韵文化：我求

Comment by Place Link on February 27, 2024 at 11:11pm: Bonding in Communities

Bonding relationships are strongly evident in various older communities in Charoen Krung. Like a family, these bonds and relationships are important in maintaining a sense of trust and belonging. Participants from both the Haroon Mosque and the Talad Noi communities shared how they cherish community knowledge, culture and history.

Most members of the Haroon Mosque

community are blood-related with extensive kinship ties. The leader of the Haroon Mosque
community is considered a father, a senior brother and an uncle to those in the community. He is also a key connector to organisations such as the Bang Rak District Office and universities. His son
teaches Arabic calligraphy at the Haroon Mosque as a way to pass on the knowledge and techniques of Islamic art. Similarly, Talad Noi is a close-knit Chinese community with a 200-year history in the area. The majority who live here have Hokkien roots and their bonding relationships also reflect their lineage.

The leaders of the Talad Noi community collaborate with public sectors and organise creative events such as the Awakening Bangkok festival of light, as discussed earlier. Bonding relationships can be a double-edged sword if they are insular and inward-facing, relying entirely on family networks. This has been identified as a barrier in developing new relationships with others, preventing new information and resources to be exchanged.6

Similarly, this study has observed how the bridging relationships between the leaders of the two communities is tenuous, even though there may be informal and serendipitous mingling amongst the rest of the community through markets and festivals. Respective leaders of each community had never met each other until a workshop was conducted by the researchers, revealing how little they knew about one another.

They reasoned that they had no formal ways to connect or collaborate. Their communities are
located in different districts – the Haroon Mosque community is in the Bang Rak district while the
Talad Noi community is in the Samphanthawong district. It appears that such district divisions have
not been conducive to working together, even when they are involved in organising festivals. Such
siloed structures of bureaucracy are well-known barriers for collaboration and creative innovation.7

This lack of bridging relationships may further explain a lack of connection between the old
Muslim, Chinese and local communities and the new creative groups who are starting to establish
themselves in the area. The workshops revealed how local businesses and communities were not
connected well horizontally, indicating a need and opportunity for local government and the CEA to
broker such links more effectively in the future.

Comment by Place Link on February 25, 2024 at 12:26pm: Linking Between Organisations

The CEA is arguably the main driver of creative activities, with a mission to boost the creative
economy and activities in Charoen Krung. It plays a vertical, linking role in channelling resources and
people to encourage collaborations and investments from within and outside the district.

This can be observed in the successful renovation of Warehouse 30, noted as a key creative hub earlier, and hosting Bangkok Design Week by working closely with a number of local businesses in the area as well as external organisations to set up events and activities. The CEA does well in bringing groups of artists and design students, freelancers, studios and start-ups from outside Charoen Krung to showcase their work in noted creative spaces such as O.P. Place, River City Bangkok and House No. 1. The CEA’s multi-sector links, including private businesses, universities and public sectors such as Thailand Tourism and district offices, make it an important and powerful agent. Such observations allow this study to affirm that policy and central government initiatives through the CEA are largely responsible for Charoen Krung’s development as a creative district, in contrast to other districts studied – where development is attributed to local, existing and emerging cultural and creative assets.

Yet as discussed in the previous section, the CEA may need to play a stronger bridging role to connect horizontally between local businesses and communities by capitalising on their effectiveness in organising events. While businesses are more likely to connect vertically with public sectors such as the CEA, Thailand Tourism and district offices, they will need more assistance to connect with local communities and build on opportunities to work together to avoid potential divisions and inequality in access, wealth and knowledge – as seen in fragmented communities globally.8 The Co-create Charoenkrung project, initiated by the TCDC, was a welcome example of bridging constructively.

The TCDC organised various listening and co-design sessions with the community to learn what residents wanted to improve in their neighbourhood. This resulted in prototypes and models of some of the ideas that the residents came up with, such as providing signage to allow easier navigation through the neighbourhood, creating green pocket spaces, connecting alleys, rejuvenating and repurposing old buildings and redeveloping the riverfront.9

Key Characteristics of Charoen Krung ’s Creative District

Examining Charoen Krung through multiple dynamic layers and assets allows this study to arrive at the following assessment of the role of this particular creative and cultural district. A Govenment-Designed Creative District Investment, resourcing and strategic planning by the Thai government are central to Charoen Krung’s public recognition as a creative district.

Comment by Place Link on February 25, 2024 at 12:25pm: The CEA‘s mission to model Charoen Krung as its flagship creative district, to learn from and develop other cities around Thailand, provides strong motivation. The CEA is playing a key role in linking public and private sectors such as the district offices, Thailand Tourism Authority, local businesses and communities, so the district can headline major festivals such as Bangkok Design Week to engage with a broader national and international creative network. This is undoubtedly succeeding in boosting creative activities in the district, in turn attracting a diversity of talents, start-ups, business ventures and tourism – and generating further cultural, social and economic capital.

Building on Deep and Diverse Cultural Roots

Charoen Krung has one of the oldest communities, having multigenerational settlements for more than 200 years. Family-like bonds within communities are further anchored by established educational, religious and cultural institutions, housed within heritage buildings that have etched various architectural and ethnic influences over the decades. These places maintain the community fabric by continuing to be spaces for gathering, learning, sharing and celebrating traditions, identity and knowledge that enable creative practices such as Islamic art, calligraphy and dragon dance to be passed on. These cultural assets are inspiring a new generation of creatives to set up events and businesses in restored heritage buildings, allowing them to enjoy the markets, participate in festivals, attend exhibitions or socialise in cafes, bars and restaurants. Peppered along narrow streets, these cultural pockets are a rare find in contrast to the congested and densely developed urban environment.

Sustaining Trade Centres

Charoen Krung Road continues its 19th century heritage as a centre of international trading. The
area is adjacent to major business centres served by vital arteries such as the Chao Phraya River,
Silom Road and Sathorn Road, where time honoured establishments can be found – such as
the Siam Commercial Bank, the Bangkok Bank, the Jewelery Trade Centre and new business districts containing law firms, insurance companies, banks, fine dining restaurants, luxury hotels, spas andhealthcare centres. While some businesses may have moved their headquarters elsewhere due to lack of space and parking issues, many still see importance in maintaining a presence in the area.

With excellent transportation links and proximity to many different types of businesses alongside its
growing creative credentials, Charoen Krung is an attractive place for start-ups and design studios to
operate from.

Executive Summary
Sakon Nakhon

Located in Isan (อีสาน), Thailand’s largest region, and surrounded by lakes, rivers, wetlands,
mountains and extensive farmland, the province of Sakon Nakhon (สกลนคร) is famous for its
indigo-dyeing and textile-weaving production. Its capital city, also called Sakon Nakhon, was
awarded the title of Craft City from the World Craft Council in 2017, and is gaining international
recognition for its naturally dyed textiles.（pg.88）

Comment by Place Link on February 24, 2024 at 7:54am: This age-old craft, developed in close relationship with the land, was transmitted through the generations until modern production technologies of industrialisation overshadowed traditional practices. Thanks to a small number of pioneers, however, the craft was revived during the 1990s and has evolved since into a vibrant creative scene combining local wisdom with modern design influences. The renewed interest in traditional techniques, indigenous knowledge and environmental sustainability has instilled new energy into other sectors, such as agricultural production and sustainable farming.

In the past ten years, Sakon Nakhon has been developed on the basis of its agricultural resources. There has been a continuous increase in creative activities and businesses developed by citizens who moved back after working in other cities and regions. Since 2016, there has been rapid growth in creative networking and businesses around Sakon Nakhon and surrounding areas. Sakon Hed started out as a network of creative entrepreneurs involved in developing locally branded products that are modern, natural and sustainable. The network hosts the annual Sakon Hed festival (เท่ศ์กาลสกลเฮ็ด),

which has now become the biggest creative event in Sakon Nakhon. The festival aims to promote local wisdom, products, services and brands as well as raise awareness of the growing creative activities in this region.

The uniqueness of Sakon Nakhon’s creative scene is in the somewhat disperse nature of its members.

Traditional weaving communities are distributed across the province, while a growing base of returning talent gathers every year at the Sakon Hed festival, driven by an interest in crafts as well as a commitment to Sakon Nakhon and its traditions. Close relationships such as familial bonds and friendships are the drivers of fruitful collaborations: families and community groups can rely on shared resources to sustain their businesses, while a network of friends and volunteers can mobilise enough resources to create a yearly gathering during which ideas are exchanged and collaborations are arranged. As Sakon Nakhon gains prominence as a creative district in Thailand, the focus is on balancing environmental, economic and social sustainability.

Sakon Nakhon is famous for indigo dyeing and textile weaving. Sakon Nakhon is one of the largest provinces in northeast Thailand, at 9,600 square kilometres. Its history can be traced back more than 2,000 years through fossil and archaeological records. During the tenth century, Sakon Nakhon was called Muang Nonghan Luang (เมืองหนองหารหลวง) and was a major city of the Khmer Empire, until a long drought led to its depopulation. It then became part of the Lan Xang Kingdom อาณาจักรลานชีาง) from the 14th century and had a close relationship with the city of Vientiane in Laos. During the time, Sakon Nakhon was known as Chiang Mai Nonghan ( เชีียงใหม่หนองหาร) and was influenced by Lao cultures and traditions. During the Rattanakosin period, King Rama I (who ruled from 1782 to 1809) renamed the city Sakon Tawapi (สกลท่วาป์ี), which later changed to Sakon Nakhon (สกลนคร), meaning the City of Sakon.

[pg94] Sakon Nakhon is known as a cultural and religious city. There are more than 400 Buddhist temples.Many of them are Dhammayuttika Nikaya (นิกายธรรมยุต) or Buddhist forest monasteries (วัดป์่า), which focus only on scriptural study of the earliest existing Buddhist texts and meditation practices.

Comment by Place Link on February 19, 2024 at 9:53am: Famous Buddhist forest monasteries include Wat Pa Sutthawas (วัดป์่าสุท่ธาวาส), the temple of Buddhist master Mon (หลวงป์้ ่มั น), and Wat Pa Udomsompone (วัดป์่าอุดมสมพัร), where the relic of Fun (หลวงป์้ ่ฝั่ั น) is kept. There are well-known annual Buddhist events supported by local government, such as the Wax Castle Festival (ป์ระเพัณีป์ราสาท่ผู้่ ง) and the Boat Race (ป์ระเพัณีแข่งเรือ) at the end of Buddhist Lent Day (วันออกพัรรษ์า). All of these events involve local artisans – for example, to create the beeswax castles and decorations on boats, and perform traditional dance and parades.

The current population of Sakon Nakhon Province is around 1.1 million, and there are approximately 113,000 residents in the city centre. People here speak Isan, which is a Thai-Lao mixed language used around northeast Thailand. There are six different tribes in Sakon Nakhon – Saiyor (ไท่รญิอ), Taiyoy (ไท่โยย), Taiso (ไท่โส), Taikaleang (ไท่กะเลิง), Tai-Loa Isan (ไท่ลาวอีสาน) and Phutai (ภ้ไท่), the last one being the largest and oldest tribe in the area. These tribes have their own dialects of Isan language and have been engaged in traditional weaving practices of both silk and cotton for generations. These traditions have very much shaped the creative and cultural fabric of the region.
1Chanorn, C. (2016). Self-transformation strategies of development: The emergence of indigo dyed textile entrepreneurs in Sakon Nakhon, Thailand. Thammasat Review, 19(2), 1–21.

Sakon Nakhon is famous for indigo dyeing and textile weaving. Due to the abundance of the indigo plant along the Songkhram River (แม่นำ าสงคราม), which flows through the province, villagers have developed local wisdom and know-how to produce indigo-dyed textiles in a variety of patterns and styles. Indigo-dyed textile production declined in the Isan region during the mid-19th century due to
synthetic dyes and industrialisation.1 Farmers switched from growing indigo to more economically viable plantations such as rice, rubber, tapioca, cotton or sugar cane. Villagers, including women, started migrating to cities, reducing the number of agricultural labourers and weavers while swelling the ranks of factory workers. Without women to transmit or inherit the skills of dyeing and weaving, traditional indigo textile production gradually disappeared.2

Without women to transmit or inherit the skills of dyeing and weaving, traditional indigo textile production gradually disappeared.

Indigo-dyeing products on display at Mann Craft However, since the 1990s the indigo industry has experienced a revival. During and after the economic crisis of 1997, various initiatives were introduced by the government to stimulate job creation in the rural sector and incentivise workers to return to their hometowns. In this period, the idea of ‘local wisdom’ emerged as a central concept for the revitalisation of many artisan sectors, including agriculture, food, traditional medicine and crafts. Many of the pioneers of the indigo craft revival discussed in the case study started operating in this decade, initiating a new era of indigo production that brings together tradition and innovation. Owing to this revival, the processes of planting, harvesting, fermenting, dyeing and weaving have been passed on over the centuries, and indigo has become the key cultural identity of Sakon Nakhon. Indigo products embody traditional craft knowledge and practices, enabling relationships between different groups to be sustained – local community weavers and designers educated outside of the province, producers with a wealth of traditional knowledge and new consumers.

Comment by Place Link on February 19, 2024 at 9:53am: Without women to transmit or inherit the skills of dyeing and weaving, traditional indigo textile production gradually disappeared.The communities’ close relationship with rich, fertile land and natural resources, and the valuing of local wisdom and indigenous knowledge, extend to sustainable agricultural practices in rice and beef. Small, family-run organic farms, such as Farm Hug, have increased in number in recent years, where traditional crafts and organic food production are brought together. This confluence of craft, culture and food makes Sakon Nakhon a unique creative district in Thailand.

Typology of Sakon Nakhon’s Creative and Cultural District Hard Infrastructures

Sakon Nakhon is characterised by the relative remoteness of the region, its natural resources and its close proximity with other national borders and cultures. Lying on a flat plain on the bank of Nong Han Lake, the city is surrounded by extensive farmland and national parks. North of Sakon Nakhon are the provinces of Bueng Kan (บ่งกาฬ) and Nong Khai (หนองคาย), while Udon Thani (อุดรธานี), the prominent city of the Isan region and Isan Buddhism, is to the west. The south of Sakon Nakhon is connected to the provinces of Kalasin (กาฬสินธุ ์) and Mukdahan (มุกดาหาร), and the nearest province is Nakhon Phanom (นครพันม), which is only 93km away. The region is close to the Laos border, where Vientiane is only 236km over the Thai-Lao Friendship Bridge (สะพัานมิตรภาพัไท่ยลาว). Lying on a flat plain on the bank of Nong Han Lake, the city is surrounded by extensive farmland and national parks.

Natural Resources

The abundance of water sources is an important natural infrastructure for the province because other surrounding provinces in northeast Thailand (such as Udon Thani) are dry regions. Sakon Nakhon Province is dominated by large bodies of water and mountains. Nong Han Lake (ท่ะเลสาบหนองหาร) is Thailand’s largest freshwater lake and the surrounding wetlands are important

conservation areas. Nong Han Lake is fed by the Nam Pung River (ลำานำ าพัุง) originating from the Phu Phan mountain region (เท่ือกเขาภ้พัาน), and draining through the Huai Nam Kan River (หวยนำ ากำ า) into the Mekong River (แม่นำ าโขง). Other sources of water come from the Himalayas, where the Mekong River springs and flows through China, Myanmar, Laos, Thailand, Cambodia and Vietnam before flowing into the South China Sea. During its course, the Mekong River feeds the Songkhram River (แม่นำ าสงคราม) flowing through the northeast of Thailand, causing it to flood an area of more than 100 square kilometres every rainy season. This phenomenon sustains an aquatic and terrestrial ecology of countless wetlands; their biodiversity has high cultural and economic value in sustaining the communities for centuries.

Phu Phan National Park (อุท่ยานแห่งชีาติภ้พัาน) is one of the important natural resources in Sakon Nakhon. Located in the Phu Phan mountains, a range of hills dividing the Isan region into two basins, the park was established in 1972 to protect the flora and fauna of the area,3 including the prized Siamese rosewood (ตนพัะย้ง). The indigofera tinctoria, known as the indigo plant or kram (คราม) in Thai, originates from the Phu Phan mountains. (pg 100)

Comment by Place Link on February 17, 2024 at 8:34pm: Indigo plants are widely grown in the area surrounding the Songkhram River, the very name of the river meaning ‘indigo forest’. The locals have found many uses for indigo over the centuries, calling it the ‘king of dyes’. It is most famous as a natural pigment yielding a distinctive, deep blue colour. However, other uses are common, such as a repellent for rice pests and a culture starter for edible mushrooms.

3 Department of National Parks, Wildlife and Plant Conservation (2015). National parks in Thailand.
4Tjahja, C. (2020). Reorienting and sustaining design and social innovation: Insights from Asia-Pacific practices [Unpublished doctoral dissertation]. Northumbria University.

Public Spaces

Public spaces are often a rare commodity in Thailand,4 and can act as important hubs to enable civic, cultural and creative activities to happen. Lotus Park and the surrounding two parks located next to Nong Han Lake are considered the heart of Sakon Nakhon culture, supporting the recreational and cultural life of the residents.
Nong Han Chaloem Phrakiat Lotus Park (อุท่ยานบัวเฉลิมพัระเกียรติ) was created in 2009 by Kasetsart University Chalermphrakiat Sakon Nakhon Province Campus as part of a research project looking into the benefits of the royal lotus plant. Opened to the public in 2010, the park now features more than 100 varieties of lotuses and water flowers from around the world, with indoor and outdoor exhibition areas.

Suan Somdet Phrasinakarin and Suan Somdet Galyani Vadhana Parks (สวนสมเด็จพัระศ์รีนครินท่ร์และ
สวนสมเด็จเจาฟ้้ากัลยาณิวัฒินา กรมหลวงสงขลานครินท่ร์ หรือ สวนแม่สวนล้ก) are located next to Nong Han
Lake. Often described as the ‘lungs of the city’, they are the only large pedestrianised areas in Sakon Nakhon, kept cool by the large lake and the tall trees at the edge of the parks. They are prominent meeting points, hubs for recreational activities and places to gather for many public events.

Religous Structures

Given the fact that there are more than 400 Buddhist temples, only the most significant have been noted here. Built around the first century, Wat Phra That Choeng Chum (วัดพัระธาตุเชีิงชีุม) is one of the most important city temples of Sakon Nakhon. It was known as Phra That Nong Han (พัระธาตุหนองหาร) during the time of the Lan Xang Kingdom. Wat Phra That Choeng Chum represents Lan Xang influences in Sakon Nakhon culture and traditions. Located next to Nong Han Lake, it is a popular destination among locals and tourists, who
often visit to pay respect. Taking advantage of its popularity, local entrepreneurs have set up stalls selling indigo products around the entrance of the temple grounds. In front of Wat Phra That Choeng Chum is a walking street, hosting a creative weekend market called Thanon Pha Kram (ถนนผู้าคราม).

The Archangel Michael Cathedral, located in the subdistrict of Tha Rae (ท่่าแร่), serves the largest Catholic community in Thailand. Its original structure was built by a community of Vietnamese descendants who settled in this province more than 130 years ago after fleeing persecution. The cathedral serves as a reminder of the rich cultural influences of the province. (pg 101)

Comment by Place Link on February 17, 2024 at 8:27pm: Weaving and Dyeing Industries

Many indigenous groups live in Sakon Nakhon Province. These communities have an enduring tradition of weaving and dyeing cloth, and each group has devised specific techniques, patterns and styles that are regarded as a form of indigenous art and taught through the generations.5 Mud mee (มัดหมี �), or ikat, is a technique of resist-dyeing to pattern textiles, such as tying or stitching. Weaving is traditionally considered a duty for Phu Tai women in the community.6 In the past, textiles were woven for household products, such as clothes and bedding, as well as for important events and ceremonies such as weddings or Buddhist festivities. Dyeing
and weaving industries rely on proximity to natural resources, so they are distributed throughout Sakon Nakhon Province. The map (pp. 98-99, fig. 1) shows traditional communities and pioneer revivalist groups located outside of Sakon Nakhon city.

More recently, shops selling indigo textiles and products have started opening closer to the city centre. Every afternoon on weekends and public holidays, Rop Mueang Road (ถนนรอบเมือง) in front of Wat Phra That Choeng Chum is transformed into Thanon Pha Kram market (ถนนผู้าคราม), taking advantage of a new commercial space that opened in 2016. Vendors sell raw indigo materials and end products such as clothes or accessories, so all generations of indigo enthusiasts can sell, buy and network. The market was an initiative of Kasetsart University, with support from local government, the Department of Creative Industry Development and the Department of Industry Promotion. Named as a ‘northeastern style flea market’, indigo-dyeing
workshops are also held here. Others have opened permanent shops next to the market, such as
Thainiyom Kramsuay (ไท่ยนิยมครามสวย), which occupies a 70-year- old, two-storey wooden house.

Educational Institutions

Two universities in the city – Kasetsart University (มหาวิท่ยาลัยเกษ์ตรศ์าสตร์) and Sakon Nakhon Rajabhat University (มหาวิท่ยาลัยราชีภัฎ สกลนคร) – have been instrumental in reviving indigo-dyeing practices, bridging indigenous wisdom with modern science and technology.7 Local schools provide indigo workshops for students, while the Indigo Centre at the Research and Development Institute of Sakon Nakhon Rajabhat University was set up to support people from the surrounding communities in developing their craft practices.
Sakon Nakhon Rajabhat University was commissioned by the National Science and Technology Development Agency (NSTDA) - (สำานัก งานพััฒินาวิท่ยาศ์าสตร์และเท่คโนโลยีแห่งชีาติ), owing to government policy introduced in 2000, to assist a community initiative in indigo craft revival.

Researchers worked closely with villagers to understand and catalogue the traditional practices – traditions surrounding the craft include the belief that dye vats are inhabited by spirits that can favour the dyeing process8 – and chemical processes of dyeing. What was once small scale and labour intensive with varying quality has transformed to meet an increasing demand for indigo textiles on the national and international market.9 This new knowledge supported some of the indigo revival pioneers, such as the development of a database
system of Sakon Nakhon’s indigenous fabric stripes and patterns, which in turn contributed to the expansion of local craft knowledge.10

Transportation Hubs

Sakon Nakhon has a domestic airport with a daily bus service to Bangkok. A planned upgrade by Airports of Thailand (AOT) to create an international airport hub in the coming years will undoubtedly improve connectivity to the district. There are also two bus stations servicing routes to nearby cities such as
Udon Thani and Nakhon Phanom. (pg. 103)

Comment by Place Link on February 16, 2024 at 7:31am: Soft Infrastructures

Indigo Communities and Traditions The recipes for indigo dye and the patterns and motifs created through weaving can vary from one community to the other. Weaving communities grow indigo plants using traditional methods11 and make use of locally grown and spun cotton and silk yarns. A system of shared facilities keeps costs down, promotes collaboration and the circulation of resources and knowledge between communities. The weaving process is equally demanding and heavily reliant on the labour of women.

Girls are socialised from a very young age, starting with cotton spinning and picking. Women learn to work together, where the younger and less experienced weavers can observe the proficient ones, learn their patterns and practise under supervision, with knowledge passed on from older women to younger girls.12 This practice means the indigo-dyeing and weaving industry is managed 90 per cent by women. For example, in the Ban Cherng Doi cotton community enterprise group (วิสาหกิจชีุมชีนท่อผู้าฝั่้ายยอมครามธรรมชีาติบานเชีิงดอย), men are in charge of growing indigo and making dye, while women weave cotton into traditional patterns and invent new ones. Men may also deal with matters outside the home, or even occupy positions of power in the public sector that enable them to support the dyeing and weaving industry through policy decisions.13

Pioneers of Indigo Production and Community Enterprise Groups

To an untrained eye, indigo products may all look the same, but the expertise is embodied in the production process, the history of the practice, different techniques and additives used, and the quality of the woven materials. Some long established groups are distinct in the way they make, manage and develop their products. Nakhon Tumtao Agricultural Housewives Group (บานนครถำ าเต่า) was established in 2008 as a community-managed production network consisting of 372 indigo weavers from different villages, each member taking care of a specific part of the production process. The group is led by Ms Somkid Promchak (คุณสมคิด พัรมจักร) (known as Mae Soom: แม่สุ ่ม), who left to be educated elsewhere and returned in 1998. The group has collaborated with Kasetsart University and other agencies to research natural dyes and has developed its own recipe using lotus plants as an additive to the indigo dye.14

Ban Kamkha Indigo Weavers Group (บานคำาข่า) has been running since 1994 as a community enterprise producing hand-printed cotton. Ms Pira Prasertkantong (คุณพัิระ ป์ระเสริฐกานตง) is the local craft expert and instructor in a government- initiated project for local craft promotion (SUPPORT Arts and Crafts International Centre of Thailand – SACICT) and continues to innovate by introducing new patterns. The group’s goal is to grow its own cotton and create special recipe dyes incorporating mud and husks. Taking a different route to market, the Ban Oondong Nong Chaiyawal Indigo Community Enterprise (กลุ ่มวิสา- หกิจชีุมชีนท่อผู้ายอมครามบานอ้นดง-หนองไชียวาลย์) distributes its unique weaved patterns from indigo-dyed, hand-spun cotton threads through an online channel. Led by indigo expert Ms SuneePromkomol (คุณสุนีย์ พัรอมโกมล), it is supported by the Biodiversity-Based Economy Development Office (BEDO) under the Ministry of Natural Resources and Environment to develop sustainable natural products.

Comment by Place Link on February 15, 2024 at 10:09pm: Mae Teeta (แม่ฑีตา) was the first indigo-dyed product brand in Sakon Nakhon, set up in 1992 by Ms Praphaiphan Deangchai. The brand paved the way for the resurgence of indigo craft in the province. ‘Mae’ is a respectful term meaning ‘mother’, named after the founder’s mother, Ms Teeta Janpengpen (ฑีตา จันท่ร์เพั็งเพั็ญิ). Mae Teeta is a family-run business involving the founder, her sister, her daughter and her nephew in the
production of indigo-dyed textiles and clothes.

Ms Teeta and her daughter were pioneers in reviving indigo farming in Sakon Nakhon, by introducing indigo seeds harvested from the surrounding forests into cultivation. A family-like relationship extends to the producers who plant and spin cotton with traditional spinners. Clients are also included in this extended family. Mae Teeta has a loyal base of returning customers that trust the brand and recommend its products to
others. The younger generations of Mae Teeta’s family are fashion graduates who are developing clothing lines for younger customers and introducing the brand to an international market.

Contemporary Indigo-Related Products and Shops

A new generation of makers and producers are evolving indigo craft through a combination of experimental techniques, new marketing strategies and the creation of contemporary designs, as demonstrated by Mae Teeta’s example. Branding has become a key practice in the transformation of indigo-dyed textiles from objects
of everyday, personal use to commodities available for local, national and international trade.15 KramSakon is an umbrella brand for all the indigo merchandise produced by the indigo-dyed textile industry cluster.

It is made up of 20 community enterprises and four SMEs. Members of KramSakon were among the first to establish the Phra Kram street market to sell their products through a dedicated store. One of the stores, Kram
Hug, was started by a long established clothing producer, taking advantage of renewed interest in indigo products. It creates contemporary clothes, household items and accessories designed to appeal to a younger audience. Dominating a busy crossroads with large windows and outdoor plants, Kram Thong (ครามท่อง) and Mann Craft are owned by the same family and share premises. The stores are a key stopping point for important visitors such as the Thai fashion designer Princess Sirivannavari.

The store displays traditional looms, books and signs explaining the process of indigo production.