Breeze_Issue_001_ChildrenOfTheSea

ART & CULTURE
“When you see a thundu
kunaa; the work is elaborate,
each weaver has their own
twist to the design.”
these ladies) and the other pile is to separate hau that
are slightly more fawn-coloured, which will then be
dyed black and ochre yellow.
The preparation of the dyes is one of the most time
consuming phases of getting all the materials ready
and it sure looks like there is no easy way to obtain the
black colour. A mixture of rusty iron pieces and coconut
water are kept covered for around 15 days, after which
it is poured into a pot lined with stripped bark from a
tree, onu gas thoshi as they called it, and some of the
separated hau that are slightly more fawn coloured.
This mixture is cooked for 15 – 20 days until the hau
is stained black. I know what you are thinking; surely
there must be an alternative! These ladies have tested
quite a few options such as artificial packaged dyes,
toner inks and even tried to create their own black dye
using crepe paper but have not been able to work with
the results. As they explain, it is fascinating to see how
the old way still works the best.
Comparatively, the yellow dye is a bit simpler to create.
The root of great morinda, known as ahi gas moo in
Dhivehi, is cooked in seawater for about 2 hours after
which ground turmeric and some of the separated hau
that is slightly more fawn coloured is added to form
the ochre yellow that are woven into the mats.
The loom itself is also created on the island by
skilled carpenters. Very thin strips of sea hibiscus tree
bark, known as dhiggaa gahu thoshi is woven onto
the frame before the mat weaving can begin. About
the size of a single bed, this loom takes up quite a lot
of space and it is common for these ladies to have a
dedicated space outside their home for this. While
going about normal housework and daily chores, it can
take up to two months to complete a four by two feet
thundu kunaa. Usually sold to souvenir shops in different
sizes nowadays, these mats used to be presented
to royals and foreign dignitaries as gifts.
There is honesty and nobility to this craft that
Aminafaanu and her friends have been working
on for decades and it was eye-opening to see the
complicated process involved to understand the value
of this complex art. As I board the plane back to the
city with a box of mangoes and freshly fried taro chips,
I cannot help but sincerely admire the work of these
talented artisans.
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