 1 Scope of the experiment

The duration of the field experiment was two months, starting in December 2006 and

finishing in January 2007. Dr. Janpen Intaraprasert, from the Faculty of Science (UBU), was

the principal adviser on experimental procedure; she suggested flexibility in the experimental

plan because villagers normally do not follow set procedure when preparing natural materials

for dyes, and this is an important finding relevant to the research methodology noted above.

Dr Janpen also suggested the preparation of diagrams to explain the experiment processes to

the villagers, and subsequently a trial experiment was undertaken in early December 2006 (see

Appendix 4.3.1.4 Experimental Diary).

The experiments occurred at Ban Pa-aw Village; the address is Ban Pa- Aw, Pa-aw,

Tambon Pa-aw, Ampoer Muang, Ubon Ratchathani, Thailand. The following steps were

taken at Ban Pa-Aw: the selection of the natural material, the organisation and selection of the

village weavers, the final development of the dyeing processes, and the selection of survey

documentation techniques such as image, video comment recording. Experimental activities

undertaken at the Science Laboratory, Ubon Rajathanee University (UBU) included the

preparation of equipment for processing the natural material before dyeing the silk yarn in Ban

Pa-Aw, and analysis of all data from the field experiments.

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The people involved in the experimental program included two female village textile

workers who assisted in the dyeing process. A laboratory assistant from the Department of

Chemistry (UBU) was allocated by Dr. Janpen Intaraprasert to help with the equipment

preparation and management and to assist in the collation of results. The overall experimental

program framework involved three steps: the comparison of four silk yarn colour dyeing

processes where the colour dyes are made from the same plant prepared in three different

methods (described above). The colours obtained from the three prepared materials were

compared to the traditional method of dyeing silk yarn from fresh material.

The following methods of preparing natural material for dyeing silk yarn were selected

due to the availability of equipment and laboratory support:

1 Fresh natural material (in Thai sod)

2 Natural material dried in the sun (sun dried in Thai ob-tak dad)

3 Natural material dried in an electric oven (oven dried in Thai ob-hang)

4 Natural material dried in a freeze dryer.

The drying procedures occurred at the Department of Chemistry laboratories (UBU) except for

the sun drying procedure which occurred as Ban Pa-Aw. Details of the methods of natural

material preparation can also be viewed in the Appendix 4.3.1.4 Experimental Diary.

The following issues were considered important in terms of maintaining basic elements

of the experimental procedure especially as the experiments would occur in Ban Pa-Aw

village. The duration of the dyeing process should be consistent with typical village

techniques and the quantity (amount) of natural material should be within the normal volumes

used by weavers. A trial of the experiment should be undertaken where all methods used in

the experiment were to be as kept as equal as possible with the option of adding more natural

material if the colour retrieval was unsuccessful. The items of hardware for preparing the dyes

were to be standardised. The quality of colour expectation, that is, the colour resulting from

using natural material as a natural dye should meet village weaver expectations, and the colour

should be durable and again in line with weaver expectations. The methods of dyeing silk

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yarn should not be complex or excessively expensive so as to serve as a viable model for the

village weavers.

4.3.1.6 Survey 2 Part 1 Experiment Preparation and additional details

The following iterative steps describe the preparation process prior to commencement:

1 Identify existing plants used for dyeing silk yarn at Ban pa-aw, specifically the names and

the growing seasons.

2 Identify all sources and determine what natural materials such as leaf, bark, skin, fruit is

most appropriate for the purposes of the experiment.

3 Determine the method of the experiment such as the required volume of natural materials,

the preparation methods and the same experimental conditions appropriate for four separate

experiments.

4 Perform experiments by using standard equipment at roughly the same time of day.

5 Trial the experiment and then complete the experiments over a two month duration.

6 Collate and analyse all data including both written and digital images.

Because the procedures would be undertaken in a village environment, the control of

the experiment was important; for example, a pragmatic approach was required since delving

too deeply into the science and chemistry would effectively exclude the majority of villagers

and be counter-productive to the research objectives. However, some considerations such as

the effect of heat on the natural material were of concern, especially the reaction of the natural

materials to the heat required for the different methods of dye preparation. For example, fresh

natural materials are typically boiled to extract the required colour which involves a different

temperature range to sun drying, oven drying and freeze drying. Freeze drying requires a low

temperature to create the vacuum required to remove the water from the plant (see Appendix

5.3.1.3 Freeze Dry Process).

The co-operation of the village weavers was essential and a budget was established to

involve weavers in the trial and the final three experiments. Weavers were hired to produce

cloth from the silk yarn as cloth was considered the best material of obtaining accurate

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preference responses from villagers. Villagers also assisted in collecting material and drying a

portion of the natural material in the sun. As discussed above, the Department of Chemistry

provided a laboratory assistant to prepare natural material for the oven and freeze drying

procedures. The fresh natural material and the natural materials prepared by sun, oven and

freeze drying were used to dye silk yarn using the traditional village method of boiling the

natural materials in water prior to adding the yarn. The villagers completed all the yarn colour

dyeing using the equipment they normally used to dye silk yarn. However, control of

experiment variables such as the amount of dye material, water volumes and fire temperatures

were controlled by the researcher.

4.3.1.7 Analysis of Survey 2 Part 1: Comparison of Natural Dye Preparations Techniques

A review and analysis of the experimental procedures is documented in Appendix

4.3.1.4 Experimental Diary. Additionally, an extensive photo documentation of the separate

dyeing procedures from the different dyeing procedures is also documented in Appendix

4.3.1.7 Images from Survey 2.

However the detailed analysis of the colours produced by the alternative natural dye

preparations techniques is based on the considered responses of the village weaver’s. As

discussed previously, traditional colours are very important to village weavers as the colours

represent different aspects of social organization and ritual in Isan culture. If the village

weavers did respond well to the colours generated by the alternative natural dye preparations

and processes, then the whole experimental process would be largely fruitless as the weavers

would just not consider the preparation techniques in their daily weaving practice. The

weaver’s opinions are therefore central to this study and a simple field survey was designed to

record their responses; this survey is described below.

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4.4 Analysis of Survey 2 Part 2 - Analysis of Natural Dye Preparation Techniques:

Field Survey of Weavers Opinions

4.4.1 Introduction and objectives

As discussed in Survey 2 Part 1, the field experiments in Ban Pa-Aw village produced

dyes for silk yarn developed by the author from three natural material drying techniques. The

reason for developing new drying techniques was to assist in the restoration of the regional

character of silk colours and traditional silk weaving practice. In this context, the village

weaver’ responses to the resultant colours are critical and largely determine the success of the

field experiments. The following survey is, therefore, an analysis of the natural dye

preparation techniques in terms of the views and opinions of the village weavers.

This objective of this survey is to establish the success of the colours produced by the

three different drying techniques described as sun dried, oven dried and freeze dried (which, in

effect, also establishes a possible model for future village operations in dye making and colour

production). These colours were compared to the colour produced by the traditional village

technique of boiling fresh natural material with water in an ad hoc fashion to produce a dye for

silk yarn. Additionally, villagers were asked to rank the colours which ideally so as to enable

the identification of the best technique under the noted experimental conditions. The survey

method is described below.

4.4.2 Survey 2 Part 2: Methods and Analysis

Silk yarn was dyed using the natural material prepared from the three dyeing

techniques described above; the yarn was then woven into cloth by the village weavers. Four

panels were prepared with the cloth mounted on the front of each panel with no indication of

the dyeing technique provided. These panels were presented to thirty village weavers who

were asked to respond to a simple questionnaire as well as answer additional questions posed

by the author. The author, who is fluent in Thai and some Isan dialect, recorded the villagers’

responses during the survey and answered any related questions during this procedure.

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For the duration of this survey, and the duration of all the field surveys described in

this thesis, the author was the primary researcher and as such had to respond to the

circumstances of the survey conditions. For example, in this particular survey some of the

subjects were illiterate which meant the researcher had to be flexible enough to respond in a

meaningful manner that facilitated the completion of the task. In this case, this meant both

asking the question and interpreting the subject’s response to the question. It is important to

remember that this was the final survey in a field research program which had been active for

over three years. By this stage the researcher had extensive experience and expertise with

working with the subjects and a sound understanding of their responses.

The survey questionnaire contained two parts; part 1 consisted of six different

questions used to evaluate the four different dye preparation techniques. Part 1 of the

questionnaire can be described as a cross sectional survey where the data can be compared

using frequency analysis. The survey did not collate other details such as gender or age which

effectively reduced the number of variables. Frequency analysis in this context was an

appropriate tool because the table provided percentage ratings of the subject’s opinions. The

survey employed a Graphic Rating Scale, a form of Interval Scale that recorded subject’s

opinions. This data was analysed using the frequency analysis tool in the statistical software

package SPSS.30 In a Graphic Rating Scale, the subject places the item being rated at some

point along a continuum and a numerical value is assigned to the point or category. A Graphic

Rating Scale is a scale in which the continuum of responses is visual and subsequently five

points on the scale were named, strongly disagree on the 0 end of the scale and strongly agree

on the 10 end of the scale. The other points and their value can be viewed in Figure 4.4.3 (this

is a typical Likert style of questionnaire).

0 1 2 3 4 5 6 7 8 9 10

strongly disagree disagree not sure agree strongly agree

Figure 4.4.3 – Graphic Rating Scale

30Fink, A., Kosecott, J., (1985). p.34. How to Conduct Surveys. Sage Publications, Inc.

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4.4.3 Survey 2 Part 2: Details of Subject Samples

The subjects for the survey were weavers from Ban Pa-Aw village including weavers

from houses on streets within the village called Ban Pa-Aw Moo 1 to 6, meaning Ban Pa-Aw

Street 1. The total number of subjects was thirty, the majority were middle aged women

(twenty seven) and three subjects were male. Their ages ranged from thirty five to seventy

years old.

4.4.4 Survey 2 Part 2: Questions and Explanation for the Questions

The individual questions used in the questionnaire were developed in English based on

the knowledge that the questions had to be written in Thai in a form that enabled village

weavers to understand. The first step was to identify the words villagers use to describe dye

colours from natural materials, that is the words they use when talking to each other for

example; beautiful (suay, ngam), fresh (sod), bright (sa-wang) and light (onn, jang).

Keywords included the assessing accuracy of the colour and whether the weavers were happy,

accepting and if they approved of a particular colour.

The questions were selected because they translated easily and were consistent with the

language used by weavers in their village setting. The first part of the questionnaire involved

six questions which required the subjects to view the separate dyed cloth panels: each panel

had a number, for example Fresh was number 1, Sun Dry number 2 and so on. Part 1questions

were rated using the Graphic Rating Scale described above. Listed below are the questions for

the Fresh (1) and the same questions were used for Sun Dry, Oven Dry and Freeze Dry.

Survey 2 Part 2: Questions Part 1.Individual Cloth

1.1 Fresh (process)

1.1.1 Is the colour beautiful?

1.1.2 Is the colour natural?

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1.1.3 Is the colour soft?

1.1.4 Is the colour too light?

1.1.5 I am satisfied with this colour

1.1.6 I approve this colour to sell in the market

Part 2 of the questionnaire had three questions that required the subjects to state their

colour preference. A cloth-display panel system was used that allowed the researcher to

directly compare the three prepared dyes to the cloth dyed from fresh material on panel 1, which

acted as a form of experimental control. The first question was straight forward asking the

subject to state their colour preference. The second question brought the subjects closer to the

colour they knew and had used in their weaving practice. However, the subjects had no

knowledge of the different dye preparation methods as they responded only to the coloured

cloth on the panels. The preference questions are listed below:

Survey 2 Part 2: Questions Part 2. Preference

2.1 Which cloth do you like best?

1st Fresh

2nd Sun dry

3rd Oven dry

4th Freeze dry

2.2 Which one do you prefer (compared to the control)?

2.2.1 1st Fresh ↔ 2nd Sun dry

2.2.2 1st Fresh ↔ 3rd Oven dry

2.2.3 1st Fresh ↔ 4th Freeze dry

Analysis of Part 2 of the survey was straightforward based purely on the number of times each

option received a vote; this approach provided enough data for a simple frequency analysis of

the subject’s preferences. The final questionnaire can be viewed in Appendix 4.4.5A Survey

2.2 Questionnaire for the English version and a Thai translation of the questionnaire can be

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seen in Appendix 4.4.5B Survey 2.2 Questionnaire. The results of the Survey 2 Part 2:

Analysis of Natural Dye Preparation Techniques: Field Survey of Weavers Opinions are

discussed in Chapter 5: Experimental Program - Results and Discussion, section 5.4: Survey 2

Part 2 Experimental Program: Analysis of Field Survey of Weavers Opinions

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Chapter 5: Analysis of Experimental Program

Preamble

This chapter reports on the results of the three surveys described in Chapter 4:

Research Program and Experimental Investigation. The surveys were structured in a series of

steps with the overall objective of determining the validity of research objective of whether the

theory of product design can affect positive change at a village level in ways that improve

village life and which are socially appropriate, constructive, and beneficial. This research

required an iterative and pragmatic approach because knowledge of the issues facing textile

workers in NE Thailand had to be determined prior to the final experiments, and surveys

evaluating the viability and acceptance of alternative techniques for preparing natural

materials for colour dyes. These surveys are listed below:

1: Survey 1 Research Methodology: Survey 1: Understanding textile production in Isan

villages (see Chapter 4.2.1) is analysed in terms of the objectives and procedures described in

Chapter 4.2: Research Methodology Preamble – Village Interviews

2: Survey 2 Part 1: Research Methodology: Development of experiment: Comparison

of Natural Dye Preparations Techniques (see Chapter 4.3.1) is analysed in terms of the

objectives and procedures described in Chapter 4.3: Research Methodology Preamble -

Experimental Program

3: Survey 2 Part 2: Analysis of Natural Dye Preparation Techniques: Field Survey of

Weavers Opinions (see Chapter 4.4) is analysed in terms of the objectives and procedures

described in Chapter 4.4.2: Survey 2 Part 2: Methods and Analysis

5.1 Introduction: Methodology supporting the evaluation of the experiments

This chapter reports on the results of the field surveys and experiments described in

Chapter 4: Experimental Program: Research Methodology, Surveys and Field Work. The

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surveys and experiments were structured in a series of steps with the overall context of

determining the validity of the proposition that the Generic Design Process (GDP) is

deployable to product design research. The subsequent research activities and results

completed in this study have been integrated into the GDP model by means of the Integrated

Design and Development Framework (IDDF) for village production (see Figure 3.4). The

research required an iterative approach because knowledge of village textile production and

issues facing village weavers had to be determined prior to the final field experiments

involving the preparation of natural materials for dying silk yarn.

The surveys and experiments listed below are analysed in terms of the objectives and

procedures described in Chapter 4:

Survey 1: Understanding textile production in Isan villages (Ten Village Interviews)

Survey 2 Part 1: Development of experiment: Comparison of Natural Dye Preparations

Techniques

Survey 2 Part 2: Analysis of Natural Dye Preparation Techniques: Field Survey of Weavers

Opinions

5.2 Survey 1: Analysis of Understanding textile production in Isan villages (Ten

Village Interviews)

Recall that the intention of Survey 1 was to build an understanding of the people

involved in village textile production in NE Thailand, the types of textile products and

processes and, importantly, the primary issues facing textile workers. Interviewing the

weavers was the primary method used to observe village life in its natural setting. Interview

analysis concentrated on identifying similar subject responses and the underlying themes

emerging from the responses. Interview theory suggests that the analysis of qualitative

information, in this case the documentation of the villagers’ verbal responses to the field

interviews, follows an iterative process. Similar statements, opinions and comments from the

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interviews were then categorized and labelled in order to identify themes and patterns in the

data, especially associations and relationships in the emerging themes and patterns1.

An understanding of these themes provided knowledge of the primary issues facing

village weavers. The themes identified from the interview questions were analysed in terms of

meaning and relevance to the study objectives. Issues arising from the interviews and the

interview questions were addressed in the analysis. All the interviews were conducted in Thai

language by the writer, although in some instances Isan dialect was used.

Village Interviews corresponded effectively to the Task Clarification (TC) phase of the

research which helped the writer to develop an understanding of weaver’s concerns and the

issues they confronted as textile production workers. In keeping with the GDP, an analysis of

the village interview themes led on to the Concept Generation (CG) phase where descriptions

of potential design strategies and solutions were presented to the villager weavers. These

design strategies and solutions are viewed below in 5.2.2: Survey1: Analysis of Themes. The

interview responses can be found in Appendix 5.2B Village Interview Data, and an analysis of

the themes can be found in Appendix 5.2A Analysis of Village Interview Data.

The analysis of the interview data concentrated on an analysis of the main themes from

the weaver’s responses, and was developed from McNamara’s general interview approach that

searches the data for themes and patterns, and subsequently explores associations and

relationships in the emerging themes and patterns.2

Listed and discussed below are the main themes detected from the analysis of the

village interview data:

5.2.1 The Impact of an Aging Textile Worker Population.

5.2.2 The Importance of Textile Production and Tradition in Isan.

5.2.3 Village Textile Production: the people and how they work.

1

McNamara, C., (2000) General Guidelines for Conducting Interviews, Retrieved August 25, 2004, from The Management Assistance Program, St. Paul, Minnesota Website http://www.mapnp.org/library/evaluatn/intrview.htm2 ibid

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5.2.4 Knowledge and Skill Acquisition.

5.2.5 Textile Workers and Village Organization.

5.2.6 Textile Production.

5.2.1 Impact of an Aging Textile Worker Population

The two main findings from the demographic data are that the continued practice of

textile production in Isan is threatened by the aging weaver population and, moreover, that the

skill and knowledge required for textile production resides largely with an aging female

population. Although there are some males represented in this population, there were very

few young females and virtually no young males. This static and declining population could

influence the region’s ability to produce textiles in the future. Many of the weavers identified

textile production as their main occupation alongside rice production, and more than half of

subjects nominated textile production as their sole occupation. The main concern from the

weavers interviewed was the lack of interest shown by young villagers to weaving traditional

textiles. Typically, only some older village weavers were maintaining this ancient craft and

when this generation declines there will be no one to continue and the village will lose this

important component of their culture. For more detailed information on the demographic data

see Appendix 4.2.4.2 List of Subject Demographic Data.

5.2.2 The Importance of Textile Production and Tradition in Isan

Current textile production results from traditional rural village life in Isan where silk

and cotton textiles were produced to meet daily living requirements such as household use,

farming, formal occasions and traditional ceremonies. In the past, the ability to make quality

cloth and garments increased a woman’s social position or status, especially in terms of her

perceived value as a wife and mother: this is quite different from the prevailing view which

leans towards social status being associated with higher education. Villagers work

collaboratively and the production knowledge is typically passed from one generation to the

next. Weaving is now recognised as a good additional occupation and income supplement,

and the collaborative nature of village society has made the formation of weaving groups a

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natural development. Even though there has been resurgence in textile production many

weavers fear the loss of textile production and the impact this may have on village culture. In

this sense, textile production is an important and valued component of rural village life in Isan.

Textiles that are recognized and identified with particular regions and villages are very

important to the weavers in terms of identity and a sense of place.

5.2.3 Village Textile Production: the people and how they work

Two important features were found in the development of village textile production.

The first is the emergence of an individual in the village to lead or champion textile

production, and the second is the vital role of government support. The more successful

villages appear to have clear direction in their endeavours from either a headperson or a

natural leader such as a recognised or noted weaver. Additionally, the role of government

support in developing village textile production is crucial especially in terms of providing

knowledge and skill training, and granting funds to establish a weaving group.

Most of the textile workers interviewed function within a co-operative system typically

known as the village weaving group. In recent times, village weaving groups have been

identified, sponsored and funded by various departments from provincial and national

governments. More recently some weaving groups have been funded through the Thai

Government regional assistance program One Tambon One Product (OTOP), with the broad

objective of increasing the economic base of rural villages (see Chapter 2.1). Weaving groups

are essentially based on the co-operative nature of village life and are therefore consistent with

village social organization. For example, many of the workers interviewed described their

activities within the context of the village weaving group and identified their position within

the group, and they reacted positively to the benefits of government assistance.

Weaving groups allow villagers to continue to produce textiles in a way that is

consistent with their age and physical condition, and importantly they reinforce the

collaborative social organisation of family and village life. The level and complexity of

weaver participation varied between individuals and between villages. Weavers often

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complained about the lack of interest shown by younger villagers and expressed their concern

about the loss of textile knowledge in the future, they also identified difficulties in keeping

weavers in the group especially as they age and/or loose interest. Village workers are aware of

their history, they know the story of their villages and are proud of the international

recognition for Isan silk textiles; they are especially proud of Mudmee (tie-dyed) silk and the

profile Mudmee has with international textile aficionados. Recognition of individual weavers

is reinforced by competitions at a regional and national level, and on occasion, through the

supportive influence of the Royal family. The impact of textile competitions is significant

because regional governments tend to support successful villages. The textiles created for

competitions are usually produced by the more prominent weavers who maintained they have

a duty to preserve the traditional patterns for the next generation. Handmade textiles have a

superior quality to factory textiles and often this quality, described in terms of pattern and the

colour, can bring international recognition to an Isan weaver, village or region. Textiles and

textile products are recognised by their patterns, colours and design and become a form of

identity to individual villages and weavers.

Beliefs and traditions play an important role in textile production in rural village life.

During events in the Buddhist calendar, villagers band together in an extended family-village

system in order to help each other. They proudly dress in traditional costume when

celebrating religious rites such as the water festival or formal events such as weddings.

Throughout the village interviews many older women were observed wearing traditional

clothing while most of the younger generation was observed wearing more westernised

clothing. One subject described how each household wove silk for their clothes, producing

special costumes for formal occasion and ceremonies. Weavers described how overall their

lifestyle had been enhanced since they had established weaving groups. Some considered that

previously they had a low-standard of education and healthcare which had improved,

especially the individual villager’s incomes, because textile production was better than

everything except the rice harvest, which depended on the weather and rice markets. Weavers

value the importance of local product development and the preservation of identity from

producing Isan textile products. In this sense, the data clearly indicate that traditional

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processes of textile production, the patterns and colours, and the need to maintain traditional

skill and knowledge are very important to Isan village weavers.

5.2.4 Knowledge and Skill Acquisition

As little as a generation ago it was the tradition to pass the skill and knowledge

required to produce textiles from generation to generation. There does not appear to be much

interest in textile production amongst the next generation of villagers and speculation exits as

to why younger villagers are not represented in the population; however, no empirical data

currently exits which can explain this phenomenon. There appears to be a general lack of

interest in textile production in terms of financial gain, or perhaps younger villagers do not

find the activity interesting or rewarding. Interviews with older villagers suggest that they are

more closely connected to a time when textile production was an important resource for both

cloth and garments. It is clear that both the financial gain from textile production and the

interest to maintain the activity is more important to older village women than to any other

section of the community.

5.2.5. Textile Workers and Village Organization

As noted, the majority of the textile workers interviewed operate within a co-operative

system typically known as the village weaving group. Typically, each weaving group has

been founded with some form of government support; they elected a chairperson and a

committee and developed an operational budget to establish the group. The chairperson and

the weaving group committee developed rules that supported and formalised the processes of

collaborative production although these rules varied from village to village, and in some cases

between different groups in the same village. For example, in one village it was found that

there were two weaving groups; one was a typical village weaving group and the second group

was committed to the pursuit of traditional methods of textile production. The village weaving

group centre was normally a place for both collaborative work and for selling directly to the

public, some centres had a ‘textile shop’ separate to the weaving centre that operated as a

contact point as well as a retail centre for woven cloth and other textile products. Weaving

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group money management followed committee rules and their accumulated experience of

dealing with individual weavers. Importantly, it was clear that successful textile production

often had an impact on the character of the village.

The most prominent characteristic of village textile production is families working in a

collaborative manner. Typically, the husband will do the dyeing and the wife will weave the

cloth although task allocation is not rigid. Weavers are assessed in order to see what kind of

work they are good at and all weavers have access to training and other forms of skill and

knowledge development. Often the various tasks are shared and allocation can depend on an

individual’s skill and knowledge. Individuals are trained by more experienced workers and

their output is constantly evaluated. Tasks are allocated on an age and experience basis, for

example younger and less experienced weavers may undertake less complicated patterns than

a more experienced one. Some workers undertake the entire textile process including silk

preparation and weaving; other subjects have only recently learned the art of weaving a limited

number of pieces.

5.2.6. Textile Production

There were many comments from weavers that focused on the need for support and

training in textile production especially advice on new patterns, colours and techniques that

produced more intricate textiles. Similarly, some weavers decried the lack of textile

production development which they felt had remained at the same level and resulted in

reduced customer interest. There was comment from many villages who desired methods to

shorten production processes with new equipment that simplified the process. This was

balanced by the responses calling for preservation and strengthening of hand-making skills

and the craft of traditional textile production. Generally, the dominant issues in textile

production can be categorised into the following headings: process, equipment, dyes and

colours, pattern, product and marketing.

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5.2.6.1 Process

The interview data indicate that weavers were discouraged by the length of time

required for textile production, especially silk production which has many complicated and

time consuming processes. This varied between villages as other weavers were comfortable

buying yarn from a region that grew silk worms and produced silk yarn. The villages

undertaking the process of growing and preparing yarn had the advantage of making yarn they

preferred and one that they could sell.

As discussed previously, a characteristic of village production is a single or extended

family collaborating as a unit, and weaving groups characteristically expand on this approach

by working together to complete orders. This is especially important considering that a

complex textile pattern can take about three to four months to finish when undertaken by a

single worker. Weavers described how they valued training to improve production, for

example, how they learned to measure quantities when dying yarn, skills such as money

management and how to adapt weaving techniques for new patterns by deploying traditional

Isan techniques.

5.2.6.2 Equipment

Considering the complexity and beauty of the textiles observed during the village

interviews, the equipment was found to be relatively straightforward and uncomplicated. The

skill and knowledge required to achieve the exceptional results resided in the weaver’s

understanding and ability of their craft including how complex patterns will influence the type

and number of loom components. There were some examples of equipment development; for

example, in one village a government committee, helping the village to establish a weaving

group, suggested that a twitch-weaving loom would be more convenient and faster. In this

case, the weavers had discovered that only simple patterns can be made on the twitch weaving

loom. Funds are provided for equipment such as a 70,000 baht budget from a government

organization, called ‘The office of economy stimulated for Ubon Ratchathani province,’

provided to Ban Pa-aw village. Also equipment selection largely depends on weaver

preference; for example, one weaver said she preferred the hand-weaving loom to the twitch

loom because it is easier and faster to weave using her particular skills.

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5.2.6.3 Dyes and Colours

As foreshadowed in Chapter 2, the traditional method of colour-dyeing in Isan involves

the use of colours obtained from natural materials. Dyes are made from locally found natural

materials such as plants and insects available in the village and areas adjacent to the village.

However, the materials for natural dyes are increasingly difficult to find because of the

reduction in forests and the impact of rice farming on the landscape, and this is a significant

finding. As the supply diminishes, the knowledge of individual materials on how to obtain

different colours is also gradually reducing. For example, weavers in one village use chemical

dyes because the village is surrounded by rice paddies with very few trees and if they want

natural material for dyeing they have to order the material from other places. Some villagers

consider natural dye colours too light and complain about the difficulties of preparing a

desired colour. Other villagers prefer natural dye colour describing how they have their own

beauty especially in traditional patterns, and are more permanent or lasting than chemical

dyes. However, village textile workers are purchasing an increasing amount of chemical dyes,

and this is a disturbing trend in conflict with traditional culture.

Colour dyeing is a difficult issue for weavers as they have a connection to traditional

techniques; for example, they often described in these interviews how in the past natural dyes

lasted for at least a hundred years but today natural material was hard to find and required too

much time to prepare when compared to chemical colours. One the other hand, chemical dyes

are relatively cheap, more convenient to use and produce brighter colours popular with some

consumers. Although many weavers were adamant about their preference for the colours from

natural materials, there is a clear tendency of reliance on chemical dyes. Some weavers prefer

dyes made from natural materials because the colours will not come out of the cloth; however

opinions vary between weavers on this issue. Weavers were observed using both natural and

chemical dyes and one weaver stated that is was a market driven issue that depended on the

customer requirements.

Another weaver used the term ‘a different kind or way of seeing beauty’ to describe a

preference for natural dyes that produced colours that had a natural beauty and softness

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whereas the chemical dyes were more fresh and lively. The conflict appears to be between

traditional weaving and a desire to maintain textiles that are recognised as Isan in the sense of

pattern and colour, and the perceived reality of accepting change and following the tastes and

needs of existing customers. A market driven response to textile production will inevitably

occur. However the market driven approach also relies on traditional skill and knowledge for

its unique selling advantage and the production of traditional textiles that have a powerful

market presence, especially the top market sector of high quality Isan silk textile production.

Many weavers were concerned about the danger of using chemicals for dyeing cloth

and many instances of inadequate protection were observed in the use of hand, face and body

protection, including body washing after using chemical dyes. Some weavers who had their

own approaches to protection to chemical dyes were not convincing even though OHS training

was available to the workers. Some weavers considered chemical dyes dangerous to the

environment, society and to the lives of the villagers, one weaver stated ‘we don’t have

enough good drainage in the village”. Sometimes villagers throw the leftover chemicals from

the dyeing process into their garden where they are potentially toxic to the fruit and vegetable

consumed by the villagers. Overall, there is a clear requirement to investigate and where

possible promote and re-introduced dyes made from natural materials (preferably non-toxic),

both from an OHS perspective and the obvious importance and value Isan weavers place on

traditional textile production techniques.

5.2.6.4 Pattern

Isan textiles are renowned for their refined and complex patterns which inevitably

influence the value of the product. Weavers in some villages complained about the patterns

being so complicated especially when it was necessary to ensure that the pattern is ‘Lai-Pen’

or ‘a lively pattern’. Traditional patterns are familiar to weavers who have been producing

them since they were children, and they form a fundamental visual language that enables

weavers to develop a pattern as their weaving skills mature. Weavers explained how they

utilise traditional patterns as the basic idea or approach and create new patterns from them. So

there is room for innovative design. The traditional patterns are important and weavers

insisted their patterns were from ancient times and different patterns were adapted or

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interpreted in the creation of new patterns as a way of invigorating the finished product.

However, there were weavers that insisted that they wove only traditional Isan patterns; for

example in Ban Wai-luem village weavers concentrated on the preservation of traditional

patterns and as a result they have won prizes in local and national textile competitions. Other

weavers have tried to respond to modern influences and created new patterns, but

subsequently stated that some of the new patterns were too complex to weave.

Patterns and colours were often found to be associated with villages and regions and

had evolved to represent a form of village or regional identity, which was very important to

weavers. For example, the Lai Kab-bua or ‘the husk of lotus’ pattern represents a significant

identity for Ubon Rajathanee province, and weavers explained that they were promoting Pha

Sa-ket pattern to become a textile identifiable with their province. Orders from customers are

made on the basis of patterns that are recognised and identified with a particular province or

village in region of Isan, and often minor differences in the application of a pattern will be

used to differentiate between two villages. Customers from other provinces will order patterns

they have seen in a magazine and often quote the page number and the colour so that they can

order exactly the right product. Some pattern are associated with particular garments such as

the checked pattern called “Scotch pattern”, which is usually worn as a loincloth or a Pha-

khao-ma traditional cloth for villagers to wear around their waist. Pattern is also associated

with the memory of a particular achievement, for example an aging female weaver described

how her village wove ‘these patterns and gave them to the Queen a long time ago’.

5.2.6.5 Product

It is found that there is an immense range of products made from the textiles produced

by rural village weavers. These range from hand-bags, scarves and other forms of clothing

apparel and by definition should include a length of woven cloth which is a product in its own

right. Weavers are constantly searching for new ideas or applications that can be made from

their textiles that they can sell as ‘textile products’ and the processes of identifying, designing

and producing new products is an important and ongoing occupation for village workers. New

products typically evolve as the weavers follow the market trends and preferences, and from

building on sales of the more popular product orders from their customer base. There

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appeared to be a similarity amongst the products produced by weavers; however some villages

specialize, building on local identity or the perception of centres of excellence for either a

product or a particular textile design.

5.2.6.6 Marketing

The use of the term marketing is intended to cover issues such as the ability of the

village textile workers to sell a product and the processes involved in selling them. The term

is also used also to give some indication of the value of the textile and textile products and the

financial gain to weavers. The primary methods of selling textiles range from individual

weaver’s houses, to the village weaving group shop and local markets and textile shops. Other

methods include responding directly to customer orders, selling to merchants from larger

centres and the OPOP fair in Bangkok. Weavers often complained that markets were hard to

find, unprofitable due to the lack of customers and there was some demand for means of

expanding to access international markets.

The village weaving group shop is normally in the centre of village and is well

advertised, and weavers felt that it was more convenient for customers than trying to find each

weaver’s house in the village. Focusing on the weaving group shop also reinforces the social

and cooperative nature of group working in the village. Some weavers sold their product at

the village market or at souvenir shops on the main road of the village but this depended on

the location and recognition of the village. For example, in one village there were more than

ten souvenir shops along both sides of the road as it has become a very famous shopping area

for silk and other local products from the province. There were incidents of marketing support

from local, regional and national government departments such as assistance with packaging

and other promotional material.

Weavers said that income and profit depended on the complexity of the pattern. For a

simple pattern the selling price was very low compared to a complex pattern. One weaver

spent a year making one piece of cloth which sold at a price that she felt was not fair

considering the skill level of the work. Other weavers were more philosophical about the

remuneration for their products stating that the money was enough for their living expenses.

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5.2.7 Survey1: Conclusions and Research directions

Analysis of the village interview data indicates that village textile production in rural

Isan is disappearing or at least at the point of becoming seriously degraded in terms of the loss

of the skill and knowledge required to produce traditional textiles. The most pressing concern

for weavers can be seen in the demographic data which clearly indicates that the skill and

knowledge required for textile production resides largely with an aging female population.

The younger generation of villagers are not represented in the data which suggests a lack of

interest being exhibited that will influence the continuation of this ancient craft. From a

research perspective, it is important to adopt a realistic and pragmatic stance especially if one

recalls that the supposition driving the research questions of whether the practise of product

design can affect change in the production of traditional textiles at a village level. A

consistent and universal message from the Village Interview data is the importance Isan

village weavers place on traditional textile production processes. This desire to maintain

traditional skill and knowledge is founded on the value weavers across Isan place on

producing textiles that are distinctive and recognisable.

Clearly, it is debatable whether advanced product development technology could revise

interest in traditional handcrafts; for example, automated weaving could produce traditional

patterns but this would be a destructive process of deskilling. There are many issues found in

these interviews, such as the changing demographic of the population and the levels of

remuneration, that were outside the objectives of this thesis. Ideas such as mature age

teaching in universities of the third age or small provincial craft college’s that support craft

traditions would provide activity for villagers in retirement and provide an environment where

aging villagers can learn when they are interested. However such suggestions are not readily

connected to the evaluation of product design practice as a method of affecting change at a

village level.

Issues within achievable research parameters discussed earlier in Chapter 3, include;

ways of recording and understanding the intricacies of traditional patterns, the process of

dying silk yarn and generating new products from village textiles by value-adding to the main

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textile production activity. The expectations of product design input might argue for a focus

on the design and development of new products. However, identifying, designing and

producing new products such as hand-bags, scarves and other forms of clothing apparel is an

important and ongoing occupation for village workers. This is also the case in the

development for unique patterns to be used to identify a particular village or region. Within

this context is was considered that future research called for investigating socially appropriate,

constructive and beneficial ways of maintaining design process skill and knowledge in village

textile production. From an OHS and environmental perspective it was considered that

research into dying silk yarn from natural materials would appear more beneficial as the move

from natural dying to chemical dying is effecting the traditional character of textiles and

threatening the health and safety of village workers and their environment.

Village weavers are purchasing an increasing amount of chemical dyes even though

they are apprehensive about the dangers of using chemicals, especially in relation to OHS

issues such as inadequate body protection and knowledge of appropriate dangerous substance-

handling procedures. Weavers consider chemical dyes dangerous to their environment and

their wellbeing describing practices that are not in compliance with normal OHS procedures.

On the other hand, chemical dyes provide a dilemma as they are cheap, easy to use, produce

brighter colours and are popular with some consumers. Although there is some market

pressure for the colours from chemical dye, it is important to stress that the overall market is

driven by skill and knowledge of traditional textiles that have a powerful market presence,

especially in the high quality Isan silk textile market sector.

As noted, the reliance on chemical dyes is caused by the decline in the natural

materials available to villagers as a result of the changes to their landscape caused by the

reduction in forests. Therefore, a research direction emerging from the Village Interviews

survey is the re-introduction of dyes made from natural materials, not only because they are

safer to use but because of the importance and value Isan weavers place on the colour used in

traditional textile production. Not only that, but colour determination and selection is a basic

design parameter in the development of textile products. There is an urgent need for research

into methods of preparing dyes made from natural material found in regions of abundance.

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The dyes should be storable and transportable and eventually become a trading commodity for

those villages with abundant access to natural material.

The issue of re-establishing a design process for colour dyes made from natural

material emerged as the most prominent issue facing village weavers. After discussions with

both villagers and academic staff at the Faculty of Applied Art and Design and the Faculty of

Chemistry at Ubon Rajathanee University, it was decided that natural dye was the best

candidate for the Concept Generation (CG) phase as illustrated in the Integrated Design and

Development Framework (IDDF) model (see Figure 3.4). The CG phase includes descriptions

of design strategies and solutions leading to the selection of one strategy which became the

research focus for the remaining research activities. Therefore the proposal to investigate

preparation processes that enabled natural materials to become storable and transportable,

whilst achieving acceptable colour design solutions, was presented to villager weavers as the

most beneficial study, especially as the trend from natural dyeing to chemical dyeing was

effecting the traditional character of textiles and threatening the health and safety of village

workers and their environment.

This proposal is important in the context of this thesis and was the basis for Research

Proposal 3.2.5.1 ‘Applying and conserving a traditional method of dying textiles is a valued

process at a village level’. In summary, the Village Interviews in terms of the research

structure were effectively the Task Clarification integrated into the GDP model by means of

the Integrated Design and Development Framework (IDDF) for village production (see Figure

3.4). Analysis of the Village Interviews was important to the formulation of Research

Question 1, concerning the current state of the art and characteristics of textile production in

rural villages; Research Question 2, concerning the importance and value of colour in

traditional textile production, and Research Question 3 concerning the importance of natural

dyes in village textile production.

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5.3 Introduction to Survey 2: Experimental Program


The Evaluation and Refinement (ER) phase described above analysed potential

solutions and arrived at a preferred solution: that is, to investigate the potential of alternative

methods of preparing concept colour dyes made from natural materials. This process is

consistent with the Research Proposal 3.2.5.2 ‘development and application of natural dyes as

part of the textile process is a feasible and continuing process at the village level’. This

research, therefore, moves on to the Detailed Design (DD) phase of the GDP, described in the

Integrated Design and Development Framework (IDDF) model as research involving the

experimental investigation and testing program of the preferred solution identified in Concept

Generation. As a response to the declining availability of natural materials, and the safety

problems of chemical dyes, the researcher selected and evaluated a number of different

methods of preparing natural materials to be used as dyes, mindful of the colour design

possibilities of these methods. The DD phase tested the preferred natural dye preparation

technique in a series of user evaluation surveys which are reported in Survey 2 Part 2

Experimental Program: Analysis of Field Survey of Weavers Opinions, and Appendix 5.2A

Analysis of Village Interview Data.

An Experiment Diary was kept during the Ban Pa-Aw village field experiments as a

means of documenting each experiment and to maintain experimental consistency in the

difficult circumstances the village presented. The Diary recorded the daily weather,

experimental procedure, equipment used, summarized the separate issues facing the

researcher, and discussed the main results from the experimental procedures undertaken in

Ban Pa-Aw. Figure 5.3 below is an example of data taken from the Experiment Diary:

Experiment 1 (19 December 2006) Appendix 4.3.1.4 Experimental Diary.

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Figure 5.3 – Example of Data Taken from Village Interviews

Experimental Diary19 December 2006

Weather: dry but not hot, and windy – which caused a little trouble for the traditional oven (could not control the temperature

like electronic one, it is depend on the wind).

1.15 pm Mrs. Tuenjai started to light up the traditional oven with 3-4 pieces of embers on each oven. I was taking

photos and writing the notes, also put the name stickers into each container (same as the trial, basically).

1.30 pm prepare 4 containers filling up with 2 bowls of water each container, then take up to each traditional oven

that were boiled to the boiling point.

1.35 pm. Put the raw material down on 4 pots that have name stickers following the type of preparing as mentioned

before.

Use the wooden stick to stir leafs (every 5-10 minutes) in order to getting as much colours as possible

Wait for about 30 minutes

1.40 pm–2.10 pm Leave the raw-material boil with the water to get colours.

In between, preparing the silk yarns to dye, 4 set, 100 grams each set

Write sticker names using water-proof pen and stick on each silk yarn (not directly, stick to the rope that

combine a whole set of silk yarns together).

After 30 minutes, take each of 4 pots down the concrete floor

2.10 pm Use the thin white clothes to percolate only colour water from the plants.

Discard the left over of leafs (biggest amount), stems and fruits (very small). They smell nice and can be

the fertilizer for other plants/trees.

2.15pm Put the 1 set of silk yarns into each pot for 4 pots.

Add more pieces of embers to the traditional oven, to make more fire.

Use the wooden stick and plastic ring to stir and blend the colours into silk yarns constantly.

Leave it boil for 30 minutes again.

Extensive documentation using digital movie and still cameras were used by the writer

to document Part 1 and Part 2 of Survey 2. The resulting images provide a good record of the

people, their village life and the traditional techniques they employ to produce silk textiles.

Interesting examples of the images taken from Appendix 5.3: Images from Village Interviews

are included in section 5.3.1 Experiment Description and Analysis, however the reader is

urged to view the images from the entire study in order to understand the people and the

conditions that constitute the study. The silk cloth woven from the dyed yarn can be viewed in

Appendix 5.3.1.4A Woven Silk Samples.

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5.3.1 Survey 2 Part 1: Comparison of Natural Dye Preparations Techniques

Experiment Description and Analysis

5.3.1.1 Organisation

The field experiments started with a visit to the village to meet with the weavers in the

Ban Pa-aw Group Weaving Centre in order to establish the basics of experimental organisation

and preparation. The researcher described her research goals to the weavers and, in turn, the

weavers described the processes they used for textile production. Negotiations with the

weavers led to a process of adapting the research goals to the available village production

methods. Issues such as experiment duration, equipment requirements and costs were also

agreed upon. Finally, specific weavers were hired to assist with the experiments.

5.3.1.2 Selection of Natural Material

The natural material selected for the experiment was euphorbiaceae (botanical name)

or bellyache bush (common name), known as saboo-daeng in Thailand or saboo-luead in Isan

dialect, and has the scientific name jatropha gossypifolia L. In this investigation the plant will

be known as saboo-luead. Saboo-luead was selected because of it was readily availability and

because of the importance of the colour which is a soft yellow with a green tinge which in its

final woven silk form shimmers like a soft golden colour. Twelve sets of the same weight of

saboo-luead were required for four experiments which were undertaken on three separate

days. The experimental procedures and notes can be viewed in Appendix 4.3.1.4

Experimental Diary.

The four selected methods of preparing saboo-luead for dyeing silk yarn were as

follows:

1 Fresh saboo-luead leaf (in Thai sod)

2 Drying saboo-luead leaf in the sun (in Thai ob-tak dad)

3 Drying saboo-luead leaf in an electric oven set at 60 degrees Celsius (in Thai ob-hang)

4 Drying saboo-luead leaf in a freeze dryer machine.

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Volumes and weights of the selected natural material saboo-luead were discussed with

the village weavers and Dr. Janpen Intaraprasert and a decision was made to start with 600

grams of fresh saboo-luead for each dyeing preparation process. This actually resulted in

fresh leaf of 600 grams in total: then the sun-dried leaf would be 600 grams reduced to

400grams after the sun-drying process, oven-dry would be 600 grams reduced to 300grams

after the oven-drying process, and freeze-dry would be 600 grams reduced to 100grams after

the freeze drying process.

5.3.1.3 Experimental Equipment and Procedure

Equipment and materials for the dyeing experiments at Ban Pa-Aw Village included

two kilograms of raw silk yarn (kannan joon brand) and weaving equipment called Mini fuem

in Thai. The weaving equipment was used to produce cloth made from the dyed silk yarn.

The remaining equipment was borrowed from the Ban Pa-aw Group Weaving Centre. This

included four sets of traditional village ovens similar to a clay fire-pot, aluminium pots for

boiling the different preparations of saboo-luead, storage containers, wooden sticks for

manipulating the dyes yarn, and white cloth used for straining the natural material from the

boiling water. The dyeing process is described in detail in Appendix 4.3.1.4 Experiment

Diary, and an example of data taken from the Experiment 1 (19 December 2006) can be

viewed in Figure 5.3.

Equipment, including a laboratory assistant, required for preparing oven dried saboo-

luead for the dyeing experiment, was provided by the Department of Chemistry, Faculty of

Science at Ubon Rajathanee University. The fresh saboo-luead leaf was placed in a

refrigerator overnight and then chopped into pieces prior to being placed in an Electric Oven

set at 60º Celsius for two days. The equipment for preparing freeze dried saboo-luead was

also made available by the Department of Chemistry. The process to produce one hundred

grams of freeze dried saboo-luead powder took approximately one week. The fresh leaf was

placed in a freezer overnight, and the next day it was chopped into small pieces prior to being

placed into an electric blender with a small volume of water. A small amount of the leaf-water

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mixture was placed into a plastic bag which was flattened and sealed. Six bags of the mixture

were placed into the laboratory freezer for 1-2 days, or until they become hard as ice and when

they wee ready they were prepared for the freeze drying machine. The process is described in

Appendix 5.3.1.3: Freeze Drying Process.

5.3.1.4 Trial

Overall, the Trial was largely successful producing colours similar to colour derived

from fresh saboo-luead, and considering the village participants lack of experimental

procedure experience. The participants had not undertaken anything like this before and they

proved to be dedicated and attentive especially as they began to understand the need to keep

the experimental conditions as similar as possible. There were issues of control during the

Trial and the first experiment but this was typically a result of a weaver using her initiative

when what was really required was maintaining the same process steps in similar conditions.

The Experiment Diary dated 9/12/2006 (see Appendix 4.3.1.4 Experimental Diary) provides a

detailed record of the Trial proceedings and as well as notes recording any relevant issues.

A major issue that emerged was the use of a mordant in the dyeing process: in Thai a

mordant is joon-na-sri. A mordant, typically a chemical such as copper sulphate, is used to

make the colour attach more strongly to the fibre, and in some cases to make a colour more

vibrant. Some mordants are toxic and dangerous in terms of human contact and environmental

contamination3. The use of copper sulphate caused procedural problems, for example the

weavers normally soak the silk in a mordant for few minutes. In the Trial half of the silk was

added to boiling water with a mordant for the last five minutes in the first experiment and only

three minutes for the other three experiments. The mordant was added by one of the weavers

who basically acted in an independent manner without the approval of the researcher. The

issue was discussed with Dr. Janpen Intaraprasert who suggested not to overly complicate the

experimental process by using a mordant, and because she was concerned about the effect of

the copper sulphate on the environment.

3 Moeyes, M. (1993) p. 83 Natural Dyeing in Thailand. White Lotus Bangkok)

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Another issue was the availability of a freeze dried saboo-luead preparation for the Trial. The

freeze dry equipment was not available at the time and the technique was much slower than

anticipated in drying the blended leaf-water mixture. Images from the Trial and the three field

experiments can be viewed in Appendix 5.3.1.4: Images from Village Experiments

5.3.2 Conclusions and Discussions

The experiments comparing different natural dye preparations techniques yielded the

following observations. The sun, oven, and freeze drying preparation techniques were found

to be appropriate methods of transferring fresh saboo-luead leaf into a dry powder that was

suitable for dyeing silk yarn. The colours produced from the sun, oven, and freeze drying

preparation techniques were found to be very similar. The colours ranged slightly from a

medium green to a light green and each colour had its own quality of beauty. In this context,

the researcher had effectively been able to formulate a new range of dye colours produced by

the different dye preparation techniques for the design and production of silk textiles.

The experiments indicated that dried natural materials can be kept for more than a

week and then used without any significant difference in the colour outcome. This suggests,

subject to further studies, that dried natural materials have the potential to be stored for long

periods of time and are easily transported in their dried form. This could solve the problem of

a lack of natural materials in many Isan villages due to changes in the physical environment,

or the seasonal availability some plants. More collaborative research is required, especially

village based field research which in this case has been a successful and productive

experience. Future research into other dyes made from natural materials such as the kee-lek

leaf, which is not always available even though it is very popular in Ban Pa-aw village. Also

more experimental research is required to access the stability of colours for example how the

colour responds to sunlight and the effects of long term washing.

Survey 2 Part 1 compared three different natural dye preparations techniques in the

village of Ban Pa-Aw required adapting field research methods. The research responded to

Research Question 4 concerning the safe development and application of natural dye

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materials, and Research Question 5 regarding the benefits of preserved natural dyes and

colour applications in the context of product design. In addition the results of Survey 2 Part 1

support the issue identified in Research Proposal 3.2.5.2 ‘development and application of

natural dyes as part of the textile process is a feasible and continuing process at the village

level. The experiments were a component of the Evaluation and Refinement phase of the

Generic Design Process described in the Integrated Design and Development Framework

(IDDF) model.

5.4 Survey 2 Part 2 Experimental Program: Analysis of Field Survey of Weavers

Opinions

Survey 2 Part 2 Questions Part 1 was a straightforward exercise in obtaining the village

weavers reactions to the colours generated by the field experiments described in Chapter 5.3:

Survey 2 Part 1: Comparison of Natural Dye Preparations Techniques. The results of the field

survey research undertaken in this study were presented at the 10th International Conference on

Thai Studies in Bangkok, Thailand in 2008, see Appendix 4.3.1.1. An analysis of the data

from Survey 2 Part 2 can be reviewed in Appendix 5.4 and a sample of the data is presented

below in Figure 5.4.A

Question 1 1.1

Frequency Percent

Valid Percent

Cumulative Percent

Valid Disagree 1 3.3 3.3 3.3Not sure 8 26.7 26.7 30.0Agree 8 26.7 26.7 56.7Strongly agree

13 43.3 43.3 100.0

Total 30 100.0 100.0Figure 2: Frequency table of question 1.1.1

The table above shows frequency table for question 1.1.1 evaluating the level of agreement whether the colour of the cloth

from method 1 (fresh) is beautiful. Thirteen opinions strongly agree, which counts for 43.3% of all opinions. Only one

opinion chose disagree, which is 3.3%. And the numbers for not sure and agree are equally 26.7%. This data is also

represented in Figure 3: Frequency graph of question 1.1.1 below. We can say from question 1.1.1; that most opinions are

agreed and strongly agree that the cloth from method one, which is fresh material preparation, is beautiful. Importantly, this is

the traditional colour from the natural material produced from the traditional method of producing natural dye colours.

Figure 5.4.A Example of Data from Appendix 5.4: Survey 2 Part 2

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Figure 5.4.B is another example of the data analysis for Survey 2 Part 2. Again the

analysis of questions employed the use of frequency analysis. However, the important issue

was considered to be the levels of subject agreement and in the analyses below the percentages

of strongly agree from each question were graphically reviewed using bar-graphs the

Window’s Excel program. This produced a bar-graph enabling visual comparison of the four

preparation techniques based on the individual questions, for example Question 1: is the

colour beautiful?

Question 1: Is the colour beautiful?

The graph below indicates the colour derived from the Sun-dry method has the highest subject support for being the most

beautiful, and the Oven-dry method has the least beautiful.

Figure 9: Excel graph of question 1 (Is the colour beautiful?)

Figure 5.4.B Example of Data in Bar Graph form from Appendix 5.4: Survey 2 Part 2

To view the data from the SPSS analysis see Appendix 5.4A SPSS Analysis, additional

data can viewed in Appendix 5.4B SPSS Supporting Data, and the raw data can be viewed in

Appendix 5.4C SPSS Raw Data.

5.4.1 Survey 2 Part 2 Questions Part 1 Main Findings from the Individual Questions

The main findings from the six individual questions are listed below. However, it is

interesting to note that the data for Question 1 supported a finding in the village interviews in

Beautiful, % strongly agree

0

5

10

15

20

25

30

35

Fresh Sun Dry Oven Dry Freeze Dry

M e t hods

Series1

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Survey 1 where it was found that traditional colours were important to Isan weavers. An

analysis of the frequency tables indicates that the subjects were very supportive of the colour

of the cloth dyed from the first preservation technique, which was the fresh material

preparation. During the preference selection process, the subjects were unaware of which

individual preservation techniques they were voting for. The importance of this finding is that

the Fresh preservation technique is the traditional process of obtaining the dye colour from

natural materials.

1: Is the colour beautiful? The data indicate that the colour derived from the Sun-dry

preservation technique had the highest subject support for being the most beautiful colour, and

the Oven-dry preservation technique had the least beautiful.

2: Is the colour natural? The data indicated that the colour from the Fresh and Sun-dry

methods had equal ratings for being the most natural colour.

3: Is the colour soft? The data indicated that the colour from the Sun-dry method was the most

popular soft colour and colour derived from the Oven-dry method was the least popular.

4: Is the colour too light? This data was unclear because during the survey the author found that

the definition of the word ‘light’ colour was found to be different among the subjects. Some

subjects think ‘light’ was beautiful but others did not agree. However, the data indicated that

the colour from the Sun-dry method was the most popular for having a light colour, and Freeze-

dry was the least popular.

5: I am satisfied with this colour? The data indicated that the colour from the Sun-dry method

had the highest colour satisfaction rating, and the colour from the Oven-dry method had a low

satisfaction rating.

6: I approve this colour to sell in the market. The data indicated that the coloured cloth made

from the Sun-dry method had the highest approval rating for selling in the market.

The main conclusion from Questionnaire for Survey 2 Part 2 Questions Part 1 can be

viewed as follows. Subjects considered the colour derived from the Sun dry preservation

technique to be the most beautiful and soft colour, even more so that than the Fresh method

which was the control. The colour from the Sun dry preservation technique had the same level

of acceptance as a natural colour as the Fresh method which is the traditional method of

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obtaining a colour dye from saboo-luead. The colour from the Sun dry preservation technique

had the highest level of subject satisfaction and the highest level of approval for sale at the

village market. The colour derived from the Freeze dry preservation technique was considered

to be more beautiful, natural and soft, and had higher satisfaction and approval to sale ratings

than the colour from the Oven dry preservation technique. The subjects found the colour

derived from the Oven dry preservation technique was the least acceptable in all of the

questions.

5.4.2 Survey 2 Part 2 Questions Part 2 Main Findings from the Individual Questions

The main findings are listed below in order of the question numbers:

Data for Question 2.1 was developed using SPSS frequency analysis. The data indicated that

the Fresh method and Sun-dry method have equal preference amongst the subjects rating at

40% each for each question. The Oven-dry method had a 7% rating and the Freeze-dry

method had 3.3%. The main finding of question 2.1 is that the colour derived from the Sun-

dry method was as popular among the subjects as the colour from the traditional Fresh

method.

Questions Part 2.2.(1) The main finding from the data indicated that the subjects preferred the

colour derived from the Sun-dry method over the Fresh method.

Questions Part 2.2.(2) The data indicated that the subjects preferred the colour derived from

the Fresh method over the Oven-dry method and that the rating of Fresh over Oven dry was

high. For example 63.3% of subjects selected the Fresh method compared to 36.7% for the

Oven-dry method.

Questions Part 2.2.(3) The data for this question indicated the subjects preference for the

colours derived from the Fresh method over the Freeze-dry method was significant. For

example, 73.3% of subjects selected the Fresh method compared to 26.7% for the Freeze-dry

method.

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The main conclusion of Questionnaire Part 2 can be listed as follows:

1 The colour derived from the Sun-dry method is popular among the subjects; at least as

popular as the colour derived from the Fresh method. It is important to remember that the

Fresh method is the traditional method of producing a dye colour from natural materials. The

significance of this finding is that the Sun-dry method is a simple and straight forward

preparation technique and is easily deployable to village textile production.

2 The colour from the Fresh method is more preferable to the subjects when comparing the

colour derived from the Fresh method to the colours derived from the Oven-dry and Freeze-

dry methods.

The following Chapter 6 Research and Discussions analysis the results developed in the field

survey and experimental research work documented so far.

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Chapter 6 Results and Discussions

6.1. Preamble

This chapter is a summary of results of the experimental program described in Chapter

5. In this thesis an investigation of village textile production in NE Thailand has been

undertaken with reference to design and manufacturing strategies that have the potential to

influence the survival of this ancient artform. These strategies are based on developing

colours, sourced from safe-to-handle natural materials, for textile silks as a first step in the

design process at a village level. Research has been carried out in the context of a

collaborative agreement established in 1999 between the Industrial Design department at the

University of Canberra and the Faculty of Applied Art and Design, Ubon Rajathanee

University. From a review of the relevant literature, Thai government policies and village

textile production, a research model has been proposed that adapts a generic design process to

plan a framework on which to structure research activities. This model has been developed

and applied using a series of field research techniques adapted from current research methods

in Western literature. This chapter summarizes and discusses the importance of the

experimental results developed in the field survey and experimental work documented in the

body of the thesis beginning with findings related to village textile production.

6.2 Chapter 2: Understanding Village Textile Production

The literature reviewed in Chapter 2, Literature Survey and Information Search,

consists of the following subjects; the sufficiency economy in Thailand, a brief history of Thai

textiles, traditional village textile technology, and relating colour to design. The focus of the

literature review was on those subject areas that underpin an understanding of village textile

production in north-eastern Thailand. In this thesis a primary research proposition is whether

or not product design and manufacturing strategies can be implemented at a village

community level in ways that support and re-invigorate the cultural tradition of textile design

and production. This has called for extensive reviews of the historical and cultural traditions

of Isan textile production, the methods and techniques employed and the influence on current

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textile production of issues such as Thai Government policy and the extensive cultural

tradition of the Isan region. Following is a summary of the results and discussion of each

subject.

6.2.1 The Sufficiency Economy in Thailand

Over the past decade the Thai Government has developed economic policies in

response to the principles of Sufficiency Economy described in Chapter 2.1. These policies

impact directly on village design and manufacturing activities in Thailand as they are regarded

as important and central to village self sufficiency. A specific policy, called One-Tambon-

One-Product (OTOP), is an important Thai Government initiative in response to principles of

a Sufficiency Economy. This policy encourages village communities to develop specialised

products that have commercial value whilst maintaining cultural heritage and traditional craft

and design skills. OTOP is the primary Government policy responsible for initiatives

supporting textile production although regional government programs significantly contribute

as well.

The revival in silk production and regional textiles as a means of improving village life

in Thailand is primarily the result of the actions of the Royal Family. Significantly, the Queen

of Thailand has reinvigorated national and international public interest in traditional Thai

textiles and garments. Thai regional and national governments fully support the activity of

village textile design and production because they are vital to village economies as well as

forming a significant cultural component of village life. Therefore, these cultural components

and traditions are worth preserving and updating through village-based design research.

The main Government program assisting village textile production was the

introduction of OPOP in 2001. OTOP is founded on the Sufficiency Economy concept

articulated by the King of Thailand. Thai Government policies have encouraged and

facilitated the organization of village production within an existing market system; however,

as demonstrated in this thesis, much design research is still required at the village grass-roots

level. OTOP introduced co-operative organization into village life consistent with village

social organization thereby broadening village trade; but traditional design and production

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methods in silk textiles have not been extensively updated. OTOP deploys an ‘Agency

Integration’ involving Thai Government Departments to train village workers to increase

production, improve product quality, develop packaging and new designs, and how to respond

demand and deadlines. Much work still needs to be done in this area especially with respect to

fundamental design parameters such as developing colours.

Work is needed at the village level to safeguard traditions and encourage the use of

natural dyes in the textile design process. This is a significant finding directly related to the

investigations carried out in this thesis: it has been established that research which aims to

improve textile design and production, is worth undertaking especially if it improves the

quality of life of the villages, and is sensitive to their cultural and family traditions: this

research is compatible with Thai Government policies

6.2.2 A Brief History of Textiles in Thailand

There is ample evidence that confirms a long and rich history of village textile

production in Thailand. Textiles were extensively used for household garments and ritual

costumes and were particular to the racial groups, often designating village status and

identifying individual weavers’ skills. Textiles uncovered in archaeological sites have been

dated to circa 3000-4000 B.C. Traditionally, villagers believed in the importance of a woman’s

skill as a weaver and her social position was enhanced as was her perceived value as a wife and

a mother. The different ethnic groups of Northern and North-eastern Thailand have all

contributed to Thai textile development. Textiles in Thailand can be categorized into the

following four regions; Northern region, Southern region, Lower Northern and Central region

and the North-eastern region or Isan which can be divided into Upper Isan Central Isan, the

Mekong River Basin and Lower Isan. Traditional textile production has been promoted by the

Thai Royal family since the middle of the 20th century. Currently, Thai weavers create large

amounts of silk and cotton for local consumption and global export. The most famous textiles

product from Isan is Mudmee silk.

6.2.3 Traditional Village Textile Technology

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The review of traditional village textile technology has identified the different

influences and circumstances that separate textiles production in the past compared to current

day production. Understanding these primary differences has helped to provide this research

with the necessary permissions or sanctions to identify new approaches to current day

production issues. This is an important finding as it supports the noted proposal that product

design practice can assist in the maintenance of the distinctive character of traditional regional

textile production in north-eastern Thailand by restoring natural dyes using existing textile

production processes. Listed below are the significant original influences on textile

production followed by the present circumstances that influence current textile production.

Traditional village textile production made the cloth required for daily use, and

ceremonies and rituals; today, apart from village ceremonies and rituals, most textile

production is for sale in the market. Traditional village textile production employed pure

natural materials to produce textiles; today, the weavers add new techniques such as weaving

machines and chemical dyes; the latter has created health and safety problems as well as

eroding the cultural and economic value of traditional dyeing techniques. In the past skilled

weavers enjoyed social value, they were highly respected and had a senior social position in

the village: nowadays, there is less respect for these skills and therefore reduced social value

or status. Hence, there is a need for introducing culturally sensitive design methods and

strategies in relation to colour design in silk production in order to help restore the cultural

values delineated under the OTOP policies.

It is found that research into the dyeing of textiles using natural materials will improve

the availability of traditional colours, improve health and safety, and improve the

marketability of village textiles. In this research project, the range of colours developed from

natural materials was restricted, understandably, due to time constraints and possible safety-of-

use issues. However, the practical results of this research are sufficient to indicate that the

development of colour designs based on updated methods of producing dyes from natural

materials is a promising strategy for enhancing village culture and quality of life in keeping

with the original aims and propositions of the thesis.

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6.2.4 Relating colour to design

Understanding the relationship between colour and design in Isan textiles requires a

review of the literature on colour as a basic variable in textile design, colour and traditions,

colour in Isan textiles, and colours and the natural materials they are derived from. Colour is a

fundamental component of design and the semantics, or embedded meanings, generated by the

use of colours and colour patterns are important design parameters to village weavers who are

conscience of the significance of traditional colour production and selection on their economic

and social well-being. However, they lack the knowledge of how to produce dyes from

natural materials using updated production and manufacturing techniques.

Due to its long and complex history, the Isan region of Thailand has a strong cultural

connection to the traditional colours and resulting textiles. Traditional colours and patterns are

still relevant today especially to village social organization and ritual as well as from an

economic perspective. Colour selection is directly influenced by traditional village customs

and ceremonies. The semantics of colour (or meanings embedded in sensory colour stimuli)

are subjective and relate to a particular culture and a place. The wisdom, skills and knowledge

of natural colour dye production are declining. The physical environment that provided the

natural materials for dyeing silk is changing and the availability of natural materials is

declining.

Re-introducing natural dyes will help to maintain traditional colours and resist the

increasing use of colours derived from chemical dyes. Research in the developments of

colours based on natural materials will contribute significantly to the design and production of

textiles in village contexts as well as improving the health and safety of villagers. Not

withstanding beneficial Government policies, there is little published or anecdotal evidence on

how the design and manufacture of textiles can benefit from the development of natural dyes

in the village environment.

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6.3 Theoretical Development and Constructs

The Integrated Design and Development Framework (IDDF) model

In chapter 3, a model has been proposed that adapts a Generic Design Process into a

framework that supports design research activities in the noted area of NE Thailand and in the

context of colour design and production for textiles. The Integrated Design and Development

Framework (IDDF) model has been developed for village production and provides a structured

design research method that is applicable to the discipline of product design and appropriate

for gathering data about rural village textile production as documented in this thesis. The

IDDF model grouped the research activities into two phases; the first phase has built an

overview of the problems and issues facing village weavers and village textile production, and

the second phase has assessed whether natural dyes can be prepared, stored and potentially

sold as discrete products (see Appendix 5.2B: Village Interview Data for the first phase, and

for the second phase see Chapter 5.3: Introduction to Survey 2: Experimental Program, Survey

2 Part 1: Comparison of Natural Dye Preparations Techniques, section 5.3.2: Conclusions and

Discussions).

As explained in the research methodology section of the thesis, the GDP was adapted

for constructing a framework for researching the development of village textile products with

particular reference to the preparation of natural dyes used in the dying process. This

framework, described as an ‘Integrated Design and Development Framework (IDDF) for

village production connected the research activity in this study with the GDP. This is an

important new result in relation to applying a model of the process to a research activity – it

has been shown that this is a feasible strategy. The separate phases of the GDP are listed

below with the main findings relating to the process of adapting each phase:

6.3.1 Results and Discussion: Task Clarification (TC)

Task Clarification phase is the research focus for obtaining data on the region, the

people and the types of textile products and processes involved in village textile production.

This led to Survey 1 involving field interviews of weavers from ten villages in the Isan region.

(see Appendix 5.2B: Village Interview Data). TC became the research focus for identifying

opportunities for new design work and/or product development described in Chapter 5.2.3:

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Survey1: Conclusions and research directions. TC research activities included the interaction

of the researcher with village weavers leading to the adoption of the PAR methodology

described in Chapter 4.2.6: Survey 1: Issues with Interview Process. TC designated research

activities described in Chapter 5.2.3: Survey1: Conclusions and Research directions clearly

support Research proposal 3.2.5.1, ‘Applying and conserving a traditional method of dying

textiles is a valued process at a village level’.

Task Clarification provided a focus for responding to Research Question 1, concerning

the current state of the art and characteristics of textile production in rural villages, and

Research Question 2, concerning the importance and value of colour in traditional textile

production, and Research Question 3 concerning the importance of natural dyes in village

textile production. The information responding to these research questions can be found in the

analysis of the Survey 1 (see Appendix 5.2A: Analysis of Village Interview Data).

6.3.2 Results and Discussion: Concept Generation (CG)

Concept Generation (CG) activities provided a description of potential design

strategies and solutions to be presented to the villager weavers. The design strategies

proposed in CG responded to Research Question 4 concerning the safe development and

application of natural dye materials, and Research Question 5 regarding the benefits of

preserved natural dyes and colour applications in the context of product design. This

information can be found in Chapter 5.3: Survey 2: Experimental Program - Survey 2 Part 1:

Comparison of Natural Dye Preparations Techniques and the process of the research activity

can be viewed in Appendix 4.3.1.4: Experimental Diary and Appendix 5.3.1.4: Images from

Village Experiments.

6.3.3 Results and Discussion: Evaluation and Refinement (ER)

The Evaluation and Refinement (ER) phase accommodated the design responses

generated in the Concept Generation and analyses potential solutions in order to arrive at a

preferred solution concept. The ER phase responds to research proposal 3.2.5.2, namely,

‘Development and application of natural dyes as part of the textile process is a feasible and

continuing process at the village level’. The ER phase includes field experimental processes

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in order to evaluate new techniques for natural dye preparations. It is found that alternative

preservation techniques such as the Sun-dry technique produced a colour very similar to the

traditional preservation technique. These results can be found in and Chapter 5.4.1.2: Survey

2 Part 2 Questions Part 2 - Main Findings from the Individual Questions.

6.4 Results and Discussion: Detailed Design (DD)

The Detailed Design phase activities have taken the preferred solution into an

experimental investigation and testing program including testing of the prototype, the conduct

of user trials and field testing. The DD phase also includes an analysis of the results of testing

and updating the proposed solution when necessary and the selection and evaluation of

different methods of preparing natural materials for colour dyes. The Detailed Design phase

addresses research proposal 3.2.5.3, that is, ‘the product design process employed in the

development of textiles based on natural dyes is a beneficial process in terms of the criteria

and viewpoint of design and Health and Occupational Safety’. This proposition is found to be

achievable and in keeping with the harmless processes for preserving natural materials for

colour dyes described in Survey 2 Part 1 (and the findings from Chapter 5.3.2: Conclusions

and Discussions), and subject to deployment at an appropriate level in village textile

production.

6.5 Results and Discussion: Communication of Results (CR)

The Communication of Results phase activities have provided a summary of all research

findings including the various phases of the design research, this can be found in this chapter

(Chapter 6 Results and Discussion) and in Chapter 7 Findings and Conclusions. The specific

experimental results for the three Surveys have been listed in Chapter 5. The CR phase

activities have communicated new knowledge, describes the benefits and deployability of the

results; and includes a response to Research Question 6 regarding the use of product design

research methods deployed at a village level for colour dye development and application. This

is described in Chapter 7.1; Findings and Conclusions - Integrated Design and Development

Framework (IDDF). The IDDF model has illustrated how components of the research

activities in this thesis are linked to each phase of the GDP.

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6.4 Research Program

6.4.1 Developing field research methods

The belief that, where possible, the prevailing culture of NE Thailand should guide the

research program described below underpinned the following decisions made about research

directions and subsequent activities. The research program and experimental investigation

required the development of appropriate methods for collecting qualitative data in order to

understand the issues facing village weavers. An iterative, empirical approach to this

investigation was necessary because the primary issues facing weavers had to be determined

prior to identifying potential research areas. The research activities required a process of

adapting existing method to the prevailing circumstances and establishing a modus operandi

that was both sensitive and responsive to village social organization.

The research involved the following steps: Step 1 was a survey of ten villages in order

to understanding textile production in the Isan region (Appendix 5.2B: Village Interview

Data). Step 2 involved the development and implementation of a series of experiments in

order to compare natural dye preparations techniques (5.3: Introduction to Survey 2:

Experimental Program, Survey 2 Part 1: Comparison of Natural Dye Preparations

Techniques), and Step 3 involved a survey of village weavers’ opinions of the colours derived

from natural dye preparation techniques (Appendix 5.4A: SPSS Analysis). Recall that the

results of adapting research methods to suite the prevailing circumstance and, hence,

developing field research methods appropriate to this thesis have been discussed in Chapter

4.2.6: Survey 1: Issues with Interview Process.

The author found it important to be adaptable and responsive to all prevailing

circumstance encountered in undertaking field research in north eastern Thailand. In the

context of this survey, meaning is based on ethnographic forms of research that rely on field

based qualitative data gathering and analysis. In this sense, the research ascribes to a

constructionist epistemology as the research involved the observation of social life in a natural

setting, the collection of qualitative data and the subsequent generation (or construction) of

theories pertaining to the social setting. The research methodology adopted was Participatory

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Action Research (PAR) and the value of PAR was the role options available to the researcher,

such as a purely observational role to one where the researcher acts as a participant. PAR

allowed the researcher to act as a resource (able to meet the needs of the villagers in a manner

consistent with UBU and Thai Government objectives) by developing natural material

preservation techniques that produced colour dyes consistent with the colours in traditional

textile production.

Adapting field research has been rewarding, and has provided rich data on the villagers

and their working conditions (Appendix 5.2A: Analysis of Village Interview Data). These

data enabled insights to be gained into social and environmental concerns that may not have

surfaced from a more formal research approach. (see Appendix 5.2A: Analysis of Village

Interview Data). PAR was also appropriate for experimental field research that required

flexibility in planning because villagers normally do not follow set procedures; this is an

important finding relevant to the development of appropriate field research methodologies in

the context of this thesis.


Survey 1: Understanding textile production in Isan villages

The results of field research in this thesis produced knowledge relevant to developing

design and manufacturing strategies for textile design and production. Ten villages were

selected for field surveys from seventeen provinces of in NE Thailand. The study addressed

the issue of retrieving and enhancing traditional skills and knowledge that have slowly been

lost or put aside over time. The first task in village research work was the process of

identifying, understanding and documenting this knowledge. Incorporating western survey

theory required a process of adapting survey techniques to suite the prevailing circumstances.

The University of Canberra (UC) ethics policy was found to be cumbersome to field

research in north-eastern Thailand. Villagers were distrustful of any formal documentation.

In rural village social organization, seniority is very important and it was frequently difficult to

gain survey approval if the village head was not available. Villagers preferred an informal,

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collaborative arrangement free from official documentation that they did not really understand

despite the researcher’s efforts in translating the policy using a familiar language structure.

Some village workers were apprehensive of interview procedures and they could only

be deployed after villagers became familiar with the researcher. The selection of Participatory

Action Research (PAR) described in western research theory was a response to the conditions

facing the interviewer as the villagers preferred informal collaborative arrangements. In this

sense the selection of PAR was an appropriate response to the need to be adaptable and

sensitive to village social organisation and the PAR approach was found to be useful to the

other forms of field research such as field experiments and surveys.


Survey 2 Part 1: Experiment: Comparison of Natural Dye Preparations

Techniques.

The following approaches to Survey 2 Part 1 were found to be important in terms of

maintaining basic elements of the experimental procedure. A trial of the experiment was used

to train weavers in experimental process and a pragmatic and flexible approach to the

experimental plan was adopted. It was found that delving too deeply into the science and

chemistry effectively excluded the majority of villagers and was counter-productive to the

research objectives. In addition, a clear financial agreement such as establishing a budget was

found to be important to those village weavers involved in the trial and the final three

experiments.

The weaver’s opinions were central to this study, and an analysis of the colours

produced by the alternative natural dye preparations techniques was based on the village

weaver’s considered responses. If the weavers did respond well to the colours generated by

the alternative natural dye preparations and processes then they would just not consider the

preparation techniques in their daily weaving practice (and research proposal 3.2.5.2:

Development and application of natural dyes, as part of the textile design process, is a feasible

and continuing resource at the village level would have been negated?).

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Survey 2 Part 2: Analysis of Natural Dye Preparation Techniques: Field

Survey of Weavers Opinions

This survey documented and analysed the natural dye preparation techniques in terms

of the views and opinions of the village weavers. In this survey some of the subjects were

illiterate which meant the researcher had to be flexible enough to respond in a meaningful

manner that facilitated the completion of the task. The main survey technique involved asking

questions and interpreting the subject’s response to these questions; the survey questions

design required the identification of words villagers typically use to describe dye colours from

natural materials. Keywords included assessing the accuracy of the colour and whether the

weavers were happy and accepting, and if they approved of a particular colour. The selection

of survey questions was based on ease of translation and was consistent with the language

used by weavers in their village setting. In this way the quality and acceptability of the

colours produced by the three different drying techniques was assessed. This approach has

effectively established a model for future village operations in dye making and colour

production in this research context.

6.5 Results and Discussions



Survey 1 provided an understanding of the people involved in village textile

production in NE Thailand, the types of textile products and processes and, importantly, the

primary issues facing textile workers. The principal method used to observe village life in its

natural setting was interviewing the weavers. Interview analysis concentrated on identifying

similar subject responses and the underlying themes emerging from the responses. An

understanding of these themes provided knowledge of the primary issues facing village

weavers. This information is documented in detail in Appendix: 5.2A Analysis of Village

Interview Data.

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6.5.1 Theme 1: Impact of Aging Textile Worker Population

This theme indicates that an aging female population is responsible for the continued

practice of textile production largely using traditional skills and knowledge. Importantly, this

population is static and declining in numbers which could influence the region’s ability to

produce textiles in the future

6.5.2 Theme 2: The Importance of Textile Production and Tradition in Isan.

Today, textile production is an important and valued component of rural village life.

Villagers considered textile production to be a good additional occupation and income

supplement. Village weavers are concerned that the culture of their village would be

adversely affected by the loss of textile production because textiles are identified with

particular regions and villages are very important to the weavers in terms of identity and a

sense of place. The Thai Government policy has used the collaborative nature of village

society to encourage the formation of co-operative village weaving groups (Appendix 5.2A:

Analysis of Village Interview Data).

6.5.3 Theme 3: Village Textile Production: the people and how they work.

Weavers typically function within a co-operative village weaving group and describe

their activities and their positions in the context of the weaving group. Weaving groups are

typically funded through the Thai Government regional assistance program called One

Tambon One Product (OTOP) and a group leader is important to champion textile production.

Weavers are proud of the international recognition for Isan silk textiles, however they are

concerned about the lack of interested shown by younger villagers and expressed their concern

about the loss of textile knowledge in the future. On the one hand, textile production can be a

financially viable activity for weavers but they still felt that local and national government

support was important to village production. Elder villagers are still dressed in traditional

costume for ceremonies and religious rites while the younger generation were observed

wearing more westernised clothing. Weavers value the importance of local production and the

preservation of identity from producing textile products, and traditional processes of textile

production such as the skill and knowledge to produce the patterns and colours were

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considered very important to village weavers. (see Appendix 5.2A: Analysis of Village

Interview Data)

6.5.4 Theme 4: Knowledge and Skill Acquisition.

It was clear from the interviews that the next generation of villagers demonstrated little

interest in textile production. The elder villagers were more closely connected to a time when

textile production was an important resource for both cloth and garments and the financial

gain from textile production and the interest to maintain the activity is more important to older

village women than to any other section of the community. Traditionally, villagers believed in

the importance of a woman’s skill as a weaver and her social position was enhanced as was

her perceived value as a wife and a mother (see Appendix 5.2A: Analysis of Village Interview

Data).

6.5.5 Theme 5: Textile Workers and Village Organization.

A majority of the textile weavers work collaboratively in a village weaving group

which sells textile products directly to the public and successful textile production often

impacted on the character of the village. Village textile production relies on families working

collaboratively, tasks are shared and allocation depending on individual skill and knowledge.

6.5.6 Theme 6 Textile Production – Process

Weavers requested support and training in textile production and they requested

methods to shorten production processes and the preservation and strengthening of the craft of

traditional textile production. Often weavers would describe how they valued education and

training

6.5.6.1 Theme 6: Textile Production – Equipment

Weaving equipment was found to be relatively straightforward and uncomplicated and

achieving exceptional results was due to the individual weaver’s knowledge and skill. The

weaver personal preference often determined the selection of equipment.

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6.5.6.2 Theme 6: Textile Production – Dyes and Colours

Traditionally, dyes are made from locally found natural materials available in the village and

areas adjacent to the village and these materials are increasingly difficult to find because of the

reduction and the subsequent changing rural landscape. The knowledge of natural materials

on how to obtain different colours is also gradually reducing even though weavers preferred

natural dye colours especially in traditional patterns which were known to last over a century

(see Chapter 2.4.4: Colours and the natural materials they are derived from).

Village textile workers are purchasing an increasing amount of chemical dyes, and this

is a disturbing trend in conflict with traditional culture. Chemical dyes are cheaper, more

convenient and produce brighter colours and there is a clear tendency of reliance on chemical

dyes often perceived as market or customer driven. There appears to be a conflict between

traditional weaving practice and the perceived reality of accepting change and following a

consumer driven market. Traditional textiles have a powerful market presence, especially the

top market sector for high quality Isan silk textile production. Weavers are concerned about

the danger of using chemicals for dyeing cloth, especially inadequate hand, face and body

protection and some weavers were observed using inadequate chemical dyes protection

methods despite the availability of OHS training. A percentage of weavers considered

chemical dyes dangerous to the environment, society and to the lives of the villagers.

6.5.6.3 Theme 6: Textile Production – Pattern

The value of renowned Isan textiles is influenced by their refined patterns and colours, and

weavers were familiar with traditional patterns they had been producing since they were

children. Traditional Patterns form a fundamental visual language that enables weavers to

develop a pattern as their weaving skills mature. Weavers insisted their patterns are from

ancient times (traditional), they used them as a basis for creating new patterns, and their

customers order patterns that are recognised and identified with a particular province or village

in region of Isan. Both patterns and colours associated with villages and regions evolve to

represent a form of village or regional identity (see Chapter 2.3.3: Weaving Techniques and

Patterns).

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6.5.6.4 Theme 6: Textile Production – Product

Weavers produce many products made from village textiles production and they are

constantly searching for new ideas or new ‘textile products’, and following market trends and

preferences such as sales of the more popular products.

6.5.6.5 Theme 6: Textile Production – Marketing

Methods of selling textiles range from weaver’s houses, village weaving group shop,

local markets and textile shops, and income and profit often depended on the complexity of

the pattern. Weavers also respond to customer orders, selling to merchants, and the OTOP

distribution networks. Weavers consider local markets hard to find and unprofitable and

wanted to access international markets.



Survey 2 Part 1 investigated the potential of alternative methods of preparing concept colour

dyes made from natural materials (see Chapter 5.3: Introduction to Survey 2: Experimental

Program, Survey 2 Part 1: Comparison of Natural Dye Preparations Techniques for the

details of this investigation). This was a response to the declining availability of natural

materials, and the safety problems of chemical dyes. The researcher selected and evaluated

three different methods of preparing natural materials to be used as dyes and kept an

Experiment Diary as a means of documenting each experiment and to maintain experimental

consistency in the difficult circumstances the village presented (Appendix 4.3.1.4:

Experimental Diary)

The survey was trialed prior to undertaking the three separate experiments and

produced colours that were found to be similar to colour derived from traditional method (in

this case, the colour derived from the fresh natural material). The Trial results indicated that

the colours derived from the three preservation techniques were successful alternatives to fresh

leaf (control); this is significant considering the experimental conditions and the village

participants’ lack of experimental procedure experience. The villagers proved to be dedicated

133

and attentive especially as they began to understand the need to keep the experimental

conditions as constant as possible. The trial highlighted the major issue of the use of a

mordant (colour stabilizer) in the dyeing processes as they can be toxic and dangerous:

subsequently, mordant use was not included in the final experiments because of their negative

effect on the environment.


Survey 2 Part 1: Comparison of Natural Dye Preparations Techniques.

Three techniques were used in the preservation of natural materials for colour dyes, namely,

techniques based on sun, oven, and freeze drying preparation respectively. (see Chapter 5.3.2:

Conclusions and Discussions ). These were found to be appropriate methods of transferring

fresh saboo-luead leaf into a dry powder that was suitable for dyeing silk yarn. The colours

produced from the sun, oven, and freeze drying preparation techniques were found to be very

similar and the colours ranged slightly in tone from a medium green to a light green and each

colour had its own quality of beauty. In these terms, this research has successfully formulated

a new range of dye colours produced by the different dye preparation techniques. This is an

important development in colour design (and related production) relevant to the design and

production of silk textiles. Significantly, it updates and complements the traditional colour-

dye development methods used in silk textile production (in keeping with research proposal

3.2.5.2: Development and application of natural dyes, as part of the textile design process, is a

feasible and continuing resource at the village level). It also shows how traditional dyeing

methods can be improved in contrast to the use of dangerous chemical agents.

It is found that dried natural materials can be kept for more than a week and then used

without any significant difference in the colour outcome and they have the potential to be

stored for long periods of time and are easily transported in their dried form; however this

needs to be tested. The ability to produce dried natural dyes could help solve the problem of a

lack of natural materials in many villages and potentially become a trading commodity for

those villages with abundant natural materials

134


Findings of Survey 2 Part 2 Experimental Program: Analysis of Field


The following survey results provide an indication of the subject’s colour preferences

for the three preservation techniques trialed in Survey 2 Part 1 (see Appendix 5.4A: SPSS

Analysis).

The colour derived from the Sun dry preservation technique was considered the most

beautiful and soft colour, more so than the colour derived from the Fresh preservation

technique which was included as a control in the experiment. The colour derived from the Sun

dry preservation technique had the same level of natural colour acceptance as the colour

derived from Fresh method, and the highest level of subject satisfaction as well as the highest

level of approval for sale at the village market. The colour derived from the Sun-dry

preservation technique was popular among the subjects; at least as popular as the colour

derived from the Fresh method. It is important to remember that the Fresh preservation

technique is the traditional method of producing a dye colour from natural materials. The

significance of this finding is that the Sun-dry preservation technique is a simple and straight

forward preparation technique and is easily deployable to village textile production.

The colour derived from the Freeze dry preservation technique was considered more

beautiful, natural and soft, and had higher satisfaction and market approval ratings than the

Oven dry preservation technique. The colour from the Fresh preservation technique was more

preferable to the subjects compared to the colours derived from the Oven-dry and Freeze-dry

preservation techniques. Finally, the colour derived from the Oven dry preservation technique

was the least popular.

In Chapter 7 which follows, the findings and conclusions are drawn from the results

and discussions described above. This chapter lists conclusions from the research phase of the

study and a review of the findings in relation to the original aims; it also includes

recommendations for future research.

135

7 Findings and Conclusions

Preamble

Although most of the research described in this thesis occurred in north-eastern

Thailand, the analysis of the experimental results indicates the potential to restore traditional

knowledge and skill more widely through greater co-operation and increased investigation into

traditional textile production techniques. In this context, it is reasonable to suggest that

product design and development processes have a wide role in revitalizing village textile

production (recall research proposal 3.2.5.2: Development and application of natural dyes, as

part of the textile design process, is a feasible and continuing resource at the village level). It

is apparent that village people place great importance on tradition in the production of hand-

woven textiles. However, they face uncertainties trying to maintain traditional practices that,

in turn, affect village economic viability, social order and environmental safety. Product

design methods were employed to produce natural dyes that are storable and transportable and

could become a tradable commodity for those villages endowed with abundant natural

material. During this investigation the issue of natural dyes emerged as a prominent concern

as villagers described how natural materials had become difficult to find due to the impact of

rice farming on the landscape. Dyes made from natural materials are generally time

consuming to prepare compared to chemical colour dyes and, importantly, a majority of

villagers considered chemical dyes to be dangerous. Therefore research into dying silk yarn

from natural materials appeared socially beneficial especially as the move from natural dyes to

chemical dyes has been affecting the traditional character of textiles, and threatening the health

and safety of village workers and their environment.

This chapter reviews the results of the research and discusses the main findings and

conclusions that can be drawn from the experimental data. It includes the findings associated

with the process of adapting a Generic Design Process to a model for managing design

research in villages in NE Thailand: the new model is termed the Integrated Design and

Development Framework (IDDF) model for village production. This chapter then reviews the

main findings from the interviews, experiments and surveys undertaken in Survey 1:

Understanding textile production in Isan villages; Survey 2 Part 1: Experiment: Comparison of

Natural Dye Preparations Techniques; and Survey 2 Part 2: Analysis of Natural Dye

136

Preparation Techniques: Field Survey of Weavers Opinions. Finally the findings in relation to

the original aims are reviewed and recommendations are made for future research.

7.1 Findings and Conclusions

Integrated Design and Development Framework (IDDF)

The research activities completed in this study were coordinated into the Integrated

Design and Development Framework (IDDF) model for village production that, in turn, were

developed from the a Generic Design Process model (GDP). Adapting the GDP model has

been a relatively straightforward process involving the selection and placement of research

activities within the IDDF model in a way that corresponded to design process activities

described in the GDP. In this sense, the IDDF model has functioned as a research

management tool providing a cognitive model for planning and managing the different

research phases. The IDDF model functioned in a consistent and compatible manner in line

with the design research methods described in Chapter 3.4: The Generic Design Process

(GDP) and Design Research Methodology, and later evaluated in Chapter 6.3: Theoretical

Development and Constructs - The Integrated Design and Development Framework (IDDF)

model.

One of the main finding of this research is the requirement to be flexible and

responsive to the circumstances found in the different villages in the Isan region of Thailand.

In this context, the design process phases of the IDDF model provided a structure that could be

adapted to the particular needs of the research activities. The IDDF model was found to be

adaptable to the different research environments and conditions encountered in the three

different surveys described in Chapter 4 and, therefore, it is found to be sensitive to village

social organisation and informal culture. Different types of qualitative field research, such as

interviews, experiments and surveys have been successfully accommodated within the IDDF

model. The IDDF model was able to respond to the iterative approach of the research that is,

knowledge building and identifying research potential, prior to implementing a design strategy

and evaluation of this strategy which took place over a four year period.

137

The primary methodology employed in the thesis, Participatory Action Research

(PAR), is found to be a suitable approach for the forms of field research encountered such as

interviews, field experiments and surveys. Both PAR and the IDDF model coexisted in a

constructionist context providing a collaborative methodology and management model that is

compatible with current design research literature. In this context, the IDDF model is

deployable to product design research and, in conjunction with the PAR methodology, is a

possible appropriate model for other village textiles research.

7.2 Findings and Conclusions: Field Research Findings

Field Surveys and Experiments

This section reports on the findings and conclusions from the field surveys and

experiments described in Chapter 4: Experimental Program: Research Methodology, Surveys

and Field Work; and the results from the surveys as discussed in Chapter 5: Analysis of

Experimental Program. Three surveys were undertaken in total namely, Survey 1:

Understanding textile production in Isan villages (Ten Village Interviews); Survey 2 Part 1:

Development of experiment: Comparison of Natural Dye Preparations Techniques; and

Survey 2 Part 2: Analysis of Natural Dye Preparation Techniques: Field Survey of Weavers

Opinions.




It is found that traditional textile colour design and production processes are important

to the village weavers in Isan who are committed to producing textiles that are distinctive and

recognisable. Weavers had a preference for colour dyes made from natural materials because

they are safer to use and the colours are important from traditional and cultural viewpoints.

However, many weavers are changing (regrettably) from natural dyeing to chemical dyeing

and, in conflict with Government policy this practice is affecting the traditional character of

138

textiles as well as threatening the health and safety of village workers and their environment.

Chemical dyes are cheap, easy to use, produce brighter colours and in some cases are

marketable. During the interviews conducted by the author in ten Isan villages, chemical dye

practices were observed that were not in compliance with normal OHS procedures.

Conversely, dyes made from natural materials are safer to use than chemical dyes and weavers

were observed to have traditional, eco-friendly practices of sensibly managing the dye liquor

leftover from the dyeing process. It is observed that many villagers and their immediate

environment are at risk of chemical contamination along with a devaluing of traditional textile

design and production methods (that also draw premium prices in the market).

This finding indicates an urgent need for more research into methods of preparing dyes

made from natural materials found in those regions with abundant natural material. Fresh

materials such as leafs, flowers and tree-bark can be dried and preserved for longer periods of

time than the normal longevity obtained from fresh materials. The preserved natural materials

could then be stored, transported and traded as natural colour dyes into regions with limited

natural materials. This conclusion is consistent with all of the research proposals posited in

this thesis (see Chapter 3.2: Revue of research proposals in light of literature search findings).

This Survey also provided the primary research direction for investigating preservation

techniques for colour dyes made from natural materials: it also provided other potential

research directions, for example, identifying methods of recording and understanding

traditional patterns and generating new products made from textiles.


Survey 2 Part 1: Comparison of Natural Dye Preparations Techniques.

The survey involved a series of experiments undertaken by the author and village

weavers from Ban Pa-aw in collaboration with the Department of Chemistry at Ubon

Rajathanee University. The collaborative nature of this research is significant as this

collaboration facilitated experimental research in village textile colour design and production,

and was supported by the Department of Chemistry whose staff undertook related laboratory

experiments and delivered alternative colour formulations derived from preserved natural

139

material. Importantly, the program was supervised by the Dean of Science who has extensive

experimental and investigative experience. This type of collaboration is found to be very

beneficial to both the university and the villagers and could well be an appropriate strategy for

future research into village production in other craft mediums such as cane, ceramics and

timber, as well as additional village production activities.

Maintaining experimental procedure was a primary concern of the author as the

weavers typically apply their personal initiatives and experience to their craft. In this survey

the author had to engage the weavers without loosing their enthusiasm for the task. This

required the author to be flexible in her approach with the weavers whilst maintaining a

governing role in terms of the management of the experiment. It was an advantage to the

success of the survey that the author was a Thai national with good Thai language and

adequate Isan dialect skills.

During the Trial of the experiments it was decided to remove the issue of mordants

from the following three experiments. This issue was discussed with UBU chemists who

suggested not to overly complicating the experimental process by using a mordant. However,

the issue of the environmental affects of using mordants still remains and is potentially the

subject for additional research. Mordants also effect change in colour when dyeing which is

another issue requiring additional study. More collaborative research is also required into

preserving dyes made from natural materials that are seasonal in order to extend their use.

Finally, more research is required to investigate the stability of colours, for example, how the

colour responds to sunlight and the effects of long term washing.

Overall, this experimental investigation was successful in producing dye colours based

on three preservation techniques, that is, the sun, oven, and freeze drying techniques. The

resultant dyes production methods were found to be generally effective in transferring fresh

saboo-luead leaf into a dry powder that was suitable for dyeing silk yarn. These techniques

produced colours similar to the control colour (fresh leaf), and the colours ranged slightly in

tone and, moreover, each colour had its own quality of beauty. Effectively, this village-based

experimental work and survey produced a new range of dye colours (based on different dye

140

preparation techniques) and this is considered to be an important finding that contributes

significantly to the traditional colour design values of village textiles in keeping with the

research proposal of this thesis. These findings and conclusions are consistent with research

Proposal 2: this follows since the resultant dyes from the preservation techniques increase the

potential for the development and application of natural dyes as a feasible and continuing

resource at the village level (recall the research arguments supporting this proposal in Chapter

5.3.2: Conclusions and Discussions).


Findings of Survey 2 Part 2 Experimental Program: Analysis of Field


Survey 2 Part 2 was a straightforward exercise designed to elicit the weaver’s opinions

of the colours derived from the three preservation techniques used to prepare the natural

weavers called saboo-luead in Thai. The results of the survey have been discussed in Chapter

5.4.1.2: Survey 2 Part 2 Questions Part 2 - Main Findings from the Individual Questions.

These are analysed further in Chapter 6.5.6: Survey 2: Experimental Program - Results of

Survey 2 Part 2 Experimental Program: Analysis of Field Survey of Weavers Opinions, also

see Appendix 5.4A: SPSS Analysis.

A most important finding is the level of acceptance by the villagers of the colour

derived from the Sun-dry preservation technique. In responses to most of the survey

questions, the Sun dry colour was at least as popular as the colour derived from Fresh leaf, and

in some questions it was more so (see Appendix 5.4A: SPSS Analysis). It is important to

remember that the colour derived from Fresh leaf is the colour that is produced using the

traditional technique for preparing a dye colour from natural material (saboo-luead). This

finding is important because the Sun-dry method is simple and uncomplicated; it requires very

little equipment and the technique is easily adapted to village textile production. This survey

is consistent in a positive sense with all three research proposals as it validates the notion of

preserving and developing dye colours made from natural materials (see Chapter 3.2: Revue of

research proposals in light of literature search findings).

141

7.3 Review of Findings in Relation to Original Aims

This review is based on the research proposals first tabled in Chapter 3.2: Revue of

research proposals in light of the findings of the literature search. This review allows

comment on the two main research objectives: firstly, to investigate whether product design

knowledge and skills can affect positive change at a village level and, secondly, to evaluate the

Integrated Design and Development Framework (IDDF) model for village production (in

relation to the objectives supporting the development and application of the model). The

research proposals are also discussed in terms of the main findings from the research in (this)

Chapter 7.2: Findings and Conclusions: Field Research Findings.

7.3.1 Proposal 1. Applying and conserving traditional methods of dying textiles

is a valued process basic to the design and production of textile products at

the village level.

This proposal is confirmed on the basis of data that emerged from the ten village

interviews described in Survey 1 Part 1. These data clearly identified the importance weavers

place on traditional textile production processes, especially as they are distinctive and

consistent with Isan cultural values. It is known that traditional textiles are very marketable,

especially high quality Isan silk textiles. Colour in traditional textiles is based on dyes made

from natural materials and, mindful of the increasing negative impact of chemical dyes, it was

considered that there was an urgent need for research into methods of preparing dyes made

from natural material found in regions of abundance. The conclusions from this survey have

been discussed in Chapter 5.2.3: Survey1: Conclusions and Research directions.

7.3.2 Proposal 2: Development and application of natural dyes, as part of the

textile design process, is a feasible and continuing resource at the village

level

Three methods of preserving natural materials were found to produce dye colours that

were very similar to the colours resulting from the use of traditional methods. These colours

142

were evaluated by village weavers who rated one preservation technique very highly; this

preservation technique produced a colour that is similar to that obtained from the traditional

method and is feasible for village production. The preserved natural material from this

technique could potentially provide an alternative and quality enhanced trading product for

villages with abundant natural materials. There were important additional benefits gained

from the natural material preservation experiments such the range of new and softer (lighter)

colours. Importantly, the design process directing the experimental phase effectively

developed a technique for dye production that could be tested on a range of natural materials

The conclusions from this survey have been discussed in Chapter 5.4.1.2: Survey 2 Part 2

Questions Part 2 - Main Findings from the Individual Questions and Chapter 5.3.2:

Conclusions and Discussions

7.3.3 Proposal 3: The design process employed in the development of textiles

based on natural dyes is a beneficial process in terms Occupational Health

and Safety (OHS).

Colour dyes made from natural materials are much safer to use than chemical dyes.

Chemical dyes are easy to buy and use but they are affecting the traditional character of

textiles and threatening the health and safety of village workers and their environment. The

OHS issue of chemical dyes is significant due to the way chemical dyes are found to be used

and discarded after use. This issue has had a major influence on the direction of the research

because it impacted on village health and safety, and on the quality of the textiles dyed with

chemical.

It is found that the design process can act as an important framework related directly to

research methods because it has similar characteristics and objectives, and is therefore

deployable to product design research. This has led to the development of the IDDF model

which has been the primary research framework for this research. In the Evaluation and

Refinement phase of the IDDF model, preservation techniques for natural materials have been

used to produce dyes consistent (and even enhanced by comparison) with the colours of

traditional dyeing methods. Given reasonable precautions, these dyes are safe to use and do

not harm the environment and, importantly, they are made from materials that are familiar to

143

village weavers. These findings have been discussed in more detail in Chapter 6.3:

Theoretical Development and Constructs - The Integrated Design and Development

Framework (IDDF) model.

7.4 Recommendations for Future Research

The research documented in this thesis has resulted, as a significant part, in the

formulation of a new range of dye colours—produced by the different dye preparation

techniques—for the design and production of silk textiles. Therefore, this colour design

research supports the proposition that natural materials can be preserved and used as dyes to

produce the traditional colours that are so famous and valued in NE Thailand and elsewhere.

However, additional research activities appear required to further establish the viability of this

finding in the long term. For example, additional experiments are required to test the

following:

7.4.1 The longevity of the preserved dyes: although dried natural materials have the

potential to be stored for long periods of time this needs to be tested over a longer period of

time than that employed in this investigation.

7.4.2 As noted, both natural and commercially available mordants were purposely

not included in the experiments. Testing of mordants requires additional and separate research

because different mordants used to prepare dyes made from the preserved natural material

described in this study are expected to increase the number and variety of new colours

accessible to village weavers.

7.4.3 The market standards for cloth production were not tested; for example,

rubbing fastness, washing fastness and the effect of exposure to light or light fastness. More

studies are required in this area.

7.4.4 More collaborative research is required, especially village-based field work

involving village production and product design research. For instance, village production

includes the design, making and selling of products made from silver, ceramic, cane and

timber, and many include prepared food products that require specific forms of packaging

design.

144

7.4.5 Further studies are required in testing the deployability of the IDDF model as a

research framework in various product design and development contexts (see above) as well as

other locations involving rural village production.

7.4.6 Research is required to investigate the potential of developing preserved natural

materials to become a trading commodity for those villages with abundant materials.

7.4.7 Additional research is required into using the preservation methods identified in

this thesis for preserving other natural organic materials used for colour dyes such as flowers,

fruits and the bark from different plants.

7.4.8 Colours obtained from introducing preserved natural materials should be

evaluated in terms of weaver interest.

7.4.9 Research is required into building a directory of natural material availability,

that is, landscape mapping the region in order to identify areas with abundant natural materials

or rare types of natural material.

7.4.10 On-going research and monitoring of issues facing village production is

appropriate, for example, monitoring issues concerned with the environment, occupational

health and safety and the minimization of chemical pollution associated with village

production.

145

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Appendix 2.3.1 Traditional Village Textile Technology

The following notes have been taken from literature reviews on books and internet

sources. The notes are intended as support material that may help in understanding the

often complex subject of weaving Thai silk textile. The contents are as follows:

1. Silk Process

2. Isan Thai Clothes

2.1 Female Costume

2.2 Male Costume

3. Patterns

4. Weaving Techniques

4.1 Pha Yok Dok

4.2 Pha Khit

4.3 Pha Chok

4.4 Pha Phrae Wah

4.5 Pha Mud Mee

5. Natural Dyes

5.1 A short history of natural dyes

5.2 Natural dyes of the Isan

5.3 The discovery of chemical dyes

5.4 Natural dye process

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1. Silk Process(Pa-sook, S. (2002). Handwoven Textiles. Bangkok: Odian Store Publishing.)

In early village settlements silk moths were gathered from wild mulberry trees and bred

seasonally. Today many women in northeast Thailand cultivate mulberry trees in their

home gardens and keep regular breeding stocks of silk worms. The mulberry takes two to

three years to establish and the young trees are pruned and fertilized before the monsoon

season when growth is rapid. The silk worm which is indigenous to Thailand is Bombyx

mori Linnaeus: the cocoons are a golden yellow and produce thread with a rich slub and

sheen which gave Thai silk its unique appearance and texture.

The time for breeding silkworms is when the monsoon rains bring new leaf growth to the

mulberry trees and women have free time after helping the men rice crop. Initial stock is

obtained by barter from those who have bred silkworms out of season: this can provide

an important source of income for poor families. In the first cycle the moths about nine

are allowed to hatch, and males and females are placed together on rattan trays and left

covered with a cotton cloth. Around seven days after breeding each female lays 250-300

eggs which hatch about nine days later into tiny caterpillars, referred to as silkworms.

The worms are laid on circular rattan trays lined with paper, and feeding begins three

days after hatching. The worms are fed three times a day on finely chopped mulberry

leaves which women gather fresh from their gardens or from plots on the outskirts of the

villages. When mulberry leaves are gathered from a distant plot, they are wrapped in

banana leaves to protect them from shriveling in the hot sun. If a woman does not own

enough mulberry trees to feed her silkworms, she may barter rice for an extra supply of

leaves.

It takes about thirty days to raise a batch of silkworms, and as they grow the number of

feeds is sometimes increased to four tines a day. This is done to make the worms grow

faster, but many women with busy households just do not have the time for fourth feed.

When the worms are ready to spin cocoons they stop eating and develop a transparent

look, which the women describe as ripe.

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At this stage they are moved to large, circular, compartmentalized trays, called jaw,

which are about 5 ft (1.5 m) in diameter. The ripe worms attach themselves to the wall of

a compartment by secreting a small droplet of gum, first the preliminary web, called

floss, is spun, and is forms the foundation for the main filament. The whole process takes

two to three days. When spinning stops, the cocoons are removed from the jaw and stored

in a basket covered with a cloth to prevent insect infestation. The cocoons must be reeled

within ten days or the moths hatch and damage the silk filaments. Any cocoons which are

damaged or infested are rejected before reeling begins, and some healthy cocoons are

held back and allowed to hatch into moths to continue the breeding cycle.

When there is a good supply of cocoons ready for reeling, a small charcoal or wood fire

is prepared. Some women prefer a log fire because they say it is easier to control the heat.

A clay pot or metal cauldron of water containing silk cocoons is placed over the fire and

the water temperature kept just below the boiling point. Hot water releases the silk

filaments which are drawn up to a forked bamboos batten from between ten and twenty

cocoons at a time and twisted to form a single silk strand. The strand then passes over the

conducting reel and on to a bamboo spool or is reeled into a basket. An experienced silk

reeler can tell if the denier alters by the feel of the thread as it passes through her fingers.

It the denier feels thinner she will automatically attach additional filaments. Hand-reeled

silk is rounded in texture and has a distinctive sheen which is important to the character

of Thai silk. The roundness and regularity of the ply assure that the silk will dye on an

even colour.

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2. Isan Thai Clothes

(http://sunsite.au.ac.th (2007) Isan Thai Clothes by Songsak Prangwatthanakun and

Patricia Cheesman Naenna)

2.1 Female Costume

The customary dress of women in Isan was a tube skirt called a Pha Sin. The upper area

of Isan made cotton ikat in indigo and white for daily wear. For ceremonial use, detailed

hem pieces in additional weft called Chok were added to indigenous cotton or silk

textiles. The upper Isan women wore the tube skirt at calf length as their looms were

narrow and this was the Lao style of their ancestor.

The tube skirts for Phutai women in central Isan were made in silk ikat on narrow looms

with the ikat patterns in the main body of Pha Sin spaced with two to four sheds of plain

yarns giving the design a striped, open effect in multi-colours. The everyday tube skirt s

of Phutai are the same as the upper Isan Lao, made in cotton ikats dyed in indigo with

white patterns and using a similar hem piece and waistband.

The lower Isan ‘pha sin’ style seen in Ubon Ratchathani is similar to the central Isan style

mentioned, but extraordinary pha sin style called ‘sin long’, were also woven in old or

silver yarns in vertical stripes alternating with silk ikat. For the high ranking women, a

pha sin was made in Indian style ‘yiarabab’ which was supplementary motifs, such as

diamonds openly spaced on plain silk.

The textiles of lower Isan are Khmer in style. A traditional cloth for both men and

women is the ‘pha chongraben’ which is a long cloth made in ikat or plain silk. The style

of wearing pha chongraben was considered old fashioned and discouraged in Thailand

after the second World War. The classic ikat design today is called ‘mi hol’, is a delicate

silk striped woven for ceremonial and everyday use (lower quality). The other interesting

design made by the Khmer weavers for a women’s tube skirt is ‘am prom’. Weavers in

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many villages such as Ban Khawao in Surin still use natural pigments to dye silk threads

spun from horn reared cocoons.

Blouses were not worn traditionally by the Isan people (except the Phutai), but were

introduced at the turn of 20th century. Instead of blouses, the Lao and Khmer women

wore a shoulder cloth wrap around their breast. They wore plain indigo or white cotton

for everyday use and a decorative cloth for a formal wear. These cloths are called ‘pha

biang’ and today are worn over blouses as a loose shoulder cloth.

The classic style of upper and central Isan was a red cloth made in cotton or silk using

extra weft geometric designs in bands. The Phutai, alternatively, have mentioned their

weaving of their shoulder cloths called ‘pha phrae wa’, meaning of one was length (1 wa

= 2 meters). Pha phrae wa’ is worn crossed over the breast with one end over one

shoulder and they are shorter than pha biang of the Lao. The lower Isan people’s shoulder

cloth is white or cream coloured silk made in diamond twill.

2.2 Male Costume

Isan men always tend to dress similarly all over the entire region. For working, a

loincloth or ‘pha khao ma’ made from plain or checked cotton was worn without a shirt.

For ceremonial and upper class men wear the Indian influenced ‘sa-rong’ and ‘pha

chongkraben’ were worn with a white round-necked shirt or no shirt, as was the fashion

prior to the era of King Rama V.

‘Sua mo hom’ or plain indigo short-sleeved shirts wearing with trouser made with a low

seat and a large waist that tuck in, became pattern working clothes early this century

through the influence of Chinese merchant. This has become the customary working

man’s outfit for all events today.

Shoulder cloths were conventional to all parts of the northeast. In the past, the central

Isan men in the past would wear the ‘pha hom lai khit’ of the woman’s style, principally

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for dancing. At ceremonies, the unmarried Phutai men sometimes wore more than one of

the women’s ‘pha prae wa’ to show off that they had more than one loved one. The upper

Isan silk shoulder cloths made in check and plaids were used for ceremonies, while the

cotton ‘pha khao ma’ was used as general purposes cloths. At the same time, the Khmer

men in lower Isan also used silk checker cloths for shoulder cloths, worn without as shirt.

Since the modernization of Thai dress, the western style have been rapidly approved by

men for working, official and ceremonial wear, reflecting the fashion of time which is

quickly effectual due to modern infrastructure. Costumes that appear in the stone carving

of the Dvaravadi period are of deities and characters from the Buddha lives story who are

dressed in Indian styles.

3. Patterns

(Conway, S. (2001). Thai Textiles. London: The British Museum Press.)

North-east Thailand is famous for the quality of its silk and the skills of the weavers. Silk

was supplied to the regional courts of Nan and Chiang Mai and also to Bangkok. Today

this tradition continues: silk brocaded with gold and silver thread and silk patterns with

mudmee are commissioned from specialist weaver and worn by wealthy women in

Thailand and abroad.

On the Korat plateau the weavers are famous for the silk mudmee they produce in a great

variety of patterns and colours. Derived from nature including stylish flowers, trees, fruit,

animals and birds, these complex patterns are interspersed with squares, triangles, circles,

zigzags and stripes.

Mudmee patterns are given descriptive names by the weavers, mostly flowers, plants,

trees and animals. Some are named after the village or district where they are woven. The

following list of patterns was collected in the village of north-east Thailand;

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Cobra, king of snakes, trees, birds, serpent, weeds, white flower, rocket, melon seed,

diamonds, waves, water melon, turtle, cones, stripes, hooks, squid, spider, dragon,

bamboo, lions, butterflies, elephants, rice, water hyacinth

4. Weaving Techniques

(Pa-sook, S. (2002). Handwoven Textiles. Bangkok: Odian Store Publishing.)

4.1 Pha Yok Dok

Pha Yok Dok (Brocade) refers to patterns made in the weave itself without the addition

of supplementary yarns, but to create design by the heddles (kra-suay?) or shed sticks.

Difference Yok Dok patterns can be separated by the amount of heddles or shed sticks.

We can separate weaving techniques for Pha Yok Dok in 3 styles.

4.1.1 Pha Yieb

This technique can use additional heddle about 3-4 heddles, and the patterns will be made

by fort. These patterns include a variety of twill; herring bone weave and basket weave.

These patterns are used and weave by all Thai people in the Northern (Chiang Mai),

North-eastern (Surin), and Southern (Songkla) of Thailand. Mainly in the weaving for

blanket, where by the resulting thicker fabric is used advantage. In Surin, we can see the

weaving by use 4-8 heddles for design the pattern which the weave the pattern of a

Diamond, Dok Pikul, Ratchawat and Laberg. 8 heddles can make Look Kaew pattern.

4.1.2 Pha Yok

Pha Yok Nakorn – Southern Thailand (Nokorn Sri Thammarat)

Pha Yok Phum Rieng – Southern Thailand (Surat Thani)

Pha Baan Na Meun Sri – Southern Thailand (Nokorn Sri Thammarat)

Pha Yok Lumpoon – Northern Thailand (Lumpoon)

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4.1.3 Muk

Muk is the technique which uses a supplementary warp yarn to design the pattern of

fabric. The pattern created by a supplementary warp is controlled by the heddles. In

Thailand, Muk has woven only in Hat Sieo, Sukhothai (Northern area). Tai Lue in

Phayao and Ratchaburi use khit technique but they call Muk pattern. So, this technique is

easily confused with khit.

4.2 Pha Khit

This is a technique of continuous supplementary weft whereby the pattern has been

throughout and put into the warp by means of shed sticks or a system of string heddles

extra to the heddles used for plain weave. The use of heddles for supplementary weft

pattern is a labour saving device which has result in the simplification of design,

previously pick out by hand and limitless in combination, the design now being restricted

to a number and order of heddles.

Today, two systems of the heddles exist in the weaving technique of the Tai. One using

the shed sticks place into the warp and set the weft throughout the warp which we can see

in the various are which cannot be developed technique for weaving such Chainart,

Chaing mai, and Surin province.

The other system of using heddles is seen mostly in the Northeast of Thailand where a

system of vertical heddles are used, placing sticks into the string of the heddles in the

same way that they were placed in the warp in the past, but in this case they can be stored

and the pattern repeated indefinitely. During weaving the shed sticks are used in a certain

order and then placed in the lower part of the heddle that hangs below the warp. The

pattern is repeated in the reverse order by bringing each stick to the upper part of the

heddle in turn. This system allows the production of quite complex designs, but two

assistants are required by the weaver to operate the shed sticks.

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Pha Khit cloth has traditionally been used for a variety of domestic and religious

purposes such as cushion, tubeskirts mattress cover, which we called Pha poo thin awn,

Pha beang shawl and the others. The weaver can use different material for different

purpose such as pillow, cushion, mattress cover maybe use cotton; tubeskirts, shawl and

other maybe use silk.

There are many patterns of Pha Khit design; diamond, khit ma (horse, khit chang

(elephant), khit nak ( ), khit dok kaew (flower), khit mang moom (spider), etc.

4.3 Pha Chok

Chok is Lao language means pick out. This is a term referring to a discontinuous

supplementary weft yarns in the warps by using a stick, porcupine quill or the finger to

pick out certain yarns into which a special supplementary weft yarn in threaded while still

on the loom. Chick weaving can be classified in groups.

1. Tai Yuan or Tai Nuea – Ratch buri, Chianf mai, Phrae

2. Tai Phuan – Sukhothai

3. Tai Kang – Supanburi, Uthaitani, Chainart, Phichit

4. Phu Tai – Kalsin, Sakon Nakorn, Mukdaharn (*Isan)

Chok weaving is different in technique. Some group use the front of the fabric facing up

such as Tai Phuan, but in many groups which including Phu Tai from Ban Pone, Kalsin

uses the back of the fabric facing up.

4.4 Pha Phrae Wah

Phrae mean silk. Wah mean two metre. Pha Phrae Wah is the cultural heritage of Phu-

Thai people in Kalasin, Sukolnakorn and Mukdahan province (in Northeast Thailand).

The women weave fine silk Pha Beang ceremonial shawls called Pha Phrae Wah, with

traditional Lao supplementary weft designs consisting of floral motif set with in

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diamonds and parallel band on a red ground. The difference coloured supplementary

wefts are laid is by hand. Pha Phrae Wah was made and used by Phu-Thai people. The

technique of weaving is Khit except in Bann pone, Kam-muang district, Kalasin province

which weaving by supplementary weft in the same technique of Chok.

4.5 Pha Mud Mee

This is a technique better known by the Indonesian word Ikat means the pattern occur in

the fabric after tie and dye. This technique is most extensively used by the tai-Lao of the

central Mae Khong River basin and is made principally in cotton using indigo dye and in

silk in the Pakse region and the lower Korat plateau, which we can see in Khon Kaen,

Surin, Burirum, Srisaket, Ubon, and Yasothon. Especially in Surin, Burirum, Srisaket,

silk mud mee fabric display much Khmer influence both in their design and weaving

technique, which includes the use of Khmer-style looms, and a twill weave.

We can separate tie and dye technique in 3 kinds

1. Tie and dye the weft yarn (general Thailand)

2. Tie and dye the warp yarn (Lava, Karen, TaiLue minority groups)

3. Tie and dye both the weft and warp yarn (*Pha Umprom from Surin, Isan)

Northeast (Isan) Mud Mee:

Today, apart from indigo, most dyes are derived from chemicals. The majority of

mudmee motifs are strongly geometric, being based on a variety of line, wave, hook, and

rhomb patterns ingeniously arranged and combined to create an almost unlimited

repertoire of designs.

Specific names for motif owe their inspiration to the natural environment and may vary

from place to place for an identical motif, which makes classification of design diificult.

The simplest mudemee design is where old threads of the weft is mee sai fon or falling

rain. The weft and warp thread tie and dye (double ikat) referred as um-prom, a small

plaid patterns from Surin area. A very basic design in Thai mudmee is a small diamond

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shaped pattern called mee-kome which involves the tying of groups of five or seven

threads to create patterns.

5. Natural Dyes

5.1 A short history of natural dyes

(Moeyes, M. (1993). Natural Dyeing in Thailand, White Lotus Bangkok.)

Natural dyes have been used as a means to colour textiles for centuries. All dyes were,

until the latter half of the 19th century, made of different parts of plants and animals. For

thousands of years, people all over the world followed the same basic techniques: using

roots, stems leaves, bark, hardwoods, berries and flowers of various dye plants and trees,

as well as dyes from certain insects and shell fish. Most natural dyes are non-substantive

dyes, which mean that they have very little colouring power within themselves and

require the aid of mordants to penetrate the yarn.

The recipes for making the various colours were rarely recorded, but were passed down

verbally from mother to daughter or sometime from father to son. In fact, dyers were

often secretive about the way they made a special colour in order to keep the recipe

within the family or within the village.

Natural dye colours often vary even if the same dyestuff is being used. If you look at the

work created by craftspeople in the same village, you will see differences in shadings and

patterns. These variations are caused by differences in picking time, weather and water,

and more important, by the individual dyer’s originality and self-expression.

For these reasons naturally dyed cloth will always be unique. Natural dyeing is an

individual art that has to be learned by trial and error, and the results of recipes will

always vary somewhat. But as long as you carefully record what you do, you will be able

to reproduce closely the same colours and shades that reflect the unique of naturally dyed

cloth.

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5.2 Natural dyes of the Isan


The period November to May is hot and dry with little rain, when the northeast or Isan

becomes almost like a desert. This drought is often a problem for the dyers, because once

you have dyed your fibres, yarn or cloth, you need to wash and rinse again and again, to

remove the excess dye. If there is no water, this is difficult, or impossible. That is why

people are disappointed when they buy yarn and fibres or cloth and the colours bleed.

Before you do anything with the yarn, fibre or cloth, always wash and rinse them

thoroughly, so you are sure there is no excess dye left in them.

As soon as the rain starts in the northeast, and of course the rest of the country as well,

village people start their rice planting. November and December are the rice harvesting

months. It makes sense that there will be no weaving and dyeing during rice planting or

harvesting times, when everybody is busy in the fields, because that is their livelihood,

their main income.

The village craftswomen use some natural dyestuffs in a very traditional way. Among

these number one is, of course, indigo, but almost as popular and important is Krang, also

called Lac (Coccus Lacci) a red dyestuff used in Thailand, which is comparable to

Cochineal, which is also derived from insects.

5.3 The discovery of chemical dyes


At the end of the 1800s, the discovery of synthetic aniline dyes changed the art of dyeing

world-wide. Aniline is a chemical base that yields many colours but is itself a colourless,

oily, aromatic liquid. It is derived from coal tar and gives harsher and stronger colours

than natural dyes. This was especially the case when they were first introduced. When

natural dyers discovered chemical dyes, they virtually stopped using natural dyes because

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chemicals were faster, cheaper and simplified colours matching. Overall, it was a more

reliable and easier dyeing method.

Due to the decline in the use of natural dyes, many recipes and much of the knowledge of

natural dyeing has disappeared. Today, some village communities might have one very

old member who has some knowledge of natural dyes, while other communities have lost

this knowledge completely.

Mordants:

The word mordant is derived from the Latin mordere, which means to bite. You could

state that any substance applied for the purpose of fixing a colour is a mordant. Mordants

are essential if you want the colour to be accepted by the fibres and to be permanent;

mordants will also enrich and deepen the colour. Some of the mordants can be dangerous.

A mordants is a metallic oxide, which combines with the dye to create an insoluble

sunstance that will coat the fibre. Knowledge of the special way of using the mordant,

and how much to use of a mordant, is one of the secrets of the dyer’s art. Commonly

used mordants; alum, chrome, tin, iron, copper sulphate.

5.4 Natural dye process

(Pa-sook, S. (2002). Handwoven Textiles. Bangkok: Odian Store Publishing.)

Natural Dye is a very complicated and time consuming process, especially the process

control is the weather (the sun). If there is no sun, for example during raining season, the

textile workers would not be able to do natural dye properly. They need enough sun to

dry the silk after the dying process. The result of not receiving enough sun will make the

colour fade from the silk easily, and make the silk looks dull (no shininess). It is also

causing the lack of quality if the silk is not fully dry.

There are many preparation methods before it comes to the dying process, depending on

the type of dying material. These are the following details;

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5.4.1 Krang (lac)

Krang is one of the insects type. They are very small. Some people mentioned krang is

the smallest animal in the world, as we barely see krang with two eyes. Krang like to stay

on the tree. They eat the tree bark such as Kam-poo tree and Sa-mae tree as their food.

After having food, they will pour out on the tree look like wax attaching to those trees.

The textile workers will take those wax to dye the silk and cotton.

Process of Krang dye:

Boiling krang to get primary colour

↓

Smash in krok (Thai container) to get as much colours as possible

↓

Boil the colour with silk yarns

Normally the colour from krang is red and pink, depends on what kind of tree that krang

was stuck to. The well-known tree that the villagers believe krang will get the best colour

is Sa-kae tree, which is sometime called Mai-kam-poo (Cham-cha). The amount of colour

is also depending on the abundance of krang. If the krang has lots of weight, it means this

is the plentiful krang. On the other hand, if the krang has light weight, it will give fewer

colours and no quality, which means no beautiful colour.

From natural condition, krang gives pinker colour than red tone. When the villagers want

to increase reddish tone, they usually add some sour taste leaf such as Ma-kam

(Tamarind), Chong-ko and Mai-muead-air to boil with krang. After that, they have to dye

the silk with colour from krang for 3-4 times as a minimum, especially if they need a

strong reddish colour.

5.4.2 Kaen-mai (core of the tree)

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There are many kind of tree that people use their core to dye the silk. For example (Thai

names); Mai-ke (kae-lae), Mai Pra-doo, Mai Ja-bok, Mai-fang, Mai-kae, Mai Fa-rang

(*Guava), Kee-lek, Ma-kam (*Tamarind), Sa-dao, Pa-yoon, Ka-noon, Sa-mor, Ta-go,

Lam-duan, Hoo-guang, etc.

The processes of using Kaen-mai for colour dyes:

Start with cutting kaen-mai into little pieces and boil them with water to get the colours.

Then smash kaen-mai after boiling into very little pieces and boil them again. Do it over

and over again until the kan-mai little pieces almost disappear and became colour liquid,

and then using the colour to dye with silk yarns. It takes quite a long time for these

processes to be done. Sometime it takes 7-10 days until the textile workers get the silk

with satisfy colour.

5.4.3 Kram (indigo)

Kram is the kind of tree that has its size about the chilli tree size. The villager use kram

leaf for colour dyes. Before the dyes process, the textile workers will smash the leaf and

then bring the leaf to boil until it come out to powder and become pieces later when they

are dry enough. After that, the textile workers will use these pieces from kram for silk

dyes. Normally the dyes process from kram need the sun. If there is a raining day or not

so sunny day, the kram dyes process could not be completed.

5.4.4 Tree bark or leaf

There are large numbers of tree that can give colour by using their part of bark or leaf.

For example; banana leaf, coconut bark, mangosteen bark, raw ma-toom bark, tub-tim

bark, and so on. Usually the textile workers have to bring the tree bark or leaf to soak in a

long period of time (could be up to a month) until the colour from tree bark or leaf come

out in the most exact colour. After the village workers get their satisfy colours, they will

take the colour from soaking process to boil up to the boiling point. And after that, they

will start to dye the silk with that colour from the boil.

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5.4.5 Fruit or seed

There are also many kind of tree that part of them such as fruits (berries) or seeds can be

used for natural dyes. The processes of using tree fruit or seed for natural dyes are similar

to the processes of using tree bark or leaf for dying colours.

5.4.6 Red colour dye

- Rak Yor (Yor root)

- Dok Khamfoy (Khamfoy Flower)

5.4.7 Black colour dye

- Louk Krajai (Krajai berries)

- Louk Magluer (Magluer berries)

- Pluerk Samor (Samor bark)

5.4.8 Dark-brown colour dye

- Pluerk Mai Koang-kang (Koang-kang bark)

5.4.9 Purple colour dye

- Louk Wa (Wa berries)

- Pluerk Pradoo (Pradoo bark) : result Pinkish Purple

5.4.10 Yellow colour dye

- Kann Khae (Khae core)

- Kann Kanoon (Kanoon core)

- Pluerk Kamin-chan (Kamin-chan bark)

- Rakk Ton Sa-gue (Sa-gue root)

5.4.11 Orange colour dye

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- Med Satee (Satee seed) : can also result the Red (as the birds’ blood)

- Kann Fang (Fang core) : result Orange Red

5.4.12 Green colour dye

- Bai Hoo-guang (Hoo-guang leaf)

- Pluerk Marid-mai (Marid-mai bark)

- Rakk Ta-lang (Ta-lang root) : result Light Green (as the young banana leaf)

- Bai Khee-lek (Khee-lek leaf) : result Light Green

- Pluerk Mamuang-pa (Jungle Mango tree bark) : result Brownish Green

5.4.13 Brownish Green colour dye

- Pluerk E-ga and Kann Kanoon (E-ga bark and Kanoon core)

5.4.14 Pink colour dye

- Mahakarn and Fang tree

- Pluerk Noon (Noon bark)

- Pluerk Mayon (Mayom bark) : result Nude Pink

5.4.15 Grey colour dye

- Pluerk Wa (Wa bark) : result Yellowish Grey

5.4.16 Silver colour dye

- Pluerk Maprao-onn (Young coconut tree bark) : result Silver-White

5.4.17 Mixing Colours Dye

Because of the colour dyes from tree could not always make all colours on demands, such

as green, grey, dark blue, etc. Therefore mixing the main colours together on the dyes

process is reasonably important. There is an example, if we need green colour, we have to

dye yellow first and then dye indigo afterwards to get the green result.

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These are examples from the writer’s investigation on the mixing colours dye in

Thailand;

1. Kanoon core + Kram (indigo) = Blackish Grey

2. Pradoo bark + Kram = Light Green

3. Samor leaf + Kram = Dark Green

4. Jungle Ngew + Kram = Navy Blue

5. Samor leaf + Fang core = Dark Brown

6. Samor leaf + Krang (lac) = Brown

7. Kanoon core + Mayom core = Burnt Brown

8. Fang core + Kram = Purple

9. Fang core + Krang = Purple

10. Jungle Yor + Krang = Purple

11. Kanoon core + Hoo-guang leaf = Light Green

12. Mayom core + Sone leaf = Light Green

13. Kanoon core + Katonn bark = Yellowish Nude

14. Samor bark + Klone (mud) = Blackish Grey

15. Jabok bark + Pradoo bark = Pinkish Brown

16. Jabok bark + young coconut tree bark = Burnt Brown

17. Krang + young coconut tree bark = Tamarind seed colour (Brown)

18. Kanoon core + Pradoo bark = Reddish Brown

19. Krang (lac) + Pradoo bark = Pinkish Brown

20. Kanoon core + Kheelek leaf = Greenish Nude

21. Jabok bark + Nang-kam leaf = Pinkish Grey

22. Kanoon core + Muead-air leaf = Bamboo Green

23. Jabok bark + Ar-rang bark = Brown

24. Samor leaf + Ar-rang leaf = Brownish Yellow

25. Krang + Muead-air leaf = Green

26. Muead-air leaf + metal water = Light Green

27. Young coconut tree bark + metal water = Light Grey

28. Young coconut tree bark + Mud = Dark Grey

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29. Samor leaf + Nang-kam leaf mix Fang core = Reddish Brown

30. Kalaprapreuk leaf + Hoo-guang leaf mix = Forrest Green

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Appendix 4.2: Developing Appropriate Field Survey Research Methods for Village Product Development in North-Eastern Thailand

A conference delivered at the ConnectED Conference on Design Education in Sydney in 2007. The main theme of the conference paper is the process of adapting field research techniques in NE Thailand

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ConnectED 2007 International Conference on Design Education

9 – 12 July 2007, University of New South Wales, Sydney, Australia

Developing Appropriate Field Survey Research Methods for Village Product Development in North-Eastern Thailand

Anasee Pengsaa, Don Carson, Elivio Bonollo

School of Design and Architecture, University of Canberra, ACT, 2601 Australia

ABSTRACT

In terms of comparative development, the ancient Kingdom of Isan in north-east Thailand is still largely a rural economy based on traditional village social life. Production of handmade or handcrafted products still represents a significant percentage of village income and although Isan is rich in gifted crafts men and women, the region confronts issues of declining knowledge in traditional hand skills. This is particularly the case with textile production famous in Thailand and the broader world community for its beauty and intricate design qualities.

There is little or no industrial or product design in the region both in terms of professional activity and educational opportunity. Since 1996, collaboration between the University of Canberra (UC) and Ubon Rajathanee University (UBU) has led to educational initiatives in the development of product design as a means of improving product outcomes in rural village production. Importantly, the collaboration has encountered a need to develop approaches to product design research and development that are appropriate to village production.

This paper reports on adapting field survey techniques from those described in theoretical terms in western research texts. The research indicates that Isan village textile workers represent a demographic with developed cultural sensitivities that are inconsistent with western field survey practice. Methods deployed to obtain village textile production data are described as well as the main findings of the village field surveys. Important issues from the field surveys include the changing demographic of textile workers, Occupational Health and Safety issues facing the mainly aging female textile workers, and the impact of the loss of skill and knowledge on textile production. In conclusion, the potential of applying product design practice as a means of developing and improving village textile production is discussed.

Introduction

Over the past decade the Industrial Design program from University of Canberra (UC) has collaborated with the Faculty of Applied Art and Design, Ubon Rajathanee University (UBU) in developing product design education as a means of improving product outcomes in rural village production. UBU is situated in the north-east or Isan region of Thailand known for the quality of hand crafted products and especially textiles woven from cotton and silk. Although the region’s textiles have a rich and extensive history, the skill and knowledge required in their production is under threat. UBU is a prominent university involved in many aspects of regional development closely linked to Thai Government initiatives to encourage the maintenance and advancement of village production in order to improve village sustainability.

The collaboration has led to the introduction of graduate product design courses with a research focus on increasing the variety, quality and marketability of village products (Carson et al, 2005, p. 2). Often this work confronts the issue of traditional skills and knowledge that have slowly been lost over time. This is particularly the case with textiles as the processes involved in producing the thread and weaving

the cloth are very intricate and require a high level of skill and knowledge traditionally pasted down through the generations as part of village life. Frequently the first task in village research work is the process of identifying, understanding and documenting this knowledge. As a result the survey techniques deployed were adapted to suite the prevailing circumstances; this has especially been the case when incorporating western survey theory.

Research Approach

The objective of course planning was assessing whether product design can affect change at a village level. Implicit in this objective is the need for change that improves in ways that are socially appropriate, constructive and beneficial to the villages. An understanding of the current state of village textile production in conjunction with a means of gathering the required information became a research priority. The process of understanding the opinions and views of village textile workers points towards a constructionist epistemology; this view is supported in the literature which proposes qualitative research methods such as surveys or questionnaires, and interviews employing predetermined questions (Crotty, 1998, p6). Literature on qualitative research within the discipline of product design can be found in studies on usability and user centred design (St Pierre, 2002). There was little information from product design studies discussing issues relevant to our research, however qualitative research is well represented in cross-cultural studies in the social sciences and these texts were found to be invaluable (Babbie, 2002, Punch, 1999).

Field research such as surveys and interviews had the advantage of presenting the researcher with an encompassing and inclusive viewpoint of the primary issues facing village textile workers. Additionally this approach is ‘appropriate to the study of those attitudes and behaviors best understood within their natural setting’(Babbie, 2002, p281). The value of field research is the role options available to the researchers, such as a purely observational role to one where the researcher acts as a participant. However, the experience of trialling different field research techniques quickly indicated that the subject population required flexible and adaptable systems of data gathering.

Clearly the researcher undertaking the study required ethical guidelines to ensure the probity of the study, however it became apparent that the issue of ethical policy would be problematic in a collaborative context. Although ethics policy differed slightly between the two universities, the researcher was enrolled at the UC and she was therefore governed by their guidelines (UC Committee for Ethics in Human Research). UC policy is based on current thinking in Western countries, it is appropriate in an Australian framework although it was found to be cumbersome to field research in north-eastern Thailand. For example, the villagers were distrustful of any formal documentation; they did not understand why a signature was needed or why it was important. In rural village social organization, seniority is very important and it was frequently difficult to gain survey approval if the village head was not available. Villagers preferred an informal collaborative arrangement free from

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official documentation that they did not really understand despite the researcher’s efforts in translating the policy using a familiar language structure.

Even though the primary researcher was a Thai national who spoke Isan dialect, simple issues such as interview equipment made some village workers apprehensive and often equipment could only be deployed after they became familiar with the researcher. Working collaboratively and presenting in an open and friendly manner eventually delivered the kind of welcome and co-operation Isan people are famous for, although in this situation it was clear that formal approaches to obtaining ethical agreement were not appropriate. This finding led the researcher to adapt her approach to field research in a manner more inline with descriptions of Participatory Action Research (PAR) (Babbie, 2002. p294). In order to gain confidence and trust, and a belief in the value of the study, the distinction between the researcher and the subjects had to diminish. Participant action research allowed the researcher to act as a resource, and therefore, she was able to meet the needs of the villagers in a manner consistent with UBU and Thai Government objectives.

The eventual interviewing technique was an informal dialogue between the researcher and villagers and did not follow any predetermined question list or follow any particular order. Interviews were discussions and the themes underpinning the discussion were based on the researchers’ familiarity with questions that would elicit information beneficial to the study objectives. Babbie (2002, p298) describes this informal approach as qualitative field interviewing and it proved to be suitable to the field surveys encountered in this study. Adapting field research to the prevailing operational conditions proved to be a rewarding exercise that provided rich data on the villagers and their working conditions. The data enabled insights into social and environmental concerns that may not have surfaced from a more formal research approach. Importantly this approach is sensitive and inclusive and is certainly deployable to other cross-cultural design research.

Analysis of Field Research

Current interview theory suggests that the analysis of qualitative information, in this case the documentation of the villagers’ verbal responses to the field interviews, follows an iterative process. The initial task is a review of research goals in order to organize the data and focus the analysis. Similar statements, opinions and comments from the interviews are then categorized and the categories labelled in order to identify themes and patterns in the data, especially associations and relationships in the emerging themes and patterns (McNamara, 2000). The primary themes are discussed below.

I. Population

Thirty village textile workers from ten Isan villages were interviewed over a period of six months. Nearly ninety percent of the village textile production workers interviewed in this survey were women, and nearly fifty percent were above the age of fifty-one. Male village textile workers that were interviewed represented thirteen percent of the total population and were aged between forty-five and fort-seven years. Using gerontology classifications, the age of these women is either old (thirty percent between the ages of fifty-one and sixty-nine) or very old (seventeen percent were seventy years old or older). Only ten percent of the population was under forty years and no textile workers were identified who were under the age of thirty. The largest group not represented in the data is young people, especially from mid-teenage years to thirty plus years. Male textile workers across all age classifications are also underrepresented in the population. Textile production was identified as the main occupation of most of the subjects and more than half of subjects nominate textile production as their sole occupation. Clearly, the skill and knowledge required for village textile production resides with an aging female population and unless this situation is addressed it will lead to a significant decline in critical skills and knowledge.

II. Textile Production and Tradition in Isan

The main activity in an Isan village is rice farming and the occupation of the villagers can be described as general agricultural labourers. Textile production is viewed as a good additional occupation, especially as the villagers already have weaving skills handed down from past generations. Previously villagers produced textiles for the benefit of their own living and they did not sell any of their excess product. Workers are aware of their history, they know the story of their villages and are aware of the international recognition for Isan silk textiles; they are especially proud of mud-mee (tie-dyed) silk and the profile mud-mee has with international textile aficionados. More recently villagers have sold leftover cloth in local markets, realising they could make money from weaving especially if they were organised into weaving groups.

During events in the Buddhist calendar, villagers band together in an extended family-village system in order to help each other. They proudly dress in traditional costume when celebrating religious rites such as the water festival or village events such as weddings. Throughout the village interviews many older women were observed wearing traditional clothing while most of the younger generation was observed wearing more westernised clothing. One subject described how in the past villagers grew mulberry trees and farmed silkworms and each household wove silk for their clothes, producing special costumes for formal occasion and ceremonies. Traditionally, villagers believed in the importance of a woman’s skill as a weaver and her social position was enhanced as was her perceived value as a wife and a mother. Nobody was forced to learn how to weave, but girls of around ten years were normally eager to learn. This process of learning was called ‘abb-kuen-kee’ or ‘sneaking a ride’ (to use) the loom. This attitude is quite different from the prevailing view of village women which leans towards social status being associated with educational achievement.

III. Knowledge and Skill Acquisition

As little as a generation ago it was the tradition to pass the skill and knowledge required to produce textiles from generation to generation. There does not appear to be much interested in textile production amongst the next generation of villagers and speculation exits as to why younger villagers are not represented in the population; however no empirical data exits which can explain this phenomenon. There appears to be a general lack of interest in textile production in terms of financial gain, or perhaps younger villagers do not find the activity interesting or rewarding. Interviews with older villagers suggest that they are more closely connected to a time when textile production was an important resource for both cloth and garments. It is clear that both the financial gain from textile production and the interest to maintain the activity is more important to older village women than to any other section of the community.

IV. Organization

The most prominent characteristic of village textile production is families working in a collaborative manner. Typically the husband will do the dying and the wife will weave the cloth although task allocation is not rigid. The degree of participation in textile production varied amongst individual weavers and between different villages. Some subjects claimed weaving as their main occupation. One subject stated that her main occupation was paddy farming for rice production, however this does not occur all year and its duration depends on the impact the rainy season has on the length of the harvest season. In this situation textile production is normally another form of work for village weavers and represents a secondary occupation for the village women during non-farming periods. Some workers undertake the entire textile process including silk preparation and weaving; other subjects have only recently learned the art of weaving a limited number of pieces.

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Often the various tasks are shared and allocation can depends on an individual’s skill and knowledge. Individuals are trained by more experienced workers and their output is constantly evaluated. Tasks are allocated on an age and experience basis, for example younger and less experienced weaver may undertake less complicated patterns than a more experienced one. The impact of textile competitions is significant because regional governments tend to support successful villages. The textiles created for competitions are usually produced by the more prominent weavers who maintained they have a duty to preserve the traditional patterns for the next generation.

V. Government Support

A majority of the village textile workers operate within a co-operative system typically known as the village ‘weaving occupation group’. This structure is currently funded through the Thai Government scheme One Tambon One Product (OTOP). The OTOP program has successfully introduced a form of co-operative organization into village life which is consistent with village social organization and the Governments objective of broadening the trading basis of villages. Many workers have reacted positively to government initiatives and to the benefits of assistance such as educational programs and the establishment of co-operative facilities. The workers interviewed in the course of this survey often expressed their involvement within the context of the village weaving occupation group and proclaimed their position within the organization.

VI. Colour Dying for Silk Yarn

The traditional method of colour-dying in Isan involves the use of colours obtained from natural materials. Dying skills utilize local plants and insects to produce a range of colours and represents an accumulation of ancient knowledge. Natural dyes have become difficult to find and time consuming to prepare compared to chemical colour dyes that are readily available to the villagers. Some villagers consider natural dye colours too light and complain about the difficulties of preparing a desired colour. Other villagers prefer natural dye colour describing how they have their own beauty especially in traditional patterns, and are more permanent or lasting than chemical dyes. However, village textile workers are purchasing an increasing amount of chemical dyes because they are relatively cheap, more convenient to use and produce brighter colours.

Natural dye materials are difficult to find because of the decrease in forests and the impact of rice farming on the landscape. As the supply diminishes, the knowledge of individual materials and how to obtain different colours is also gradually reduced. Villagers are very concerned about the danger of the chemical dying process. They have to wear protection such as gloves, glasses and masks and they must work very carefully. Some villagers voiced their concerns about using chemical dyes as they are harmful to the workers and their environment; one worker stated ‘we don’t have enough good drainage in the village…we throw away the leftover chemicals into the gardens…and they are toxic to the fruit and vegetables’.

Conclusions

From a global view of design education, product design will inevitably confront the issue of adapting a predominantly western educational model for use in a fundamentally different culture. This was certainly the case for the field research techniques described in this study. Analysis of the survey indicates that textile production is diminishing through the loss of skill, knowledge, traditions and interest. Clearly, it is debatable whether product design can revise interest in traditional handcrafts, for example automated weaving could produce traditional patterns but this would be a destructive process of deskilling. Analysis also highlighted a range of concerns that were outside the objectives of the study such as the changing demographic of the population and the level of remuneration relative to their skill base.

Issues within research parameters include; ways of recording and understanding the intricacies of traditional patterns, the process of

dying silk yarn and generating new products from village textiles by value-adding to the main textile production activity. Typically product design input would be directed towards the design and development of new products. However, identifying, designing and producing new products such as hand-bags, scarves and other forms of clothing apparel is an important and ongoing occupation for village workers. This is also the case in the search for unique patterns to be used to identify a particular village or region. Future research calls for investigating socially appropriate, constructive and beneficial ways of maintaining skill and knowledge in village textile production. Research into dying silk yarn from natural materials would appear more beneficial as the move from natural dying to chemical dying is effecting the traditional character of textiles and threatening the health and safety of village workers and their environment.

REFERENCES

Crotty, M. (1998) The Foundations of Social Research, Sydney: Allen and Unwin.

Babbie, E. (2002). The Basics of Social Research, Belmont: Wadsworth Group.

Punch, K. F. (1999). Introduction to Social Research Quantitative & Qualitative Approaches, Sage Publications, London

Committee for Ethics in Human Research, University of Canberra. Retrieved 20 June 2004 fromwww.canberra.edu.au/research/ethics/human).

McNamara, C. (2000). General Guidelines for Conducting Interviews.Retrieved August 25, 2004, from The Management Assistance Program, St. Paul, Minnesota Website http://www.mapnp.org/library/evaluatn/intrview.htm

Blumer, H. (1969). Symbolic Interactionism Perspective and Methods, Prentice Hall, Englewood Cliffs

Sandes, E. (2002). How applied ethnography can improve your NPD research. Visions Magazine. Issue 2

St Pierre, L. (2002). Research and design collaboration. Design and the Social Sciences: Making Connections. J Frascara (ed) Taylor and Francis.

Taylor, Bontoft et al. (2002). p. 175-187. Using video ethnography to inform and inspire user centred design. Pleasure with Products. W. S. Green (ed) Taylor and Francis.

Mair, L. (1984). Anthropology and Development. MacMillan Education. London

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Appendix 4.2.2.1 Informed consent form

The consent form is a requirement of the University of Canberra Ethics Committee. The issue of the form is discussed in Chapter 4.

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Informed Consent Form

Researcher Anasee PengsaaSchool of Design and ArchitectureUniversity of CanberraPh (02) 6201 5471E-mail: [email protected]

Supervisor Professor Livio Bonollo Ph.DProfessor of Industrial DesignUniversity of CanberraPh (02) 6201 5070

Research topic

“An investigation of Isan textile production in north-eastern Thailand with particular reference to the development of design and manufacturing strategies for textile design and production.”

I have read and understood the information provided. I am not aware of any medical condition that would prevent my participation, and agree to participate in this research.

Participant’s name…………………………………………………

Signature

Date / / 2004

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Appendix 4.2.2.2 Participant information Sheet

The Participant information Sheet is a requirement of the University of Canberra Ethics Committee. The issue of the form is discussed in Chapter 4.

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Participate Information Sheet

Researcher Anasee PengsaaSchool of Design and ArchitectureUniversity of CanberraPh (02) 6201 5471E-mail: [email protected]

Supervisor Professor Livio Bonollo Ph.DProfessor of Industrial DesignUniversity of CanberraPh (02) 6201 5070

Research topic“An investigation of Isan textile production in north-eastern Thailand with particular reference to the development of design and manufacturing strategies for textile design and production.”

ObjectiveThe purpose of this research is to develop the appropriate design and manufacture strategies leading to a textile design and manufacturing model to sustainable textile production for increasing the amount of production, quality and profits of the textile design and production in north-eastern Thailand.

Problem statementThe north-eastern region of Thailand, known in ancient times as the Isan Kingdom, has a long and significant history in textile production. Continuous textile production in this region still utilizes production techniques and processes from the Isan period. Textile still has an important role in modern north-eastern Thai culture contributing to the regions economical development.

However, the textile industry still is relatively undeveloped compared to, for example textile production in the Chiang Mai region (northern Thailand). Improved design and manufacture of Isan textile could play an important role in terms of social equity for female and aged workers. The economic benefits of an improved textile industry include intellectual property from improved process and garment design, increased product options for the tourist industry and general Thai export product.

Internationally, the past five years have witnessed extraordinary growth in all areas of design research. National economies are becoming increasingly dependent upon exported product that has been generated from domestically developed intellectual property. This is especially relevant to the industrial development of Thailand where many traditional industries contribute to the general economy. Textile production in north-eastern Thailand could benefit from structured design and manufacturing strategies that have a consumer product design focus and improved textile production outcomes.

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Research participant’s requirementsThe head of villager and other members of village will be required to undertake an individual interview of approximately 20 minutes duration. The topics of interview are mainly about the design and manufacture of textile products, not about personal questions.

These interviews will be conducted according to village protocols with due regard to privacy and cultural issues. These interview data will be supported by photographic and visual evidence as required.

The researcher may be invited to observe the area that is provided for manufacturing textile products, which maybe the part of the villager’s house. But there are no risks, discomforts or hazards anticipated for anyone participating in this research project.

BenefitsNo financial compensation will arise out of participation in the research.

ConfidentialityThe identity of participants will not be disclosed in either the final thesis or following papers or public presentations arising from this research. Participants will be allocated code numbers or pseudonyms so that they will be able to recognise themselves in the work and other readers can follow particular characters in the narrative transcripts.

The researcher will securely store the raw material collected and records of the research. Access to this material and records will be only made available to supervisors and examiners of the research, or other researchers of similar fields, subject to confidentiality undertakings that will protect the identity of the research participants.

As required, all draft material, preliminary transcripts, duplicate records of interview and surveys will be disposed of in a manner that protects the identity of the research participants.

AccuracyResearch participants will be able to read material they have contributed prior to publication. Editing of the subject’s personal record will be permitted at the draft stage and a signed release will be required from each participant prior to the publication of the thesis.

SafeguardsParticipation is voluntary and participants may withdraw at any time without penalty, or avoid answering any question they do not wish to answer. Any enquiries relating to this research project may be made to the supervisor.

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Appendix 4.2.2.3 Cover Letter to Ethics Committee

The Cover Letter to Ethics Committee is a requirement of the University of Canberra Ethics Committee, discussed in Chapter 4.

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School of Design and ArchitectureUniversity of CanberraPh (02) 6201 5471

5 October 2004

Dear Alison Langley,

Thank you for your letter of the 16th of September 2004. I am grateful for the advice received for the Committee for Ethics in Human Research.

Accordingly, I have to develop an Invitation to Participate Sheet, which will be signed by the head of school to explain what my project is about.

I have also attached a Thai translation (by my hand-written) of the document because 90% of Thai villagers do not speak English.

I have also attached a simpler of Participant Information Sheet and a separate Informed Consent Form as you have requested along with the Thai translation of these forms for the reason mentioned above.

The Thai version of these forms will be type in Thailand when I have access to the Thai keyboard.

Kind regards,

Anasee Pengsaa

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Appendix 4.2.2.4 Invitation to Participate

The Invitation to Participate letter is a requirement of the University of Canberra Ethics Committee, discussed in Chapter 4

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Invitation to Participate Sheet

Dear the head of village, name…………………………………………………….

Re: Permission to conduct research

I’m writing to introduce Miss Anasee Pengsaa who is currently a master candidate supervised by Professor Livio Bonollo Ph.D, in the School of Design and Architecture at the University of Canberra. Anasee also graduated a bachelor of Architecture from Khon Kaen University in the Isan region of Thailand.

The title of her research is “an investigation of Isan textile production in north-eastern Thailand with particular reference to the development of design and manufacturing strategies for textile design and production” with the following aims:

1. To survey and analyse Isan textile design and production2. To study international “bench-mark” for Small to Medium Enterprises [SME]3. To develop design and manufacture strategies for SME engaged in textile

design and production

To assist her with the research project, Anasee would like to arrange for at least a half-day visit to your village and an opportunity to interview the villagers that do textile design and production in your village.

This research is to be conducted in accordance with the University of Canberra Ethics Committee guidelines that provide confidentiality and privacy to the research participants. Please indicate if your village also has specific Ethics guidelines that need to be observed.

Anasee anticipates visiting your village during December 2004 to meet with you and your village members to obtain data for her research project. Please advise if this is possible during this time frame or advise when it would suit better.

I would be grateful if you could reply to this letter no later than Friday, the 26th of November 2004 so that arrangements can be finalised in a timely manner. If you have any questions about this research project please contact Anasee Pengsaa directly, [email protected], or ring her on (02) 6201 5471

Should you agree to allow Anasee to visit and conduct his research survey please sign the attached consent form. Consent from the other participants will be obtained separately when required.

Thanking you in anticipation,

Professor Craig Bremner Ph.DHead of School of Design and ArchitectureDivision of Health, Design and ScienceUniversity of CanberraPh (02) 6201 5901

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Appendix 4.2.4.1 Listing of Ten Villages

A sample listing of 10 villages selected for the village interviews undertaken in Survey 1

No. Type of textiles House No. Village’s name Tambon Ampoer Jangwat[District] [Sub-province] [Province]

1 Mad-Mee Silk 11 Nongkongkaew Chonnabot Chonnabot Khon Kaen

2. Mad-Mee Silk 2 Huafai Po-dang Chonnabot Khon Kaen

3. Kabb-Bua Silk 3 Ladsomdee Kussakorn Trakan-puedpol Ubon Rajathanee

4. Khid Cotton 1 Na-ka Na-ka Muang Udorn Thanee

5. Local Silk 2 Mai Muang-pan Bann-pue Udorn Thanee

6. Thai Silk 1 Ta-rua Na-waa Na-waa Nakorn Panom

7. Thai Cotton 1 Noan-jan Noan-jan Bua-lai Nakorn Rajasima

8. Thai Silk 4 Noan-samran Sam-muang See-da Nakorn Rajasima

9. Local Cotton 1 Nong-bua Nong-bua Ta-toom Su Rin

10. Khid Cotton 1 Na-hee Kai-bok-wann Muang Nong Khai

[As translate from the Thai source : www.thaitambon.com/OTOP]

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Appendix 4.2.4.2 List of Subjects Demographic Data

This appendix lists the demographic data for the subjects interviewed in Survey 1.

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1 Demographic Data. Age and gender

1. Ban Pa-aw 2 female Names- 60 years-old female Subject 14- 62 years-old female Subject 15

2. Ban Lao-suea-goke 6 female- 65 years-old female Subject 8- 70 years-old female Subject 9- 75 years-old female Subject 10- 43 years-old female Subject 11- 45 years-old female Subject 12- 75 years-old female Subject 13

3. Ban Chonnabot 2 female 2 male- 47 years-old female Subject 1- 47 years-old male Subject 2- 45 years-old female Subject 3- 46 years-old male Subject 4

4. Ban Pone 5 female- 50 years-old female Subject 17- 46 years-old female Subject 18- 38 years-old female Subject 19- 32 years-old female Subject 20- 70 years-old female Subject 21

5. Ban Wai-luem 1 female- 72 years-old female Subject 31

6. Ban Koot-suay 3 female- 43 years-old female Subject 5- 42 years-old female Subject 6- 68 years-old female Subject 7

7. Ban Sam-ko 2 female- 62 years-old female Subject 22- 65 years-old female Subject 23

8. Ban Ta Sa-wang 5 female 2 maleVillage Group

- 58 years-old female Subject 30Chan So-ma Group

- 45 years-old male Subject 24- 46 years-old female Subject 25- 61 years-old female Subject 26- 55 years-old female Subject 27

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- 48 years-old male Subject 28- 32 years-old female Subject 29

9. Ban Na-k – no data, did not see anyone (during the New Year and harvest season)

10. Ban Pak-thong-chai – no data (during the New Year and harvest season)

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Appendix 4.2.5.1 Interview Questions

This appendix lists the topics for villages open-ended interviews and a list of typical questions used in the village interviews described in Chapter 4.

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Title: An investigation of Isan textile production in north-eastern Thailand with particular reference to the development of design and manufacturing strategies for textile production

Topic for villages open-ended interviews

1. Textile Production2. Textile Quality3. Type of textile use4. Use of pattern & how they make the pattern5. Texture pattern historical & concept6. Material & Machinery7. Marketing8. Problems & Needs

A list of typical questions

1. Who is a textile designer or maker?2. How did they learn about making the product?3. How did they learn about design or using the pattern?4. How to make the product/use the weaving machine?5. How long does it take for making 1 textile product?6. How many % of people do in 1 village, % of total product in 1 village?7. What are different methods of making different patterns?8. What kind of textile/pattern use for different type of purposes?9. What is the concept or historical background of each pattern?10. How do they sale their products?

a. In the village?b. In the local market?c. Middle-person comes to pick up?d. OTOP – Thai government helping?

11. What is the price? Is it appropriate price or want better price?12. What do they think about their own product, happy/unhappy?13. What are the problems they have found so far?14. What do they like to see, need or wish?

a. New machinery?b. Bigger area?c. Better supply?d. More profitable?e. Increase production?f. Improve textile quality?

15. If we have the better weaving machine in the future, would they like to use, or still prefer using the old machine/hand-made?

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Appendix 4.3.1 Experimental Plan

This appendix describes the experimental plan for Survey 2 Part 1 undertaken in 2006 in Ban Pa Aw, Ubon

Experiment Plan 27/11/2006

Experiment Title: Experiment Title: Field experimental program to compare 4

methods of adapting of natural materials to produce colour-dyes for silk dying

undertaken in Pa-aw village in North-eastern Thailand.

Anasee Pengsaa PhD candidate in Environmental Design

School of Design and Architecture

Division of Health, Design and Science

University of Canberra

PhD Thesis Title

An investigation of Isan textiles in North-eastern Thailand with particular reference to

design and manufacturing strategies

Supervisors Panel Prof. Livio Bonollo

Emeritus Professor, University of Canberra

Dr. Don Carson

Head of Industrial Design, University of Canberra

External Supervisors Panel Prof. Viroj Srisuro

Dean of the Faculty of Applied Art and Design,

Ubon Rajathanee University (UBU)

Dr.Janpen Intaraprasert

Dean of Faculty of Science, UBU

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Background and reasons for the experiment

This experiment plan has emerged from research over the past year in the course of

PhD candidate in Environmental Design, UC, commenced in July 2005. A case-study

of Ban Pa-aw, a village selected from Ubon Rajathanee in Isan region of Thailand had

been completed by the end of 2005. Many problems have found on the over-all case

study and have proven to be significant to Isan textile design and production, for

example;

- Lack of textile workers, decrease interests on weaving occupation

- The working place, working system, marketing, new techniques, new design and

packaging need to be developed.

- This village used to be famous on natural silk colour-dye, but now they tend to do

more chemical dye, which can cause more hazards to the villagers and village

environment than go on the natural ways.

However, the most significant point that has been found from the case-study of Ban

Pa-aw has concern about the silk colour-dye processes. The research findings so far

has found some problems with modern techniques such as chemical dyes for new

clothe colours that are increasingly dangerous manufacturing techniques. The former

research has also developed some questions and need to do this experiment to find

some solutions. These are the problems found;

- Why do the villagers prefer chemical colour-dye over natural colour-dye?

o More convenience, takes less time and efforts?o Natural-dyeing processes are too hard and complex o Chemical colours are more various and brighter (popular among the

city ladies –source from the weaver of Ban Pa-aw, Ubon Rajathanee)

- How much do they know about the dangerous of chemical?

o To life: their eyes, nose, and skino To village: eating plants, animalo To environment: waste water, bad soil, bad air pollutiono It might be dangerous to the product (clothes) if we wear them

(No prove yet – but if we get the prove that’s great, as women now concerns more about health)

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- Why some sources cannot dye all year long (every season)?

- Do they have enough sources (plants) in the village?

- What about other places that have no sources?

- Can they do anything on and off the harvest season?

- How can we preserve the traditional natural colour-des techniques if it is not popular

in the village at the moment?

Isan traditional techniques for textile production, for example traditional equipment,

material use, old patterns, and natural dye colours are going to be lost from Isan

textile production because old processes are too complex and slow, especially when

compared to new textile production in industry. That is why this experiment could be

one of the solutions that help some part of culture and environment preservation.

*Attach: the danger of chemical colour-dyed for health and environment from papers

Benefits from the experiment

1. The available material/source of natural colour-dye can be found all year long(Source: have to see if Ban Pa-aw has any plant all year long or some plants for some seasons only)- The result also help the villager ass more value of their product, selling natural

colour-dye in package, or co-operate with the freeze dryer making company.

o Lower costs of material –get the plants for free (if they grow)

- Considering the areas that could help the villagero More marketso New weaving placeo New design

Pattern Colour

Note: The villagers could preserve, modify, or even create new techniques based on the regional textile production methods that are appropriate for current village production.

Aims and Objectives

The primary objectives of the experiment:

• To trial and evaluate the new techniques for village textile manufacture that help to

restore the regional character of natural dye colour and traditional silk weaving.

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• To compare 4 methods of natural-colour dyes on silk yarn from the plant at Pa-aw

village, Ubon Rajathanee, North-eastern Thailand.

1. Fresh leaf dyes

2. Sun dry + dyes

3. Microwave + dyes

4. Freeze Dryer machine + dyes

• To encourage the village textile workers to see the better points of natural methods

(Women constitute the main textile workers, especially in terms of income potential

and exposure to toxic chemicals - from my upgrade proposal)

• To decrease the hazards of chemical for the village and world environment

Scope of the experiment

1. When: Duration of the experiment is 1-2 months (December 2006 – January 2007)

Dr.Janpen suggest: The villager is non-controllable cause; the solutions My experiments have to be adjustable Simple experiment for them to do the trial in 2006 Show them the diagram to explain experiment processes

2. Where: The experiment will be occurred at 2 places for different purposes

2.1 At the village: Ban Pa-aw, Pa-aw, Tambon Pa-aw, Ampoer Muang, Ubon

Rajathanee, Thailand

- Selection of colour (plants)

- Organise the village worker(s)

- Dying processes

- Doing survey papers

- Collecting data (pictures, video, words)

2.2 At the university

- Prepare material and equipment before dying process, including work

with the microwave (+silica gel) and freeze drying machine

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- Putting together and analysing all data from the experiment

3. Who: One or two village textile workers (old ladies) will be hired to help me with

the experimental program, mostly on the dying process. I (probably with a helper

from UBU chemist that Dr. Janpen might find for me) will do a whole experiment

preparation and collecting results from the experiments and evaluate conclusion with

recommendation for the future work.

Picture: Dr. Janpen + Dr. Don Carson

↓

(UBU chemist)

↓

ME

↓

Village workers

4. How: The experimental program framework

4.1 Compare 4 experiments of natural colour-dyes in the same kind of plant

but different methods of preparation before dying

4.2 Select 1 plant from Ban Pa-aw, prepare 12 sets in the same amount (4

methods * 3 experiment times. Note: Dr. Janpen recommend 3 times is appropriate)

4.3 Detailed of these 4 methods;

A. Fresh leaf dying (in Thai called: SOD)

B. Dry leaf in the sun then dye (OB-TAK-DAD)

C. Using microwave + silica gel; similar to the dry-flower then dye (OB-HANG)

D. Freeze Dryer machine – getting the powder then dye (FREEZE-DRYER)

Note: Each method details procedure will be described on my experimental diary

Experiment consideration- After those types of dying process, it is my duty to compare these results

o Duration of dying process

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o Quantity/Amount of material (at first; give equally on every methods then add more if unsuccessful, like could not retrieve the colour )

o Quality of colour that come out To be coloured To be durable

o Complex of the method (hard-easy / take time?)o Expenditureo etc

Experiment Preparation

- Find more information about the plants at Ban pa-aw

- What kind of plants they have within the village?

- What are they? (names, pictures)

- What season they grow maximum/bloom?

- What season they cannot grow?

- What are plants that grow all year long?

- Collect the natural dye sources; such as leaf, bark, skin, fruits, etc.

- Divide each kind of source in 4 group, same amount, same preparation methods,

same conditions

- Observe + write down the amount using on each sources, as they are different (fresh

plant is heaviest, dry plant is medium, dust plant id slightest) then compare if we put

more amount; double, triple on some of each method

- Dye experiment in the same time (or at least same day; different place is ok)

- Do 1-2 kinds of sources to start, then do other 10 kinds altogether in this one month

duration (end-November – end-December)

- Then collect everything (written data + pictures) and analysis later

Experiment details

- The Heat; each plants have different heating, each methods also have different

heating (Fresh-only when boiling, Dry-heat from the sun + boiling, Microwave-heat

from microwave, and Freeze Dryer-in very low temperature because it is only the

suction water from the plant to get the powder)

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- Compare if the result is not very different, that means each methods and be kept in

the same environment and the colour would not be much different

- Compare the duration of keeping with the quality of colour, if they are still the same

that means it is possibly to sell in the package to the market

- We have to control the experiment not to go deep on science/chemical

- Talk to the villager how much they charge for helping my experiment; only colour

dying 4 methods with 10 kind of plants in one month (or more)

- If have a chance or time left; hire the villager to do more weaving (just plain pattern,

take 1-2 days) to compare the finishing products in these 4 methods

- Dying colour by using the fresh material from the source which are plants mostly.

(such as tree bark and leaf) – It is the traditional way of the village natural colour-dye.

So this method I can hire the villager to do easily.

Additional experiment details

- Considering about collecting the material such as tree bark and leaf from Ban Pa-aw,

any type I want for study, and dry them on the sun then hire the villager to do the

dying. Or I can hire them to do everything since the beginning, but I should observe

and collecting those data all the time.

- The Freeze Dryer method, she introduced to me. It will help to take the water from

plant by vacuum; similar to the coffee maker/grinder. She will help me with this new

technique by doing everything in the chemist lab, UBU.

- Another choice; to set few types of material/sources, and then just give the villager

only colour-dying to do. The rest of that I will do everything my own, or with

Dr.Janpen

Appendix 5.3.1.3 Method of Freeze Drying Machine

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Resources

1. Design research methodologies and related product design knowledge from

the Design Research and Development Group, School of Design and

Architecture, University of Canberra (UC)

2. The Faculty of Applied Art and Design, Ubon Rajathanee University (UBU)

will support the North-eastern Thailand research survey component of the

study, with collaboration from

- Dr.Janpen Intaraprasert, Dean of Faculty of Science

- Prof.Dr.Prakob Wirojanagud, the President of UBU

- Asso.Prof.Viroj Srisuro, Dean of the Faculty of Applied Art and Design

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Appendix 4.3.1.1 Linking Village Textile Workers in north-eastern Thailand, Laos and Vietnam by Adapting Field Research Methods in Product Design

This paper was presented in Bangkok at the 10th International Conference on Thai Studies. The paper details the process of adapting western research methods to the circumstances encountered in village field survey research in NE Thailand and Lao. The paper also presented the results of Survey 2 Parts 1 and 2.

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Linking Village Textile Workers in north-eastern Thailand, Laos and Vietnam by Adapting Field Research Methods in Product Design

Ms Anasee PengsaaSchool of Design and Architecture, University of Canberra, ACT, 2601 [email protected]

Dr Don CarsonSchool of Design and Architecture, University of Canberra, ACT, 2601 [email protected]

Dr Kanya JungvimutipanFaculty of Applied Art and Design, University of Ubon Rajathanee, Warinchamrab District,Ubon Ratchathani 34190, [email protected]

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Linking Village Textile Workers in north-eastern Thailand, Laos and Vietnam by Adapting Field Research Methods in Product Design

Context and BackgroundEducational collaboration between the Department of Industrial Design (UC) and Faculty of Applied Art and Design (UBU) has led to the introduction of a graduate program in product design. UBU is situated in the north-east or Isan region of Thailand known for the quality of hand crafted products and especially textiles woven from cotton and silk. Although the region’s textiles have a rich and extensive history, the skill and knowledge required in their production is under threat. This presented UBU the challenge of developing a product design education model responsive to the region and rural village production. Course planners believed that the commercialization of village products could be enhanced deploying product design processes. Subsequent course design, founded on appropriate Western design education methods and practice, has enabled graduates to actively contribute to the strengths of village peoples’ craft design and production methods. (Carson, Bonollo, Wirojanagud, 2007). Course planners evaluated the consequences of imposing a western educational model onto a fundamentally different culture. Despite the best of intentions, insensitive planning can be counterproductive,see for example Amin’s (1990) discussion of the affects of western economic aid programs in Africa in the 1970s. This led to the view that village culture, or an understanding of the prevailing working environment in the village, should guide the development of the educational model wherever possible.

Tai-Laos and Textile ProductionThe transnational nature of the study emerged as a result of the research subjects, the Tai-Laospeople who are a prominent ethnic group in the north-east. They migrated into Thailand from Lao and Tai-Laos in both countries have very similar cultures and customs that is observable in their approach to weaving and pattern construction in textile production. Although the Tai-Laos population is Vietnam is smaller their customs and language are similar to those found in Thailand and Lao. Over time the Tai-Laos have established their own community, culture and lifestyle including the production of high quality artefacts that represent the uniqueness of these people. Textile production emerged as a symbolic craft and is universally recognised as a significant and elegant product from the region. Currently, weavers in the north-eastern region of Thailand confront difficult issues affecting their crafts and to a degree their survival for example, loss of income, diminishing knowledge of weaving, poor quality in textile design and production, and limited marketing opportunity. Although the Thai government has launched a national program for village product development, not all of the village groups in this study had succeeded in improving their products; this lack of progress can directly impact on their quality of life.

Research ApproachThe planning objective was to assess whether product design processes can affect change at a village level in ways that improve village life by being socially appropriate, constructive and beneficial to the textile workers. Village research relies on the opinions of the workers in order to identify and understand the current state of village textile production. In response the course planners adapted western survey theory to produce survey techniques that were acceptable to

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workers. Understanding the opinions of village workers points towards a constructionist epistemology, this in turn calls for qualitative research methods such as surveys or questionnaires, and interviews employing predetermined questions (Crotty, 1998). There was limited information relevant to our research in the product design literature apart from qualitative research used in studies on usability and user-centred design (St Pierre, 2002). However, invaluable qualitative research literature underpins cross-cultural studies in the social sciences and these texts were found to be invaluable (Babbie, 2002).

Field research such as surveys and interviews had the advantage of presenting the researcher with an encompassing and inclusive viewpoint of the primary issues facing village textile workers. Babbie (2002) suggests field surveys and interviews as a method of understanding ‘attitudes and behaviors best understood within their natural setting’ where the researcher’s role is observational and where possible they act as a participant. Researchers eventually adopted an approach inline with descriptions of Participatory Action Research (PAR) which allowed them to gain the confidence and trust of the villagers by encouraging a belief in the value of the study. This resulted in a field survey method of interviews that eventually became an informal dialogue between the researcher and villagers. The interviews provided rich data on the villagers and their working conditions even though the researcher did not follow formal interview procedures such as a predetermined question list. The following case studies demonstrate how an analysis of the concerns of textile workers provided clear directions for future product design and development research.

Case Study 1An analysis of interviews indicates that textile production was based on individual families working in a collaborative manner; often as a secondary occupation for village women during non-farming periods. Village textile production is supported by the Thai Government scheme One Tambon One Product (OTOP) which has introduced a form of co-operative organization that is consistent with existing social organization, and effectively broadens the village’s economic viability. Villagers viewed textile production as a valuable occupation, especially older village women who are connected to a time when these traditions were an important resource of cloth and garments, and who spoke of a determination to conserve village traditions including the enhanced social position of a skilled female weaver in terms of her value as a wife and a mother. Most villagers were aware of their history and the international recognition for their silk textiles. The majority of textile workers were found to be aging females who continue to preserve this important tradition and, significantly, their reducing numbers could lead to a significant decline in critical skills and knowledge (Pengsaa, Carson, Bonollo, 2007).

The issue of natural dyes emerged as a prominent concern as villagers described how natural materials had become difficult to find due to the impact of rice farming on the landscape. They were time consuming to prepare compared to chemical colour dyes, and importantly, a majority of villagers considered chemical dyes dangerous. Therefore research into dying silk yarn from natural materials appeared socially beneficial as the move from natural dyes to chemical dyeswas effecting the traditional character of textiles and threatening the health and safety of village workers and their environment. Following the analysis of the interviews, an experimental program examined three methods of preserving natural materials that were stable, storable and therefore transportable. The preserved natural materials were used to dye silk yarn and the results were evaluated by thirty village weavers. The preservation methods that produced a

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colour similar to the original colour obtained from fresh natural material were clearly preferred by the villagers indicating the value weavers place on traditional colours. This finding is consistent with the interview data, that is, traditional textile production techniques are important to workers and villagers alike.

Case Study 2Case Study 2 deployed PAR field survey techniques in order to understand textile production and the issues facing Tai-Laos weavers in Thailand, and to some extent in Laos and Vietnam. This resulted in an evaluation of production techniques that conserve traditional Tai-Lao skills and processes. The researcher then applied product design and development processes to address themajor issues emanating from the village interview data. Two village weavers in different provinces participated in the experimental research phase, the first weaver was a tie dye weaving specialist and the second weaver provided the supplementary yarn weaving; both weavers used natural dye process derived from their Tai-Laos ancestor. The main issues facing weavers were a loss of confidence in their design and production techniques, reduced interest by younger villagers, personal economic concerns and the increased use of chemical dyes and synthetic yarn. Villagers understood the enormous benefit to the community of traditional processes as they were environmentally friendly and underpinned economic self-reliance.

In Case 2, the researcher examined the possibility of restoring traditional production techniques by applying contemporary design processes such as fashion design as a means of increasing market appeal. Marketing information from the Department of Industry Promotion identified the potential for a larger market niche that could potentially respond to village textile production. This resulted in the introduction of a range of new contemporary textile designs for a younger and more fashion conscious market niche. Extensive evaluation of the level of acceptance of the new garments by young fashion conscious men and women was undertaken. The evaluation suggested that design processes such as deploying fashion design and marketing did appeal to a wider range of potential consumers. Importantly, evaluation also reveals that traditional hand weaving production is relevant and responsive to contemporary design. There is strong marketing potential, including export opportunity for Tai-Laos textiles from the north-eastern region of Thailand and Laos. However, limitations to commercial activity resides in textile quality and design which requires a coordinated approach from relevant Government bodies, the fashion industry sector and the villager textile workers.

ConclusionAlthough most of the research described above occurred in north-eastern Thailand, analysis indicates the potential to restore traditional knowledge and skill through greater co-operation and increased investigation into traditional textile production techniques. In this context product design and development processes have a role in revitalizing village textile production. The study successfully deployed PAR field survey techniques to gain a greater understanding of village textile workers, their practices and their concerns. It is apparent that villages place great importance on tradition in the production of hand-woven textiles. However, they face uncertainties trying to maintain traditional practices which in turn affect village economic viability, social order and environmental safety. Product design processes were deployed to produce natural dyes that are storable and transportable and could become a tradable commodity for those villages endowed with abundant natural material. Importantly, the study indicates that traditional production processes are relevant to contemporary design processes such as fashion

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design. Garments designed for the study had an extensive market appeal as a result of the unique qualities derived from the weaver’s ancient knowledge and skills.

ReferencesCarson, D., Bonollo, E., Wirojanagud, P. (2007) Graduate Design Education in North-East

Thailand - a Case Study. ConnectED 2007 International Conference on Design Education, University of New South Wales; Sydney

Pengsaa, A., Carson, D., Bonollo, E., (2007) Developing Appropriate Field Survey Research Methods for Village Product Development in North-Eastern Thailand. ConnectED 2007 International Conference on Design Education, University of New South Wales; Sydney

Crotty, M. (1998) The Foundations of Social Research, Sydney: Allen and Unwin.Babbie, E. (2002). The Basics of Social Research, Belmont: Wadsworth Group.Punch, K. F. (1999). Introduction to Social Research Quantitative & Qualitative Approaches,

Sage Publications, LondonSt Pierre, L. (2002). Research and design collaboration. Design and the Social Sciences:

Making Connections. J Frascara (ed) Taylor and Francis.Taylor, Bontoft et al. (2002). p. 175-187. Using video ethnography to inform and inspire user

centred design. Pleasure with Products. W. S. Green (ed) Taylor and Francis.Mair, L. (1984). Anthropology and Development. MacMillan Education. London

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Appendix 4.3.1.2 Work Study Ban Pa-aw (2005)

This appendix is transcribed from diary notes taken in a study of how villagers in Ban Pa Aw produce silk textiles. The notes are raw data and have not been modified or edited in any way.

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Diary 14/10/05

Ban Pa-aw (Vilai’s house-VDO)

Place: In the village

- That day we drove to see inside through the village, which is a bit further from the shop. Our aim was meeting with the old weaver –Mrs. Vilai Tong-luan that used to be the deputy president of the weaving group. Since they have changed the group organization this year, they have cut off her duty to be only weaving at home and sometime at the shop just to show customers.

- On the way finding her house, we took VDO of the circumstance and villager’s lifestyle. There were two types of houses we noticed, which are the old wooden house (no fence) and the new concrete house (with fence). But both of types have two storeys Isan style with opening ground floor and have stairs outside to second floor (some of the concrete houses have stairs inside). The main purpose of opening ground floor of the weaver houses is to set up the working area for putting the loom and other weaving equipment. For some houses that stop doing the weaving, they keep that area to be the storage of farmer, fisher, and others of their equipment.

- At the village still have lots of big trees that cause such a nice weather most of the year. It was so quiet and peaceful at Ban Pa-aw, which is only 20 minutes form the city but the environment of those places are totally different.

Weaver: Mrs. Vilai Tong-luan

- When we reach her house, she was relaxing lay down near by her loom. She greets us with the warm feeling Isan oldies style. Her house is a new concrete double-storeys house. She showed us where she put all the weaving equipments, very rare to find such the old wooden equipments like this.

- Her job for today is to prepare the yellow silk yarns for weaving. These yarns have already dyed with natural colour from the Ka-noon tree bark. She has to set the yarns neatly for making require patterns for weaving tomorrow. These processes called ‘Keb-lai’, ‘Sueb-hooke’, and ‘Kon-hooke’ (Isan language).

- She showed us the red and black textile ‘Pha-Tew’ (Sin-tew in Isan language), one kind of traditional Isan textile that very rare to find at the moment. No one weaving this kind anymore, including her – was like the last one of the village that did. (But this textile is very beautiful)

- She told us about the new organization of Ban Pa-aw silk weaving group, “They have changed the administration. They said I’m old, just have a rest and weaving at home. Only come if lots of visitors want to see me with traditional weaving show at the weaving group. But those administrators mostly do not know how to weave the silk, only old ladies like us know.”

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- “If not me and other old ladies, I don’t think anyone will show the weaving process at the weaving group centre”, she said. There are about 4-5 looms to weave at their own houses, then send the finished product to the group later.

- At the moment, they are about to do the silk weaving that has been ordered from British customers. Vilai will give the finished product to the weaving group after they are done the weaving, then the new president of the group will give her money.

- After the current work finish, Vilai is planning to weave Mud-mee silk in Kab-bua (lotus) pattern. She usually tie-dyeing, colour-dying and weaving all by herself, which will take long time. So she sometime hire a person to do tie-dyed when it comes to the complex pattern. “In the very hard pattern, if I do both tie-dyed and weaving, it will never finished”, she said.

- She also showed us her finished chemical tie-dyed colour Mud-mee silk yarns. She had made long time ago but still hasn’t had a time to weave. There are in traditional patterns with multi-colours (*show on Video).

- Normally Vilai has to buy the silk yarns from the group office at cheap price (50 baht per 1 kg.), depends on how long of the ‘Fuem’ (in meters) calculated for a whole textile at that time. After the product finished, she will sell it back to the group and receive cash straight away.

- She said about the advantages of weaving at home, “Weaving at each own houses is good that no wasting time for travelling, like when I finish some households at home then I can start weaving right away. At lunch time I don’t have to walk back home to make some lunch and go back there again”.

- But there are some of disadvantage points for the customers. “The customers could not see when they expect to see us weaving at the group office in the front of the village. They even asked why there is no one weaving here, and how did we get all these products. The new organization had to explain how we work and take them to see at each house, which is more difficult to get through all of us and see how we weave”, she said.

- Vilai is still one of the group committee. The new organization group told her that they have studied how to manage cash and stuffs, so they could be working on the group’s office and shop organization better. But they do not know how to weave like her, so they will let her take care of the weaving part.

- Vilai has very concerns about the next generation. She scared of no one will continue weaving after finish of this generation. She said, “I tried to get the students in this village come to learn the weaving with me, but they seems not so interested, like learn and quit. Only some family are lucky that the young daughter or nieces are willing to learn from their mother or grand-mother”.

Diary 25/10/05Ban Pa-aw (At Vilai’s house)

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The natural colour-dyed- They use the tree’s bark and core for dying natural colour. Those trees are found in the village, and never have the time lacking of tree source as did not use much making the chemical colour in the industry, just a little part of the tree and home making. For example: Kan Ka-noon or Jack fruit tree’s core, they picked the one that too old or died from the worm. Their rule is, not to kill any tree just for doing colour-dyed.

- Lists of the tree names for natural colour-dyed found in Ban Pa-awo Ka-noon (core): yellow colouro Hoo-guang (leaf): light-green colouro Pe-ka (bark): green and creamy white colouro Sa-mor (leaf): green (ki-ma) colouro Pra-doo (bark): red colouro Keng (bark): brownish-red colour o Sak (leaf): brown colouro Kra-dao (bark): silver colour

- Vilai told us that she dyed the colour by herself with no helper. Normally she does one colour at a time and sometimes two colours in the same time (with two pots). She wish she could have a helper, so they can do faster and surely more colours at once.

- The processes of doing natural colour-dyed from collecting sources of colour from the tree in the village, to boiling water and dye colours (leave it dry and dye again and again, if want different tones of colour) took about one full-day.

- There were people from the ministry of education in Ubon province came to the village to take video story of her doing natural colour-dyed last year.

Diary 25/10/05Ban Pa-aw (New organization)

Souvenir shop and office:

- It is noticeable in the different of Ban Pa-aw place from last year and this year.- Inside the new organization group office;o Playing traditional Isan songs, still in the friendly environment o The place looks more interesting and not so quiet like last yearo On video shows all new kinds of products on the glass-shelve and a little of old products (that I’ve seen before).o They have both natural and chemical products in the 50-50 portions.o They added the area of sewing and cutting for making more various kinds of product, such as hand-bag and mini bag key rings.o People from the new organization group look younger than the old organization group (they are around 30-40 years-old).o There were more various kinds of textiles and colourful products.

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o Some of he cotton product were weaved at this village and were sent to cut and sew and other town, called Ampoer Detch-Udom. For example; shirts, skirts, and bags.

Comparative of the new and old organization-place:

NEW OLD

- Look bigger in the same office - Too small and less of products selling- More quantity of products - Has it owns identity of Ban Pa-aw- The price is more expensive but ok - The price was cheap (maybe too cheap)- Sell product from other places too - All product are made within the village- More various kinds, not only textile - Pay more attention with the weaver- Add the cutting and sewing area- Not into weaving area (dead) as much as shop- No identity of the village as too various products

Diary 3/11/05Ban Pa-aw (New organization)

Mrs. Tuen-jai Kaew-wong-sa

- The president of Ban pa-aw bag-sewing group- What they updated now:o The local silk weaving groupo The hand-bag sewing groupo The handicraft co-operation groupo The asterisk (ดอกไมจ้นัท์) and coffin(หีบศพ) making groupo The brass(ทองเหลือง) making group (Mu 5)

- The group is now called “The Kab-bua textile weaving ladies group of Ban Pa-aw Mu 3”o The president of the group name is Tassanee Pol-srio This group are including weaving, sewing and selling products.

- There was another old lady we met before (but did not take an interview). Today she came to look after the shop instead if her daughter. Normally she would do weaving at home, but it is harvest season so she has a break time.

- Product: o The products in the shop mostly are made within Ban Pa-aw. The president will buy silk yarns and sell to other committee to weave the silk following what come in customer order.o Normally they do what the regular customers ordered and what are tends on the market, in case the visitors come and want something in trend.o Other products are from the ‘Connection group’ such as; Detch-udom district, Ubon province Others district, Ubon province Am-nat Cha-roen province

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Yaso-torn province

- Design:o The sewing workers that took the sewing lesson before, design the bag and hand-bag style.o The committee, including weaver and seller, design the textile patterns.o The customers will design what pattern and style they want.o Some customer prefer copy the style from magazine

- The group now have 6 sewing workers: 3 workers are working at this place and other 3 workers are working at their own houses.

- Colour-dyed:o Chemical colour-dye Only some of the regular customers prefer chemical colour, as the colours are brighter and various Mostly dye the colour at this village, but also hard to find people to do, as the villagers scared of the chemical toxic Sometime they buy finished colour-dyed silk yarns to weave

o Natural colour-dye Some of customers ask for natural colour-dyed textile only For some customers that do not like it, they said the natural colour is gradually gone faster than chemical one. The processes of both take equally duration; same boiling water process There are more than 10 kinds of tree in this village that could give natural colour

- Problems:o Design: They still need more of the new textiles designo Place: They need the bigger place for office and souvenir shop. Mrs. Tuen-jai said, “Our place is kind of small at the moment. The group tours often visit here but we do not have enough space for them. That would be great if we had a bigger building.”o Packaging: There are too expensive assets for packaging design and making. The government did some for them but those had already used up, still want more support for this.o Equipment: They are still not having enough waving equipment (such as; Fuem) and material (such as; silk yarns). Some of villagers in this village also make the silk yarns, but still not enough to use. They have to make order and buy from ‘Joon Mai Thai’ company in Petch-cha-boon province (very famous place forselling silk yarns).o Marketing: It is still a little un-organized for the group marketing. “Whoever made the product could get cash for whatever they did. But I think that might be better if we organize the product portions, like put some assets and profits to the group budget and pay the weaver in an appropriate salary or something like that, which I still have no idea yet.”, Mrs. Tuen-jai said

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o At the moment they receive some helps from the ‘Ubon community development group (Government)’ and ‘Omm-sin budget group’, but they still need our help on the new textiles design and production.

Harvest seasonSource of information: Ban Pa-aw 13/7/2006

Harvest time - November, December, January(keaw; thai word)Free time - February, March, AprilSpread time - May, June, July(wann; thai word)Free time - August, September, October

- Most of the lady weavers do the weaving during ‘free time’ period.- Free time1 (February, March, April): they are adjusting the land for another round of harvest, or they will grow other plants during this time.- Free time2 (August, September, October): they are waiting for the rice to grow

- The weaver name Mrs. Sida doesn’t do any rice-harvesting, so she is the most possibly villager who can engage my experiment in late-November this year.- Mrs. Vilai (that I have contacted before) might have to do some harvesting. She could help with something, but I have to confirm with her later.

Interview Mrs. Tuenjai at Ban pa-aw(Before starting the first trial) 6/12/2006

The processes of natural colour dye we will be doing on the trial:

- Prepare the container for 2 kg. of water / 1 kg. of raw silk (4 sets equally)- Boil the water on traditional oven for about 15 minutes, or until they are boiled enough. Control the ember not to strong (they do not use electric oven).- Put 100 g. leafs into each container on 4 ovens, stir it every 5 minutes.- Wait for about 15-20 minutes. Then take all containers down to the floor.- Use the thin white clothes to percolate only (green colour) water from the leaf.- *Have a look if the colours did not come out enough, we can repeat the leaf boiling processes again. (It is barely happened, only sometimes)- Boil the colour-dye water with (white) raw-silk for about 30 minutes.- Take all 4 containers down. Use the wooden stick and plastic ring to stir the silk with colours.- Let them cool down a little bit then wash the colours off until water become really clear.- The left colours on silk will stay like that. Dry it indoor for about half day.

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Her overview about natural colour-dye:

- She said, “I used to do chemical colour-dye for many many times in the past. I didn’t feel good about it because every time I did, I feel my throat, eyes, and skin very dry from the chemical colour-dye vapour.”

- I asked what about other villagers, then she said, “Other textile villagers who did lots of chemical colour-dye likes me are now quit, as we all know it was bad for us. But there are still few of Ban Pa-aw villagers out there are doing it. I’m sure they will quit soon when they have had enough (of bad health).”

- She talked about the silk, “Normally we order the raw-silk from somewhere else such as Kamnan Joon place (famous), as we do not have machinery to make a big amount of silk like that factory. They also have good qualities.”

- When I asked about how they drain/release the toxic water from colour-dying processes, she said, “We don’t have very good water draining process here yet. Basically, we just throw the leftover water to the ground (grass, trees). But if we do big amount dying, we will make the hole for store that water.”

- The thing is, if they throw away the waste water from natural process, is still ok with their environment (some ate benefits to the plants), but with chemical process it will not be good anyway, so we have to figure it out this problem.”

- She finally said, “I want Ban Pa-aw textile workers to bring back doing natural colour-dye again, like when we did in the past generations.”

Interview Mrs. Vichean at Ban pa-aw(On the first trial day) 9/12/2006

Her overview about natural colour-dye at Ban Pa-aw:

- Ban Pa-aw has lots of raw material for natural colour-dye, if compare to any other villages nearby.

- Mrs. Vichean wants have a colour-dye try on some plants that don’t have in this area, only in Northern part of Thailand. For example; Kam-foi and Kam-sad (gives red colour).

- The popular material at Ban Pa-aw including; (kan) Ka-noon (yellow colour) and (animal lac) Krang (red colour).

- The popular textile product from Ban Pa-aw called Kab-bua (lotus) Ubon (the city name).

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- The ingredients of natural colour-dye are flexible, depending on the village worker’s individual experience. But they have to be careful to look after the processes, as the colour can turn out ugly instead of pretty if it stays too long.

- She said, “The natural colour-dye textile is going slower than the market demanding. We cannot do (dye the colour) in a rush, as we want the good quality as well”.

- “That’s why we sometime order the chemical colour-dye from the factory, as it is faster way to make product, plus the colours are all equally from machine-made”, she added.

- In the same time, she knows how bad the chemical colour happened to her before. She felt really dry from her face, skin, eyes, especially throat. She had quitted it for few years. She also said, “Even when we wear clothes made from chemical colour, I still think it’s a little harmful on skin, especially when we sweat. They are stronger if in blue and red colours too”.

- From the previous workshop she did attend, “They told us to use protection equipment such as; gloves and face/mouth cover, for both chemical and natural colour dye. This is hygiene for both health and the silk quality”.

- In this village, they follow this suggestion for chemical colour-dye, but sometime not natural colour-dye. They think it is safer for natural, and the waste water from natural colour-dye can be useful for those plants, and also smells good.

- If chemical colour, they need to dig the hole to drain and discard waste water.

Note: Plants for dyes popular at Ban Pa-aw –showing at the glass shelves- Ton Hoo-guang- Ton Yukaliptas- Bai Kee-lek- Bai Sabuluead (green) *select –tell reason (recommend by Pa-Tuenjai, etc.)- Bai Kaew (green)- Kan Ka-noon- Pluerk Ja-bok- Pluerk Ja-lang- Krang

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Appendix 4.3.1.4 Experimental Diary

The following notes have been transcribed from a field diary kept during the field experiments described in Survey 2 Part 1. The data are quick notes taken during the organisation and execution of the field experiments.

The contents are as follows:

1 Experiment plan

2 Interviews

3 Trial 1

4 Experiment 1

5 Experiment 2

6 Experiment 3

7 Results (from trail and three experiments)

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Diary 30/11/2006

Preparing for the experiment with Ban pa-aw

Visit Ban Pa-aw to get some basic information and experiment preparationTasks:

Hire villager – Mrs. Tuenjai Kaew-vongsa for 200baht per day (upon her request) I told her it would be maximum 5 hours, not all day long.

The experiment period is 1-2 months, and 2-3 days a week I will be coming to Ban Pa-aw (will phone them if I cannot make it)

Ban Pa-aw group weaving centre 045-344449Mrs. Tuenjai’s house 045-344288

Discuss the experiment plan with Mrs. TuenjaiMy AimVillage Processes My (adapted) ProcessesDurationEquipmentExtra costs

Plant selection – Sa-boo-luead leaf (*English/science name??)Plants used for dyeing at Ban Pa-awHoo-guang treeYucaliptus treeKi-lek leafSa-boo-luead leaf (green colour)Kaew leaf (green colour)Kan Ka-noonJa-bok tree barkJa-lang tree barkKrung

Equipment Preparation

Order: raw silk yarn 2kg*1400b. =2800b. (Kannan Joon silk)

Mini fuem (Thai weaving equipment) - she said ½ day can weave 1 mini cloth.

Dyeing equipment –borrow the group centre (nearly everything) *4sets(Village traditional) Oven(Aluminium) PotContainer

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Wooden stickWhite clothsEtc.

Buy: equipment for collecting dataDigital camera + batteryVideo camera + tapesNotebook + pen/pencilSticker (to indicate the group, date, etc.)Plastic bags (different sizes)

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Diary 6/12/2006

Preparing for the experiment with Ban pa-aw

10am meet Mrs. Tuenjai at Ban Pa-aw, riding her motorcycle to collect some Sabooluead leafs at her house and neighbour area (5 minutes from the centre).

***English / Scientist name for Sabooluead –from Korat book ??

Divide 100g. leaf into 3 sets, for these methods:Sun-dry (at the village 1-2days until dry enough)Oven 60º (at university 1-2day)Freeze Dry (at university 1 week –receive 100g. powder)*The fresh leaf will be collected on the next 2 days (Trial day)

What I did after came back from the village

Oven 60º Call Dr. Janpen asking how to keep materials properlyPut the bag of leaf in the fridge (normal) for 1 nightThe next day bring it in to the Faculty of ScienceMet my lap assistance (Aw 081-3903299) Dr. Janpen providedMe and her were chopping all the leafs into small piecesShe show how to use the Oven, set and write down the time, take photosShe will turn it off for me when they are ready (I was not allow to touch the equipment as I was not a lap person –Science lap rule for safety issue)We were not sure the duration yet, had to wait and see (but we expected 1 or 2 working hours day)

Freeze Dry (at university 1 week –receive 100g. powder)Put the bag of leaf in the fridge (freezer) for 1 nightThe next day bring it in to the Faculty of ScienceChopping all the leafs into small pieces (even smaller then the previous method –for the grinder)Prepare the clean grinder, water from the lap, plastic bagsPut the small amount (1 handful)of chopped leafs into the grinder, add a cup of waterWorking with the grinder (*this is hard processes, as we have to let it work for 10 seconds then stop for a bit then work again, to prevent the leaf get stuck –putting too much leafs can cause that too)After we get the liquid from that, put small amount in a plastic bag, make it flat shape, and tight with the rubber band

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Then put about 6 bags into the lap freezer for 1-2 days, or until they become hard as iceWhen they are ready in the next couple of days, prepare the freeze dryer machine and working with them (*next step)

What are things Mrs. Tuenjai have to prepare for the trialI gave her money to buy these stuffs;Amber 1 bag -60 baht (for boiling water on dying)Soap: sun-light brand (for raw silk preparing another time)Mordant (alum, salt, copper sulphate)Raw silk 2kg. will be ordered from ‘Kamnan Joon’ place -2800 baht for the whole experimental programSen-poong B-gradeSen-yuen A-grade (more sticky)

Borrow some equipment from the weaving group office;Traditional Oven *4Aluminium Pot *4Container *4Wooden stick *4White cloths *4Washing container WaterScaleWeaving equipment; loom, etc.Etc. (will see on the trial)

Paid Mrs. Tuanjai 200 baht today, spent 1 and a half hour there discussing on the preparation

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Diary 9/12/2006

1st Trial

11.00a.m. Mrs. Tuenjai had introduced me Mrs. Vichean, the dying expert of Ban Pa-aw. (I had to hire her for today, to assist with Mrs. Tuenjai by her requested)Mrs. Tuanjai told me about what she did last night preparing for today;Purify/wash raw-silk (but yellow –see photos) to become white silk.Boiled the raw-silk 30 minutes to take the sticky glue out.Add the soften liquid for clothes to make the silk softener like what we see today (yes, very soft).They called the silk after purify, “Mai-fogg’.On the purify processes, they usually add the alkaline salt, for example; Sunlight soap (popular brand for hand-washing).

I had a chat with Mrs. Vivhean about our material (Saboolaed plant). She said, “The colour will be distilled from leaf more than any other components, such as the stem or fruit (if the have). She also told me that Saboolaed plant has another name called, Yoa tree.Anyway, we will use them all components from Saboolaed plants to get the most colours we could have.

*This time, we can do only 3 methods of getting materials (fresh, sun-dry, oven 60degree). As the material from ‘freeze drying machine’ has not come out yet. We will do the separately trial for this again next week when the material is ready.

11.15 – 11.30 both villagers I hire are preparing the traditional oven with 3-4 pieces of embers on each oven. It took about 30 minutes today until they fire are strong enough to boil the water + materials.Add the torch, wood, dry leafs, and little pieces of embers could help.

While waiting for the strong fire: Set 3 ovens, 3 medium pots, 3 sticks, 3 rings, 3 white cloths, spare containers, and name stickers of each set.Adding 3 bowls of water (from tab) to each aluminium pot. Stick the sticker name to each pot to category each raw material (plants) in my easy code;FreshSun-dryOven-dry(Freeze-dry…next time)

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Preparing each type of material weight equally 100 grams.Boil water from each pot on each oven, until they are at the boiling point.

12.10p.m Put the raw material down on 3 pots that have name stickers following the type of preparing as mentioned before.Use the wooden stick to stir leafs (every 5-10 minutes) in order to getting as much colours as possibleWait for about 30 minutes then take those 3 pots down the concrete floor.

12.40p.m Use the thin white clothes to percolate only colour water from the plants.Discard the left over of leafs (biggest amount), stems and fruits (very small). They smell nice and can be the fertilizer for other plants/trees.*Add 1 and a half spoon of salt to each pot.

12.45pm Put the 1 set of silk yarns (*note: add the word ‘yarn’ to silk on other paragraphs/papers) into each pot. Remarkable sign with sticker on each silk yarn too, using water-proof pen.Use the wooden stick and plastic ring to stir and blend the colours into silk yarns constantly. Mrs. Vichean recommends it is better to use the stainless stick, as the wooden stick could tear or stuck with the yarns.Leave it boil for 30 minutes.

Notes:Mrs. Vichean suggested adding 1 tea-spoon of this mordant that the villagers like to use when they do natural-dye (blue powder, called Joon-na-sri in Thai) –see the photos.*So we did the trial, only put half of the silk to that boiling water with mordant on the last 5 minutes. Another half is still with pure natural colours with no mordants (but salt only).Mrs. Vichean said they will normally soak the silk with mordants for few minutes. She believes it will make the colours bright and attach on the silk last longer.

Then I had lunch with the group of villagers while waiting.

1.15pm Take those silk pots down and wait for them to cool down for few minutes.Using the ring and stick to make the silk dry, get rid off excess water.Using the stick to make colours attach through the silk yarns equally before let it dry. If not doing this, the colours might be darker at the end of silk yarns when dry.Catch and move the silk fast with 2 hands to avoid the shrink of silk yarns before let them dry on the hanging place indoor.

**I took photos when they were drying, can see the different of colours between the upper part (with mordants) and the lower part (original).

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But after dry and wash the excess water off, those 2 colours had mix together. (*next time have to wait till it dry enough before washing)The 1st pot (fresh) was soaked the mordants longer than the 2nd and 3rd

pots. It was about 3 minutes and the rest were about 1 minute, by Mrs. Vichean ( I couldn’t control). *Next time it definitely has to be equally time, or NOT to put mordants at all –will discuss with Dr. Janpen))

2.20 p.m. After leaving those silk yarns dry for about 1 hour (only a trial this time, next time can be longer hours up to half day)Prepare 4 enamel wares with half-filled water.Take the silk yarns (altogether) to wash off the excess colours.Change the enamel ware until the last one (water should become clear).Then dry all 3 sets of silk yarns at the same place (indoor) for the rest of the day.Mrs. Tuenjai will collect these silk and put in separate plastic bags for me later. (They tend to dry it for one day and collect it before night time. They said to avoid the dust and insects).

2.30pm Done the trial colour dye for today. (about 3 hours process)Preparing for next time: first experiment with 4 methodsCollect Sa-boo-lued leaf a lot more than last timeMrs. Tuanjai + Mrs. Vichean drove their motorcycle to the village inside for about half an hour to get these amount of leafs.They said if we want more, we have to go to the rice field, as they do not have much left within the village.It was enough for 3 sets preparation (except fresh).Spec 600 g. each method (last time only 100g.)1 set for sun-dry; 600 g. weigh on scale, put into the big wide container made by wood (see photo), and dry it on the sun for 2 days (morning till evening). Mrs. Tuanjai will manage it.2 set for oven and freeze drying machine; cut into small pieces, weight on scale, take home to do at the Science lap tomorrow.For best result, the fresh leaf we will get it on the experiment day (next week, have to wait for material from the freeze dryer)

3.30pm After discussed about the next experiment and paid them both (200 baht each = 400 baht).Finish for today and drive back to the university.

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Experiment 1 19/12/2006

10 days in between the trial and this experiment 1 - waiting for the material (leaf got smash to powder) from freeze dryer machine at Science, UBU.

The experiment duration is from 1.00pm to 4.00pm.Experiment workers: Mrs. Tuenjai + myselfThe amount of material had changed from 100g. to 600g.

Fully 4 methodsFresh Sun-dryOven-dryFreeze-dry

How long did we keep the raw-materialFresh: 1 week in the fridgeSun-dry: after 2 days sun-dry then keep in the room for 1 weekOven-dry: after 2 days oven-dry then keep in the room for 1 weekFreeze-dry: right after 10 days of the machine processing (just finished yesterday)

How many grams of each material after preparation methodsFresh: 600 gramsSun-dry: reduce from 600 grams to 400grams (after sun-dry)Oven-dry: reduce from 600 grams to 300grams (after oven-dry)Freeze-dry: reduce from 600 grams to 100grams (after oven-dry)

Weather: dry but not hot, and windy – which caused a little trouble for the traditional oven (could not control the temperature like electronic one, it is depend on the wind).

1.15p.m. Mrs. Tuenjai started to light up the traditional oven with 3-4 pieces of embers on each oven. I was taking photos and writing the notes, also put the name stickers into each container (same as the trial, basically).

1.30p.m. prepare 4 containers filling up with 2 bowls of water each container, then take up to each traditional oven that were boiled to the boiling point.

1.35p.m. Put the raw material down on 4 pots that have name stickers following the type of preparing as mentioned before.Use the wooden stick to stir leafs (every 5-10 minutes) in order to getting as much colours as possibleWait for about 30 minutes

1.40p.m. – 2.10p.m. Leave the raw-material boil with the water to get colours.

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In between, preparing the silk yarns to dye, 4 set, 100 grams each setWrite sticker names using water-proof pen and stick on each silk yarn (not directly, stick to the rope that combine a whole set of silk yarns together).After 30 minutes, take each of 4 pots down the concrete floor.

2.10p.m. Use the thin white clothes to percolate only colour water from the plants.Discard the left over of leafs (biggest amount), stems and fruits (very small). They smell nice and can be the fertilizer for other plants/trees.

2.15p.m. Put the 1 set of silk yarns into each pot for 4 pots.Add more pieces of amber to the traditional oven, to make more fire.Use the wooden stick and plastic ring to stir and blend the colours into silk yarns constantly. Leave it boil for 30 minutes again.

Note: Mrs. Vichean recommends it is better to use the stainless stick, as the wooden stick could tear or stuck with the yarns.)This time Mrs. Tueanjai even use her both (bare) hands to mix up theseleafs and colours. She told me it is convenient for her. But she knew that she was not supposed to do that if it was chemical colours.If necessary for using hands on natural colours, she will use the gloves next time.*I took the photos of the containers while boiling (1.fresh, 2.sun-dry, 3.oven-dry, 4.freeze-dry)

2.20p.m. – 2.50p.m. Leave the silk yarns boil with (green) colour water.NO mordant this time (trying pure natural process).*Add 1 and a half spoon of salt to each pot at 2.35p.m. (half time).Mrs. Tuenjai said, “I think 15 minutes is a good time to put the salt in, as the water get most colours at that point, after that it is just staying”.Only blend it with the wooden stick one time after putting the salt. (The first boiling session is more important to blend, just to get most colours from the leaf. But on the second time is ok, just blend it once.)

2.50p.m. Take those silk pots down and wait for them to cool down for few minutes before wash off excess colours.My suggestion: If she is working, should always time and write down, so it will be time equally on each pot.They can even do 10 pots in the same time (if time probably), and it might be better if 2 workers work together (2 people for 10 pots dye).

2.55p.m. Using the ring and stick to make the silk dry, get rid off excess water.Using the stick to make colours attach through the silk yarns equally before let it dry. If not doing this, the colours might be darker at the end of silk yarns when dry.

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Catch and move the silk fast with 2 hands to avoid the shrink of silk yarns before let them dry on the hanging place indoor.

3.05 p.m. Done for natural dying today. I took some photos of silk yarns hanging and drying indoor.

3.10pm Discussed about the next experiment and paid Mrs. Tuenjai 200 baht.Preparing for next time: second experiment with 4 methodsCollect Sa-boo-lued leaf 600 g. each method 1 set for sun-dry; 600 g. weigh on scale, put into the big wide container made by wood (see photo), and dry it on the sun for 2 days (morning till evening). Mrs. Tuanjai will manage it.2 set for oven and freeze drying machine; cut into small pieces, weight on scale, take home to do at the Science lap tomorrow.For best result, the fresh leaf we will get it on the experiment day (next week, have to wait for material from the freeze dryer)Finish for today and drive back to the university (40 minutes).

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Experiment 2

Today we did 3 methodsFresh Sun-dryOven-dry* Except the Freeze-dry method, as the raw-material is not ready yet.

Details of the raw-materialFresh: Mrs. Tuenjai collected them this early morning; 600 gramsSun-dry: after 1 day sun-dry then use it the next morning (today); the material weight reduce from 600 grams to 400gramsOven-dry: after 2 days oven-dry then keep in the room for 1 week;the material weight reduce from 600 grams to 200grams

8.00a.m. Mrs. Tuenjai started to light up 3 traditional ovens with 3-4 pieces of embers on each oven. Then she prepared 3 containers (pots) with 4 bowls of water each container. Last time was 2 bowls of water, but this time is 4 (double) as we are dying 2 sets of yarn; horizontal and vertical on each container.

8.30a.m. I arrived and started taking photos, have a little chat, and write the notes, also put the name stickers into each container.

8.45a.m. Take these 3 containers up to each traditional oven and wait till it is boiled to the boiling point.

8.50a.m. It is boiled, so put those leafs (raw-material) from methods 1, 2, 3 to the container number 1, 2, 3 following the name stickers I’ve stick before.

8.55a.m. Finish putting 3 containers. Start timing for 30 minutes. Leave those leafs on each container boil with the water to get colours.

8.55a.m. – 9.25a.m. Use the wooden stick to stir leafs (every 5-10 minutes) in order to getting as much colours as possibleIn between, preparing the silk yarns to dye, 4 set, 100 grams each setWrite sticker names using water-proof pen and stick on each silk yarn (not directly, stick to the rope that combine a whole set of silk yarns together).

9.25a.m. Leave it for another 5 minutes, as we put a bit too much water at first.

9.30a.m. Take 3 containers down the concrete floor, one at a time.Use the thin white clothes to percolate only colour water from the plants.

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Discard the left over of leafs (biggest amount), stems and fruits (very small). They smell nice and can be the fertilizer for other plants/trees.

9.40a.m. Put the first pot (fresh leaves) back to the oven.Add half spoon of salt and stir it well. NO mordant on this experiment.Put silk yarns set 1 (sen-poong: vertical weaving line) into the first pot.Put silk yarns set 2 (sen-yuen: horizontal weaving line) into the first pot.Leave it boil for 30 minutes

9.45a.m. Put the second pot (sun-dry leaves) back to the oven.Add half spoon of salt and stir it well.Put silk yarns set 1 (sen-poong: vertical weaving line) into the second pot.Put silk yarns set 2 (sen-yuen: horizontal weaving line) into the second pot.Leave it boil for 30 minutes

9.50a.m. Put the third pot (oven-dry leaves) back to the oven.Add half spoon of salt and stir it well.Put silk yarns set 1 (sen-poong: vertical weaving line) into the third pot.Put silk yarns set 2 (sen-yuen: horizontal weaving line) into the third pot.Leave it boil for 30 minutes

10.10-10.20a.m. Take those 3 silk pots down (once at a time) and wait for them to cool down for few minutes.Using the ring and stick to make the silk dry, get rid off excess water.Using the stick to make colours attach through the silk yarns equally before let it dry. If not doing this, the colours might be darker at the end of silk yarns when dry.Catch and move the silk fast with 2 hands to avoid the shrink of silk yarns before let them dry on the hanging place indoor.

10.30a.m. Done for me today. Mrs. Tuanjai will collect the silk at end of the day.Paid Mrs. Tuenjai 200 bath + 300 baht for the silk preparation last time = 500 baht

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Experiment 3

Fully 4 methods todayFresh Sun-dryOven-dryFreeze-dry

How long did we keep the raw-materialFresh: collect them today (morning)Sun-dry: after 1 day sun-dry then keep in the room for 5 daysOven-dry: after 1day oven-dry then keep in the room for 5 daysFreeze-dry: after 14 days of the machine processing and keep in the room for 1 day

How many grams of each material after preparation methodsFresh: 600 gramsSun-dry: reduce from 600 grams to 400grams (after sun-dry)Oven-dry: reduce from 600 grams to 250grams (after oven-dry)Freeze-dry: reduce from 600 grams to 100grams (after oven-dry)

Weather: The wind is not strong today, so we had to leave so pot on traditional oven for 45 minutes (15 minutes longer than usual).“For villager style, they normally do not timing the dying process. They just notice the leaves condition if it is enough boiling. But usually the time will be around 30-45 minutes”, Mrs. Tuenjai said.

1.00p.m. Mrs. Tuenjai started to light up the traditional oven with 3-4 pieces of embers on each oven. I was taking photos and writing the notes, also put the name stickers into each container (same as the trial, basically).Mrs. Tuenjai and I, prepare 4 containers filling up with 2 and a half bowls of water each container for dying both vertical and horizontal silks. (*she suggested: per 600 grams leaves/ per 1 set -20 grams of silk –last the water was too much, so we reduce it this time)

1.40p.m.-2.25p.m.Take up 3 pots to each traditional oven that reached the boiling point.Put the leaves down on 3 pots that have name stickers following the type of preparing as mentioned.Fresh Sun-dryOven-dryUse the wooden stick to stir leafs (every 5-10 minutes) in order to getting as much colours as possibleWait for about 45 minutes

2.45p.m.-3.30p.m.

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Take up the forth pot to the traditional oven that reached the boiling point. (*wanted to look closer into the result of the last pot: freeze-dry, so we did it separately)Put the leaves down on the last pot that have name stickers following;Freeze-dryUse the wooden stick to stir leafs (every 5-10 minutes) in order to getting as much colours as possibleWait for about 45 minutes and take it down the floor.

2.25p.m Take each of 3 pots down the concrete floor.Use the thin white clothes to percolate only colour water from the plants.Discard the left over of leaves to the ground near the tree (same as the previous processes).

2.30p.m. Prepare the place (near loom) to do both 2 set of silk dying.We had to do 1 raw-material dying at a time.**This is a confused and hard method, but it is the only way we can get it done properly. (look at the photos)

2.40pm.-3.10p.m.Start with the fresh leaves pot.Make sure we did not forget to put half spoon of salt and stir well.Then put both sets of silk; sen-poong and sen-yuen to dye together in the same time.After 30 minutes, take the pot down to the concrete floor and leave the temperature cool down.

3.15-3.45m.Continue with the second pot: sun-dry leavesPut half spoon of salt and stir well.Then put both sets of silk; sen-poong and sen-yuen to dye together in the same time.After 30 minutes, take the pot down to the concrete floor and leave the temperature cool down.

3.50p.m.-4.20p.m.Continue with the third pot: oven-dry leavesPut half spoon of salt and stir well.Then put both sets of silk; sen-poong and sen-yuen to dye together in the same time.After 30 minutes, take the pot down to the concrete floor and leave the temperature cool down.

4.30p.m.-5.00p.m.After left the pot with green water after dye the freeze-dry material from leaves since 3.30p.m.

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Take the pot up to the oven to boil again, and add half spoon of salt.Then put both sets of silk; sen-poong and sen-yuen to dye together in the same time.After 30 minutes, take the pot down to the concrete floor and leave the temperature cool down.

5.00p.m Leave Mrs. Tuanjai to do the rest (same as the previous experiment).Paid her 200 baht for today, plus 600 bath (3 days) for this weekend I hire her to weave the little cloth from this experiment.

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Diary 18/1/2007

Results from the experiment(From my perspective after discuss with Dr.Janpen)

CompareUsing fresh material (leaf) dye method as a comparativeCompare the result of fresh and freeze dry (powder) material

This is a way of transfer the fresh leaf to dry (by sun, oven, freeze dryer) leaf and still leave the similar quality of colours.

The different of colours tone were not found that much. Each tone (medium green or light green) has its own beauty quality.

If the customer require darker (or fresher) colour, we can also put mordant copper sulphate (called ‘Joon-na-sri’ in Thai), the type that Ban pa-aw villagers use come in form of powder; baby blue colour. Dr. Janpen suggested me to get more information on the effect of this mordant to the environment.

More experiment on the stability of colours (I can do in Australia)OriginalAfter soak the sunAfter washing

Suggest the villagersSun-dryThey can keep the dry material (part of plant) for more than a week then dye. The colour will not be so much different, maybe a little lighter or we can call as ‘soft colour’.It is also depending on where to get the leaf from, if they want darker colour should collect at the rice field rather than in the village.

MaterialCan solve the problems of lack of plant in this village, or some plants can grow up only for some seasons –keep the dry material in terms of;Sun-dryOven or microwave dryFreeze dry (*co-operate with specialist)

Future experiment (me + the villagers)On other plants that have no leaf all year longFor example; Kee-lek leaf (in Ban Pa-aw village)More literature review on natural colour dye, then more experiment

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Overall Results

1 Trial -process of preserving (3 techniques) natural material for colour dyes hasworked – i.e. successful result-mordants will not be used in future-villagers sometimes difficult to manage in Trial-no freeze dry material available

2 Exp. 1 -worked OK but still some problems getting villager to follow procedure

3 Exp 2 and 3 -worked very well – good results in colours

4 Trial and Experiments all produced silk yarn dye colours similar to control (fresh)

5 Exp. 2 and 3 worked really well, colours very similar from both experiments

6 Colour closest to control was Sun-dry

7 Oven and freeze dry colours are softer, tonally lighter but beautiful

8 Silk yarns from Exp. 2 and 3 used to weave cloth for final survey – this is possible because the two experiments produced cloth with identical colours for each preservation technique. This is reasonable indication that experimental procedure and conditions were the same for both experiments. This is an excellent result because the village conditions were not ideal and difficult to control.

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Appendix 4.4.5A Survey Questionaire (English)

This appendix is the survey questions for Survey 2 Part 2 as discussed in Chapter 4

231

Questionnaire Form

1. Individual Cloth

1.1 Fresh


0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10


1.1.6 I approve this colour to sell in the market0 1 2 3 4 5 6 7 8 9 10


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1.2 Sun dry


0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10


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1.3 Oven dry


0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10


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1.4 Freeze dry


0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10



0 1 2 3 4 5 6 7 8 9 10


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2. Preference

Which cloth do you like best?

O 1st Fresh

O 2nd Sun dry

O 3rd Oven dry

O 4th Freeze dry

Which one do you prefer (compare to the control)?

O 1st Fresh ↔ O 2nd Sun dry

O 1st Fresh ↔ O 3rd Oven dry

O 1st Fresh ↔ O 4th Freeze dry

Name: Village:

Date: Time: -

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Appendix 4.4.5B Survey Questionnaire (Thai)

This appendix is the survey questions for Survey 2 Part 2 translated into Thai as discussed in Chapter 4

237

Survey 2 Part 2 Interview Questions – Thai translations

1. ย้อมผ้าด้วยใบสบูเ่ลือด (ไม่ใส่จุนสี)

1.1 วิธีย้อมสด

1.1.1 ผ้าผืนนี มีสีสวยงาม1.1.2 ผ้าผืนนี มีสีธรรมชาติ1.1.3 ผ้าผืนนี มีสีนุ่มนวล1.1.4 ผ้าผืนนี มีสีอ่อนเกินไป1.1.5 มีความพึงพอใจกบัสีของผ้าผืนนี1.1.6 ยอมรบัให้ทาํสีแบบผ้าผืนนี ส่งขายได้

1.2 วิธีย้อมสด


1.3 วิธีอบแห้งด้วยเตาอบ 60º แล้วย้อม


1.4 วิธีอบแห้งด้วยเครื องฟรีซดรายแล้วย้อม


238

2. เปรียบเทียบความชอบ

2.1 ท่านชอบผ้าผืนใดมากที สุด

O 1O 2O 3O 4

2.2 ท่านชอบผ้าผืนใดมากที สุด

2.2.1 O 1 ↔ O 22.2.2 O 1 ↔ O 32.2.3 O 1 ↔ O 4

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Appendix 5.2A Analysis of Village Interviews

Appendix 5.2A Analysis of Village Interview Data is an analysis of the themes taken from

the interview responses from the survey of ten villages in Isan in a period covering January

to August 2005. The analysis is organized into six primary issues containing similar

statements, opinions and comments from the interviews that have been categorized and the

categories labelled in order to identify themes and patterns in the data. The conclusions

from this analysis can be found in Chapter 5.2: Survey 1: Analysis of Understanding textile

production in Isan villages (Ten Village Interviews). The interviews can be viewed in

Appendix 5.2B Village Interview Data. The primary issues are discussed below:

Content: Primary Issues



3 Village Textile Production: the people and how they work




240


Thirty village textile workers from ten Isan villages were interviewed over a period of six

months. Nearly ninety percent of the village textile production workers interviewed in this

survey were women, and nearly fifty percent were above the age of fifty-one. Male village

textile workers that were interviewed represented thirteen percent of the total population and

were aged between forty-five and fort-seven years. Using gerontology classifications, the

age of the women is either old (thirty percent between the ages of fifty-one and sixty-nine)

or very old (seventeen percent were seventy years old or older). Only ten percent of the

population was under forty years and no textile workers were identified who were under the

age of thirty. The largest group not represented in the data is young people, especially from

mid-teenage years to thirty plus years. Male textile workers across all age classifications are

also underrepresented in the population.

The age and the gender bias represent a high probability for the future loss of textile

production skills and knowledge in the Isan region. Textile production was identified as the

main occupation of most of the subjects and more than half of subjects nominate textile

production as their sole occupation. The skills and knowledge required to produce Isan

textiles is typically passed from one generation to the next within an extended family unit.

Considering the degree of expertise required to produce a complex pattern such as Lai Khit

and Lai Mudmee (Lai = pattern), the potential for a serious loss of an important cultural

activity is a real and imminent threat. Clearly, the skill and knowledge required for village

textile production resides with an aging female population and unless this situation is

addressed it will lead to a significant decline in critical textile production ability. The gender

bias and the aging of the textile workers is especially a concern considering that in 2006 life

expectancy at birth for Thai males was 58 years and for females is 62 years1

1 (www.who.int/countries/tha/en Accessed 18 September 2007. United Nations Human Development Report).

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2.1 Tradition

In north-eastern village life, the main activity is rice farming and the occupation of the

villagers can be described as general labourers. In the past, every single Isan village

produced textiles for their living purposes such as producing cloth for household use and for

clothes to wear when farming their grain crops. Typically each village house was capable of

weaving silk and cotton cloth for garments production, including the ability to produce

special costumes for formal occasions and traditional ceremonies.

Traditionally, village women believed in the importance of a girls’ ability to produce textile

weaving. A woman’s social position was increased in terms of their social value and their

perceived ability to become a good wife. Nobody forced women to learn the weaving

process, but normally all the girls around 10 years-old were eager to learn. This process of

learning was called Abb-kuen-kee or ‘sneaking a ride (to use) the loom’. Prominent villagers

believe that this traditional attitude is quite different from the prevailing view of village

women which leans towards social status being associated with higher education from an

institute such as a university.

The villagers worked collaboratively passing knowledge from one generation to the next and

the value of weaving was recognised as a good additional occupation, especially as the

villagers already had weaving skills handed down from past generations. Historically,

villagers produced textiles from weaving for the benefit of their own living and they did not

sell any of their cloth. However, after a while some villagers started selling leftover cloth in

the local market and they began to realise that they could make money from weaving, this

eventually led to the formation of individual village weaving group. Today, many villagers

fear for the loss of the village textile weaving culture that he grew up with

2.2 The Development of Village Textile Production

In the villages surveyed, there appears to be two primary approaches to the development of

textile production. The first approach involves a regional government body recognizing a

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village as a centre of excellence for textile production. For example, for a long time the

Ubon Rajathanee Community Development Organization realised that Ban Pa-aw (Ban is

village in Thai language) had substantial local knowledge about textile weaving dating back

to ancient times. The village had a reputation for producing high quality textiles and became

the focus of regional government village development initiatives. Ban Pa-aw received

support from the Community Development Organization which payed for advertising to

promote Ban Pa-aw as a prominent silk weaving village in the region, this in turn has

brought customers to the village.

The second approach involves a prominent member of the village who possessed the vision

and ability to champion the re-invigorating textile production in a particular village or

region. For example the headman of one district (Lao-suea-goke) decided to collaborate

with local government which led to the establishment of ‘Ban Lao-suea-goke cotton weaving

group”. The Ban Lao-sua-goke Cotton Weaving Group was established by the Ubon

Rajathanee Development Committee in 1990. Prior to this the village weavers worked from

their homes using hand-weaving looms to produce cloth for their own domestic use. After

the village established the weaving group, they started weaving cotton together in the group

workshop, and started using the twitch-weaving loom instead of the hand-weaving loom.

The group has no souvenir shop and they simply sell to people from the village and the

nearby region. They also sell their product at the group office located in the workshop.

Sometimes customers come and watch weavers producing cloth and they buy or order cloth

while they are watching the weaver at work.

In another village a prominent woman (Subject 23) emerged as the real developer of textile

production in her village, and since she became the head of the village they became more

developed in terms of career, income, lifestyle, education and village healthcare. Subject 23

described the story of the silk weaving group of the village which has been established since

the Buddhist calendar year of 2538 (or 1995, 12 years ago). The group has started by the

district Community Development Institute who helped the village to set up a group of 15

members to do something about improving the quality of life of people in the village.

Subject 23 initiated the weaving workshop by using the government budget she had

requested, she used some of the government budget to buy the silk yarn from a silk factory;

this silk is called ‘market silk’. After a while she had a thought about setting up the villages

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own ‘silk-worm feeding group’, as previously the villagers fed the silk-worm in their house

basements. At first they did not have enough space and they shared the free space of each

other’s house (about 40 rai equals approximately six to seven acres) to become the mulberry

farm area for raising the silk-worms. The Department of Supporting Agriculture has built a

total of 11 silkworm workshops for the village. They also received the local silkworm breed

called ‘yellow silk” from the Mulberry Tree and Silkworm Experiment in Surin province,

this allowed them to get enough silk yarn for weaving. One mature silkworm can produce a

length of silk yarn about 500-600 metres long.

Until recently the product of this village group sold only through the local market and they

did not market more widely because not many of the villagers were interested and they were

too shy to be a merchant. The villagers relied on the president of the group (Subject 23) to

pay the textile workers first and as a consequence the group sometimes had money

problems. Also the villagers do not like going away from the village. All the villagers

involved in textile production, including the silk weavers, tend the mulberry trees and raise

the silkworms and they like to have the convenience of their village food and drink. They are

used to working nearby their houses and often quote an old proverb, “Surin people like

Sura” (means ‘alcohol drinks’). Since the group has settled, they received help from

government organizations such as the Department of Industry, Department of outside-school

education, and Ratcha Mongkol Institution. These organizations have help the villagers

develop their projects and have provided training such as packaging design, natural colour-

dye, and accounting and management.

One prominent founder (Subject 24) returned to his village (Ban Ta Sa-wang) after he had

finished study at a Bangkok art school called “Ratcha Mongkol Institute of Technology”.

He started to work with the villagers, mostly aged women, who had been weaving textiles

for a long time; eventually he formed the “Chan Soma Silk Weaving Group”. The aim of

the group is to preserve traditional Thai textile weaving from becoming a lost skill which at

the time appeared to be imminent. Subject 24 wanted to re-establish the identity of village

textiles production and he concentrated on restoring traditional skills such as loom hand-

weaving and using natural-dyes to colour silk cloth. He was especially concerned about the

preference textile workers had for weaving on an automatic loom or Kee-kra-took (Kee is

loom) which effectively changed their roles from traditional Isan weavers producing cloth

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for everyday use to the role of unskilled labours weaving primarily for industrial

consumption. Thai online news2 stated “Subject 24 gathered the local people from the

village especially old female villagers who had some textile knowledge and skills. He

provided classes in natural dying processes and pattern design to villager members both old

and young”.

A important step in restoring and developing village textile production was the establishment

of a community centre or commune typically known as Weaving Groups, for example the

Chan Soma Silk Weaving Group described above. Regional, provincial or national

government departments sponsored individual villages through the community centres and

provided knowledge and skill training to help the village weavers in the early stages of

commercial development. At first, villagers had little experience in producing products for

selling and as such their initial products were not good quality and not beautiful. Villagers

were concerned about this issue and they have tried to improve their product by considering

various problems and solutions. Some of the Group committee and members have taken

textile training courses with Government (both Thai government training in Bangkok and

local government training in their city) textile production experts in areas such as colour-

dying, silk yarn selection, weaving processes and bag-cutting courses. Initially they only

produced silk cloth; subsequently the village workers have learned how to adapt the cloth to

other products such as little bags for key rings and medium-size handbag that are currently

commercially successful.

The Ban Chonnabot silk weaving group was established in the Buddhist calendar year of

2517. The Department of ‘Isan Keaw’ (Green North-eastern or Green Isan) helped to

establish the group with the 60,000 baht budget for buying weaving equipment. The

Department of Fast Rural Development sent villagers (Subject 31 who was from Ban Wai-

luem, not Ban Chonnabot) to receive training at ‘Kluay-nam-tai’ Industry Department for six

weeks. They obtained knowledge about silk weaving, pattern design and making, colour

theory and colour-dying processes; they also learned how to create new patterns and how to

adapt traditional patterns.

2 http://tna.mcot.net/ (accessed ?10/10/2005)

245

Inevitably there has been a decline in worker numbers and interest from the enthusiasm

generated in the early stages of Weaving Group development. On village reported that there

were about 32 members in the group in the early stages, however only 6 to 7 members now

meet regularly and there are not many weaver left at the village at present. Also members in

one village preferred to weave at home and on the day of the interview, weavers were

observed in 2-3 houses using hand-weaving looms.

3 Village Textile Production: the people and how they work

3.1 The Role of OTOP

A majority of the village textile workers operate within a co-operative system typically

known as the village ‘weaving occupation group’. This structure is currently funded through

the Thai Government scheme One Tambon One Product (OTOP). The OTOP program has

successfully introduced a form of co-operative organization into village life which is

consistent with village social organization and the Governments objective of broadening the

trading basis of villages. Many workers have reacted positively to government initiatives

and to the benefits of assistance such as educational programs and the establishment of co-

operative facilities. The workers interviewed in the course of this survey often expressed

their involvement within the context of the village weaving occupation group and

proclaimed their position within the organization. For example, Subject 14 from Ban Pa-aw

explained how she was deputy president of Ban Pa-aw silk weaving occupation group;

Subject 15 maintained she was the president of the group in Ban Lao-suea-goke; Subject

Subject 8 said she is a member of Ban Lao-suea-goke cotton weaving group and that she

came to the group office or workshop everyday to weave the cotton; Subject 11 from the

same village stated that she is the head of “Ban Lao-suea-goke cotton weaving group”.

Subject 31 from Ban Wai-luem said she was the former president of Ban Wai-luem ladies

weaving group and that at the moment, her daughter was the current president of the group.

Subject 31 also stated that she still had a special position of the group, which is the

committee advisor. Subject 5 from Ban Koot-suay said she was the President of the 4th

(Moo 4) weaving group at Ban Koot-suay and also the marketing public relation manager of

Tambol Kam-pra enterprise center (Soon Vi-sa-ha-kit). Subject 6 also from Ban Koot-suay

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said she was the President of the 10th (Moo 10) weaving group at Ban Koot-suay and also

the general secretary of Tambol Kam-pra enterprise center (Soon Vi-sa-ha-kit). Subject 22

from Ban Sam-ko also maintained she was a member of Ban Sam-ko silk weaving group. In

Ban Ta Sa-wang Village Group, Subject 30 stated that she is the member of Ta Sa-wang -

mu1 Housewives Weaving Group and that at the moment she is the person who takes care of

the group shop because the rest of members were at an OTOP exhibition in Bangkok.

Subject 24, from Chan So-ma and one of the few males interviewed in the survey stated that

he is the founder of Chan Soma Silk Weaving group. Subject 30, member of Ta Sa-wang-

mu1 Housewives Weaving Group in Ban the Ta Sa-wang village, explained that she was

currently in charge of the Group co-operative shop because the rest of members were

running a display at the biannual OTOP exhibition in Bangkok.

3.2 Individual Weavers and Village Production

The following exerts are taken from Appendix 5.2B Village Interview Data provide an

indication of how individual weavers function within the village structure. The co-operative

nature of the Weaving Groups is important because it allows individual weavers to continue

to produce textiles in a way that they are used to and are comfortable with, especially

considering their age and physical condition. For example, when interviewed, Subject 1

from Ban Chonnabot was wearing cotton clothes that she had made, wearing traditional

clothes is normal for village people especially the old and middle-aged weavers. In this case

she had spun, dyed and woven the cotton for the sarong she was wearing. Subject 1 only

produces cotton cloth and she does not produce other product such as bags, nor will she cut

cloth anymore. When she was younger her eyes were stronger and she dyed and wove

Mudmee patterns. Currently, she produces simple weaving using patterns such as the Scotch

pattern in blue and white colours. Subject 5 describes how she had adapted to the current

situation by weaving cloth both for selling and for personal use. She also described her

grandparents weaving patterns such as Mudmee and Pha khao-ma on traditional looms

where as she had adapted the patterns to the currently popular twitch loom

The Weaver Groups provides a contact point which is effectively an avenue for external

influence. Subject 12 from Ban Lao-suea-goke describes how she weaves and cuts cotton

cloth for textile products. She talked about an academic from the Faculty of Liberal Arts at

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Ubon Rajathanee University who grew up in the village and came back to help with village

development. The academic gave some textile weaving suggestions for the villagers to

produce a unique pattern that would be identified with Ban Lao-sua-goke. The village

weavers created the tiger pattern which links with the name of the village (sua = tiger). The

villagers produced a long cloth showing example of hand-woven patterns. The academic

suggested doing this so that potential customers could view examples of patterns and colours

as a convenient way assisting selection and ordering cloth from the village. In Ban Lao-

suea-goke, Subject 15 is renowned as the expert textile weaver with extensive knowledge of

traditional patterns. She has been weaving Pha Khit and Pha Mudmee with natural colour-

dyed although at the moment, she uses chemical colour ordered from the market. At this

stage Subject 15 does not weave the cotton that much because of her age and uses ready-

made yarns instead.

Rural textile production requires villagers to collaborate at a family level; this can be

observed from the following village discussions. Subject 1 from Ban Chonnabot has been

weaving textile for more than 20 years including Mudmee and other kind of silk weaving

patterns, her husband Subject 2 works with her producing the tie-dyed colour for her next

pattern. Subject 4 from the same village is the husband of another weaver who came for

lunch and in the friendly environment had nice conversation with us. Subject 2 has been

helping his wife tie-dyeing Mudmee silk for more than 10 years; he does this work together

with his main occupation as a rice-harvest worker. Normally he does the Mudmee or tie-

dyed colour at his nearby home and then his wife will do the 3 horns weaving in the co-

operative with other ladies. Subject 2 was born and grew up in Ban Chonnabot and he

knows the story of this village very well, especially how famous Mudmee silk from Ban

Chonnabot has become. He is proud of Isan mudmee silk and especially the profile Mudmee

has with international textile aficionados.

The degree of participation in textile production varied amongst individual weavers, and

varied between different villages. For Subject 3 from Ban Chonnabot, weaving is her main

occupation and she spent most of her time weaving in the open space underneath her home

with two female weaver companions. In Ban Pone, a weaver called Subject 18 stated that

her main occupation was paddy farming. Paddy farming for rice production does not run all

year long and its duration depends on the timing and length of the harvest season. In this

248

situation textile production is normally another form of work for village weavers; this

represents a secondary-occupation for the village ladies during non-farming periods. Subject

15 also from Ban Pone is a full-time weaver of some note. In the past she sold her product

to a textile retailer in Kalasin city; because of her age and fame she currently only weaves to

fulfil advance orders which are picked up from her home. Subject 15 produces the entire

textile weaving including preparation processes and weaving processes. By comparison, in

Ban Na-kha, the main occupation of the villagers is planting and cropping; however in

recent years the women have learned the art of weaving a certain number of pieces.

Subject 24, the founder of Chan Soma Silk Weaving Group, provided a warm welcome and

described the background story of this group. He introduced subject 25 who was cheerfully

interviewed while she was weaving. Subject 25 told us how she learnt to weave from her

mother when she was a little girl. She started to work with the Group 2 years ago by

walking in and applying directly to Subject 24. Silk weaving is her main occupation at the

moment, before that she did the weaving at her home however she found the production

organization better when she started working with Subject 24 and with the Group. She starts

working at 8am, has a one hour lunch break, and finishes at 5pm. Subject 25 said she is very

happy working with the Group because it is close to her house. Sometime she has to stay up

late to finish a particular work, for example during the APEC meeting period but she felt it

was quite safe to walk home late at night because the Group workshop has 24 hours access

and the lights are always on. During her interview the patterns she was weaving were the

plain pattern and Am-prom pattern.

Subject 26 has been working for a year and a half with Chan Soma Group prior to this her

main occupation was weaving at home. Another Group weaver Subject 27, learnt the

weaving processes from home then continued to learn more seriously when become a

member of the group. Apart from Subject 24, Subject 28 was the only other male we saw at

the Group co-operative, his main occupation is rice harvesting, however he has been

working with the Group as an additional occupation for about a year. His duty is helping the

weaver to prepare silk yarns for patterns, which is called the ‘Pad Lai’ process. Previously

he had never worked in any kind of silk production until came to work in the co-operative

and receive knowledge fother weavers. He said, “It takes so much time to understand the

process and (to) know what to do”.

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3.3 Fame and Regional Recognition of Textiles

Currently, OTOP annually provides awards for villages and individual products that

demonstrate originality, skill and marketability. These awards come with the imprimatur of

the Thai royal family who have supported village development since the ascension of King

Rama VIII. The awards contribute to the recognition of individual weavers who, as a result,

often gain a national and sometimes international reputation for their expertise. Subject 21

from Ban Pa-aw is renowned as a textile expert, she is the old lady of the village (Thai word

Mae-yai) and she has won first prize in the annual Queen’s Award (OTOP) for silk weaving

six times, she proudly demonstrated her certificates and products on display in her house.

Gifted weavers, mostly aged women, with a high level of different textile skills frequently

only weave for competitions; also they often preserve good examples of traditional patterns

for the nest generation, and they create and adapt new patterns from the old traditional

patterns as well. Recognition in competitions has genuine benefits. For example, Ban Pa-

Aw has consistently won prizes in the Ubon Rajathanee province silk weaving competition

and as a result the province has given the village a lot of support and promoted the village as

the most famous silk weaving village in the Ubon Rajathanee region.

However, it is often the quality of the textiles, the patterns and the colours that bring

international recognition to the Isan region. Mudmee silk weaving, for example, is unique

and brings fame to Isan people, especially in Chonnabot in Khon Kaen province (central

Isan region). Other individual items and particular patterns can become a famous regional

product such as the “Prae Wa” scarf for Kalasin province which has become a recognizable

identity of Pu Tai culture in Kalasin. It took the weaver about 1-2 months to complete and

each one sold for 5,000 baht.

‘Prae Wa’ or ‘wrapped-over’ cloth is another significance and identifiable cloth woven in

the Ban Pone area. This complex pattern with natural-dye colour will sell for 3,000 baht

because it is very complex and takes a long time to produce. High-ranking women in

Thailand love these Prae Wa products. Someone said to Subject 19 that “Prae Wa cloth is

very popular. Don’t worry about what you have got left to sell. It will be gone soon, because

250

we love it.” During the interview with Subject 19 students and teachers from Bangkok were

visiting her to see the Prae Wa making processes and see her famous products.

Pha Sa-kate is recognized or identifiable pattern in the Roi-et province. Pha Sa-kate

consists of 5 different traditional patterns that have their own meaningful concept, spreading

all over the cloth. The patterns are called Nak-noi (small naga), Klong-ia (name of the

canal), Khom 7, Khom-pao, and Kra-jub (the last three are Isan names that have no direct

translation in English). Pha Sa-kate is the most popular souvenir amongst Roi-et province

visitors and is woven the Isan traditional Khit style. In the past, Roi-et women wore Pha Sa-

kate as a long skirt for everyday living. Subject 31, a Roi-et weaver said “Here in this

village, we weave Pha Sa-kate most of the time. It is so popular among the lady customers,

especially with the In-tha-nin pink colour (the colour of Roi-et). Some of the customers are

from other regions who call to make orders for Pha Sa-kate. They also like to order Pha

Mudmee silk and plain pattern as well”.

One of the most famous silk villages in Thailand, showcasing elaborate silk weaving

process, and offering beautiful Thai silk is described on the Internet. “Korat silk had long

been recognised among Thai people for its superb quality. Pak-thong-chai village is one of

Thailand’s most famous silk-weaving villages where villagers still carry on their talented

skill in producing beautiful Korat-texture silk. Nowadays, although many Thai silk factories

have been-set up, here at the village independent local weavers still turn out exquisite hand-

woven Korat silk for souvenir item3.

Surin textile has its own identity because it uses real handmade silk and little silk yarns

called Sen-mai-noi. These little silk yarns make the textile softener than the silk from the

factory, which usually came from China or Vietnam. A weaver told us about the village

textile pattern “We love to use Surin traditional patterns such as Pha Hole (means ‘spread’

in Khmer) and Pha Am-prom (means ‘Prom Buddha’ in Khmer). We weaved these patterns

and gave them to the Queen a long time ago.” In Ban Ta Sa-wang village the Chan So-ma

Group has been famous in Surin province since October 2003 for weaving the silk costume

for the APEC leaders meeting.

3 www.dusit.com/hotel/pkk/attraction/attr00066 Accessed 10/10 2006

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3.4 Believes-Traditions

Beliefs and traditions play an important role in textile production in rural village life.

During one interview in the harvest season (winter: November-February), most of the textile

workers did not come to the Group weaving workshop because they had to go to the rice

fields. In another instance, the researcher was going to observe village women dye silk

using natural dyes, however the women could not do it that day because someone from the

village had passed away. The villagers believe that dying cloth during this period would

bring the bad luck and the results would either be unsuccessful or the colour will not show

up at all. The villagers help each other when they have traditional Buddhist events or village

events such as house-warmings or weddings. On such days they could not weave cotton as

they had to help each other in a form of ‘family-village’ system of mutual support. During

significant cultural events at Ban Pone, the villagers dress in the traditional Isan costume

called Phu Tai when they celebrate Buddhist religious events or other Thai traditions such as

Song-kran (water festival), Boon-bang-fai (sky rocket festival) and the New Year festival.

Subject 21 talked about Isan funeral culture for Pu Tai people ‘we normally wear black and

white with a plain pattern, just a normal long skirt (Pha Sin or Sin) which sometimes we can

get from the local market’. Then she showed us the Pu Tai Sin with a tie-dyed fabric using

varieties of chemical dyed colours. She said, ‘it is different from Lao style, people always

misunderstood. This is Phu Tai style and shows our identity’. She told us that we should

observe the Bung Fai or the skyrocket festival in June. It is very interesting and big event to

showcase Pu Tai traditional costumes, beautiful flowers, folk-art dancing, and a skyrocket

competition. Traditional garments still have a role in village life. Pone Pittayakom School

has textile weaving lessons for secondary students and for adults. They also have an old

lady weaving community nearby the local market opposite to the school. Subject 20 talked

about the Phu Tai ladies who always wear Mudmee (a tie-dyed fabric) long skirt and a wrap

worn over their shoulder with the Prae Wa wrap or scarf as everyday clothing. In this

village we observed lots of old ladies still wearing traditional clothes, but at the moment the

young people tend to wear more westernise clothing. In traditional Phu Tai culture they use

a red Khit textile (a kind of Isan garment) for a pall covering in the funeral.

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In the recent past, at least no more than one generation ago, it was an Isan tradition to pass

the skill and knowledge required to produce textiles from generation to generation. Many of

the textile workers relate how they received weaving skills from parents or grandparents

while they were living at home. Subject 17 from Ban Pone described how she started

weaving when she was young and how she was taught weaving by her mother. She related

how in her village in the past, the girls from about 7-8th grade at school learnt how to weave

and that this was common form of traditional cultural transference in other Isan villages.

Subject 17 described how her parents and grandparents (normally the mother and

grandmother) taught young girls how to use the loom; in this case the girls used a mini loom

and other equipment to make small scarfs and wrapped-over cloth for their own use. The

parents and grandparents were effectively transferring weaving knowledge and skills from

one generation to the next. Subject 1 from Ban Chonnabot describes how she started

weaving when she was about 17-18 years old, by learning from Pu Tao, which means the

“old people” in her family in Isan language.

Subject 11 from Ban Lao-suea-goke described how she had been interested and started

weaving when she was a little girl, about 10th grade, and that she had weaved continually all

her life. Subject 3 from Ban Chonnabot relates how she learnt how to weave in her village

when she was young from her mother in a tradition of transference from generation to

generation. Subject 21 from Ban Pone started learning how to weave when she was young in

a tradition Isan people call ‘Hed Kee Noi’ or ‘weaving with a mini loom’ especially made

for the girls in the village. Other workers learnt to weave much later, Subject 9 aged

seventy, from Ban Lao-suea-goke, describes how she started doing textile weaving in her

early fifties when she learnt to weave to produce cloth for selling and for wearing on her

own.

There does not appear to be much interested in textile production amongst the next

generation of young villagers, which could mean a reduction of textile knowledge in the

future. Subject 18 from Ban Pone relates how her children did not learn how to weave silk

or cotton because they went to school and had some other activities to do besides textile

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weaving. She wishes they could be more interested and receive the knowledge from her

someday.

Speculation exits as to why younger villagers are not represented in the population; however

no empirical data exits which can explain this phenomenon. There appears to be a general

lack of interest in textile production in terms of financial gain, or perhaps younger villagers

do not find the activity interesting or rewarding as a significant cultural endeavour.

Interviews with older villagers suggest that they are more closely connected to a time when

textile production was an important resource for both cloth and garments. Older workers

recall working in textiles with their parents and grandparents who would have placed great

importance on traditional cloth especial in terms of key village events such weddings and the

main Buddhist rituals which often involve the giving or wearing of handmade cloth. It is

clear that the financial gain from textile production and the interest to maintain the activity is

significantly more important to older village women than to any other section of the

community.

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A majority of the village textile workers operate within a co-operative system typically

known as the village ‘weaving occupation group’. This structure is currently funded through

the Thai Government scheme One Tambon One Product (OTOP). The OTOP program has

successfully introduced a form of co-operative organization into village life which is

consistent with village social organization and the Governments objective of broadening the

trading basis of villages. Many workers have reacted positively to government initiatives

and to the benefits of assistance such as educational programs and the establishment of co-

operative facilities. The workers interviewed in the course of this survey often expressed

their involvement within the context of the village weaving occupation group and

proclaimed their position within the organization.

Typically a village will receive money from a government department to set up a weaving

group which in tern will establish a committee to run the group. This may vary from village

to village but there are organisational similarities. One village group committee chairman

made the following comments on their organization; he stated that there are about 10

committee members in her village and about 60 members in this group with almost every

village housewife participating in the group. He described how in the past the group had

more members than now, however some of group had resigned because they felt too old too

work, and some of them just had passed away. The chairman described how the weavers

work in a group system, following the rules that the committee had developed. For example,

committee members collectively both weave and taking care of the shop by taking turns and

following a timetable and a group organization chart.

Another village group had about thirty members who would always come by the group’s

centre if there is work to be done. If the group has no orders or customers the weavers will

just leave and find something else to do for their living. The group has access to two

weaving specialists from a government organization (the subject was not sure whether it was

the Department of Development or Industry) who came to the village to train villagers in the

weaving process. Additional support was available from the Department of Industry in

Bangkok such as name cards and packaging for silk products. In another village tasks were

allocated separately with each worker undertaking a specific task which was allocated with

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consideration to the weaver’s ability, also weavers were continually assessed and moved to a

different tasks if their are not good enough. Everybody is tested and trained in order to see

what kind of work they are good at, for example, the processes of making tied dyed silk yarn

(Pha Mudmee) and weaving Mudmee silk in different patterns.

Textile workers at Bane Pone village were found to be of different ages, including elderly,

middle-aged, and young villagers. The weavers are mostly young women villagers, middle-

aged women villagers who normally make the Pha Mudmee pattern which is considered

hard and requires a lot of skill. The aged workers like to do ‘Guag Mai’, which is making

the silk yarns from the silk worms, they earn about 100baht per 1 kg. Some teenagers and

kids come to work here after school and sometime work all day during their school holidays.

They usually work on Pha Mudmee production, tie-dying and then untying the Mudmee

yarn. One villager stated how she felt it was adorable to see the young villagers show

interest in textile works where they can earn money as a part-time job alongside their normal

study. Only at this village did we see lots of young textile workers, their salary will

normally be around 3,000-4,000 baht per month. There are about 84 textile workers at this

village (Moo 3). They have four Moo (four sub-villages) in Ban Wai-luem. For example,

there are about 15 workers who normally come to work at Subject 31’s house, the rest will

work at their own homes as they already have textile skills and do not need to train.

The shopkeeper in Ban Ta Sa-wang described two different kind of local silk weaving

groups. The was an Isan style village group, who operate in the easy, traditional, simple

way handed down from past generations; they weave silk in their homes and bring their

product to sell at the shop along the street in the front of the village. These shops are owned

by the village housewives’ group and some shops are owned by one person. The other

group called the Chan So-ma group produced textiles that are in the traditional Thai style.

This group in organized by a specialist (Subject 24) who made the famous costumes for the

11th ‘Asia-Pacific Economic Cooperation’ (APEC) Economic Leaders Meeting in 2003. The

work of this group is separate from the rest of the village and concentrates on silk yarn

preparation and weaving. The textile workers are from Ban Ta Sa-wang, Moo1 or nearby

and they joined the group primarily to apply for a job with Subject 24.

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Weaving group centre are often a place for both collaborative work and for selling directly

to the public with a ‘textile shop’ was in some cases was separate to the weaving centre but

operated as a contact point as well as a retail centre for woven clothe and other textile

products. For example, at the Ban Pa-aw silk weaving group, there are about 3-4 looms on

display to demonstrate weaving processes to visitors. Some of the customer liked the

products and bought them straight right away, other customers wanted to order a pattern in a

different colour.

As each group was founded they were normally provided with a budget to set up a group

weaving centre including a retail shop which one village called “The Products’ Display

Centre”. Normally village women who are the predominant textile workers will do their

work at home and then take the finished product to put in the group shop to sell. In some

cases if the group has enough money from the group budget they will give the weaver

money in advance, even before their products are sold. However if the group does not have

available funds the weaver will have to wait until the product is sold before they are paid.

One group did not charge weavers the cost of silk yarn produced in the village. All village

textile workers received equal amounts of silk yarn for free, however they were obliged to

weave the silk and sell the finished product at the group centre. In this village, money

management normally followed the committee’s rules and their experience of previously

dealing with individual weavers. Payment also depends on the status of the group’s budget,

for example sometimes a weaver was payed in advance, that is, before the product had been

sold because the owner requires money immediately. Successful textile production often

had and impact on the character of the village. For example, one villager described how Ban

Na-kha changed from a quite and decent village to become a renowned shopping village.

She described how in the past villagers used to weave and sell their product from their

homes, however today she rarely saw weavers in the main shopping road only busy shops.

The researcher had to go further into the village to observe textile workers in action.

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Textile production is discussed under the following subheadings, Process, Equipment, Dyes

and Colours, Pattern, Product and Marketing. The information provided under the

subheadings is taken directly from the comments and observations made during the

interview process and as such represent the issues relevant to the villagers at the time of the

interviews.

Textile production varies from village to village and between individual weavers in same

village although the variation is often minor. As a result, in the following descriptions and

interpretations of the field survey interviews a decision was made to name the villages and

weavers who were interviewed. As discussed previously, the villagers were keen to be heard

and during interviews and often insisted that their names be used in the final documentation

of the research. The value of this approach lies in a greater understanding of the rural Isan

village people and their roles in the production of textiles. Additionally, the researcher

considered it important to portray the human nature and the temperament of individual

weavers because it provides an indication of the relationships that developed between the

researcher and the weavers which was an important outcome of the ‘participatory action

research’ field survey method. The data includes discussion of silk and cotton textile

production and in some cases issues from separate subheadings are included to provide

context for the weaver’s comments. Not all of the villages are represented in the following

discussions; only those villages and weavers who contributed relevant comments are

represented.

6.1 Process

The process of producing silk textiles has been described in Chapter 2.2 Traditional Village

Textile Technology. However, prior to the analysis of the village interviews surveys it may

be prudent to summarize the process. Producing silk textiles follows the following steps.

Silkworms are raised in purpose built buildings where they are fed on mulberry trees leaves.

As worms mature they form a cocoon of silk threads that when unwound, can be up more

than five hundred metres in length. The threads are spun together to produce a final yarn

with a consistent diameter that is then washed and dried. The threads are dyed one colour or

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in the case of Mudmee they are tied off and dyed different colours, following this process the

thread is ready for weaving4.

Ban Pa-aw

In Ban Pa aw village, weavers expressed frustration about the length of time required to

prepare for weaving, which they called “preparing for Sen Yeun”, describing how

preparation takes more time than the actual weaving. Preparation of yarn for weaving

normally takes 7-10 days: 1 day to bleach (wash) the silk, plus 1 day to dye the colour, 4

days to make the silk yarn using traditional equipment called “Akk” and “Kong”, 1 to 2 days

to set the silk yarn to the loom following each pattern and 2 days to set up the equipment

called “Fuem” which is used with the loom. The whole process is done by hand and the

weavers wanted to shorten the processes using equipment described as ‘new’ and ‘easier-

making’ if it was available.

Ban Lao-suea-goke

The weavers in Ban Lao-suea-goke carried out the whole product cotton making process,

starting with growing the cotton plant, preparing cotton yarn, dying the yarn and weaving

textiles form the cotton yarn. Village weavers used both chemical and natural materials to

dye the cotton different colours. For the natural materials they used the bark from A-lan and

Plauy (Thai names) trees found in the village and Ka-noon, or a jack fruit, which gives a

light pink colour. A prominent village weaver described how the materials for natural dyes

had become difficult to find in the environment adjacent to her village, she also complained

about the time natural materials take to prepare compared to chemical dyes, although she

was adamant about her preference for the colours from natural materials.

Ban Chonnabot

Subject 1, an important weaver, described how weavers in every single house in the past in

Ban Chonnabot used to weave Mudmee textiles. She described how silk weaving tended to

be one of the main occupations for both men and women weavers in her village. The main

characteristic of Ban Chonnabot is working in a family system. Normally the husband will

tie-dye (Mudmee) colours and the wife will do weave the textiles, but sometimes they take

4 www.blurrytravel.com Accessed 15/10/2006

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swap tasks. Subject 1 and her husband Subject 2 sometimes moved from traditional pattern

to develop a new pattern when doing colour tie-dying to make the product look better and

different. It took her about 2-3 days to finish the weaving process. She also said, “It would

be easier when you do the weaving if you understand the patterns so far. If you want to

know how to weave, you have to know how each pattern works, like how did it come and

how to create it.” Subject 1explained the complexity of weaving different patterns. For

example, she considered the Mudmee process to be very complicated because it was not only

the weaving that she and her husband had to do, but also the complex processes before

weaving. She described the process; firstly create the pattern, then tie the yarn for the first

colour, dye the first colour then wash the yarn; this process has to be completed for all

additional colours and must be finished before the weaving process can begin.

Subject 2 went o to explain the process he uses for Mudmee dying. Firstly he takes the

original (white) silk yarn to tie in a knot for the first (primary) colour of the pattern. He uses

a plastic string called “Chueak Fang”, in the past they used another kind of string made of

natural products such as straw. After he has finished tie-dying the first colour in the pattern,

he then has to dye a whole bunch of yarns by using chemical colour ingredients mixed with

boiling water. He leaves the yarns in the hot water for a while then leaves them to dry in the

air. After the silk yarns are dried, he will untie the knots. He then starts to tie again in the

second colour of the same pattern, repeats the process again and again until he has finish all

of the colours in the pattern. Finally, he can send all the finished tie-dyed coloured silk yarn

(normally each pattern has about five colours or more) to the next step in the weaving

process. Subject 2 said, “We, the Chonnabot villagers, are doing a kind of small family

industry. Sometimes we take turns, like my wife will do the tie-dyed and I will do the

weaving”.

The equipment for Mudmee dying is called Hoang. The villagers normally buy the silk yarn

from a region that has a silkworm house for growing silk worms. The silk yarn they buy is

white in colour; the yellow colour silk yarns that we observed had already been dyed yellow.

People here tend to dye the hot tone in a particular colour, such as primary yellow which is

more vibrant. During the interview, Subject 2 was preparing to tie-dye in yellow, he

explained how they also use chemical colours for the dying as they are easy to buy from the

local market in the village.

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At that time, Subject 1had bought silk yarn from the local market in Ban Chonnabot and she

had tie-dyed the colour before we observed her weaving Mudmee silk. She had to prepare

silk yarn for the Mudmee process prior to setting-up the hand-weaving loom for a single

length of cloth which would eventually be about four meters long. In the picture, she rolled

up Sen Yuen when she has weaved about 4-5 inches; Sen Yuen is a horizontal setting (warp)

in the loom for the silk yarn, while Sen Tang is a vertical setting (weft).

Ban Pone

In Ban Pone, a weaver called Subject 17 was observed preparing the yarn for another

weaver; the preparation process is called “Keb-khao-lai” which means setting the yarns for

the required pattern. All the processes, including preparing the yarn, setting up the loom for

weaving and the weaving process will take about one month or over one month to complete

depending on the pattern. Subject 17 described how a very complex pattern might take

about six months to one year to finish; another textile pattern called “twelve patterns” took

her and her friends about a year to finish, the length and size of that textile was pretty big as

well. In the same village, a weaver called Subject 18 was helping a co-worker to gather silk

yarns to the horns on a loom. There were three weavers working on one loom, two of them

doing Keb-khao-lai (following the pattern) and the other one weaving. The weavers usually

undertake the two processes at the same time because they were making a hard and

complicated pattern called Pha Sib-lai or ‘ten patterns’ textile, which requires three weavers

to collaborate at the same time.

Another Ban Pone weaver (Subject 20) explained how new equipment called ‘Mai Ngud’,

which means to pry the silk yarn, was used with their existing loom to save energy when

they weave silk. Before this equipment became available, they had to lift wooden loom

components when they were weaving, but now they were using Mai Ngud automatic metal

equipment designed by local people using more recent knowledge. Subject 20 said, “We

normally will start weaving in the early morning around 4-5am, then will finish around 4-

5pm. The complex patterns take us about 3-4 months to finish. Now I am doing ‘the pine

tree and the cluster of flower’ patterns”.

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Ban Wai luem

A weaver in Ban Wai luem (subject 30) explained that she does not raise silk worms at her

house because she has no area for growing mulberry trees. She bought silk yarn from other

villagers for Sen Poong (weft) silk yarns, she also bought silk yarn from the Kamnan Joon

Group in Petcha-boon province in northern Thailand for the Sen Yuen (warp) yarns which

run contrary (or the opposite direction) to Sen Poong to make the pattern. The Kamnan Joon

Group has an automated machine for getting silk yarn from the cocoons or Sao-Mai. The

machine can make silk yarn thicker and thereby improving the quality; this kind of silk yarn

is called ‘white silk cocoon’. A simple comparison between buying silk and making their

own indicates the costs to be about the same. Subject 30 prefers to buy silk yarns and she

maintains that “it is better for weaving and there is no time wasted making the silk yarns, so

we can concentrate on weaving beautiful patterns”

Ban Sam-ko

Subject 23, a weaver from Ban Sam-ko, said “before, when we were working, we’d never

measured anything using (measuring) equipment, (we) only gauged (the volume) by eye.

But after we went for training, we have learnt a lot about how to measure the quantity of

colours we should use for colour-dying, and money management, which is very important to

us. After we know how to manage our budget it seems like we have increased the profits.

This makes the villagers love to work more.” The villagers use a normal hand-weaving

loom for weaving silk, which means it usually takes time to finish each product. For the

dying processes, the villagers use both dyes made from natural materials and chemical in the

ratio of approximately 50-50, following the needs of market.

Ban Ta Sa-wang

Subject 24 from the Chan So-ma Group in Ban Ta Sa-wang explained his production

methods; ‘in my own way, I design the pattern first then design the weaving techniques for

each pattern. The designers need to understand the weaving techniques as well.’ he added.

Subject 24 also explained the concept of weaving techniques in this group, he adapted the

techniques new patterns by using traditional Isan techniques called ‘Khit and Jok’, these

were developed to produce Pha Yok tong which is a complex and more expensive pattern

with gold coloured silk. When developing patterns, Subject 24 and some of his students

have responsibility for designing and adapting the weaving techniques, such as Koh (stuck),

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Tor-kwum (weaving up side down), Keb Sen (collecting a yarn) and Keb Song-sen

(collecting two yarns).

6.2 Equipment

Ban Pa-aw

The Ban Pa-aw weaving group received a 70,000 baht budget from a government

organization called ‘The office of economy stimulated for Ubon Rajathanee province’. They

used some of the budget to buy seven looms and the rest of the funding for other weaving

and cutting equipment such as a sewing machine. They adapted a wooden loom to metal

construction, not the whole loom but some parts which helped weavers lift the equipment

more easily and therefore the loom was more convenient when they were weaving. The

existing wooden looms were made using traditional local knowledge. When the villagers

carry the new loom to give weaving demonstrations, it is a lot more convenient to carry and

to assemble. The village wooden loom maker produced a metal loom by copying the

existing wooden loom, the weavers have since found it has a longer stand and is more

modern -Yes. One weaver (Subject 15) preferred the hand-weaving loom to the twitch loom

because it is easier and faster to weave using her particular skills. The group has seven

looms altogether including five hand-weaving loom and two twitch looms. Normally

committee or group members have their own loom at their respective houses.

Ban Lao-suea-goke.

In Ban Lao-suea-goke the weaving group changed to the twitch-weaving loom in the

Buddhist year of 2534 (1991). A government committee who came to help the village

establish the weaving group suggested that the twitch-weaving loom would help them as it

was more convenient and faster, however the weavers have since discovered that only

simple patterns can be made. Kee-kra-took: the twitch-weaving loom was made in the

village by a wood-worker named. Fuem (a piece of equipment that looks like a long comb

and is used with the loom) was bought a long time ago from a shop in Ubon Rajathanee city

for about 280 baht.

The differences between a twitch-weaving loom (Kee-kra-took) and a hand-weaving loom

(Kee-tor-mue) lie in the efficiency of the twitch loom design. The twitch-weaving loom is

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modern and faster and the weaver just has to pull down the string to work the Kra-suay

(Warp). The weaver uses both legs to press the wooden stick below, but there is no need to

change legs like the hand-weaving loom. However, the loom is really only good for textiles

with simple patterns employing only 2 to 3 horns. The hand-weaving loom or Kee-tor-mue

is considered to be the normal traditional loom and is good for hard and complex patterns,

capable of producing textiles with more delicate and beautiful patterns. However, the hand-

weaving loom requires a constant and high level of hand and arm energy to make Kra-suay

work.

Ban Chonnabot.

In Ban Chonnabot, Mudmee silk is a popular product, especially Mudmee textiles in a golden

colour. The process of Mudmee silk weaving requires 3 horns which are called Khao in Isan

dialect or Ta-kor in Thai language. The equipment the weavers were observed using was a

hand-weaving loom (Kee-tor-mue), a harness or horns (Khao), a reed (fuem), treadles (Mai

yeab) for feet, and Kra-suay to insert the silk thread for each pattern

Ban Wai-luem.

Ban Wai-luem weavers were observed using the following textile production techniques and

equipment.

1 Ta-kor or Khao (horn) for making more details in the patterns and to make the textile

thicker as well.

2 Pha Sa-ket has four Ta-kor and four Ka-yiab (foot-sticks), which make this type

thicker than other type of textiles made here.

3 Pha Mudmee three Ta-kor is different from other normal silk, as it has 3 foot sticks.

Normally they just use 2 foot-sticks for silk weaving.

6.3 Dyes and Colours

Ban Lao-suea-goke

In Ban Lao-suea-goke the weavers use chemicals and natural materials to dye yarn. Subject

1 described how ‘at the moment, natural colour dyes are hard to find and prepare, they waste

(take) so much time (to prepare) when compare to chemical colours. But the good thing I

like of the natural colour is (that) the colour will not come out easily when we use the

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clothes for a while. Actually it depends on the process of boiling the water as well, whether

the colour will later come out easily or not’. Existing textile training had re-introduced

natural colour-dyes for green, pink and a wooden (brown0 colour used for making a Scotch

pattern loincloth called Pha Khao-ma. Subject 1 also said ‘at the moment, the natural dyed-

colour is hard to find and prepare, wasting so much time when compared to chemical colour.

But the good thing I like about natural colour is that the colour will not come out easily

when we have used the clothes for a while. Actually it depends on the process of boiling the

natural material with water whether the colour will later come out easily or not’.

For dying cotton other village weavers use chemical colours mixed with natural colours, for

example tree bark such as Muang, Bug-mee and Ma-glua. This is done to increase the

longevity of the colour in the fabric. Subject 23 uses more natural material colour-dyes than

chemical dyes; she commented ‘if we mix with many kinds of bark tree, the colour will

come out very pretty…we use any kind of tree bark that gives colour that we find locally’

Ban Chonnabot

In Ban Chonnabot, Subject 4 was tie-dying colour using only one colour each day. The day

we visited he was dying a natural red colour from the stick lac (thick liquid) from Krang (a

kind of insect found in Thailand). Sometimes the final colour was like the blood of the pig

and was called Luead Mu and was one of the most popular colours for Mudmee silk.

Normally the weavers do not use the natural materials for dyes because it is hard to find the

different kinds of tree barks and insects. Subject 4 said ‘the colours we had made (from

natural materials) were too light for the dying process. It is also hard to find the right colour

we need from natural materials…but for me, I prefer to use both ways”. Currently textile

workers in Ban Chonnabot tend to use more chemical dyes as they are easy to buy from the

local village market. ‘the chemical colour is more convenient for us and also gives bright

colours such as bright pink or red, which are popular among people who love Mudmee silk

for making a dress’. Subject 4 is still not sure whether the colour from chemical dyes would

last in the cloth longer than the natural dyes. He was also concerned about the danger of

using chemicals for the dying process. He and other textile workers have to wear protection

such as gloves and face cover-cloth and undertake the dying process very carefully,

including washing the dye off his body very carefully after he has finished the work.

Subject 4 said his trick was to use an alkaline (PH) salt such as ‘Sunlight’, a Thai brand dish-

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washing liquid, which he mixes with the chemical dyes when he tie-dyes the cloth. He said,

‘I think it helps to kill some of the strong chemical’.

Ban Pone

Weavers in Ban Pone we questioned about using natural materials to prepare dyes for textile

production. Subject 20 said they used to do a lot in the past but now they tend to use more

chemical colour-dyed. Another villager Subject 20 does both natural and chemical colour-

dyed and she said, “It depends on the customer requirement, a kind of different ways of

(seeing) beauty. Sometimes they prefer the chemical dyes because the colour is so fresh and

lively, but some of them prefer the natural colour as it has its own natural beauty with softer

colour”. Subject 20 prefers the natural colour-dyes and she thinks from her perspective they

are more beautiful. “The natural dyes have their own beauty, soft, very pretty. They (natural

dyes) are not easy to get colour running while washing like some of chemical dyes. The

cloth might fade if you have been using them for so long, but this also happens with both

natural and chemical dyes”. In the past, she only used dyes from natural materials, but now

the world has changed and she has to follow the needs of the customer as well. She did all

the dying process by herself, for both natural and chemical colour-dyed. She said, “it is kind

of hard work. I do all the processes by myself. I did not get much sleep like other aged

villagers who are supposed to get an afternoon nap, which is called ‘Non Wane’ in Isan

language. But textile weaving is what I love to do and of course (I can) earn money from

that”.

In Ban Pone natural dyes come from different tree barks, for example Grudia chrysantha, a

small tree with yellow flowers that gives a red colour. Normally the weavers use local trees

from the village or nearby. This is still a problem for some villages that do not have those

kinds of trees that provide suitable colours for dying. Subject 21 said, ‘in this village, we

don’t have much (natural material) left now. Only the main colours, for example: red,

brown, blue and yellow’. Eucalyptus trees that are available near the village give off a grey

colour. She said, ‘if we mix the Eucalyptus tree bark with mud from nearby marshes, the

colour will come out to be a lighter gray, similar to the colour of mangosteen skin’. Then

Subject 21 described her trick, ‘we do trials all the times. If the colours come out OK and

they are not spotted or stained, then it seems to be successful.” Subject 21 always buys

chemical dyes from the market that come in a tube form that she later has to mix with water.

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The chemical dyes actually have many beautiful colours that could not be made from natural

materials, which is why some villager weavers prefer chemical dyes. Subject 21 also used a

Thai grass called Ya Pa-lang to mix with the natural and chemical dyes to make the colour

last longer in the cloth. She had little knowledge about natural dyes in other regions, for

example she did not know of the Ma Hode tree bark that the villagers used in Surin province.

She did not like Dok Anchan which is a kind of Thai flower that gives a blue-purple colour

because the colour does not come out from the plant very well, complaining that she had to

dye the colour many times.

Mai Noi means: little silk which gives a smaller thread and a softer touch as well. It comes

from the small silk worm, and is not the usual regular silk yarn. Mai Jeen, called Chinese

silk comes from a factory and sells for about 1,300 baht per 1 kilogram which some people

like for making scarves.

Ban Wai-luem.

Ban Wai-luem weavers use chemical dyes from the Sing to (Lion) and Kreong-bin (Plane)

Thai brand. The village has plenty of rice paddies but not many trees and if they really need

natural material for dying colours they have to order the material from other places. Subject

31, a village weaver said ‘for both natural and chemical dyes when you wash the cloth for

the first time, the colour will come out automatically anyway. But it depends on the process

we used whether the colour will come out a lot or just a little bit’. Subject 31 thinks the

natural colour is good for plain textiles, and the chemical colour is good for Mudmee textiles

because they need the fresh colours to emphasize the pattern. The disadvantage of using

natural materials to dye yarn for Mudmee silk is that the colours from some trees spread and

mix to a point where they cannot produce the right Mudmee pattern. She doesn’t think there

are any problems with chemical dyes, as long as weavers know how to protect their health.

She bought gloves, protection glasses and the protective face (breathing) cloth for the textile

workers in her group who are involved with the dying process. Subject 31 will boil the

colour dyes in water for a long time until they become very hot, before going through the

dying process. She told us this trick helps the colour last a long time in the cloth and it will

not come so easily when washed.

Ban Sam-ko.

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A weaver in Ban Sam-ko, Subject 23, is concerned about chemical dyes and she want to use

natural dyes more because chemical dyes cause harm to the environment, society and to the

lives of the villagers. She said ‘we don’t have enough good drainage in the village.

Sometimes villagers throw the leftover chemicals from the dying process into their garden

and they are toxic to their fruits and vegetable’.

Ban Ta Sa-wang

The Ban Ta Sa-wang Village Group mostly use chemical dyes as they are convenient to use

and also give bright colours. The Khmer-Surin people love to wear clothes with the bright

colours, such as red, blue and green. However, the Chan Soma Group from the same

village, dye silk using predominantly natural materials and are recognized for their

knowledge and skill in using dyes made from natural materials. In the past, village weavers

used traditional natural material colour-dying techniques for more than a hundred years. The

skills had been passed from generation to generation as a component of village culture and

heritage. The source of natural material for dying comes from local plants in the village

area. However, there are not many plants left of the plants that give good permanent colour,

and weavers describe how natural dyes in the past would last for at least a hundred years.

They gave the following examples of natural dyes that had a good reputation for longevity;

Krung: giving red colour, Kram: giving blue colour, Pra Hode tree bark and Glare tree bark

which gave a yellow colour.

6.4 Pattern

Ban Pa aw

A weaver (Subject 14) in Ban Pa-aw mentioned the Lai Kab-bua pattern or ‘the husk of

lotus’ pattern, which is recognized as the significant identity pattern for Ubon Rajathanee

province and has a history of being well known and associated with Isan people. Village

weavers call the pattern of the outline leaf growth on a banana tree trunk Lai Kab-kluay,

however this pattern has recently become popular in city markets and city dwellers call it the

pattern of rain. Lai Kab-kluay, is the applied pattern from Lai Kab-bua. In Ban Pa aw the

most popular silks used in textile competitions are Look Kaew and Mudmee pattern in plain

silk.

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Ban Lao-suea-goke

For a long time in Ban Lao-suea-goke, the villagers have been weaving cotton in a renowned

checked pattern called “Scotch pattern”, which uses two horns (khao) only. Usually it can

be used for the loincloth or Pha khao-ma traditional cloth for villagers to wear around their

waist. Subject 1’s former work was the Pha Kab-bua, which is recognized as a logo of

Ubon Rajathanee province. She also weaved the two coloured mini Scotch pattern for the

village school and schools nearby that order her textile for their special events costume. The

patterns she used to make included plain pattern Kab-bua, and Scotch pattern which the

villagers like to use for shirts or loincloths. This village has a great interested in weaving the

big and small size or check pattern (Scotch) for both loincloths and plain pattern clothes.

Another villager Subject 11, weaves many patterns such as the Khit pattern for cotton, plain

pattern for silk called Kab-bua Yok-dok which is different to the city Kab-bua pattern and is

now a kind of local identity. She also weaves Mudmee silk for a long skirt for Isan women

called Pha Sin; she weaves her own Pha Sin as well as other clothes. Subject 11 maintains

her patterns are from ancient times and in her weaving she has adapted various different

patterns, and her current weaving demonstrates how she created new patterns. At the

moment, almost every house uses chemical dyes with only one house across from her house

still dying colours using natural materials such as tree bark called Plueak Muang or Plueak

Ken. The patterns other villagers make are traditional patterns they have adapted using

modern influences. Pha Khit is from the Khao-suan-guang district in Khon Kaen and the

weavers which they used as an example of the traditional local Khit pattern. Subject 13

explained more about the cotton textile from Khon Kaen called Ton-son-yai pattern, which

means ‘the big pine tree’ pattern dyed an indigo blue which an old lady called Pu Tao had

weaved about ninety years ago.

Ban Chonnabot

Subject 1 was weaving a pattern called Lai Kai Kamen, which means the Khmer egg pattern.

This is a traditional Khon Kaen pattern that she has been weaving for a long time. A

weaver, subject 3 was weaving silk patterns called Lor-nang in Isan or Na-nang in central

Thai language, which means the lady’s face pattern. It is Mudmee silk weaving using three

horns which is usual in this village. The patterns are from ancient Isan times and people in

this village know traditional patterns well. Subject 4 said ‘we still do traditional patterns but

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sometimes we like to create new patterns which are adapted from the old patterns. We just

want to make something new, not too boring as usual’. Subject 4 added that the pattern

called Lor-nang is one of the traditional patterns which have many kinds of patterns together

in one piece of textile. For example, a bird pattern with other patterns lying in between, such

as Tua Kan or Er Pha (local Isan dialect) which are the flower and zigzagging (sawtooth)

patterns.

Ban Pone

Subject 17, a Ban pone weaver, is making a pattern called Dok kra-buan a kind of flower

pattern which has to be woven with twelve horns (khao), ten patterns (lai), and over four

hundred yarns or strings. The ten traditional patterns include a flower, a fish-tooth and a

Naga (serpent) and are famous in Kalasin province due to the traditional Isan Pu Tai people.

Subject 18 showed us a completed weaving in a green colour from chemical dyes that she

had made. It contains a pattern called Lai-nak-norn, which means ‘Sleeping Naga’ pattern.

Mostly the patterns that Subject 18 had made are for village people from her generation that

she has known since she was born. She adapted some of these patterns when she was

growing up and has since developed more weaving skills. The textiles in Kalasin province

tend to use a variety of patterns including big and small patterns together, although they are

different from Sakol-nakorn province (they both are Phu Tai ethnic group). The Sakol-

nakorn province textiles tend to use smaller sized patterns. Sometime the Kalasin people

called them Phu Tai Yor (Yor marns scale down in Isan language).

At the time Subject 19 was making the Pha Sib-lai or the ‘ten patterns’ and she described

how people like to buy the ‘ten patterns’ textile for making long skirts or blouses for special

events. It is more expensive than other patterns due to the complexity of the weaving

processes. Some weavers have produced about sixty patterns including older traditional

patterns and newer adapted patterns.

Ban Wai-luem

The Ban Wai-luem villagers preserve traditional patterns and they often win prizes in local

and national textile competitions, they have also created new patterns, but some of them

were too complex to weave. Currently, the villagers are promoting Pha Sa-ket to become a

textile identifiable with the Roi-et province. The textile with the Sa-ket pattern dyed in the

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In-tha-nin (pink) colour is the most popular amongst customers. Customers from the

province or from other provinces usually phone to order textiles, sometime they have seen

the product in a magazine and they quote the page number and the colour so that they can

order exactly the right product. They also make Pha Sa-ket with other colours such as baby-

blue, blue, and purple. The members were trained and have received some knowledge about

colour matching for each type of people’s skin, for example, pink colour might not be

suitable for people with dark skin. For a funeral there is no specific pattern associated with

the ritual, the villagers have to wear either black or white with any kind of pattern, and they

normally prefer black clothes with a plain pattern. Besides Pha Sa-ket they can also weave

many kinds of patterns following orders from customers, including patterns that are

recognised and identified with a particular province or village in region of Isan.

Ban Sam-ko

Subject 22, a weaver from Ban Sam-ko, exhibited a textile woven with in the Ma loon seem

pattern; she said ‘this is the traditional pattern called Ma-loon-seem in Khmer language

which means Taeng-tung-yeun or ‘stab while standing’; it can also mean Clan-tam-kan-ma

or ‘creeping by following each other’. To produce Ma-loon-seem they use one of the tie-

dying techniques called Mud-gleaw and it takes about three days to weave the textile. The

pattern is compiled with many horizontal lines and is comparable to textiles from the Khmer

period when the people had immigrated to Surin province simply by following on another.

Subject 23 told us about the textile patterns from her village “we love to use Surin traditional

patterns such as Pha Hole which means ‘spread’ in Khmer, and Pha Am-prom which means

Prom Buddha in Khmer. We wove these patterns and gave them to the Queen a long time

ago.” Subject 23 is wearing the pattern called Ta-lay-bod, which is in Khmer language

mean ‘the lake’ or ‘mini wave’. The villagers also use new patterns that the Department of

Industry in Bangkok sent to them for example, Sroy-dok-mak and Hua-jai-yung-wang

patterns which mean ‘I’m still single’.

Ban Ta Sa-wang

The Chan So-ma Group in Ban Ta Sa-wang, is led by Subject 24 who is not worried that

much about weaving as he trusts in the villagers’ weaving skills. He emphasized the design

and decoration of textile pattern and he describes how ‘Thai pattern is so

complicated…when we make the pattern, we have to make it liveable and moveable, which

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is called Lai Pen or ‘lively pattern’ in the technical language of the weavers. But if the

pattern does not come out very well, they would call Lai Tai or dead pattern’. Subject 24

also said that “pattern design is similar to using traditional patterns as the primitive idea and

creating a new pattern from them. Compared to writing a novel, we use the novel form but

add the words. This is just like when we design a pattern we have to put in the new details,

but still use the old structure of the pattern.”

Ban Na-kha

Ban Na-kha is a weaving village well known for Pha Khit patterns which are geometric,

diamond-grids and are used in decorative fabrics. Pha Khit is usually woven from cotton

and dyed from natural materials and it is used for pillowcases, bedclothes and shawls.

6.5 Product

A length of textile that has been woven in a rural Isan village can be described as a product.

In addition, there are many different kinds of products made from Isan textiles including

pillows, handbags, garments and scarves. Textile workers are constantly searching for new

ideas or applications that can be made from their textiles which they can sell as ‘textile

products’ and therefore a method of value-adding to their overall textile production.

Developing new products typically happens as the weavers follow the trends of the market

preference and from building on sales and the more popular orders from their customers.

Products tend to be similar but some villages specialize, for example, weavers from Ban

Lao-suea-goke use their plain cotton patterns as cloth for covering a table, they also sew

mini bags by hand from the local Kab-bua style of pattern.

A good example of village textile retail specialisation is Ban Na ka where many types of

hand-woven fabrics are produced in cotton, silk and other fabrics and in a variety of local

patterns. The prices of these fabrics range from a few Baht to thousands of Baht and taking

into consideration the time and effort spent weaving, as well as the expertise of the weavers,

the prices are very reasonable. The villagers sell their products in the village to people from

the city and neighbouring provinces that often come to buy textile products because the

materials are beautiful and the prices are reasonable. The village soon become Udorn Thani

province’s most famous and biggest hub for woven textiles with many shops for customers

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to choose from. The textiles include both solid colours and a variety of patterns. Some

textiles are tailor-made into ready-to-wear robes, skirts, pants, bathing clothes, pillow cases,

and other souvenirs.

6.6 Marketing

The use of the term marketing is intended to cover issues such as the ability of the village

textile workers to sell a product and the processes involved in selling textiles. The term is

also used also to give some indication of the value of the textile and textile products and the

financial gain to weavers. The primary methods of selling textiles range from individual

weavers houses, to the village weaving group shop and local markets and textile shops.

Other methods include responding directly to customer orders, selling to merchants from

larger centres and the OPOP fair in Bangkok. There were incidents of marketing support

from local, regional and national government departments such as assistance with packaging

and other promotional material.

Ban Pa-aw

There are still some weavers in Ban Pa aw that weave silk textiles and sell them from their

own houses and some weavers have established small showroom in their foyer or their

garage, or adapted a basement or similar part of the house. These weavers believe they can

sell their product more quickly and maybe at a slightly better price, as they are not

competing with other products sold at the weaving group shop.

The disadvantages of selling silk products from home can include how well an individual

weaver is known and the effort to become as identifiable as the weaving group shop,

especially if the weaver does not have an understanding of advertising. The customers can

see the directions that lead to the group shop as it is in the centre of Ban Pa-aw, and it is

more convenient than going through each of houses that weave and sell the product from

home. Village weavers felt that people tend to prefer more variety of choice when selecting

products from the group shop rather than only a few products from an individual weaver.

Most of the weavers prefer to take the finished product to sell at the village shop which

reinforces the social and cooperative nature of group working in the village.

Ban Lao-suea-goke

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In Ban Lao-suea-goke, the customers normally come to buy products or to place an order at

the group weaving centre, however they do not get many orders and most orders are from

people in the area and nearby. Subject 1 can sell her textiles for fifty baht for one metre

which means the price for one set is only two thousand bath; a loom can produce a length of

approximately four meters. It may take Subject 1 seven to nine days to male the cotton cloth

for which she will receive only five to six hundred baht profit for one piece; even at this

price she said it was OK for her living expenses. Another weaver Subject 11 said she

received about 1,500 baht per month for her textiles and she too said it was adequate for

living within the village.

Weavers typically sold textiles for ninety to one hundred baht for one set in a normal pattern

such as Pha Kab-bua, and one hundred and twenty baht for one metre of a special pattern

such as Pha Yok-dok. One finished product is made from approximately two metres of

woven textile. The nearby school had ordered textiles for making costumes for their team

activities and performances. Sa bai or the ‘breast-wrapped’ cloth in plain colours is selling

for two hundred and twenty baht for one piece of cloth. Plain colour cloth is normally for

cutting skirts or table-cloths.

Ban Chonnabot

When the Ban Chonnabot villagers have made Mudmee silk products they will sell then at

the village market or at souvenir shops on the main road of the village. There were more

than ten souvenir shops along both sides of the road as it has become a very famous

shopping area for silk and other local products from the Chonnabot district of Khon Kaen

province. Subject 3 sold her products to the Boon mee shop for one thousand four hundred

baht for one set. The Boon-mee shop will increase the price to two thousand baht when they

subsequently sell the textile to a customer. The finished product is made from four meters of

woven cloth. Subject 3 said that ‘the customers like to buy Mudmee silk for making

women’s blouses, men’s shirts, and for the traditional Isan long skirt called Pha Sin. A

textile product that is four meters of cloth takes about fourteen days to make. This includes

the seven day Mudmee preparation process prior to weaving and another seven days for the

weaving process. However, they only earn one thousand seven hundred to two thousand

baht for each product.

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Ban Pone

In Ban Pone, weavers said that income and profit depends on the complexity of the pattern.

For a simple pattern the selling price will be around a few thousands baht, where as a

complex pattern can sell for more than ten thousands bath for just one product. When one

considers that a weaver can spend a whole year making one piece of cloth then her income is

less than one thousand baht per month which is very little for such highly skilled work.

Ban Sam-ko

The main marketing opportunities for Ban Sam-ko weavers occurs at the group souvenir

shop, the biannual OTOP exhibitions, textile markets in Bangkok and Ra-yong province and

from orders from customers who make phone calls or drop by the group shop especially

some hi-class housewives from Surin and nearby.

Subject 23 told us about the village’s general situation at the moment. She considered the

villagers overall lifestyle was better since they have established the weaving group. The

villagers previously had a low-standard of education and healthcare and she believed that

now everything is better, especially the villager’s incomes which are about three thousand

baht for each villager each month. She added textile production ‘is better than everything

except the rice harvest, which depends on the weather, and we do not get enough income

from that”. After spending part of her life in a more civilized city like Bangkok, and after

going to see the work in a few countries in Asia, she understands the importance of local

product development. She emphasized the importance of the preservation of our own

identity through making Isan products.

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Appendix 5.2B Village Interview Data

Appendix 5.2B Village Interview Data is the interview responses from the survey of

ten villages in Isan in a period covering January to August 2005. The following data

are names of ten villages that had been interviewed. The data is taken from field work

notes and has not been modified or edited.

Content: Village names

1. Ban Chonnabot

2. Ban Koot-suay

3. Ban Lao-suea-goke

4. Ban Na-kha

5. Ban Pa-aw

6. Ban Pak-thong-chai

7. Ban Pone

8. Ban Sam-ko

9. Ban Ta Sa-wang

10. Ban Wai-luem

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1. Ban Chonnabot

Address: Ban Chonnabot, Tambon Sri-boon-raeng, Ampoer Chonnabot, Khon Kaen

Subject 1

- She started weaving since she was about 17-18 years old, by learning from Pu

Tao (means “old people” in Isan language) in her family.

- She has been doing the textile weaving including Mudmee and other kind of silk

weaving for more than 20 years.

- She told us that, they do the textile weaving, mostly Mudmee, in every single

house of this village for ancient times. The silk weaving trends to be the main

occupation for people in this village, both men and women.

- The main characteristic of Chonnabot village is working like a family system.

Normally the husband will do tie-dyed colour (Mudmee) and the wife will do

textile weaving, but sometimes they take turns.

- When they have done the completely Mudmee silk product, they will go to sell

to the market or souvenir shops on the main road of Chonnabot village. There

were more than 10 souvenir shops along both side of that road, as it is very

famous shopping area for silk and other local products from Chonnabot district

of Khon Kaen province.

- At the time we went there, she was weaving the pattern called Lai Kai Kamen,

which means Khmer’s egg pattern. This pattern is traditional pattern of Khon

Kaen that she has been weaving for a long time.

- She and her husband sometimes have applied from traditional pattern to their

new pattern when they were doing the tie-dyed colour to make the product look

better and difference.

- It took her about 2-3 days to finish the weaving process.

- The processes of Mudmee silk weaving is done by using 3 horns (Khao in Isan

language or Ta-kor in Thai language). Mudmee silk is kind of popular product

here, especially in the golden colour.

- The weaving equipments that she was using are hand-weaving loom (Kee-tor-

mue), harness or horns (Khao), reed (fuem), treadles (Mai-yeab) for feet, and

Kra-suay for insert the silk thread in each pattern required.

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- “If you want to know how to weave, you have to know how is each pattern

working, like how did it come and how to create it”, She explained about the

pattern weaving.

- She also said, “It would be easier when you do the weaving if you understand

the patterns so far”

- The Mudmee process is very complicated because it is not only the weaving that

we have to do, but also the complex processes before weaving, which are;

Create pattern Tie (Mudmee) 1st colour Dye 1st colour

Wash off Tie-dyed other colours Wash off

Until complete all colour in the pattern Weaving process

- Anyway, Mudmee silk weaving is unique and brings the fame to Isan people,

especially in Chonnabot, Khon Kaen province (the central of Isan region).

- The problems:

o It is not that easy to sell the product.

o The product price and profits are coming down right now.

o She wants the price up to 2,500 baht per one set of cloth (4 metre), as

she only got 2,000 baht or less per one set at the moment.

o She said, “I don’t think the price we get is appropriate if compare to the

complicated processes of each product. It is just not worth”.

Subject 2

- He is subject 1’s husband, doing the tie-dyed colour for subject 1 to weave in

the next pattern.

- He said, “We, the Chonnabot villagers are doing kind of small family

industry. Sometimes we take turns, like my wife will do the tie-dyed and I will

do the weaving”.

- The equipment for Mudmee called Hoang and Akk (see images in Appendix

5.3: Images from Village Interviews)

- They normally buy the silk yarn from the country area that has the silk worm

house for growing the silk worm.

- The silk yarns were original in white colour. The yellow colour silk yarns that

we saw were dyed with yellow colour already.

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- People here trend to dye the hot colour tone, such as yellow for the primary

colour of each pattern. Subject 2 is doing the tie-dyed in yellow colour as well.

- They use the chemical colour for dying process, as it is easily to buy from the

local market in this village.

- He explained the process of Mudmee in the way he does.

o Firstly he takes the original (white) silk yarn to tie in a knot following

the first (primary) colour of pattern, by using the string that make of

plastic called Chueak-fang

o In the past, they used another kind of string made of natural product

such as straw instead of Chueak-fang

o After finish tied the pattern in the first colour, then he has to dye a

whole bunch of yarns by using chemical colour ingredient mix with

hot boiling water.

o He leaves the yarns in the hot water for a while, and then leaves it dry

in the air.

o After the silk yarns are dried, he will untie the knot.

o Then start to tie again in the second colour of the same pattern, then

repeat those process again and again until he finish all of those colours

following the pattern.

o Finally, he can send a whole bunch of finished tie-dyed colour silk

yarn (normally each pattern has about 5 colours or more) to the

weaving process next step.

Subject 3

- We found her was weaving in the house’s basement with the other 2 ladies.

- Textile weaving is only her main occupation.

- She has learnt how to weave since she was young, from her mother like

generation to generation at this village.

- At that time, she was weaving the silk called Lor-nang (Isan lanuage) or Na-

nang (Thai language) pattern, which means the lady’s face pattern. It is

Mudmee silk weaving with 3 horns, as usual in this village.

- The 1 finished cloth product (they normally called 1 pair) has 4 meters length.

- She will sell her product to the shop down the road for 1,400 baht per 1 pair,

and the shop will put the price of 2,000 baht to the customer.

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- “The customers are likely to buy Mudmee silk for cutting women blouse, men

shirt, and Isan traditional long skirt called Pha Sin

- “Our Chonnabot village is famous for Mudmee silk. We often won the first

prize for Mudmee silk competition in Isan area.” She said.

- She bought the silk yarn from the Chonnabot village’s local market, and did

the tie-dyed colour by herself before we saw her was weaving Mudmee silk at

that time.

- She has to prepare the silk yarn from those Mudmee processes, before setting

in the hand-weaving loom for the fit length of 1 pair cloth (4 meters).

- In the picture, she rolled up Sen Yuen when she has weaved about 4-5 inches.

[Sen Yuen is horizontal setting for the silk yarn, while Sen Tang is vertical

setting for the silk yarn in the loom.

Subject 4

- He is another weaver’s husband that came for lunch and had nice conversation

with the friendly environment with us.

- He has been helping his wife for the tie-dyeing Mudmee silk for more than 10

years, together with his main occupation, which is a rice-harvest worker.

- Normally he does the Mudmee or tie-dyed colour at his house nearby, then his

wife will do the 3 horns weaving here with other ladies.

- He was born and grew up here. He knows about the story of this village very

well, especially how famous of Mudmee silk from his own village. He is proud

of Isan Mudmee silk that people around the world (well, for whom interested)

must have heard about it.

- The patterns are from ancient times of Isan era. People in this village know the

traditional patterns well. He said, “We still do the traditional patterns but

sometimes we like to create the new patterns which are adapted from the old

patterns. We just want to make something new, not too boring as usual”.

- He added about the pattern called Lo-nang, is one of the traditional pattern

with having many kind of patterns altogether in one textile. For example, bird

pattern with some of other patterns to lie between, called Tua-kan (Thai

language) or Er Pha (Isan language), which are the flower and zigzagging

(sawtooth) patterns.

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- One product of their textile (4 meters) took about 14 days to make it.

Including the 7 days preparation process before weave (doing the Mudmee)

and another 7 days of weaving process. But they earn the income for only

1,700-2,000 baht per 1 product only.

- He was doing the tie-dyed colour with only one colour each day. That day he

was dying the natural red colour from the stick lac of Krang (a kind of insect

in Thailand). Sometimes the colour comes out like a blood of the pig, called

Luead-Mu colour. It is also one of the popular colours for Mudmee silk.

- Normally they do not use the natural-dyed colour that much in this village, as

it hard to get the colour from those natural stuffs such as some kind of tree

bark or some kind of insects. “The colour we had got was too light too taking

it to the dying process. It is also hard to find the right colour we need from

those natural stuffs too. But for me, I prefer to use both ways”, he admitted.

- At this stage, the textile workers in Chonnabot village trend to use chemical

dyed-colour more, as it easily to buy from the local market at the village. “The

chemical colour made us more convenience and also gave the bright colour

such as bright pink or red, which are popular among people who love Mudmee

silk for cutting dress” he said.

- By the way, he is still not sure about the colour from chemical process that

would be lasted out on the cloth longer than the natural dye-colour. He has

concerned about the danger of chemical dying process as well. He and other

textile workers have to wear the protection such as gloves and cover-face

cloth, and do those dying process very carefully, including wash off his body

very clean after he has done the work.

- His trick: he used an alkaline salt such as Sunlight (Thai brand dish-washing

liquid), to mix with the chemical colour when he did the tie-dyed colour. He

said, “I think it helps to kill some of the strong chemical”.

2. Ban Koot-suay

Address: Ban Koot-suay, Tambon Kam-pra, Ampoer Hua-ta-parn, Amnat-charoen

Subject 5

- She is the president of the 4th (Moo 4) weaving group at Ban Koot-suay.

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- She is also the marketing public relation of Tambol Kam-pra enterprise center

(Soon Vi-sa-ha-kit).

- Tambol Kam-pra consists of 12 villages

- 9 villages - main occupation: Khit weaving

- 3 villages - main occupation: merchant, and others

- Moo 4 has about 40 members in the weaving group, but only 20 of that are

really do the weaving at the moment.

- They weave at each own house and take the finish product to this centre, to sell

altogether with other products.

- The popular product are any kind of cotton product such as wrapped-over cloth,

table-covered cloth, bed cover sheet, a bathing cloth or Pha Khao-ma (loincloth)

and Pha Dai.

- She explained the “Khit 72 years for the king” (on VDO). It is the longest Pha

Khit in the world.

- Problems:

- Run out of time for making product following the orders

- Customers from school nearby (wearing Thai costume day)

- Customers from other province

- Want to get better or new technology for the textile equipment, such as Kee

kra-took for the faster processes.

Subject 6

- She is the president of the 10th (Moo 10) weaving group at Ban Koot-suay.

- She is also the general secretary of Tambon Kam-pra enterprise center (Soon Vi-

sa-ha-kit).

- She said, “Only in my house out of a whole village, that still have the traditional

cotton making process. My mother still use all the traditional equipment, come

to my house if you want to see…”

- “My mother wants to conserve these traditional textile equipments from her

generation. Yes, they still can use very well”, she added.

- Those processes are, cotton equipments preparation before weaving called Ew,

Akk, Lak-fuea, and so on.

- She did the textile work at her house, following the orders from the customers.

She and her mother have their own loom (Kee).

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- She weave the cotton yarn, Siam yarn (sometime they called Tey-lon), and

artificial yarn.

- Moo.10 has about 10-20 members that are actually do the weaving at the

moment. They weave inside or in front of their house (the foyer). They do not

weave in the basement as before, when they had the two floors house Isan style.

(Now, all the houses in this village have been developed following the climate

that getting cold every year. They build the brick one floor house, not wooden

like before.)

- In this village, they had never done the silk preparation and weaving. Only

cotton making they are doing. She has a cotton tree at her house. She and her

mother are happy to show us ‘the evolution processes of cotton making’.

Subject 7

- Isan Textile expert (cotton making) –the mother of subject 6

- She showed us all the cotton processes making at her house (on VDO about half

an hour).


Address: Ban Lao-suea-goke, Tambon Lao-suea-goke , Sub-Ampoer Lao-suea-goke,

Ubon Rajathanee

Subject 8

- She is a member of “Ban Lao-suea-goke cotton weaving group”. She comes to

the group weaving office or workshop to weave the cotton everyday.

- She was wearing cotton clothes that she did both the weaving and dying colour

by herself. (It is normally what people in this village do –mostly are the old and

middle-age weaver)

- She only does the cotton weaving cloth for her main occupation, and does not

do any other product like the bag or clothes cutting. Before these days, she did

the Mudmee dye-colour and weaving, but cannot do it at the moment because

her eyesight is not as good as before since she got old. She normally does the

simple pattern weaving such as Scotch pattern with blue and white colours.

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- This village has been weaving the cotton for ages ago, emphasized with the

check (they called Scotch) pattern, which suing 2 horns. It usually can be used

for the loincloth or Pha Khao-ma traditional cloth for Isan guy wearing along

the waist.

- Her former work was works was Pha Kab-bua, which means the lotus husk

pattern textile. This pattern is a logo of Ubon Rajathanee province. She also

weaved the 2 colours mini Scotch pattern for the village school and the school

nearby that made the orders for their special events costume.

- “Normally the customer come to buy the product or make the order here at this

place, but we still don’t get that much orders anyway –only people in this area

and nearby”, she said.

- Course and development:

“Ban Lao-sua-goke cotton weaving group” had settled by the Ubon Rajathanee

Development Committee. Previously they did the weaving (by using the hand-

weaving loom) at their own house for their private used purpose. After the

village have settled the weaving group, they started doing the cotton weaving

together in the group workshop and started using the twitch-weaving loom later.

- They have no souvenir shop of the group. They do the selling process quite

simple because most of the customers are people from the village and nearby.

They just sell their product at the group office (workshop). Sometimes the

customers come and see the weaving process, and they would probably buy or

make another order at that time.

- The twitch-weaving loom (Kee Kra-took):

They had changed to this kind of loom since the Buddhist Era 2534. The

committee from the government who came to help them settle had suggested

that the twitch-weaving loom would help them get more convenience in faster

weaving, but only the simple pattern can be made from it.

- Cotton process:

She did all the processes from cotton plant cotton yarn colour-dye

weaving for her product making.

- In this group, they use both natural cotton that made by themselves and the

processed cotton from the market, called “cotton 16”, which is sometimes easier

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for the cotton making process. Cotton 16 can be bought for 500-600 baht for 1

ball (4 and a half kilogram), which can weave the cloth for 42 metres.

- She can sell her product for 50 baht per 1 metre. That means the price for 1 set

(a loom = 40-42 meters) is only 2,000 baht, which took her 7-9 days for the

cotton making processes. She finally got only 500-600 baht profits for that, even

she said it is ok for her living expenses.

- The dyed-colour process:

o She dyed the colour by using both chemical and natural dyed-colour.

o For the natural dyed-colour, she use the tree bark that could found at the

villge such as A-lan and Plauy (Thai names) and also the Ka-noon (a

jack fruit) that gives a light pink colour.

o “At the moment, the natural dyed-colour is hard to find and make it,

wasting so much time if compare to chemical colour. But the good thing

I like of the natural colour is, the colour will not come out easily when

we used the clothes for a while. Actually it depends on the process of

colour boiling water as well, for the colour will later come out easily or

not”, Subject 8 said.

- When they have the Buddhist traditional events or the village events such as the

house-warming or the wedding, they could not come to weave the cotton as they

had to go help other villagers. It is sort of family-village system for giving help

to each other.

- Subject 8 told us about people in the village, the new generation do not give

much attention about weaving culture. “We used to have the weaving training

lesson at the village. Some of them did attend, but still have not yet continue

weaving with us after that”, she said.

- The textile training was about using natural colour-dyed such as green, pink and

wooden colour for doing the Scotch pattern loincloth (Pha Khao-ma).

- Needs:

o Better market -more customers. There are enough textile workers but

not enough customers.

o Supporter/Trainer –To give some advice about the new patterns,

colours or techniques. At the moment they only do the simple patterns

with the same and old techniques.

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o Preserve -no one interested, they need someone who can encourage the

new generation to care about their own textile culture. Apparently only a

few of the aged weaver at this village are still doing this. If this

generation finish, no one will continue and they will loose this culture.

Subject 9

- She started doing textile weaving since 18 years ago. She does weaving the

cloth for selling and wearing on her own. She did weave for her kids and her

grandkids, but they did not give an interested that much. They like to wear more

fashion clothes.

- In the past grandparents generation, they had been weaving before, such as

Mudmee and Pha Khao-ma, but they did not use the twitch loom like at present.

- This group has about 30 members. Some of the member always come by and

leave because there had no work for them to do. (No order, no customer, so they

just leave to do something else for their living)

- There were two weaving specialists from some government organization (she

was not sure whether Development or Industry department), came down to train

them the weaving process.

- The patterns she used to do including plain pattern, Kab-bua pattern, and Scotch

pattern (which the villager like to do the shirt-cutting or loincloth).

- Problems:

o Her income is not worth with what she did. “But we have to do anyway,

no other jobs for the aged, better than have no job and have got nothing

to do”, she said. Apparently she can sell only 35 baht per 1 metre.

o No market: If the group have their own souvenir shop or local market

would be better than they have to find the market and the customer by

their own like at present. If they could not find someone to buy their

product, it means they have no job and no income.

o No development: The design and production has remained the same

level since the past period until current period, which turns its result to

be not much orders or customers for them.

*on VDO: this lady was weaving by using the twitch-weaving loom (about 3 minutes)

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Subject 10

- Kee-kra-took: the twitch-weaving loom was made within this village by the

wood-worker named Koon

- Fuem: this weaving equipment was bought at the shop in Ubon Rajathanee

city for about 280 baht. (this price was long time ago)

- This village has the most interested in weaving the Scotch (or check) pattern,

both big and small size for the loincloth and plain pattern cloth.

- Need:

o More works (orders)

o Better price

- “The girls are not interested in weaving anymore right now”; “This place is

kind of the aged group working. Please help us finding some more works to

do”, she said finally.

- Mai-muan-dai (the wood for rolling the yarns) called Kor-sua in Isan.

- The differences between Kee-kra-took (twitchd-weaving loom) and Kee-tor-

mue (hand-weaving loom):

o Kee-kra-took

Modern

Faster

Good for the simple pattern (2-3 horns)

Just have to pull down the string (to make Kra-suay go)

Using both legs to press the wooden stick below, but no need to

switch the leg like hand-weaving loom

o Kee-tor-mue (or Kee-kra-tak)

Traditional

Normal loom

Good for hard and complex pattern, the product will become

more delicate and beautiful

Using energy (hand and arm) all the time to make Kra-suay go

Subject 11

- She is the head of “Ban Lao-suea-goke cotton weaving group”.

- She has been interested in the weaving since she was a little girl, about 10th

grade. She has started weaving since then up till now.

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- Course and develop of the group:

o This village has been doing the textile weaving for a long time, from

generation to generation. One day, the headman of Lao-suea-goke

district (Tambon) with the government helped to establish “Ban Lao-

suea-goke cotton weaving group”.

o There have about 32 members in the group, but always show up about

6-7 members, not many weaver left at the village at present.

o Mostly the members do the weaving at each own house (we only saw

2-3 houses were weaving that day), by using the hand-weaving loom.

o The hand-weaving loom or Kee-kra-tak is traditional loom, which have

to let the Kra-suay go by hand, no string using like Kee-kra-took.

o On the other hand, the aged weaver at the group weaving workshop

use Kee-kra-took for their convenience, suiting for their body ability

especially their eyes.

- She has been doing many patterns, for example; Khit pattern for cotton, plain

pattern for silk, Kab-bua-yok-dok pattern (special Kab-bua, which is different

form Kab-bua pattern in the city, it is kind of local identity), and Mudmee silk

for Pha Sin (long skirt for Isan lady) cutting. She does the weaving for her

own Pha Sin and other clothes.

- Pattern: those are from ancient times and she has adapted some part. The silk

that she is weaving now, she create the new pattern by herself (picture)

- At the moment, almost every house use chemical colour-dyed. Only a house

across to her house that still dying natural colour, using the tree bark called

Plueak Muang or Plueak Ken.

- The income (profits) she got about 1,500 baht per month. She said it is ok for

living within the village.

- The new generation villagers are not interested in textile weaving. They tend

to get a job in Bangkok, such as working in factory and beauty salon.

Subject 12

- (A sister of subject 11) She does the sewing and cutting product from cotton.

- She mentioned about Dr.Methi Kansarn from faculty of Liberal Arts at Ubon

Rajathanee University. He grew up in this village and came back to help with

development and giving some suggestion of the textile weaving in this village.

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He suggested them to do the identity pattern for Lao-sua-goke village, so they

have created the tiger pattern with the village’s name together. (Sua = tiger)

- The long cloth shows the example of patterns from what they do the weaving

(by hand). Dr.Methi suggested doing this for customers to see the example of

patterns and colours. It helps bringing more convenience when customers

come and make orders.

- How they sell the textile here, 1 set has the length of 1 metre. They sell 90-100

baht per 1 set (normal pattern, such as Pha Kab-bua) and 120baht per metre

(special pattern, such as Pha Yok-dok). 1 finished textile product has 2 metres.

They bought silk yarn from Bangkok.

- The patterns they make are from traditional pattern and adapted with modern

pattern influence.

- She showed Pha Khit from Khao-suan-guang district of Khon Kaen. They

bought this Pha Khit for an example product for the traditional local Khit

pattern.

- The school nearby had ordered their textile product for cutting costume for

their team activity or performance.

- The mini bags were made by hand sewing with local style in Kab-bua pattern.

- Colour-dyed:

o Colour-dyed for cotton, they use chemical colour to mix with natural

colour from the tree bark, such as Muang, Bug-mee, Ma-glua trees.

o If only do the natural colour-dyed, it might get old easily (colour come

out before time).

o At her house, they use more natural colour-dyed than chemical colour-

dyed. “If mix with many kinds of bark tree, the colour will come out

very pretty”, “We can use any kind of tree bark that gives colour, from

the local area that we could find”, she added.

Subject 13

- She is the textile weaver expert and knows a lot about traditional patterns.

- She has been weaving Pha Khit and Pha Mudmee with natural colour-dyed.

- At the moment, she uses chemical colour ordered from the market.

- She does not weave the cotton that much at this stage, as she got old. She does

making the ready-made yarns instead.

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- She explained more about the cotton textile from Khon Kaen called Ton-son-

yai pattern, which means ‘the big pine tree’ pattern with indigo colour. The

old lady (Pu Tao) had weaved for about 90 years ago.

- Sa-bai or the wrapped cloth in the plain colour is selling for 220 baht per 1

cloth. Plain colour cloth is normally for cutting skirt or table covering cloth.

- Patterns she showed:

o Black colour cloth

Mee-bug-jub (switch)

Kan-makk-noi

o Green colour cloth

Ta-bug-nut (pineapple’s eyes)

o Kom 5

Can count to 5 sharp corners

o Kom 5 wann (spread)

The size of pattern will be smaller, closer together but still has

5 sharp corners

o Kom 7

Bigger pattern, can count to be 7 sharp corners

4. Ban Na-kha

Address: Ban Na-kha, Tambon Na-kha, Ampoer Muang, Udorn Thani

- Ban Na-kha has been changed from the quite village decent years ago to

become the shopping village. In the past, the villagers used to weave and sell

their product within each own houses. But we rarely see the weaver show at

this shopping road in front of the house anymore, only those busy shops. So

we had to go farer inside the village to see how they weave these textiles for

real. But we did not see them working, as it was nearly New Year celebration,

and the villagers tend to prepare for that and relaxing.

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- Since the interview data from this village could not been obtained. The

following data are information about Ban Na-kha found from internet source.1

“Ban Na-kha is a weaving village well known for Pha Khit (geometric, diamond-

grid min used in decorative fabrics). Pha khit is usually woven from cotton and

dyed with natural substances. It is used for pillowcases, bedclothes and shawls.

Locally made handicrafts can be purchased here for reasonable price.

Ban Na-kha is located about 16 km from the city of Udorn Thani. Take the

highway towards Nong Khai province. It is km.133 in Muang district of Udorn

Thani province.

Ban Na-kha has many kinds of hand-woven fabrics such as cotton, silk and fabrics

in local patterns. The prices of these fabrics range from a few Baht to thousands.

But taking into consideration the time and effort spent in the weaving, as well as

the expertise of the weavers, the prices are very reasonable.”

“Villagers at Ban Na-kha are planters and croppers. The women have learned the

art of leaving a certain number of pieces. They put them up for sale in the village.

People in the city and neighbouring provinces often come to look for them

because the materials are beautiful and the prices are reasonable. The village has

soon become Udorn’s famous and biggest hub of woven materials with many

shops to choose from. The materials are both solid colours or in different

patterns. Some are tailor-made into ready-to-wear robes, skirts, pants, bathing

cloth, pillow cases, and other souvenirs. Visitor along the Udorn Thani – Nong

Khai rout often stop to shop for some of them.”

1 www.tourismthailand.org/en/ne/way6/zone1/naka/index.php (28 January 2005)

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5. Ban Pa-aw

Address: Ban Pa-aw, Tambon Pa-aw, Ampoer Muaeng, Ubon Rajathanee

- We went there during the harvest season (winter: November-February). Most

of the time, the textile workers did not come to their weaving workshop

because they had to go to the rice field.

- When we were going to see the lady dye the natural colour silk, they could not

do it that day because someone from the village had passed away. They

believe that it brings the bad luck and if they do the colour-dye, will not be

successful or the colour will not show up at all. (VDO -on what she said)

Subject 14

- She is a deputy president of Ban Pa-aw silk weaving occupation group” (is what

they called).

- She gave us a demonstration of natural dye-colour and explained the names of

their weaving equipment at the group workshop (on VDO).

- She mentioned about Lai Kab-bua or ‘the husk of lotus’ pattern, is the

significance identity pattern of Ubon Rajathanee province. This pattern has

become well known among Isan people for a long time.

- Lai Kab-kluay or the pattern of a leaf sheaf of a banana tree trunk (the villager

called), or the pattern of the rain (the city people called), just has become

popular in the city market recently. It is the applied pattern from Lai Kab-bua.

Subject 15

- She is a president of “Ban Pa-aw silk weaving occupation group”

- Course and development:

o This group has found since 2530 (Buddhist Era) or the year 1998.

o The Ubon Rajathanee Community Development Organization has

foreseen that Pa-aw village has got the local knowledge about textile

weaving since ancient times. In the past, every single village did the

weaving for their own living purpose, such as household using and

clothes wearing to their farm grain crops.

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o After they had received support from the Government organization, the

advertising had been released about Ban Pa-aw is the silk weaving

village and has brought the customers to the village since then.

o In the beginning, they did not have much experience. That was why their

products were not in a good quality and not as beautiful as current. After

they had concerned about those problems, they have been tried to

improve their product by considering the problems and solutions.

o Some of the committee and members had taken the textile training

courses from the government expert about textile knowledge. For

example, the knowledge about colour-dyed, the silk yarn selection, the

weaving process and bag-cutting course.

o They only weaved the silk cloth in the beginning, after they have learned

how to adapt the cloth to be other products such as the little bag for key

rings and medium-size handbag, which are quite successful for selling at

the moment.

- They won the first, second and third prize for the silk weaving competition in

Ubon Rajathanee province. After that the province gave them a lot of supports

and emphasized Pa-aw village to be the most famous silk weaving village in

Ubon Rajathanee.

- There are about 10 committee and 60 members in this group (almost every

housewives from this village).

- The president (Subject 15) said,

o “In the past, we had more members than right now, but some of them

had resigned because they felt too old too work, and some of them just

had passed away”

o “We work as a group system, following the rule that the committee had

agreed altogether”

o “We got the budget for settle this group and the shop, which called “The

Product Display Centre”.

o “The committee actually do both weaving and taking care of the shop.

We take turns by following the timetable and organization chart of the

group”.

- Normally the textile workers (mostly women) will do their work at home and

take the finished product to put at the group’s shop for sell.

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- The chairman said, “If we do have enough money from the group budget, we

will give them money in advance, even before the products are sold. But if we

do not have enough money for that, the product owner will have to wait until

the product could sell and then they can get the money afterward”.

- At the place of Ban Pa-aw silk weaving group, there are about 3-4 looms for

display and show the weaving processes in front of the visitors. Some of the

customer liked the product and asked for buying it right away. Some of them

wanted to make an order in the same pattern with different colours.

- The textile group are doing their product following the trend of the market

preferable and the favourite orders of the customers basically.

- They emphasized with only the silk product, but also have some of cotton

product from other places to put for sell in the group shop.

- By the way, there are still some of the houses that do the silk weaving and sell

within their own houses, at the foyer or the garage (basement) of the house.

o Advantages:

They could get the product to sell quicker and maybe a little bit better

price, as their products did not have to be compared or chosen among other

products at the shop.

o Disadvantages:

Selling silk product at home might not be as popular as selling product at

the shop, if the product owner did not give a good advertisement. Mostly the

customers know the direction to come to the group shop, as it is a centre of

Ban Pa-aw, but it is quite hard to go through each of house that weave and

sell the product at home. And just like the way we feel, people trend to

prefer more variety choices of choosing the product at the group shop rather

than a few products at only one of each house.

- That is why the textile weaver likely to take the finished product for selling at

the shop. It is kind of cooperation group working for this village.

- At the moment, the young people at this village are having less interested in silk

weaving if compare to what the villagers in the past century did before.

- The work place:

The first building they have had is the exhibition centre (the middle building

form the picture). The community Development Organization group asked the

budget from Ubon Rajathanee province government organization about 300,000

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baht-Thai to construct the first building. After that, the following 3 buildings

had built not so long later. There are 2 buildings for weaving demonstration and

the storage room, which can be use as an exhibition hall sometimes. There are 4

buildings altogether belong to Ban Pa-aw silk weaving occupation group.

- The weaving machine (loom) called Kee:

o The group got the budget from government organization called “The

office of economy stimulated of Ubon Rajathanee province” for about

70,000 baht. They took some of the budget to buy 7 looms and used up

the rest of the budget for other weaving and cutting equipments such as

sewing machine.

o They adapted the wooden loom to be the metallic loom for more

convenience when they do the weaving. Those were made by their local

knowledge. (not a whole metallic loom, but just some part of the loom

which help the weaver lift the equipment easier)

o When they have to carry the loom to anywhere for the weaving

demonstration, it is a lot more convenience to make up the loom. The

wooden maker from the village did the metallic loom by copying from

the wooden loom. They found out it has longer stand and modern too.

o Subject 15, herself prefer hand-weaving loom more than twitch loom

because it is easier and faster to weave for her own skills.

o There got 7 looms altogether belong to this group (5 hand-weaving

looms and 2 twitch looms).

o Normally the committee or group members have own the loom in each

of their houses.

- The preparation for weaving process, or they called preparing for Sen Yeun will

take more time than weaving, normally takes 7-10 days: 1 day to bleach (wash)

the silk + 1 day to dye the colour + 4 days to make the silk yarn (using

traditional equipment called Akk and Kong) + 1 to 2 days to set the silk yarn to

the loom following each pattern + 2 days to set in the equipment called Fuem

using with loom.

- It is all with hand-making process. She would like to have the shorten processes

and new easier making equipment if she could.

- The popular silk of Ban Pa-aw that have been passed in the silk competition all

the times are; plain silk, Look Kaew pattern silk, and Mudmee silk.

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Subject 16

- A village weaver who work and sale product at her own house

- We did not interview her, but did observation while she was busy working


Address: Ban Pak-thong-chai, Ampoer Pak-thong-chai, Nakon Ratchasima or Korat

- We can consider Ban Pak-thong-chai as the most well-known place for Isan

silk weaving from the Western tourists’ view because of Jim Thompson’s

famous textile products were mostly made from this place. Unfortunately, we

could not obtain any data as they were not working closed for New Year. The

following data are information found from internet sources;

:

“Pak Thong Chai Silk Weaving Village: One of the most famous silk villages in

Thailand, showcasing elaborate silk weaving process, and offering beautiful Thai silk

at reasonable price.

Korat silk had long been recognised among Thai people for its superb quality. Pak-

thong-chai village is one of Thailand’s most famous silk-weaving villages where

villagers still carry on their talented skill in producing beautiful Korat-texture silk.

Nowadays although many Thai silk factories have been set up here at the village,

independent local weavers still turn out exquisite hand-woven Korat silk for souvenir

item.

If you want to learn how this beautiful Thai silk was made, better visit Pak-thong-chai

Silk & Cultural Centre. The cultural centre offers demonstration of silk-weaving

process. Various kinds of silk fabrics and silk products are also available at

negotiable price.

To visit Pak-thong-chai Silk Village, take Highway no.304. The silk-weaving village is

located between km.107-108, 32km away from Korat town.”2

2 www.dusit.com/hotel/pkk/attraction/attr00066 (29 January 2005)

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“Pak-thong-chai, a small town known for its silk weaving, is located 32km south of

town. Pak-thong-chai is famous for its beautiful hand-dyed mud-mee silk. This town

has been resurgence in productivity since Queen Sirikit established her support

programme to help local weavers.

Tourists can see the weavers practising their art and pick up some good bargains at

the same time.”3

Travel Diary:

“Thailand is known throughout the world for its production of exquisite silks and fine

silk products. Although Thailand is home to some major silk factories, the majority of

Thai silk is still produced in the homes of people living in villages dedicated to silk

production. One of these villages famous for silk weaving is Pak Thong Chai, located

approximately 32km south of the provincial capital, Khorat, in Northeast

Thailand. Stepping off the bus in Pak Thong Chai, we had no difficulty in finding the

stores where finished silk products were on sale. We browsed in the stores for about

an hour before meeting a knowledgeable local who was eager to show us the village's

silk weaving process. As he guided us through the quiet and winding backstreets of

the village, he explained to us the process of producing silk. First, silkworms are fed

upon the leaves of mulberry trees. Upon maturity, the silkworm creates a cocoon

made of silk filaments, which unwound produces approximately 550 - 730 meters of

silk thread.

After removal from the wheel, the threads of raw silk are soaked in hot water to

remove any impurities and are then dried in the sun. Next comes the dying process,

where the threads can be dyed one color or certain sections of the threads can be tied

off and dyed several times to create a pattern not dissimiliar to "tie-dye". After dying,

these threads are again dried in the sun and spun onto smaller spools ready for the

loom. At this point, the silk weavers work their magic creating the amazing silk

products seen in Thailand and exported around the world.”4

3 www.travelthailand.com (29 January 2005)4 www.blurrytravel.com (29 January 2005)

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7. Ban Pone

Address: Ban Pone, Tambon Pone, Ampoer Kam-muang, Kalasin

Subject 17

- She started weaving since she was young, had taught by her mother.

- At this village in the past, the girls about 7-8th grade had to learn how to do the

weaving. (Other villages in Isan area as well, it is kind of traditional culture)

- Their parents or grandparents normally transfer weaving knowledge and skills

from generation to generation. They teach how to use the loom (mini loom)

and mini equipment for weaving mini scarf or mini wrapped-over cloth for

their own.

- Now she is doing the pattern called Dok-kra-buan, means one kind of the

flower pattern. This pattern has to weave with 12 horns (Khao), 10 pattern

(Lai), and over 400 yarns or strings.

- She is not doing the weaving because that is another lady’s job, but she is

preparing the yarn for that lady to weave. This process called Keb-khao-lai,

means setting the yarns following the pattern required.

- All those processes including preparing for the weaving process until finish

the weaving process, will take about 1 month or over 1 month such as this

pattern. If the very complex pattern might take about half year to a year like

what she did before. The textile pattern called “Twelve patterns” took her and

her friends about a year to finish. The length and size of that textile was pretty

big as well.

- For the income and profits, it depends on how complex of the pattern. If the

easy pattern will be around a few thousands baht, and the harder pattern can be

more than ten thousands bath per one product. (*If think about she had to

spend time for a whole year, that means only one thousand baht per month for

her salary)

- We asked about the Isan cultural and significant things at Ban Pone:

o They will dress the Isan traditional costume called Pu Tai, when they

celebrate the Buddhist religious rite or other Thai traditions for

example; Song-kran (water festival), Boon-bang-fai (sky rocket

festival) and the New Year festival.

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o Pone Pittayakom School has the textile weaving lesson for the students

in secondary to adults. They also have the old lady weaving

community nearby the local market opposite to the school.

Subject 18

- She is helping her co-worker gathering the silk yarns to the horns. There were

three ladies working in one loom, two of them do Keb-kha-lai following the

pattern, and the other one do the weaving. They usually do these two

processes in the same time. They are making the hard and complicated pattern

called, Pha Sib-lai or ‘Ten patterns’ textile. That is why they need three

people working together in the same time.

- ‘Ten patterns’ are consisted of traditional patterns such as flower, fish-tooth,

Naga and so on. This kind of pattern is famous in Kalasin province, due to

Isan traditional Pu Tai people.

- Then she showed us the completed weaving cloth with green chemical dye-

colour that she dyed by herself. It contains the pattern called Lai-nak-norn,

which means ‘Sleeping Naga pattern’.

- Mostly the patterns she has done are from the ancient people in the village

from her generation, that she has seen since she was born. She has done

adapting some of those patterns when she grew up and has got more weaving

skills.

- Her main occupation is doing the paddy farming, but it will not be running all

year long. It depends on the harvest season. So the textile weaving career will

normally be another main or sub occupation for the village ladies when it is

not the harvest season.

- Her kids did not learn how to weave the silk or cotton. They go to school and

have some of other activities to do besides textile weaving. She wished they

could be more interested and receive the knowledge from her someday.

- Prae Wa scarf is the famous product for Kalasin province. It shows an identity

of Pu Tai culture in Kalasin. It took her about 1-2 months to finish and be sold

at 5,000 baht per one product.

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Subject 19

- She is the owner of Pa Saew which we bought for collecting the examp0le.

First she did not want to sell it because it was her first achievement for textile

weaving since she was a girl, but she finally sold to us as for future study of

student at Faculty of Applied Arts and Design at UBU.

- Pa Saew (see images on Appendix 5.3: Images for Village Interviews) is the

weaving cloth that shows the easy patterns when the girls at the village just

started weaving. In one Pa Saew has about 4-5 patterns and called the name in

their Isan words. Whenever those girls have started learning the new patterns

or create the new patterns, they will do the trial weave in Pa Saew cloth and

keep it for her example work.

- The patterns in Kalasin province tend to use the variety of each pattern,

including the big and small patterns altogether. It is different from Sakol-

nakorn province (they both are Pu Tai tribe). The patterns of Sakol-nakorn

province tend to use only the small size of patterns. Sometime Kalasin people

called them Pu Tai Yor (Yor means scale down in Isan language).

- At the moment she is doing Pha Sib-lai or the ‘10 patterns’ textile. For

example; the pattern of chicken, Naga, an orange jasmine flower, Chor Fa (the

decorations of the two-ends of a Buddhist temple’s roof with Naga headed-

shaped horn), Bai Boon Noi (small Boon leaf; Boon = one kind of leaf in Isan),

and Bai Boon Yai (big Boon leaf).

- People like the buy Pha Sib-lai textile for cutting long skirt or blouse for the

special events. It is more expensive than other patterns due to the harder

processes.

Subject 20

- She was the one who did the Pha Sib-lai 10 patterns textile. (very large, had to

fold it back by 2 people)

- She explained the new equipment called Mai Ngud (means to pry the silk

yarn), which had to use with the loom to save their energy when they weave

the silk. Before this, they had to lift the wooden equipment when they weave.

But now they can use this automatic metal equipment Mai Ngud that had

designed from the local people knowledge recently.

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- She said, “We normally will start weaving in the early morning around 4-5am,

then will finish around 4-5pm. The complex patterns took us about 3-4 months

to finish. Now I am doing ‘the pine tree and the cluster of flower’ patterns”.

- She talked about the Pu Tai ladies, they always wear Mudmee (a tie-dyed

fabric) long skirt and wrap over their shoulder with the Prae Wa wrap or scarf

as everyday clothing. As we saw in this village, lots of old ladies still wear

these clothing, but the young people tend to wear more westernize clothing at

the moment.

- In traditional Pu Tai cultural, they use a red Khit (one kind of Isan wearing)

textile for a pall covering in the funeral.

- We asked about natural colour-dyed, she said they used to do a lot in the past

but now they tend to use chemical colour-dyed more.

Subject 21

- She is the textile expert old lady of the village. She won the first prize from

the queen at the silk contest (that happens each year) for six times already in

her life. She showed us her certificates and products at her house.

- She does both natural and chemical colour-dyed. She said, “It depends on the

customer requirement, kind of different ways of beauty. Sometimes they

prefer the chemical one because the colour is so fresh and liveable, but some

of them prefer the natural one as it has its own natural beauty with soften

colour”.

- She, herself prefer the natural colour-dyed. She thinks it is more beautiful for

her perspective. “The natural colour-dyed has their own beauty, soft, very

pretty. They are not easy to get running colour like some of chemical colour-

dyed. The cloth might be faded if you have been using for so long, but it also

happens for both natural and chemical colour”, she said.

- In the past, she has only used the natural colour. But now the world has

changed and she has to follow the needs of the customer as well.

- She did all the dying process by herself, for both natural and chemical colour-

dyed. She said, “It is kind of hard work. I do all the processes by myself. I did

not get much sleep like other aged villagers that supposed to get the afternoon

nap, which is called Non Wen in Isan language. But textile weaving is what I

love to do and of course, earn money from that.”

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- The natural colour-dyed come from a tree bark, such as Grudia Chrysantha (a

small tree with yellow flowers), which gives the red colour.

- Normally they use the local tree at the village or nearby. It is still a problem

with some villages that have no those kind of tree that could give colours for

dying. She said, “In this village, we don’t have much left now. Only the main

colour, for example: red, brown, blue and yellow.”

- The Eucalyptus tree gives the grey colour. She said, “If we mix the Eucalyptus

tree bark with the mud that came from the marshes nearby, the colour will

come out to be lighter grey, similar to the colour of mangosteen skin”. Then

she told us about the trick, “We do the trial all the times. If the colour come

out ok, like when we dyed and it was not a spotted or stains, then it seems to

be successful.”

- She always buys the chemical colour-dyed from the market. It came in the

tube form and she has to mix with water later. The chemical colour actually

has many beautiful colours that could not get from the natural colour. That is

why somebody prefers those chemical colours.

- Subject 21 said that she still does not have a conclusion about which one

between natural and chemical colour that will stay longer.

- She talked about the funeral cultural for Pu Tai people that, “We normally

wear black and white with the plain pattern, just normal long skirt (Pha Sin or

Sin) which sometimes we can get from the local market.”

- Then she showed us the Pu Tai Sin with a tie-dyed fabric putting the varieties

of chemical dyeing colours. She said, “It is different from Lao style, people

always misunderstood. This is Pu Tai style show identity of us.”

- She has been doing about 60 patterns in her life, both (old) traditional patterns

and (new) adaptable patterns.

- The first skirt on the picture: 3,500 baht, a pine tree with fish tail pattern with

yellow and red colour

- The second skirt on the picture: 1,500 baht, the crest of a mermaid and the

stars pattern with Bai Bok colour (Pu Tai language, similar to the colour of

mangosteen skin).

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- She has started learning how to weave since she was young. The Isan people

called Hed Kee Noi, means ‘weaving with mini loom’ for the girls at the

village.

- In the past, she sold her product to the shop in Kalasin city, but she has

stopped fro about 3 years now. At this stage, the guy will come to pick up the

finished product at her house, mostly had to ordered from her first. That helps

she received the better price and more convenience for her age as well.

- She does the textile weaving alone, including preparation processes and

weaving processes.

- Prae Wa wrapped-over cloth is the most significance and identity for Ban

Pone area, especially the complex pattern with natural colour-dyed will be

sold at 3,000 baht, as it is very hard and took so much time to be done.

- The high-ranking women in Thailand love these Prae Wa products. Someone

said to her that, Prae Wa cloth is very popular. Don’t worry about what you

have got left to sell. It will be gone soon, because we love it.”

- The very red colour on the cloth is from chemical colour-dyed.

- There were students and teachers from Bangkok came to visit her house, to see

the Prae Wa making processes and see her famous products.

- Her Trick: She has used some kind of grass called Ya Pa-lang (Thai kind of

grass), mix with the natural and chemical colour for the colour staying last

longer. (She has no idea about Ma Hode tree bark that the village in Surin

province use)

- She does not like Dok Anchan (a kind of Thai flower that gives the blue-purple

colour) because the colour does not come out from the plant very well. She

had to dye the colour for many times.

- Mai Noi (means: little silk) gives the smaller thread and softener touch as well.

It came from the small silk worm, not regular silk yarn like usual.

- Mai Jeen (Chinese silk) is from factory. Its selling rate is 1,300 baht per 1

kilogram. Some people like it for making a scarf.

- She told us that we should check it out Bung Fai or the skyrocket festival in

June. It is very interesting and big events to show Pu Tai traditional costume,

beautiful flower, folk-art dancing, and skyrocket competition as well.

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8. Ban Sam-ko

Address: Ban Sam-ko, Tambol Pra-sart-tong, Ampoer Kha-wao Sri-na-rin

Subject 22

- She is one of the member of Ban Sam-ko weaving group who gave us the nice

welcome while we were waiting for the head of this village

- She said, “The shop is temporary closed this period because some of our group

members have gone to Bangkok to sell the product at OTOP exhibition”. The

villager in Isan area gives lots of interested to this big OTOP exhibition which

happens 1-2 times a year. Luckily, she still let us does the interview with

warmth and friendly welcome.

- They have about 15 members at the group right now. Normally about 5-6

textile workers will come to weave the silk here at the group workshop. The

rest of the members will do weaving at their own house. They all usually

weave the silk all day, from the morning until in the evening.

- Subject 22 also showed us the Ma-loon-seem pattern textile. She said, “This is

the traditional pattern called Ma-loon-seem (Khmer language) means Taeng-

tung-yeun (stab while standing) or Clan-tam-kan-ma (creeping by following

each other’. They use one of the tie techniques called Mud Gleaw as well. It

took 3 days to finish this textile weaving. The pattern is compiled with many

horizontal lines; comparative to the period of the Khmer people immigrated to

Surin province by following each other there.

- Market:

o The group souvenir shop

o OTOP exhibition

o The market in Bangkok and Ra-yong province

o By orders

Phone calls

Drop by (some hi-class housewives from Surin and nearby)

Subject 23

- She is a head of Ban Sam-ko village, and also act as the head of Ban Sam-ko

weaving group

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- She the real developer of this village. Since she has been the head of the

village, this village has become more developed with their career, income,

lifestyle, education and healthcare of the villagers.

- She told us the story of this silk weaving group of the village. This group has

settled since the Buddhist year 2538 (10 years ago). The group has started by

the Community Development Institute of the district. They helped this village

to set up 15 members per one group to do something for developing the life

quality of people at the village.

- For this village, the main occupation is rice farming and the sub-occupation is

general labour. She has foreseen of the weaving occupation that could be a

good additional occupation, as the villagers have already had their weaving

skills from past generations.

- In the past, the villagers did the textile weaving for their own living, did not do

for marketing. After a while, they started selling the leftover of their using

clothes to the market. The villagers feel like they could make money from the

weaving, so that made them wanted to have their own weaving group as well.

- At first, subject 23 was the one who start building the weaving workshop by

using the government budget she had asked for. Then she used some of the

government budget to buy the silk yarn, which called ‘market silk’ from the

silk factory. After a while she had a thought about setting up their own ‘silk-

worm feeding group’, as the villagers used to feed the silk-worm at the house

basement before. They did not have enough area at first, so they shared the

free space of each other’s house, altogether about 40 rai to be the mulberry

farm area for raising the silk-worm.

- The Department of Agriculture Supporting had built 11 silk worm workshops

for them. They also received the local silk breed called ‘yellow silk” from the

mulberry tree and silk worm Experiment of Surin province. From that, helped

them to get enough silk yarn for weaving. One fully silk worm can give the

length of silk yarn about 500-600 metres.

- Subject 23 told us that, there are no costs of the silk yarn making from the

village. The village textile workers will receive the silk yarn in the equally

amount for free. Then the textile workers will weave the silk and take the

finished product to sell at the group centre (subject 23’s house).

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- About the money management, it is going follow the rule of the group that has

been deal with the member before. It is also depend on the budget status of the

group as well. Sometimes she had to pay them in advance even before the

product has been sold out, if the owner requires money immediately.

- A few years ago, the product of this village group did not go through the non-

local market that much, because of

o Not many villager want to go sell (they were shy to be a merchant)

o Budget: Mostly the president of the group (which is subject 23) will be

the one who pay the textile workers first. Sometime they have money

problem occurred in the group.

o Food convenience: the villagers that raise the mulberry tree and silk-

worm, including the silk weavers like to have convenience for their

food and drinks. That is why they do not like going away from the

village. They get used to working nearby their house like what the

quote said, “Surin people like Sura” (means ‘alcohol drinks’).

- Since the group has settled, they received helps from some of the government

organization such as Department of Industry, Department of outside-school

education, and Ratchamongkol Institution. They help the villagers take care of

their projects and gave them the training, for example the packaging design,

the natural colour-dye and the accounting management.

- She said, “Before this when we were working, we’d never measured anything

by equipment, only assume by eyes. But after went for training, we have learnt

a lot abut how to measure, quantity of colours we should use for colour-dye,

and money management, which is very important to us. After we know how to

manage with our budget, seems like we have increased the profits. That makes

the villagers love to work more.”

- About the silk weaving processes at this village, they use the normal hand-

weaving loom, which usually will take time until finish each product. For the

colour-dye processes, they use both natural and chemical colour in the portion

of 50-50, following the needs of market.

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- For her personal opinion, she concerns about using natural colour-dye more,

as the chemical colour cause harmful for environmental, social, and lives. She

said, “We don’t have enough good drainage at the village. Sometime the

villager throw away the leftover of chemical colour from dying process to

their garden, which cause toxic to their fruits and vegetable”, she added.

- Surin textile has its own identity, which using real hand-weaving silk and

using the little silk yarns or called Sen Mai-noi. These little silk yarns make

the textile softener than those silk from the factory, which usually came from

China or Vietnam.

- She also told us about the textile pattern of this village, “We love to use Surin

traditional patterns such as Pha Hole (means ‘spread’ in Khmer) and Pha Am-

prom (means ‘Prom Buddha’ in Khmer). We weaved these patterns and gave

to the queen long time ago.”

- She is wearing the pattern called Ta-lay-bod, which is in Khmer language

mean ‘the lake’ or ‘mini wave’. And they also use the new patterns that the

Department of Industrial from Bangkok sent to them. For example Sroy-dok-

mak pattern and Hua-jai-yung-wang pattern (means I am still single).

- The Department of Industrial from Bangkok also made the name cards and

package for silk product for Sam-ko village weaving group as well.

- Then she told us about the village’s general situation at the moment. The

lifestyle of villagers overall are better since they have settled the weaving

group. From low-standard education and low-standard healthcare previously,

now everything are better especially the villager’s incomes, which is about

3000 baht per month per head. “It’s better than only do the rice harvest, which

had to depend on the weather, and we did not get enough income from that”,

she added.

- From spending some part of her life in the civilization city like Bangkok and

also went to see some works of few countries in Asia, she understand how

important of the local product development. She emphasized about reservation

of our own identity of Isan product.

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- Finally, we asked about the problems found in their weaving group, and her

suggestion for solving some of the problems, which are

o The budget circulation inside the group:

They do not have enough budget for raising mulberry tree and

silk worms

The customer like Batik silk textiles for wrap-over cloth very

much, which are sold out quickly at OTOP exhibition. But the

Batik colour for painting is very expensive. If they have enough

money for this stuff, they would do more.

o The marketing:

They want more customers and market

They want to expand the product to international market

o The new campaign:

They want the villagers new generation at the village give an

interested in weaving or help the aged villagers to develop new

product from local knowledge for their own place.

- “I would like to encourage the development of object and the development of

people’s mind in the same time”, she said at the end.

9. Ban Ta Sa-wang

Address: Mu.1 Tambol Ta- Sa-wang, Ampoer Maung, Surin

- Bring famous for Surin province in October 2003 from the silk weaving

costume for the APEC leader meeting.

- From the entrance street into the village, about 10 souvenir shops has seen

there on both side of the street.

- There were 2 silk production buildings (they called “silk weaving factory”)

and the new silk weaving building with Thai traditional style of architecture

also has seen there before we got to the centre of the village.

- (From asking the shopkeeper) Ta Sa-wang village has two different kind of

silk weaving group, which are

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o Chan So-ma group (Thai traditional style)

Has the specialist (Ajarn = teacher) look after

Is the one who did costume for APEC (very famous on the

news)

o Village group (Isan style)

They do the easy, tradition, simple way from past generation

They do the silk weaving at their own house, then bring their

product to sell at the shop along the street in the front of the

village

Those shops are owned by the housewives group and some of

them are owned by one person.

Chan Soma Group

Subject 24

- He is the founder of “Chan Soma Silk Weaving group”. Normally it is hard to

find him, but we were lucky that day. He gave us the warmth welcome and

told us the background story of this group.

- He said, “This village has been growing up the mulberry tree and silk worm

for a long time. Each house in the village had been doing the silk weaving for

their own clothes. Especially they do the special costume for formal occasion

or traditional ceremony, as it was hard to find the nice costume at the city

market, plus there were too expensive if compare to making their own

costume”.

- “The women in the past years had believes of how important of the girls’

ability to do textile weaving for women social. They believed it would

increase their valuable and be ready to become a good wife. Nobody forced

them to learn the weaving process, but all the girls around 10 years-old would

have their eager to learn. It is called Abb Kuen Kee or sneaking to ride (use)

the loom. It is quite different from the current women social that have the

thoughtful of having high education from the institute like university”, he said.

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- Subject 24 is afraid of the lost of textile weaving culture at this village that he

has grown up. After he finished his study from the art school Ratcha Mongkol

Institute of Technology in Bangkok, he came back to help his hometown. He

started to compile the villager (mostly aged women) that live here and have

been weaving textile for a long time to settle “Chan Soma Silk Weaving

Group”. The aim of this group is, to preserve the Thai traditional textile

weaving against the lost of it that might come up soon.

- News from MCOT news, “Here is a small group that concern about art

working more than the market profit”.

- In the past 10 years, the revolution happened at this village. Subject 24 wanted

to restore the village traditional identity, such as hand-weaving loom and silk

natural dye colour. Because of the textile workers tend to like Kee-kra-took

(automatic loom) recently. The weaving style had changed from weaving for

everyday uses to be weaving for the industry like the labour.

- The duty of this working group can separate to be the duty for silk preparation

and the silk weaving duty. The textile workers are from Ta Sa-wang village

Mu.1 and nearby. They came to apply for a job directly with Subject 24.

- Subject 24 is not worried that much about the weaving, as he trusts in the

villagers’ weaving skills. He is emphasized on the design and decoration of

textile pattern. He said, “Thai pattern is so complicated. When we make the

pattern, we have to make it liveable and moveable, which is called ‘Lai-Pen’

(lively pattern) in the artist technical language. But if the pattern could not

come out very well, they would call Lai Tai (dead pattern).

- “The pattern design is like, using traditional pattern as the primitive idea and

creating the new pattern from there. As comparative with writing a novel,

which using the novel form but put the thing words. Just like when we design

the pattern that have to put on these new details, but still use the old structure

of the pattern.” he said.

- In my own way, I design the pattern first then design the weaving techniques

for each pattern. The designer needs to understand the weaving techniques as

well.” he added.

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- Subject 24 also told us about the concept of weaving techniques in this group.

He adapted the techniques from Isan traditional techniques called Khit and

Chok with the new patterns. This could be developed to be Pha Yok-tong,

which is the complex pattern with gold colour silk and more expensive.

- About pattern development, the designer (Subject 24 and some students) have

responsibility to design and adapt the way of weaving techniques, such as Koh

(stuck), Tor-kwum (weaving up side down), Keb-sen (collecting a yarn) and

Keb-song-sen (collecting two yarns).

- The natural colour-dyed silk is also an outstanding point of “Chan Soma silk

weaving group”. In the past, they had been using the traditional natural colour-

dying technique for more then hundred years. The skills had been passed by

generation to generation like the heritage.

- The source of natural dying colours is from the local plants in the village area.

There are not much left for the plants that give permanent colour like in the

past that colour would stay for a hundred year. For example Krang: giving red

colour, Kram: giving blue colour, Pra-hode tree bark and Glare tree bark:

giving yellow colour.

- The new generation villagers prefer to use easy methods for natural dye color.

For example, choose any kind of plants that give colour such as the red color

from Pra-doo tree bark, or the dark-blue color from An-chan flower. The

colour from those kinds does not maintain that much. It could go pale in 1-2

months. Now they tend to use chemical dye colour that even worse and cause

harmful too their body.

- That is why Subject 24 has the willing to develop the textile production. He

gathered the local people from the village especially old female villagers that

have some textile knowledge and skills. He gave them the teaching classes

about natural dying process and pattern design to those members both old and

young villagers. The patterns he taught here are including Surin traditional

patterns and Central-Thai (Bangkok) traditional patterns, which called Rat-cha

Sam-nak.

- The natural color-dye process at this village is to adapt the current dying

knowledge mixing with traditional village knowledge that almost dies in one

period in the past.

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- The Yok Thong silk of Chan So-ma group is considered as the most marvelous

silk. It has been weaving from thin silk yarn and produced delicate and smooth

silk. It is made by the special technique called Yok Thong, which is traditional

technique that has been past from old generations. It is very hard work and

takes very long time to finish one product. Not surprised that Pha Yok Thong

is very costly (10,000-100,000 baht) and only make follow the requirement,

they called ‘order only’ for the high class market group.

- Examples of Chan Soma group’s customers:

o Royal family; especially the Queen

o Government requirement for the special guests

o King Power Company (to sell at the Airport Duty Free)

o Thai and International movie producer (*borrow for special scenes)

Subject 25

- She gave us an interview with a cheerful attitude while she was weaving.

- She told us, she has learnt how to weave from her mother she was a little girl.

Then she came to work here 2 years ago, by walking in to apply with Subject

24. Silk weaving is her main occupation at the moment. Before that she did the

weaving at her house, which the working system is not so organized like

working with Subject 24. At the group she starts working at 8am, has 1 hour

lunch break, and finish at 5pm.

- She is very happy working here because it’s closed to her house. Sometime

she has to stay up late to finish some works, especially during the APEC

meeting period. It’s quite safe to walk home late night. The place has 24 hours

access and the light on.

- The patterns she had done when she was weaving at home are the plain pattern

and Am-prom pattern

- At the moment, she is weaving the plane silk 100 ta-kors (horns).

- She explained that, “Other places usually make 3-4 ta-kors in the plane silk

weaving. But at this place, we weave silk more than100 ta-kors and it takes 1

week to complete 1 piece of textile because she normally weave up to 30cm in

1 day. If it is a complicated pattern such as Yok Thong will need more time,

could be 1-2 months, as it is required to weave more than 1000 ta-kors.

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Subject 26

- She has been working here at Chan Soma group for a year and a half.

- In the previous time, her main occupation was weaving at home.

- At the moment, she is weaving the pattern called Lai Kaew-ching-duang.

- She said, “My job is only weaving. Subject 24 is the one who create pattern and

get someone to put the silk yarns in the horns ready for me to weave.”

Subject 27

- As other weavers, she has learnt the weaving processes from home then

continue learning more seriously when become the member of the group.

- She is weaving the pattern called Lai Bai-tape, which is the type of Pha Yok

Thong.

- She said, “Subject 24 ordered the golden silk called Ngoen Ka-lai Thong from

India. It is quite complicated patterns. I can only weave 6-7 centimetres per day,

and it will take about 1 month to finish this one.”

Subject 28

- Beside subject 24, subject 28 is the only one male we saw at the Chan Soma

weaving place that day.

- His main occupation is the rice harvesting. He has been working here as an

addition occupation for about a year.

- His duty is helping the weaver with preparing silk yarns for patterns, which is

called the Pad Lai process.

- He has never been doing any kinds of silk production before, until came to work

here and receive knowledge from people at the group. He said, “It takes so

much time to understand the process and know what to do”.

- That tells why he is good with dyeing silk colour.

- He described, “I have just finished dyeing yellow colour from Mai Ma-hode.

The process is, to boil water with Ma-hode bark and bring the silk to boil and

the last process is to let it dry.”

- Normally subject 24 is the one who order what colour he has to do each day.

Sometime he has to do few colours in one day. Usually he dye yellow, green

and red (from Krang) the most.

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Subject 29

- She is not a weaver, but she is a personal assistant for subject 24

- She mentioned about the trend of Thai textile on subject 24’s point of view,

“Currently, Ajan (teacher) thinks Thai textile is going very well. We received

lots of interest from the foreigners. For example; people from USA came here to

have a look on our natural dye process. They could not believe there are still

some of this (natural dyes) left in Thailand, as they believed there are a very

small group of people (workers and customers) are interested in natural dyes.”

Village Group

Subject 30

- She is the member of Ta Sa-wang –moo 1. Housewives Weaving Group.

- Currently she is the person who takes care of the group shop, as the rest of

members are at OTOP exhibition in Bangkok.

- Mrs. Boonmee mentioned about, there are not many textile weaving members

in the village at this period, as most of them have gone to Bangkok for the

OTOP exhibition. Only 3-4 members left here in order to take care of our

group weaving shop that we shared the money to establish.

- “I am glad that we have a chance to show our village product at the Bangkok

OTOP few times a year. This helps us to put in the price and value of our

product, as we had to add what we had paid for transportation, food, and

accommodation. That is why the prices of any products at OTOP are more

expensive than selling within the village.”

- At that stage, she was not sure about the conclusion because it was only first

few days of the OTOP exhibition. She had a hope that they would get to sell a

fair bit of their products.

- She said, “I am not worry about the profits, as we would not get that much

anyway (in the past experience). What I am concern is, our product would

have more advertising to the consumer all over Thailand.”

314

- It seems that Mrs. Boonmee wish would be successful, as one of her co-

members reported that the customers at OTOP exhibition (2004) were

interested in Isan textiles the most.

- They mostly use chemical dyes as they are convenient to dye and also give

bright colours. The Khmer-Surin people love to wear clothes with the bright

colours, such as red, blue and green.

- The village group customers are the villagers and tourist that has low to

medium income, not high income like Chan Soma group.

- There are problems with the working place and with markets which are hard to

find and do not provide a good income

10. Ban Wai-luem

Address: Mu 3, Tambol Ma-baa, Sub-district Toong-khao-luang, Roi-et province

This information is basically from Subject 31, the owner of the house that we took

place for an interview, plus an addition some of information from the pamphlet about

Ban Wai-luem weaving group.

Subject 31

- She is the former president of “Ban Wai-luem lady weaving group”. At the

moment, the daughter of subject 31 (she was not there when we visit the house

that day) is the current president of the group. While Subject 31still has the

special position of the group, which is the committee advisor.

- Pha Sa-kate is the identity of Roi-et province. Pha Sa-kate pattern are

consisted of 5 different traditional patterns that have its own meaningful

concept, spreading out all over the Sa-kate cloth. Those patterns are Nak-noi

(small Naga), Klong-ia (name of the canal), Khom 7, Khom-pao, and Kra-jub

(the last three are Isan names that no translation in English).

- Pha Sa-kate is the most popular souvenir for the visitor of Roi-et province. It

has been weaving with the Isan traditional Khit style. In the past, Roi-et

women wear Pha Sa-kate as a long skirt for everyday life.

315

- Subject 31 said, “Here in this village, we weave Pha Sa-kate most of the time.

It is so popular among the lady customers, especially with the In-tha-nin Pink

colour (the colour of Roi-et). Some of the customers are from other region that

called for making Pha Sa-kate orders. They also like to order Pha Mudmee

silk and plain pattern as well”.

- Course and Development:

o The silk weaving group has been settled since Buddhist year 2517.

(*details on the brochure)

o The Department of Isan Keaw (Green North-eastern) had helped them

with the 60,000 baht budget for buying weaving equipment.

o The Department of Quicken Development the rural sent Subject 31 to

receive the training at Kluay-nam-tai Industry Department for 1 and a

half month. She obtained the knowledge about the silk weaving, the

pattern design and making, the colour theory, and the good colour-

dying processes.

o She also learned how to create the new patterns and the adaptation

from traditional patterns from those training.

- Working systems:

o Sharing the duties separately, like one person will do one job at a time.

o Each duty depends on how good that person can deal with, and be able

to change the duty later if not good enough.

o Everybody have to be o tested or trained, to see what kind of work they

are good at.

o The processes of duties are making Pha Mudmee and weaving

Mudmee silk, or producing silk yarns, then colour-dye the silk yarns

then making pattern and weaving.

- Workers:

o The textile workers at this village are variously of any ages, including

the elderly, middle-aged, and young aged villagers.

o The weavers mostly are the young aged ladies.

316

o The middle-aged ladies normally work as making the Pha Mudmee

pattern, which is hard and need lots of skills to do this job.

o The aged workers like to do Guag Mai, which is making the silk yarns

from the silk worms. They earn about 100baht per 1 kg.

o For the teenagers and kids, they come to work here after school and

sometime working all day during their school holidays. They usually

do the Pha Mudmee working, such as tie-dye and untie the Mudmee. It

is adorable to see the young-aged villagers give the interests to textile

works, which they can earn money as a part-time job beside study.

Only at this village that we can see lots of young-aged textile workers.

o The salary of the young villagers normally will be around 3,000-4,000

baht per month per head.

o There are about 84 textile workers at this village –Moo 3. They have 4

Mu (number of village) in Wai-luem village.

o At Subject 31’s house, there are about 15 workers normally come to

work there. The rest of that will work at their own house, as they have

got textile skills already, no need to train.

- Chemical colour-dyed:

o They use chemical colour-dyed from the Lion and plane Thai brand

colour. As this village have plenty of rice-filed but not many trees. If

they really need to do natural colour-dye, they have to order the natural

colour from other places.

o “For both kind of natural and chemical dyed-colour, when the first

time you wash the cloth, the colour will come out automatically

anyway. But it depends on the process we did to approve that the

colour will come out a lot or just a little bit”, she concerned.

o She thinks the natural colour is good for plain textile, and the chemical

colour is good for Mudmee textile as it needs the fresh colour to

emphasize the pattern. The disadvantage point of natural colour-dye

for Mudmee silk is, the colour from some kinds of tree spread and mix

into each other until could not make it for the right Mudmee pattern.

o She doesn’t think there are any problems of chemical dyed-colour, as

long as we know how to protect own health. She bought the gloves, the

317

protection glasses and the protection cloth for nose, to the textile

workers in her group who involve with the dying process

o Her trick: she will boil the colour with the boiled water for a long time

until it become very hot, before going through the dying process. She

told us this trick could help the colour stay last long in the cloth and

not come out so easy when it comes to the washing.

- Silk:

o Subject 31 does not raise the silk worm at her house, as she has no area

for growing the mulberry tree at her house.

o She bought the silk yarn from other housed in this village for Sen

Poong silk yarns.

o For Sen Yuen (the silk yarn they weave contradictory to Sen Poong to

make the pattern), she bought from Kamnan Joon Group in Petcha-

boon province in northern Thailand. They have the big machines for

getting the silk yarn from the silk-cocoon, or called Sao Mai. This

machine can make the silk yarn thicker and increasing the quality of

silk yarn. This kind of silk yarn made from the machine called ‘white

silk cocoon’.

o The primitive budget of buying and making their own comparative are

about the same. Subject 31 prefers to buy these silk yarns. She said, “It

is better for weaving and no waste the time for making the silk yarns,

so we can concentrate on weaving beautiful patterns”

- Techniques:

o Ta-kor or Khao (horn) is for making more details of the patterns and

make the textile thicker as well.

o Pha Sa-ket has 4 ta-kor and 4 ka-yiab (footy stick), which make this

type thicker than other type of textiles making here.

o Pha Mudmee 3 ta-kor is different from other normal silk, as it has 3

footy sticks. Normally they just use 2 footy sticks for normal silk

weaving.

o Equipment: Hoang Mudmee (for making Mudmee pattern) using the

string called Choek-fang. It is very detailed and complex job. For the

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huge and wide textile, they will do each small pieces then continue

attach following each other until become one big piece of Mudmee

textile.

- Competition Textiles:

o The weaver who has got lots of skills (mostly the aged weaver) do the

weaving for the competition only. Besides that duty, they have to

preserve the traditional patterns for the nest generation to see all the

good examples. They also create the new adapted patterns from the old

patterns as well.

o Traditional patterns of this village: for example

Kom 5, 9, 13 lam

Kom 7 sai

Dok Cha-ba

Kra Jub

Look Kaew

Fong Nam

Mee Kor (traditional Mudmee)

Mee Sai (one kind of Mudmee tie in orders, plain pattern

- Pattern:

o They preserve the traditional patterns, which often won the prize from

textile competition. (on VDO –shows the mix of patterns on that

winning textile, she did not remember what is the pattern name)

o They have created the new patterns, but some of them were too

complex, could not do those.

o At the moment, they encourage Pha Sa-ket to become an identity

textile of Roi-et province. The Sa-ket pattern textile, especially with the

Inthanin-pink colour is the most famous colour among the customers.

The customers inside the province or even from somewhere else

outside usually phone to make the orders. Sometime the customers saw

the product from magazine and tell her what page, what colour to order

exactly the same product.

319

o They also make Pha Sa-ket with other colours such as baby-blue, blue,

and purple. The members went to the training and received some

knowledge about colour matching for each type of people’s skin. For

example, pink colour might not be suitable for people with dark skin.

o For the funeral, there is no specific pattern believes for this event. They

just have to wear black or white colour with any kind of pattern. The

villagers prefer the black plain pattern clothes.

o Besides Pha Sa-ket they can also weave many kinds of pattern

following the orders from customers, including the identity pattern of

some provinces in Isan area (reference from Subject 31)

o Identity patterns of each area (from Subject 31)

Kalasin province: Sa-ket pattern (Inthanin pink colour)

Ubon province: Kab-bua pattern (Lotus pink colour)

Khon Kaen province: Dok-koon pattern

Udorn province: Local Khit pattern

Srisaket province: Lam-duan flower pattern

Maha-sarakam: Sroi-dok-makk pattern

Yasothorn province: Look-kaew pattern

Surin province: Elephant & Horse pattern

320

Appendix 5.3 Images from Village Interviews

This appendix is a collection of digital images taken during the Village interviews (Survey 1)

321

Appendix 5.3 Images from Village Interviews

1. Ban Chonnabot

Subject 1 Subject 2

Subject 3 Subject 4

322

Location and housing of Ban Chonnabot

Souvenir shops along the road at Ban Chonnabot

323

Working environment at Textile worker’s house basement

Subject 1 was weaving Mudmee silk

324

Mudmee (tie-dyed) equipment Mudmee weaving equipment

Kai Ka-men pattern Lo-nang (Na-nang) pattern

325

2. Ban Koot-suay

Subject 5 Subject 6

Subject 7; Deed-Fai process Ew-Fai process for cotton making

326

Some products from Soon Vi-sa-ha-kit shop

Famous Pha-Khit of Ban Koot-suay

327

Pha-Khit weaving equipment

Family working on Pha Khit weaving

328

Subject 7 was showing the cotton making process

Subject 7 was showing the cotton making process (recorded on VDO)

329


Subject 8 Subject 9

Subject 10 Subject 11

330


Subject 12 was showing the cover-table cloths The Tiger pattern

331

Pha Sin: Mee-bag-jub pattern Pha Khit: mix patterns

Pha Sin: Kom-ha-wann pattern Ton-son-yai (the big pine tree) pattern

332

Subject 8 was demonstrating her weaving style

The Scotch or checked pattern of the aged village group

333

The welcoming village environment of Ban Lao-suea-goke

Subject 11 was showing weaving equipment in her house area

334

4. Ban Na-kha

The front entrance of Ban Na-kha from the main road

Ban Na-kha souvenir shops

335

Famous textiles products from Ban Na-kha

336

5. Ban Pa-aw


Subject 16 Beautiful Mudmee silk from the shop

337

Picture of natural dyes demonstration (taken from the office board)

Topography of Ban Pa-aw

338

The group weaving workshop

The group weaving office and souvenir shop

339

Kee-tor-muea (hand-weaving loom)

Kee-kra-took (the twitch loom)

340

Kab-bua pattern

- Kab-kluay pattern

341


Thai woman spinning threads of silk (www.blurrytravel.com - January 2005)

Various coloured silk threads drying in the sun (www.blurrytravel.com)

342

Thai woman making Mudmee tied-dye silk (www.blurrytravel.com - January 2005)

Weaving multi-colored silk on a traditional loom (www.blurrytravel.com)

343

7. Ban Pone



344

Subject 21 Colour-dye silk yarns

Pha Sib Lai (10 patterns) textiles Pha Prae-wa wrap for Pu Tai lady

345

The patterns of Pha Saew

Ban Pone textiles: traditional patterns

346

The making of Pha Sib-lai (using 3 textile workers at the same time)

Working environment of female textile workers at Ban Pone

347

8. Ban Sam-ko

Subject 22 Subject 23; wearing Talay-bod pattern

Ma-loon-seem pattern of Ban Sam-ko

348

Pha Am-prom pattern

Pha Hole pattern

349

9. Ban Ta Sa-wang



350


Subject 30; village group Silk weaving at Chan Soma group

351

Natural dyes in yellow colour from Pra-hode bark; Chan Soma group

Working on Pha Yok-tong in traditional techniques; Chan Soma group

352

Outside - Village group shops

Inside - Village group shops

353

Elephant and horses patterns from Village group

Look-kaew patterns from Village group

354

10. Ban Wai-luem

Subject 31 Pha Sa-ket in Inthanin pink colour

The lady was weaving Pha Sa-ket with traditional loom using hands and feet

356

Appendix: 5.3.1.3 Freeze Dry Process

This appendix provides the reader with some information regarding the freeze drying

process taken from the Internet1 in 2005

1 http://www.cuddon.co.nz/FD300.html Accessed 10/11/2006

357

Survey 2 Part 1

Freeze Drying Methods and equipment

Four steps are used to carry out the basic principle of drying biologicals by

sublimation of ice in vacuum. Although each product may demand different handling

techniques, the four conditions are necessary and must be met in the following order.

1) The product must be solidly frozen below its eutectic point.

2) A condensing surface of low temperature must be provided.

The system must be capable of evacuation to low pressures in a reasonable time.

A controlled source of heat input to the product must be employed to drive the water

from the solid to the vapour state.

Freeze drying equipment is designed to create a controlled set of conditions which

maintain the optimum temperature pressure difference for a given product and thereby

allowing the transfer of moisture in an efficient manner.

The Model 300 has the ice vapour condenser located beneath the product section

within the same chamber. This arrangement allows the shortest distance of

unrestricted travel for the transfer of vapour2

Freeze dryers are used for the production of instant coffee and a variety of specialty

food products and ingredients.

Phase Drying of Freeze Drying

2

http://www.cuddon.co.nz/FD300.html Accessed 10/11/2006

358

In the freeze-drying process deep-frozen products are dried at temperatures below -

18°C (0°F). .No thawing of the product takes place and its quality is preserved.

The company that made the Freeze dryer used in this experiment was Atlas

“Atlas is the world's leading supplier of freeze-drying equipment for the coffee and

food industry. Atlas designs and delivers complete coffee freeze-drying plants, and

the leading coffee brands are in fact freeze-dried by Atlas equipment.

Freeze drying is a superior preservation method for a variety of foods and food

ingredients. Atlas freeze driers set the world standard for design, operation and

quality. The delivery programme includes plant sizes ranging from pilot scale to large

industrial batch and continuous plants.

Atlas pioneered the freeze-drying business half a century ago, and we are still the

leading suppliers. Many years' experience of process design combined with in-house

laboratory facilities enables Atlas to customize each delivery.”3

3

http://www.cuddon.co.nz/FD300.html Accessed 10/11/2006

359

Appendix 5.3.1.4 Images from Village Experiments

This appendix contains images taken during the trial and the three experiments undertaken in Ban Pa Aw in 2006. This survey was a component of Survey 2 Part 1 as discussed in Chapter 4 and 5.

360

Appendix 5.3.1.4 Images from Village Experiments

Trial

Collecting fresh material

Dry fresh material on the sun (method 2)

361

Preparing material for oven-dry (method 3)

Set the oven temperature at 60◌ํC

362

Blending material for freeze-dry (method 4)

Preparing material (method 4) to the freezer

363

Frozen material (method 4)

Preparing the freeze-dryer machine for method 4

364

Sun-dried material (method 2)

Oven-dried material (method 3)

365

Lighting the traditional oven

Putting sun-dried material to dye

366

Using a white cloth to refine the colour

Putting silk yarns into the pot

367

Dyeing the silk yarns

Washing the excess colour out

368

Silk yarns after dye (trial half with mordant and half without mordant)

Salt (left) and Mordant or Joon-na-see (right)

369

Drying silk yarns in the village style

Silk yarns from the dyeing process

370

Experiment 1

Weighing fresh material Weighing silk yarns

Silk yarns ready to dye (has been cleaned and bleached)

371

Freeze-dried material (method 4)

Getting the colour out of prepared material

372

Boiling the silk yarns with colours

Adjusting and drying silk yarns

373

Silk yarns after dry

Preparing material for the lab process (method 3 and 4)

374

Experiment 2

Freeze-dryer machine during its working system

Substance material from freeze-dried process

375

Dyeing process from material method 4

Preparing to dry the silk yarns

376

Drying silk yarns from 4 material preparation methods

The dried silk yarns (shiny and smells good)

377

Experiment 3

Boiling plant material from 4 preparation methods

Boling silk yarns with natural colours

378

Finishing the boiling process; going to wash and dry

Comparing the dried silk yarns

379

Separating silk yarns from each method with writing sticker

Preparing silk yarns to weave the cloth

380

Appendix 5.3.1.4A Woven Silk Samples

This appendix has samples of the cloth woven from the yarn that was prepared in Survey

2 Part 1.

The author would have preferred to include larger samples in order to provide the reader

with a better opportunity to appreciate the colours and the fabric.

381

Appendix 5.3.1.4A Woven Silk Samples

1. Woven cloth from Fresh natural material

2. Woven cloth from Sun-dried natural material

3. Woven cloth from Oven-dried natural material

4. Woven cloth from Freeze-dried m natural material

382

Appendix 5.4A SPSS Analysis

This survey contains the SPSS data from Survey 2 Part 2

383

Appendix 5.4A SPSS Analysis

Survey 2 Part 2: Analysis of Data

Analysis of Natural Dye Preparation Techniques: Field Survey of Weavers

Opinions

The data obtained for the survey came from thirty textile production subjects working

in Ban Pa-aw. The interview questions can be viewed in Appendix 4.4.5A (English)

and Appendix 4.4.5B (Thai version). The questionnaire has two parts: the first part

contains a total of thirty-six questions and the second part contains three questions,

this gives a total thirty-nine questions. For Part 1, the survey employed a Graphic

Rating Scale described in Chapter 4.4.2: Survey 2 Part 2: Methods and Analysis

In Part 2, there were two questions asking the subjects about their colour

preference based on the different preparation method. The first question was a straight

forward colour preference choice; the second asked the subjects to compare the three

prepared dyes to the cloth dyed from fresh material on panel 1, which acted as a form

of experimental control.

Descriptive Statistics

The table below shows Descriptive Statistics of questionnaire part one from four the

preparation methods (fresh, sun dry, oven dry, and freeze dry). N is number of

subjects participating in the survey; total number of subjects is thirty. The range of

subject’s opinion varies between the numbers allocated for Minimum and Maximum.

The important numbers to look at is Mean, which shows the average score of each

question. Std Deviation (Standard Deviation) is a measure of the spread of the values.

The higher this number indicates the more spreading of subject’s scores. On the other

hand, the lower Std Deviation number means only a little spreading of subject’s

scores.

384

N Minimum Maximum Mean Std. DeviationFresh- level of agreement whether color is beautiful? 30 2 10 7.57 2.223

Fresh- level of agreement whether color is natural?

30 5.00 10.00 8.5000 1.75676

Fresh- level of agreement whether color is soft?

30 5.00 10.00 7.9000 1.68870

Fresh- level of agreement whether color is light?

30 .00 10.00 5.9333 3.12866

Fresh- level of satisfaction with this color? 30 5.00 10.00 8.0333 1.95613

Fresh- level of approval of this color to sell in the market?

30 5.00 10.00 8.2000 2.00688

Sun dry- level of agreement whether color is beautiful

30 2 10 7.70 2.395

Sun dry- level of agreement whether color is natural

30 3.00 10.00 8.4667 1.92503

Sun dry- level of agreement whether color is soft

30 3.00 10.00 8.3667 1.84733

Sun dry- level of agreement whether color is light

30 .00 10.00 5.2667 3.59054

Sun dry- level of satisfaction with this color

30 2.00 10.00 8.1667 2.46469

Sun dry- level of approval of this color to sell in the market

30 2.00 10.00 8.4333 2.68692

Oven dry- level of agreement whether color is beautiful

30 2 10 5.40 2.387

Oven dry- level of agreement whether color is natural

30 1.00 10.00 6.6000 2.78667

Oven dry- level of agreement whether color is soft

30 2.00 10.00 6.3667 2.37056

Oven dry- level of agreement whether color is light

30 2.00 10.00 5.9333 2.88795

Oven dry- level of satisfaction with this color

30 2.00 10.00 5.9000 2.36862

Oven dry- level of approval of this color to sell in the market

30 2.00 10.00 6.4667 2.37419

Freeze dry- level of agreement whether color is beautiful

30 2 10 5.47 2.609

Freeze dry- level of agreement whether color is natural

30 1.00 10.00 6.8333 3.11928

Freeze dry- level of agreement whether color is soft

30 1.00 10.00 6.2667 2.65139

Freeze dry- level of agreement whether color is light

30 1.00 10.00 6.0667 2.59885

Freeze dry- level of satisfaction with this color

30 1.00 10.00 6.0667 2.43443

Freeze dry- level of approval of this color to sell in the market

30 1.00 10.00 6.1000 2.75869

Valid N (listwise) 30

Figure 1: Descriptive Statistics table

385

Analysis of Questions Part 1 – Fresh Leaf – Frequency Tables

SPSS program analysis for this questionnaire is based on frequency analysis. The

following examples are frequency analyses from dye material preparation method

one, which is Fresh. There are six individual questions analysed, which are 1.1.1 –

1.1.6.

Question 1 1.1

Frequency Percent Valid PercentCumulative

PercentValid Disagree 1 3.3 3.3 3.3

Not sure 8 26.7 26.7 30.0Agree 8 26.7 26.7 56.7Strongly agree 13 43.3 43.3 100.0Total 30 100.0 100.0

Figure 2: Frequency table of question 1.1.1

The table above shows frequency table for question 1.1.1 evaluating the level of

agreement whether the colour of the cloth from method 1 (fresh) is beautiful.

Thirteen opinions strongly agree, which counts for 43.3% of all opinions. Only one

opinion chose disagree, which is 3.3%. And the numbers for not sure and agree are

equally 26.7%. This data is also represented in Figure 3: Frequency graph of question

1.1.1 below. We can say from question 1.1.1; that most opinions are agreed and

strongly agree that the cloth from method one, which is fresh material preparation, is

beautiful. Importantly, this is the traditional colour from the natural material

produced from the traditional method of producing natural dye colours.

Statistics : Frequency

Fresh- level of agreement whether color is beautiful?

Valid Disagree Val id Not sure Val i d Agree Val id Strong ly ag ree

Fresh- level of agreement whether color is beautiful?

0

4

8

12

Val

ues

386

Figure 3: Frequency graph of question 1.1.1

Question 1 1.2

Question 1.1.2 tests the level of agreement whether the colour of the cloth from

method 1 is natural or not. There are more positive opinions agreeing that the cloth

has natural colour. Eighteen opinions strongly agreed, which count for 60% of all

opinions, and 26.7% are agree. The other four opinions or 13.3% are not sure. There

are no disagree nor strongly disagree opinions.


PercentValid Not sure 4 13.3 13.3 13.3

Agree 8 26.7 26.7 40.0Strongly agree 18 60.0 60.0 100.0Total 30 100.0 100.0


Question 1 1.3

The analysis of question 1.1.3, tests the level of agreement whether the colour of the

cloth from method 1 is soft or not. The level of agreement is 40% and strongly agree

is 36.7%, together these scores are quite high (76.7%). There are also no negative

responses such as disagree or strongly disagree.





Question 1 1.4

Question 1.1.4 tested the level of agreement whether the cloth from method 1 is too

light or not. There are varies positive and negative opinions and the reason is

probably because the definition of ‘light’ varies for each person. Some subject’s think

too light is not good for cloth colour, but some prefer it to too bright


PercentValid Strongly disagree 1 3.3 3.3 3.3

Disagree 8 26.7 26.7 30.0Not sure 7 23.3 23.3 53.3Agree 6 20.0 20.0 73.3Strongly agree 8 26.7 26.7 100.0

387

Total 30 100.0 100.0

Figure 6: Frequency table of question 1.1.4Question 1.1.5

Question 1.1.5 tests the level of satisfaction with the colour of the cloth from method

1. The percentage of strongly agree is the highest, which is 56.7% out of all opinions.

13.3% of subjects agree and 30% are not sure. There are no negative responses such

as disagree or strongly disagree. That means, most of opinions are positive and

satisfied with this cloth from fresh dye material preparation.





Question 1.1.6

The last question tests whether method 1 is okay to sell in the market. The analysis is

similar to the question 1.1.5 but even more positive as the percentage of strongly

agree is 60%. 26.7% of subjects are not sure and 13.3% of subjects agree. Most of

the subjects agree that the colour from fresh material is good to sell at the market.





Excel Analysis: Questions 1.2.1 to 1.4.6Bar Graph Comparisons

Analysis of questions 1.2.1 to 1.4.6 employed the use of frequency analysis.

However, the important issue was considered to be the levels of subject’s agreement

and in the analyses below the percentages of strongly agree from each question were

graphically reviewed using the Window’s Excel program. This produced a bar graph

388

enabling visual comparison of the four preparation techniques based on the individual

questions, for example Question 1: is the colour beautiful?

Question 1: Is the colour beautiful?

The graph below indicates the colour derived from the Sun-dry method has the

highest subject support for being the most beautiful, and the Oven-dry method has the

least beautiful.

Figure 9: Excel graph of question 1 (Is the colour beautiful?)

Question 2: Is the colour natural?

The graph indicates that the colour from the Fresh and Sun-dry methods have equal

scores for having the most natural colour.

Figure 10: Excel graph of question 2 (Is the colour natural?)

Beautiful, % strongly agree

0

5

10

15

20

25

30

35


M e t hods

Series1

Natural, % strongly agree

0

5

10

15

20

25

30

35

40

45

50


Methods

Per

cen

t

Series1

389

Question 3: Is the colour soft?

The graph below indicates the colour from the Sun-dry method is the most popular for

having a soft colour, and Oven-dry is the least popular.

Figure 11: Excel graph of question 3 (Is the colour soft?)

Question 4: Is the colour too light?

The next question is tricky because the definition of the word ‘light’ colour was found

to be different among the subjects. Some subjects think ‘light’ is beautiful (good) but

some think is not good. The graph below indicates the colour from the Sun-dry

method is the most popular for having a light colour, and Freeze-dry is the least

popular.

Soft, % strongly agree

0

5

10

15

20

25

30

35

40


Methods

Per

cen

t

Series1

Light, % strongly agree

0

5

10

15

20

25

30

35


M e t hods

Series1

390

Figure 12: Excel graph of question 4 (Is the colour light?)

Question 5: I am satisfied with this colour

The graph below indicates that the colour from the Sun-dry method has the highest

colour satisfaction rating, and the Oven-dry method has the least satisfaction.

Figure 13: Excel graph of question 5 (Do you satisfy with this colour?)

Question 6: I approve this colour to sell in the market

The last graph indicates that the coloured cloth made from the Sun-dry method has the

highest approval rating for selling in the market. On the other hand, villagers do not

appear to approve of selling cloth made from the Oven-dry and Freeze dry methods.

Satisfaction, % strongly agree

0

5

10

15

20

25

30

35

40

45

50


M e t hods

Series1

Approval, % strongly agree

0

10

20

30

40

50

60


M e t hods

Series1

391

Figure 14: Excel graph of question 6 (Do you approve this colour to sell in the

market?)

Main conclusion of Questionnaire Part 1

The subject’s preference can be viewed as follows:

1. The Sun dry method had the most beautiful and soft colours, more than the Fresh

method which was the control.

2. Oven dry method is the least popular for all questions

3. Sun dry method has the same level of acceptance as being a natural colour as the

Fresh method

4. Sun dry method has the highest level of subject satisfaction and the highest level of

approval for sale at the village market

5. Freeze dry method was considered more beautiful, natural and soft, and had higher

satisfaction and approval to sale ratings than the Oven dry method

Survey Part 2: Questions Part 2

The second part of questionnaire is about colour dye preferences. There are two

questions, Part 2 Question 2.1 tests subject’s colour preference from the four different

preparation methods. Part 2 Questions 2.2.1 and 2.2.3) tests colour preference using

the cloth colour chard system which compares each method to the control that is,

Method 1 (Fresh).

Part 2 Question 2.1

Question 2.1 below was created using SPSS frequency analysis. The data indicates

that the Fresh method and Sun-dry method have equal preference at 40% each. The

Oven-dry method has 7% and unfortunately the Freeze-dry method has only 3.3%.

The main finding of question 2.1 is that the colour from the Sun-dry method is as

popular among the subjects as the tra colour from the traditional Fresh method.


PercentValid Fresh 12 40.0 40.0 40.0

392

Sun dry 12 40.0 40.0 80.0Oven dry 5 16.7 16.7 96.7Freeze dry 1 3.3 3.3 100.0Total 30 100.0 100.0

Figure15: Frequency table of question 2.1: Colour dyes method preference


Color dyes method preference

Val id Fresh Val id Sun dry Val id Oven dry Valid Freeze dry

Color dyes method preference

0.0

2.5

5.0

7.5

10.0

Val

ues

Figure16: Frequency table of question 2.1

Part 2 Question 2.2.1

The main finding from the table below indicates that the subjects prefer colour

derived from the Sun-dry method over the Fresh method.


PercentValid Fresh prefer 12 40.0 40.0 40.0

Sun dry prefer 18 60.0 60.0 100.0Total 30 100.0 100.0

Figure17: Frequency table of question 2.2.1: Comparing Fresh to Sun-dry

393

Valid Fresh prefer

Valid Sun dry prefer

Comparing Fresh to Sun dry


Comparing Fresh to Sun dry

Figure18: Pie Chart of question 2.2.1: Comparing Fresh to Sun-dry


The following table indicates the subjects preference for the colours derived from the

Fresh method over the Oven-dry method. 63.3% of subjects selected the Fresh method

compared to 36.7% for the Oven-dry method.



Oven dry 11 36.7 36.7 100.0Total 30 100.0 100.0

Figure19: Frequency table of question 2.2.2: Comparing Fresh to Oven-dry

394

Valid Fres h prefer

Valid Oven dry

Comparing Fresh to Oven dry


Comparing Fresh to Oven dry

Figure 20: Pie Chart of question 2.2.2: Comparing Fresh to Oven-dry


The last table indicates the subjects preference for the colours derived from the Fresh

method over the Freeze-dry method. 73.3% of subjects selected the Fresh method

compared to 26.7% for the Freeze-dry method.



Freeze dry prefer 8 26.7 26.7 100.0Total 30 100.0 100.0

Figure21: Frequency table of question 2.2.3: Comparing Fresh to Freeze dry

Valid Fresh prefer

Valid Freeze dry prefer

Comparing Fresh to Freeze dry


Comparing Fresh to Freeze dry

395

Figure 22: Pie Chart of question 2.2.3: Comparing Fresh to Freeze dry

Main conclusion of Questionnaire Part 2

1. The colour derived from the Sun-dry method is popular among the subjects; at least

as popular as the colour derived from the Fresh method. It is important to remember

that the Fresh method is the traditional method of producing a dye colour from natural

materials. The significance of this finding is that the Sun-dry method is a simple and

straight forward preparation technique and is easily deployable to village textile

production.

2. The colour from the Fresh method is more preferable to the subjects when

comparing the colour derived from the Fresh method to the colours derived from the

Oven-dry and Freeze-dry methods

396

Appendix 5.4B SPSS Supporting Data

This appendix contains additional data generated by the SPSS analysis described in

Appendix 5.4A: SPSS Analysis. The decision to concentrate the analysis on frequency

analysis meant that other analyses such as comparing means was not used. However an

analysis comparing means is included here as it supports the original decision by

delivering similar conclusions as the frequency analysis.

397

Appendix 5.4B SPSS Supporting Data

SPSS Additional Analysis – Comparison of Means

The following figures are another approach to compare means, called Box Plot and

Profile Plot of Estimated Marginal Means. The means of four methods from each

questions are shown to support the previously conclusion from Frequency method.

Freeze dry- level of agreement whether color

Oven dry- level of agreement whether color

Sun dry- level of agreement whether color

Fresh- level of agreement whether color is

10

8

6

4

220

Figure 1: Box Plot of question 1 (Is the colour beautiful?)

398

4321

7.5

7.0

6.5

6.0

5.5

Est

imat

ed M

arg

inal

Mea

ns

Estimated Marginal Means of MEASURE_1

Figure 2: Profile Plot of Estimated Marginal Means (Question 1)




Fresh- level of agreement whether color is natural?

10

8

6

4

2

0

Figure 3: Box Plot of question 2 (Is the colour natural?)

399

4321

8.4

8.1

7.8

7.5

7.2

6.9

6.6

Est

imat

ed M

arg

inal

Mea

ns



400




Fresh- level of agreement whether color is soft?

10

8

6

4

2

0

1

23

Figure 5: Box Plot of question 3 (Is the colour soft?)

4321

8.5

8.0

7.5

7.0

6.5

6.0

Est

imat

ed M

arg

inal

Mea

ns



401




Fresh- level of agreement whether color is light?

10

8

6

4

2

0

Figure 7: Box Plot of question 4 (Is the colour light?)

4321

6.0

5.8

5.6

5.4

5.2

Est

imat

ed M

arg

inal

Mea

ns



402

Freeze dry- level of satisfaction with this

Oven dry- level of satisfaction with this

Sun dry- level of satisfaction with this

Fresh- level of satisfaction with this

10

8

6

4

2

0

1

23

Figure 9: Box Plot of question 5 (Do you satisfy with this colour?)

4321

8.5

8.0

7.5

7.0

6.5

6.0

5.5

Est

imat

ed M

arg

inal

Mea

ns



403

Freeze dry- level of approval of this color to

Oven dry- level of approval of this color to

Sun dry- level of approval of this color to sell in the

Fresh- level of approval of this color to sell in the

10

8

6

4

2

0

20

1

723

Figure 11: Box Plot of question 6 (Do you approve this colour to sell in the market?)

4321

8.5

8.0

7.5

7.0

6.5

6.0

Est

imat

ed M

arg

inal

Mea

ns


Figure 35: Profile Plot of Estimated Marginal Means - Question 6

404

Conclusion

The following lists are found from analysis in term of Box Plot and Profile Plot of

Estimated Marginal Means of Questionnaire part 1;

1. Question 1,2,3,5,6 -means of method 1 and 2 are not significantly different

2. Question 1,2,3,5,6 -means of method 3 and 4 are not significantly different

3. Question 1,2,3,5,6 -means of method 1 and 2 are significantly different from

method 3 and 4

4. Only Question 4 -means of method 2 are very different from other methods

5. That support the previous conclusion from Frequency methods

a. Sun-dry method is as popular as Fresh method

b. Sun-dry method is different and is centre of attention among other

methods

405

Appendix 5.4C SPSS Raw Data

This appendix contains the raw data from the SPSS analysis of Survey 2 Part 2

406

Appendix 5.4C SPSS Raw Data

The following data is taken from questionnaire opinions of colour dye preparation

methods from the villagers of Ban Pa-aw. The table below shows numbers of case (N)

which contains thirty villagers’ opinions; for example N 1 is equal to opinion number 1

for all questions. There are 28 questions (Q) from question 1.1.1 – 1.4.6 and the

explanations of each question are listed below;

1.1.1 = Fresh- level of agreement whether color is beautiful?

1.1.2 = Fresh- level of agreement whether color is natural?

1.1.3 = Fresh- level of agreement whether color is soft?

1.1.4 = Fresh- level of agreement whether color is light?

1.1.5 = Fresh- level of satisfaction with this color?

1.1.6 = Fresh- level of approval of this color to sell in the market?

1.2.1 = Sun-dry- level of agreement whether color is beautiful?

1.2.2 = Sun-dry- level of agreement whether color is natural?

1.2.3 = Sun-dry- level of agreement whether color is soft?

1.2.4 = Sun-dry- level of agreement whether color is light

1.2.5 = Sun-dry- level of satisfaction with this color?

1.2.6 = Sun-dry- level of satisfaction with this color?

1.3.1 = Oven-dry- level of agreement whether color is beautiful?

1.3.2 = Oven-dry- level of agreement whether color is natural?

1.3.3 = Oven-dry- level of agreement whether color is soft?

1.3.4 = Oven-dry- level of agreement whether color is light

1.3.5 = Oven-dry- level of satisfaction with this color?

1.3.6 = Oven-dry- level of satisfaction with this color?

1.4.1 = Freeze-dry- level of agreement whether color is beautiful?

1.4.2 = Freeze-dry- level of agreement whether color is natural?

1.4.3 = Freeze-dry- level of agreement whether color is soft?

1.4.4 = Freeze-dry- level of agreement whether color is light

1.4.5 = Freeze-dry- level of satisfaction with this color?

1.4.6 = Freeze-dry- level of satisfaction with this color?

407

2.1 = Color dyes method preference

2.2.1 = Comparing Fresh to Sun dry

2.2.2 = Comparing Fresh to Oven dry

2.2.3 = Comparing Fresh to Freeze dry

For the responses of questionnaire part 1, the measurement of scores has a range from 0 -

10, from strongly agree to strongly disagree but on the table below it will be shown in

simple words, for example; SA = Strongly Agree, A = Agree, NS = Not Sure, D =

Disagree, SD = Strongly Disagree

For the response of questionnaire part 2, the explanations of method chosen are below;

Fr = Fresh, S = Sun-dry, O = Oven-dry, Fz = Freeze dry

408

Case Summaries

NQ 2.1

2.2.1

2.2.2

2.2.3

1.1.1 1.1.2 1.1.3 1.1.4 1.1.5 1.1.6 1.2.1 1.2.2 1.2.3 1.2.4 1.2.5 1.2.6 1.3.1 1.3.2 1.3.3 1.3.4 1.3.5 1.3.6 1.4.1 1.4.2 1.4.3 1.4.4 1.4.5 1.4.6

1 Fr Fr Fr Fr A SA A SA SA SA NS NS NS D D D D SD D D D SA D SD A SD SD SD

2 Fr Fr Fr Fz SA SA SA D SA SA SA SA SA D SA A D SA A A D NS A SA A D A A

3 S Fr O Fz SA SA SA SA SA SA A A A D SA SA NS NS D A NS SA NS NS A A A SA

4 Fz Fr Fr Fz SA SA SA D SA SA A A A D SA SA D A A D A A SA SA SA D SA SA

5 S S Fr Fr SA SA SA SA SA SA A SA SA D SA SA A A A D A A NS NS D A NS NS

6 Fr S Fr Fr A A NS A SA SA A A A SA SA SA SA SA SA SA A A A NS A NS A A

7 Fr Fr Fr Fr SA SA A A A SA A A A D D D D D D D D D D D D D D D

8 S S Fr Fr A SA A D SA A D SA A D A A D SA A A D NS D SA SA SA A A

9 S S O Fz NS NS NS NS NS NS SA SA SA SA SA SA NS NS NS NS NS NS SA SA SA SA SA SA

10 O S O Fz D A A D NS NS SA SA SA NS SA SA SA SA SA D SA SA A A A NS A A

11 Fr S O Fz A A A NS A A SA A SA D SA A SA SA SA D SA SA SA SA SA SA SA SA

12 Fr Fr Fr Fr SA SA A A SA SA D D A D NS NS D D D D D D D SD SD D NS NS

13 Fr S Fr Fr SA A A D A SA SA SA SA D SA SA A A A SA NS NS A A NS A NS NS

14 S S Fr Fr NS SA NS NS NS NS SA SA SA SA SA SA NS NS NS NS D D NS NS NS NS NS D

15 S S O Fr N SA SA NS NS NS SA SA SA SA SA SA SA SA SA SA SA SA NS SA NS NS NS NS

16 S S Fr Fz N SA NS D NS NS SA SA SA SA SA SA NS NS NS NS NS NS A NS NS NS A NS

17 S S O Fr NS NS NS NS NS NS SA SA SA SA SA SA A NS NS NS NS NS D SA NS NS NS NS

18 O S O Fr NS NS NS NS NS NS SA SA SA SA SA SA SA SA SA SA SA SA NS NS NS NS NS NS

19 S S Fr Fr A A A A SA SA SA SA SA D SA SA NS D D D D D D SA SA NS NS NS

20 O Fr O Fr A A A SA SA SA D SA NS SA NS D A SA A A A A A A A A A A

21 F S Fr Fr A SA A SA NS SA SA SA SA SD SA SA NS SA A SA A A A SA NS NS NS A

409

22 S S Fr Fr NS SA A A A A NS SA A SD SA SA NS SA A SA NS NS NS SA A SA A NS

23 F Fr Fr Fr SA A A A SA A NS NS D D D D D D NS NS NS NS D D D D D D

24 S S Fr Fr SA SA SA SA SA SA NS A A A A SA NS NS A NS A A NS NS A A A SA

25 O Fr O Fr A A SA SA SA SA A A A NS A SA NS NS NS A A SA NS NS A A NS A

26 S S O Fz NS NS NS NS NS NS SA SA SA SA SA SA NS NS NS NS NS NS SA SA SA SA SA SA

27 Fr Fr Fr Fr SA SA SA SD SA SA SA SA SA D SA SA NS A A A D NS D SA NS NS NS D

28 O Fr O Fr SA SA SA SA SA SA A A SA NS A SA NS NS A A A A NS A NS A A A

29 Fr S Fr Fr SA SA SA D SA SA A A A A A SA NS A NS A A SA NS A A SA A SA

30 Fr Fr Fr Fr SA SA SA D SA SA A A A D A SA NS NS A NS NS A D D D A D D

Total

30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30 30

Table 5.4C: SPSS Raw Data of Ban Pa-aw villagers’ opinions for 4 colour dye preparation methods

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