Craft doc

A VOW: TO THE TIMELESS TRADITIONS A Documentation Of Kathiyawar Embroidery And Rabari Applique Of Okhamandal, Gujarat.

National Institute of Design Paldi, Ahmedabad, India.

Printed in January, 2017. Š Written and designed by : Vaishnavi Tajne & Brinda Dudhat.

Text, photographs and illustrations by : Vaishnavi Tajne & Brinda Dudhat.

Sample Courtesy: Artisans at Okhai center, Mithapur.

Printed at Siddhi Printers, Ahmedabad, India.

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A VOW: TO THE TIMELESS TRADITIONS A Documentation Of Kathiyawar Embroidery And Rabari Applique Of Okhamandal, Gujarat.

Sponsor: TCSRD- Tata Chemicals Society for Rural Development, Mithapur.

Guide: Mr V.Sakthivel A Document by : Brinda Dudhat & Vaishnavi Tajne Textile Design, UG 2013.

National Institute of Design, Ahmedabad.

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W

e portray our deepest appreciation for all those people who have been stimulating

ACKNOWLEDGEMENT

recommendations, encouragement and a well guided helping hand in the entire process of this journey of documenting the applique and embroidery craft of the Rabari and Sathwara community residing in the South of Gujarat.

Mr V. Sakhtivel, our guide has played a crucial role in a step- by- step guidance right from the pre field study to the commencement of this document. This project of craft documentation has given us a platform to broaden our horizons and enhance our subtle sagacity not only in the field of traditional textiles but also the immense knowledge of the lifestyle catering to the people involved in doing this rich tradition and unwinding these beautiful threads of culture.

We would like to pay our sincere gratitude to NID for giving us this opportunity, Mr Jayant Bhojia, the head designer of OKHAI for sponsoring this project and introducing us to this wealthy abode of knowledge.

We are very grateful for the valuable contribution by the lovely women of Okhai, who welcomed us with the warmth, as we being a part of them; providing their precious time and effort in briefing us with the craft insights and teaching this tradition of painting with threads. We would like to thank Rami Ben, Pabi Ben, Lalitha Ben, Parakram Bhai, Karmi Ben for the constant support on the field.

Special thanks to Mr. Manpat Singh and his wife, the descendants of the Kings of the Arambhada Village on providing us with the intellect of the history of West Gujarat.

Most importantly the immense support and co-operation within ourselves and our parents, family and friends.

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ndia has been brimming in deep cultural traditions and crafts that mark the wealth of our nation.

PREFACE

The practice of hand embroidery is diverse, based on the regions where it belongs. Every stitch, color, motif and style is rooted deep in the families that have been passed on to. The craft of embroidery are most prevalent in the western parts of the country with a few exceptions. The embroidery also communicates self and status. Differences in style create and maintain distinctions that identify communities, sub-communities and social status within the communities. What intrigued us in taking upon this craft was the interdependency of the local women and their way of life to be self sufficient and economically independent. More over their immense love for carrying forward their ancestral lore.

This document was done as data collection process of the traditions of the Rabari and the Sathwara community in the South-West of Gujarat. Rabaris are nomadic herders who live scattered through out Gujarat and Rajasthan. One of the most striking features of the Rabari community is their artistic embroidery. Embroidery in this community serves as a pre-requisite in the marriage and hence a lot of emotions and feelings are connected with this tradition. The areas that were covered as the part of the field study are Okha, Arambhada, Surajkaradi, Mithapur, Varwala and Dwarka, which are situated on the west coast of Gujarat.

Okhai, who is an helping hand in this process, is an organization which strives to bring the traditions of India. It not only helps its artisans become wage earners, but also spreads awareness about the traditional crafts of the region, thus helping preserve a rich part of India’s National cultural heritage.

TCSRD (Tata Chemicals Society for Rural Development) has been a major hand to uplift the region of Okhamandal by providing employment to the rural women for economic independence.

This document was created after an acute field study in and around the villages of Okhamandal. The information has been collected interviewing people we have encountered in the field. Like any other traditions this embroidery has gone through changes with the evolution in time. We have tried to put in the best of our efforts to document these changes and the future visions to this craft.

We hope the document fulfills its purpose by truthfully informing its readers about the tradition and practices of the embroidery done by the Rabari and Sathwara community in the region of south-west of Gujarat.

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CONTENT

ACKNOWLEDGEMENTS...05 PREFACE...07 THE STATE OF GUJARAT...11 Devbhoomi Dwarka...13 Story of Dwarka...14

OKHAMANDAL...17

History of Okhamandal...18 The Communities settled in Okhamandal...19 Field Study Map...20

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THE RABARI COMMUNITY...23 Migration...23 Marriage...24 Social Structure...26 Dressing Style...28 Body Adornments...34 Food, Occupation...36 Language And Religion...38 God Following...39

THE SATHWARA COMMUNITY...41 Origin...41 Clothing and Jewellery...42 Food...44 Lifestyle...45 Houses of Sathwara...46

THE EMBROIDERED TEXTILES...49 The Classification...49 Embroidery Of Gujarat...50 The Kathiyawar Embroidery...52 Embroidery Stitches...57 1. Running Stitch...57 2. Sakali (Chain Stitch)...58 3. Aamlo...59 4. Peencho Tanko...61 5. Moti Tanko...62 6. Polo Tanko...63 7. Ankhadiyo Vakadiyo...65 8. Sadu Bharat...67 9. Aati Valu Bharat...69 10. Chokti...70 11. Phudki...71 12. Sarvariyo...72 13. Gaanj Tanko...73 14. Abala Bharat...75 15. Bavaliyo...76

APPLIQUE...95

Origin...95 Applique of Rabari...98 The Craftswomen...99 Applique motifs...100 Motif Symbolism...102 Motif Variations...103 1. Peacock Motif...103 2. Parrot Motif...104 3. Elephant Motif...105 4. Snake Motif...106 5. Foliage Motif...107 6. Central Motifs...108 7. Border Motifs...109

AESTHETIC COMPARISION OF THE CRAFTS...125 COLOR PALETTE...127 THE VANISHING THREADS...129 THE PRESENT VENTURE...131 THE OKHAI STORY...134 WOMEN OF OKHAI...138 BIBLIOGRAPHY...140

The Technique...110 APPLIQUE PRODUCTS...113

EMBROIDERED PRODUCTS OF SATHWARA...81 Motif Symbolism...82 Products Of Sathwara...84

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A

cknowledged as the seventh largest state

THE STATE OF GUJARAT

of India, Gujarat is nestled in the western region of our country that has a coastline of approximately 1600 kilometers (one of the longest in India), bounded by Arabian Sea to the west and surrounded by the states of Rajasthan on the north, Madhya Pradesh on the east and Maharashtra on the south. To the northwest it shares international borders with Pakisthan.

Gujarat, which derives its name from the term ‘Gujjar Rashtra’ constitutes a culture, which is formed out of mingling of diverse ethnic folks.

The Gujarati culture is an amalgamation of a plethora of traditions, beliefs, customs, arts and values with a tinge modernization as well.

Around one-fifth of the population of the state comprises of tribal and aboriginal communities.

All these constituent tribes and communities form a confluence that renders an enriched and versatile Guajarati culture, which is evident in the state’s distinctive dance styles, festivals, lifestyle and its cuisine. Though Gujarat is one of the most industrialized states in India, yet it has quite efficiently preserved its rich cultural and traditional inheritances since distant past.

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Gujarat is one of the oldest states in India and gracefully represents the authentic Indian culture and tradition at its best. Most of the rustic yet popular Gujarati arts were originally created by the predecessors for household utilities and eventually got acclaimed at a global level. Gujarat is blessed with rich and vibrant tradition of Handicrafts. It is widely differing in its proportions of its patterns to the element of wonderful exquisite artifacts in various forms.

It stands unique with diverse arts and crafts – a mixed combination with aesthetic appeal.

The handicrafts of Gujarat include - pithora, Rogan painting, namda, pottery, metal crafts, woodcrafts, embroidery, block printing, bamboo crafts, khadi, kutchhi work, patolas of Patan, bandhani and many other kinds of such work.

The link between a community and their craft is fundamental. Their craft is a spontaneous expression.

Photo: Kalupur Swaminarayan temple, Old City, Ahmedabad.

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Devbhoomi Dwarka District On the Independence Day of 15th August 2013, 7 new districts and 23 new Talukas were created in Gujarat with an aim to decentralize the administration and make it more efficient and speedy.

The district of Devbhoomi Dwaraka was bifurcated from Jamanagar district. This district has its pilgrimage importance due

to Dwarkadheesh temple built in 6th to 7th

century. The modern city of Dwarka (meaning ‘Gateway to Heaven’ in Sanskrit) is located in the northwestern part of the district. This city is regarded as one of the most prominent Chardham (the four sacred pilgrimage sites of Hinduism), and one of the seven most ancient religious sites in the country (the other six being Ayodhya, Mathura, Haridwar, Banaras, Kanchi and Ujjain.)

The reputation of Dwarka is mainly due to the identification of the modern city with the mythological sacred city of Dvārakā, which is believed to have been the first capital of Gujarat.

Dvārakā is mentioned in the Mahabharata, one of the two great epics of ancient India, as well as the Shrimad Bhagavad Gita, Skand Purana , Vishnu Purana and the Harivamsha.

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The Story of Dwarka

According to the Hindu mythology, Dvārakā was a city where Krishna, the eighth avatar of Vishnu, once lived. It is believed that Krishna was born in Mathura, just south of Delhi in the modern state of Uttar Pradesh.

In one version of the story, Krishna was said to have been brought by Garuda (the mount of Vishnu) to the coast of Saurashtra in north-western India. It was there that Krishna founded the city of Dvārakā. In another version of the story, Krishna invoked Vishwakarma, the deity of construction, when he decided to build his new city. The deity, however, informed him that the task could only be completed if Samudradev, the Lord of the Sea, provided some land. Krishna worshipped Samudradev, who was pleased, and gave him 12 yojanas (773 square km/298.5 square miles) of land. With the land granted, Vishwakarma was then able to build the city of Dvārakā.

Photo: Dwarkadhish temple in the city of Dwarka 14 A Vow: To The Timeless Traditions

The Layout of the Mythological City of Dvārakā Dvārakā is purported to have been thoroughly planned. The city is said to have been divided into six sectors, which contained residential and commercial areas, wide roads, plazas, palaces (700,000 that were made of gold, silver and precious stones), as well as numerous public facilities, including beautiful gardens and lakes. A hall called the Sudharma sabha (‘Meeting of True Religion’) was the place where public meetings were held. As the city was surrounded by water, it was connected to the mainland via bridges and a port.

The Seven Cities on the Site of Dvārakā Krishna lived for the rest of his life in this newly-built city. Nonetheless, after being accidentally shot by an arrow whilst meditating under a tree in a forest at Bhalka Tirtha, Krishna departed from this world. After Krishna’s death, the city he founded was swallowed up by a massive flood, thus returning it to the ocean. It is said that over the centuries, a number of civilizations built their cities in the area where the city of Dvārakā once stood. The present city of Dwarka is believed to be the seventh one that was built there.

Photo: A painting depicting Krishna’s Dwarka made during Akbar’s reign, from the Smithsonian Institution. Source: Wikipidea A Vow: To The Timeless Traditions 15

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OKHAMANDAL

O

khamandal is a taluka in the newly formed

district of Devbhoomi Dwarka. It consists of 50 Gulf of Kutch

villages and 40 panchayats.

In the past, the region of Okhamandal used to thrive with many kingdoms and civilizations.

Present scenario of the place is the result of evolution of its past culture, tradition and practices. Tracing back to the history of the place, it was found that Dwarka and Arambhada were the two major places where the civilization has evolved in the terms of religion, community, beliefs, tradition, arts, literature and geographical condition.

Villages Around Dwarka

The Okhamandal region of Gujarat has been home to many tribal cultures and nourished them from the very earliest periods of history. The stark

Map of Okhamandal taluka of Devbhoomi Dwarka District. Highlighted villages were focused while studing the craft and thecommunities of the region.

monotony of the arid landscapes in this region is relieved by the bright shades in the handicrafts made by the tribal women belonging to tribes like the Rabaris, Vaghers and Ahirs.

Villages in Focus: Bet Dwarka Okha Arambhada Mithapur Varvala Dwarka A Vow: To The Timeless Traditions 17

History Of Okhamandal The history of Okhamandal region, on the west coast of India has been often viewed from point of religion and very little interest has been shown on the social and commercial history of this area.

Marine archaeological investigations during last two decades have focused on material remains from inter-tidal zone as well as from offshore, which yielded valuable antiquities, suggesting a very rich maritime history, commencing from the Harappan period to recent. Despite of unavailability of fertile land, the Okhamandal area has witnessed all phases of the history.

Antiquities recovered from this region suggest that the early settlement took place because of the richness of gastropod shells and safe harbour. On the basis of archaeological evidences, it has been observed that during protohistoric period Okhamandal had contacts with Sindh region and not with Saurashtra and Kachchh. While, during the early historical phase the area had become a focus of International trade. Offshore explorations in Dwarka brought to light the remains of an ancient harbour and different types of stone anchors. Explorations in Bet Dwarka yielded the evidence on the early European contacts during early historical period suggesting that ships were anchored near present Bet Dwarka jetty.

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Communities Settled In Okhamandal Enrouting Okhamandal, our journey went on to hunting for communities residing in the entire part.

Traversing from the north to the south tip of Okhamandal, the abode of communities that we came across were the Rabaris, Vaghers, Patels, Vankars, Kanbi, Sathwaras, Bharwad, Lohana, Kolis, Kathis and a few Muslim communities.

From the craft point of view that was intended to be focussed, we came across the communities of Rabari and Sathwara that had their traditional crafts still being practiced.So as it is said, “ Tradition is not preserving the ashes but it is to pass on the flames” We had an in depth field study of these two communities.

A prevalent value in the community, carried over from the “frontier” days is the value placed on individuality. Our journey went ahead in getting in the roots of the families belonging to these communities making a thorough understanding of their livelihoods and their traditions that have come a long way.

Photo: The street and houses of Rabaris, facing the salt pans in the village of Arambhada, Mithapur.

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The Field Map Of Settlements In Dwarka The Sathwara community is mainly concentrated in the region of Dwarka. The field study around Okhamandal got us to the fact that a few traditional Sathwaras resided in this part. These settlements are in clusters, which includes joint families. They are either single or two storeyed. According to the status of each family, differences are seen in their houses. Every household rears their own set of cows and goats.

It is an interesting site to see the women sitting in their own courtyard (angan), engaged in doing their activities. The trees around the streets kept the lanes from the direct sunlight.

Narrow muddy lanes, meandering streets, raw houses, the distinct attires, the welcoming nature of every household families, tea from the freshly milked cow, the delicacies made with love, the excitement of every family to see us visiting their homes were an interesting observation while doing the mapping of this area.

Map: Rabari and Sathwara settlements in the city of Dwarka.

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Field Sketches The on field sketches of the raw house in Arambhada village shows the exteriors of a Sathwara family’s house, where it is seen that the houses are partially traditional and partially modern.

A few section of the houses are still covered in cow dung where at a few places it is replaced with concrete. The roofs are earthen slabs or of aluminum which makes the interiors hot in the summers.

Most of the cooking is done in the open courtyard on the chulhas while some in the interiors, which have gas stoves. The courtyard serves to keep the family’s cows and goats. Moreover heaps of grains are seen outside, which are meant to be cleaned from the stones in them. It is a daily affair of the women in these joint families. The girls who are denied of education spend their time in the aangan embroidering their artifacts. Some interesting sights in a few families include the courtyard well, where most of them are dry and only some are in use.

These families owe either motorbikes or cycles, for daily commuting to their field places, which are parked inside the courtyards.

Sketch: Courtyard and Varanda of Sathwara houses in Dwarka.

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R

Migration

of Kutch, of Saurashtra, of north Gujarat and of

The Rabari community has migrated over years

abaris are usually divided into four groups,

RABARI COMMUNITY

on the basis of geographical criteria: the Rabaris Rajasthan. The word Bhopa is derived from the words ‘bhumi palak’, i.e. ruler of the land and Rabari is thee one who is wealthy. Bhopa is the short name used for a group of Rabaris who are

and this migration is based on to the limit of finding a new place adequate to their economic balance. The movement is preferably to familiar geographic regions, seasonal movement and

referred as Bhopa Rabari.

environmental condition. Most of these changes

Rabaris are structured as sakhs, which include

region.

family units known as ataks. These small units leads into division of communities. The government records and the literature refer to them as Bhopa or Rabari who have eight endogamous groups viz.Gujarati, Kutchi, Vaghed, Debar, Panchal, Venu, Jhalawadi, Bhopa and Sorathiya. They had migrated from Rajasthan via Kutch to Okhamandal and now most of the Bhopa Rabaris are, distributed in the Okhamandal region of Jamnagar district.

The different groups of Rabari enjoy an equal status and the differentiation of these groups is largely based on territorial affiliation and to some extent on social aspects, for the different groups practice considerably different customs and

have been due to catastrophic changes in the

The roots that Rabari ancestors have taken were from north, the Himalayas or Central Asia into the desert of Rajasthan and Sindh. History states to have these Rabaris originated outside India and that is from Arabia. Since Rabaris are camel herders they have found to be moved towards Rajasthan. However with the historical descriptions they say that the Muslim invasions led this community from Rajasthan to north of Gujarat. More over due to political pressures and calamities like droughts and earthquakes these communities migrated from north Gujarat to relatively fertile and agricultural regions of Saurashtra.

follows divergent practices.

Photo (facing page): Rabari women in Varvala village, Devbhoomi Dwarka.

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Marriage The members of the Bhopa Rabari community do not inter-marry with any other group of Rabaris. Two members of the same atak or the members from two brotherly ataks cannot marry.

Consanguineous marriages are not allowed amongst the Bhopa. Sagai (the betrothal ceremony) is arranged at an early age. The marriageable ages for the boys and girls are fifteen to eighteen and fourteen to fifteen years respectively. Marriages are arranged by negotiation. Polygyny too is permissible.

Elders negotiate an economic exchange when they approach for marriage. They require both bride price and dowry. The bride price is paid in the form of jewelry, clothing and cash while dowry is paid in the form of livestock, kitchen utensils, cash, clothing and embroidery.

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The marriage takes place in three steps; first the two souls are engaged in their childhood, second they get married anytime between their childhood and adulthood and third is called anu where the bride is sent to her husband’s village.

The married women wore earlier, large bangles made of elephant tusks but they are, no longer in use and as such they have ceased to be the marriage symbols. Married women can be identified by the dress patterns and also by their observance of laz (veiling of face) before the elder relatives. Residence after marriage is patrilocal. Remarriage of divorcees, widows and widower are permitted.

Photo: Marriage scene of a Gujarati Rabari girl from the movie Parched 2015.

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Social Structure Majority of the Bhopas live in nuclear families since within two to three years of the marriage of a son, a vertically extended family splits.

However, even after the split the sons have to share the social and economic obligations and responsibilities of the natal family in each and every aspect and sphere, otherwise they stand disinherited: so, the joint family ties are unbroken till a long time in an individual’s life-cycle. Inheritance follows male lineage.

Succession and descent are reckoned in the male line, the eldest son succeeds the father. Inter-family linkages’ exist between the community members of a neighborhood which are largely cordial.

Women do not have a right to the parental property. They are mostly engaged in household work and are looking after the milky cattle etc.

A few women are engaged in wage labor in agricultural and non-agricultural sectors. The women of the household collect potable water and fuel wood. They have a role in ritual and religious spheres, although they do not have a role in the social control mechanisms and in political spheres.

Photo: Rabari family of Arambhada village, Mithapur.

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On Birth Bhopa women stand in an almost equal status to that of their men. On delivery, the baby is bathed on that day and the baby and mother together are bathed on the chhatti (sixth) day.

Only on, chhatti day the father’s sister names the baby. Tonsure for the male baby is done before three years of age. Gurudhama (accepting a religious teacher) is done during the childhood.

The Betroth Betrothal ceremony precedes marriage. About five people from the male side would go to the girl’s place and if she is acceptable they would remain there till evening to settle the monetary transaction that is to precede the marriage.

Once an agreement is reached, all of them would take jaggery mixed with milk from one bowl, following which the girl is presented with clothes and the boy’s party would return.

On Death A stillborn child is buried within the compound of the household. Before the last breath a person is removed from the bed and allowed to rest on a cleaned floor. On death, the body is washed and wrapped in new clothes to be carried on a thatidi, (bier) for cremation. Only the children up to twelve years and smallpox deaths are buried. During the period of death pollution, the kins are not allowed to take milk and milk products like chhach (thin butter milk), katta savouries etc. Mortuary rites are observed on the twelfth day.

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Dressing Style Like most communities in India, Rabaris too have an unwritten dress code that reveals the status and stature of a person. They have the code for everyday wear, ceremonial and wedding dresses.

A Bhopa male or female can be identified by their dress. There are specific ornaments for young, adult and old males, which differ with regard to their marital status and number of children.

Rabaris are a colourful people by nature and their costumes exhibit the entire range of spectrum. It is the quality of their aesthetic preference, which makes them unique, different and extraordinary.

Their distinctive arts manifest themselves in the style of mudhuts, mirror work, and exquisitely embroidered designs. Their aesthetic sense is verily displayed in the selection of colours -- red and black, violet and pink -- and floral geometric and herringbone designs done by chain stitches.

Their charming physique is profusely decked with ornaments made of silver and gold.

Photo: Rabari women in Varvala village, Devbhoomi Dwarka.

Facing page: Rabari women of different age groups in Devbhoomi Dwarka.

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Men The traditional dress of the men include a Kediyu –jacket ,pachhedi, turban and dhabloblanket. Their white color indicates their elder status. Rabari men wear a pure white cotton dress. Although white might be an impractical choice keeping in mind the dusty desert, but it is the most practical when it comes to warding the desert heat. The dress consists of a longsleeved double breasted shirt, which may be quite long or short, a loincloth called pacheri and a red turban eight meters long. The shirt and the loincloths may be decorated with embroidery in various floral and animal motifs. Old men, when their beards have turned white, usually change their red turbans to white one. The turban is versatile in use, keeping the head protected from the heat of the desert, and being used as a pillow when needed. Simple jewelry like small gold ear rings along with amulets around the neck to ward off evil eye is usually worn by Rabari men. They wear earrings, in particular, one called the toliya, semi-conical and quite heavy.

Photo: Rabari men selling fresh buttermilk at Okha bet, Okhamandal.

Facing page: Rabari men of Bhopa community, source: google images.

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Women The blouse pleated at the breast sets a married woman apart from the single. The older women and widows wear plain black with no embroidery.

The outer layer of the dress is a long woolen shawl. Unmarried women wear white while the married and the elderly wear brown or black.

In the case of nubile or young married women, the shawl is adorned with miniscule deep red circular designs, made by the tie-and-dye method. The widow’s shawl is plain black. In some regions, Rabari women may embellish their shawl with applique work or embroider the center seam, add mirrors or ever do up the border. The Rabaris are known for impressive embroidery which is very vigorous, with many bold shapes. Designs are taken from mythology and from their desert surroundings. They use glass mirrors in various shapes: round, lozenge, rectangular, square, triangular, and beak shaped.

Rabari women decorate with embroidery literally everything: their own clothes, men’s clothes, children clothes, bags.Jewelry is worn in the Rabari community since early childhood: earrings, large necklaces, bracelets and anklets are put on little kids to protect them against the evil eye. There is also a special very beautiful head adornment for girls, which they wear during an important name-giving festival.

Photo: Rabari women working on an applique sample at Okhai center, Mithapur.

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Jewellery The goldsmith in the village makes the pieces of jewelry, which are of either of silver or gold, and some are decorated with colored glass but never with stones. Most of the jewelry pieces are old as they are passed down as heirlooms.

These women wear earinng at three different places, that is the top ridge, middle ridge and the lobe.

The peculiar observations seen amongst these women are to have big earholes. This is done from childhood inserting a number of neem sticks.

Upper Ridge

Middle Ridge

Lobe

Photo: Details of earrings of rabari womenin Varvala village, Devbhoomi Dwarka.

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Body Adornments- Tattoos For almost 1,000 years, the Rabari have roamed the deserts and plains of what is today western India. It is believed that this indigenous group, with a peculiar Persian physiognomy, migrated from the Iranian plateau more than a millennium ago. The Rabari are now found largely in Gujarat and Rajasthan. The Rabari women dedicate long hours to embroidery, a vital and evolving expression of their crafted textile tradition. They also manage the hamlets and all money matters while the men are on the move with the herds.

The livestock, wool, milk and leather, is their main source of income. The interseting fact one notices on looking at a Rabari woman is their body filled with tattoos. They are most striking features that they adorn along with the jewellery.

The women are tattoed heavily than the men.

This is a painful procedure altogether since the needle marks makes the body swell. It further led to itching, however to get rid of it neem leaves are bound to them.

Photo: Tattoos on the hand of a Rabari woman in Varvala village, Devbhoomi Dwarka.

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From being used as a sign of status to jewelrylike markings, tattoos have been around in India since ancient times. But just how old this custom is, remains a mystery. From the dense, rain-soaked mountain jungles of the northeast to the dry deserts of Rann of Kutch in the far west, tattoos have not always been about beautifying the human body; they have been used for diverse reasons by different communities across the country. They called the process gudna (burying the needle in hindi) and flaunted the markings as jewellery – the kind of jewelry no one could take away from them even if they were to lose all their worldly possessions and can identify its significance by mentioning it as ‘the highest form of adornment, which can be carried even after death. These women are tattooed at a very early age and as the proverb goes ‘We may be deprived of all things in the world but nobody has the power to remove our tattoo marks’.

Photo: Tattoo details on the neck of a Rabari woman in Varvala, Devbhoomi Dwarka.

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Food Most of the Bhopas are vegetarian. Those who are non-vegetarian eat mutton, egg, chicken and pork. The staple foods are bajra, jowar, and rice taken along with all kinds of pulses and vegetables. Groundnut oil is the cooking media.

Milk, products are consumed daily by a majority of the community members. They have elaborate prescriptions related to taking certain food items during the festivals and fairs specific to them.

Shift to vegetarianism is an important change noticeable amongst the Bhopas. Consequently there has been an increase in the consumption of pulses and vegetables.

Photo: Rabari woman making ‘bajra’ (maize) roti on a ‘chula’ in Arambhada village, Mithapur.

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Occupation The main economic activity of the Bhopas is sheep breeding and selling of milk. Only a few of them own cultivable agricultural land. Of late, a good number of them have’ diversified their occupation and are engaged as wage laborers in industrial establishments both as skilled and un-skilled laborers. Cattle breeding Bhopa Rabaris are ‘Maldharis’ of Gir forest. Child labor is prevalent. The most important change in their economic life is the’ increase of wages to laborers particularly in industrial establishments.

More over the women to actively participate in the self help groups and have emerged to be self and economically independent.

Photo:Rabari woman milking a goat in Arambhada, Mithapur.

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Language And Religion Rabaris are Hindus and follow a conservative moral codes which keeps the society bounded and contributes well to its essence of traditionalism. They speak a language which is a mixture of Gujarati, Kachchi and Marwari words and Pharasi; it is popularly known as a language, by the community name, i.e. Bhopa. This Bhopa tongue is used while communicating with the family members other kin and the community members, but Gujarati admixed with Kachchi with the members of other communities. They use Gujarati script.

Photo : Idol of Lord Krishna and Radha in Dwarkadhish temple, Dwarka.

Courtsey: wheretogoindia.com

38 A Vow: To The Timeless Traditions

God Following The Bhopas profess Hinduism and are Shiva and Shakti followers. Rabaris worship mother goddess ‘Momai mata’ who is considered to be the original source of Rabari livelihood and also ‘Hingraj’ with its major temple in southeast Baluchistan. They also worship Lord Shiva’s incarnation called ‘Bavo’, ‘Bhairao’ and Lord Krishna’s incarnation called ‘Vedvala.

The different forms of Shakti are worshipped as Kul-devis (family deities) through a Bhopa (medium). Besides, there is a hierarchy of sacred specialists amongst them. The Bhopa hierarchy is headed by a Bhuva. One padhiar works under a bhuva and the padhiar has five pachitar and each pachitar has five sarmas (25 sarmas in total). Besides, rajgor brahman’s services, the major gods in their pantheon are Shivji, Ganesh, Ranchodji, etc. The different kul-devis are Alakh, Momoi, Jagadhatri, Vankol (Vyagreswari) etc.

Some of them are followers of Ramdev pir and the members of this sect observe some esoteric rituals. Dussera (also spelt as dussehra) in dasada sees Rabaris in a festive mood, dancing all night long. Fairs are held at the temples of Krishna and Thakorji Maharaj where Rabaris gather after travelling for great distances.

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40 A Vow: To The Timeless Traditions

T

Time gets you a long way where our environment

of the Hindu god Parshurama by abandoning the

Such timely encounters tend to fade the roots of

heir own origin mythology refers to a belief

THE SATHWARA COMMUNITY

that they were Kshatriya, who escaped the wrath Kshatriya custom of being warriors and took to farming.

The Sathwara is a Hindu caste who live mainly in Gujarat in India. They live mostly in north Gujarat, Saurashtra and Kutch. They speak in Gujarati and Kutchi. In Gujarat they live mainly in Patan, Mehsana, Bhavnagar, Jamnagar, Junagadh, Sabarkantha, Surendrnagar and

takes a drastic turn in the way we live and evolve. traditions buried deep.

The Sathwaras have come a long way and evolved with modern times. Though we were fortunate enough to have encountered elderly men and women residing in the regions of Dwarka and Mithapur. This class has a forward take on living where the field study showed us their modern way of living, leaving behind

Vadhiyar.

the actual traditional settlements that they

The Sathwara do work such as masonry and are

structures, clothing, food, occupation, jewelry

in other jobs too. It is said the Sathwara were originally farmers. The different casts in the

actually used to house in. Right from their house and take on education all these aspects have moved forward.

Sathwara samaj are Sonagra, Kadia, Nakum, Kanzaria, Khandar, Khant, Dalwadi, Chauhan, Parmar and Solanki.

Kadia is the name for hindu people who work in masonry among other things. (The name kadia may have been given because of the masonry work done by the sathwara).

Photo (facing page) : Sathwara women of Arambhada, Mithapur.

A Vow: To The Timeless Traditions 41

Clothing And Jewellery Gujarat is influenced with enculturation; a culture shared with members of the society and passed on from one generation to the next.

Enculturation has unified people with common sense of experience and influence that lead to knowledge and appreciation of cultural traditions and lifestyles.

Though this class have evolved and now wear normal sarees, shirt and pants however the elderly still have their traditional costumes to adorn their body namely; Women wear a • Kapdu (blouse), • Paean (skirt), • Odhanu (veil), • Andho (knot), • Tattoo (trajwa), They have 7 piercings in their ears called the Totadi, Vait, Do dana, Sulva and Thodiya; the nose piercing called the Dano, bangles known as bangdi and baliya, the finger rings called as the Vinti and the anklets known as the kambi and kadala.

The men wear Angani(Shirt), Choino(pants) and earings called as khodiya.

Photo : Details of tattoos and jewellery on the hands and legs of a Sathwara woman.

Facing page: Sathwara man and woman in Arambhada, Mithapur.

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Food The Sathwaras follow a vegetarian diet. Their cuisine consist of simple food which includes vegetables, lentils and they have jowar and bajra rotlas three times a day. Khichdi , a rice preparation along with Kadhi is savored mostly.

The Ghee adds its own flavor to the delicacies made and its considered good for the bones.

Having buttermilk after their meal is considered good for digestion purposes. They no more cook on traditional chulhas and continue to cook on gas stoves. They have their own cows, buffaloes or goats for milking which is an every morning affair to start their day with a cup of tea.

Photo: A Sathwara woman cooking in her kitchen in Arambhada, Mithapur.

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Lifestyle The Sathwara Men have taken up modern occupattions like the ones residing in Mithapur are working with the TATA industries. The TATA’s invasion in these villages have provided an employment to each and every family in the village.

The women are indulged in doing there household chores along with engaging their free time in joining SHGs. They are devoting their time in the craft clusters, which are in return helping them to become independent women and also a contributing hand in the family’s income.

The boys and even the girls are devoted into school education and in this community it is seen that they no more encourage child marriage.

The Sathwaras residing in the region of Dwarka to a certain extent still carry on the traditon of their tribal embroidery however, it has ended up in a situation where people are selling their embroidered artifacts in return of vessels.

Photo: A Sathwara woman (Lalita ben of Arambhada village) working on applique sample for Okhai.

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Houses Of Sathwaras The built-up area of an average village is a mass of unplanned houses with mud walls and tiled roofs.

In all the villages, the lanes are narrow and circuitous. Sometimes several families, in which case the rooms or blocks are allocated to individual families, occupy a house. The house frontages are not in a straight line and their facades have no uniformity. The village is arbitrarily divided into ‘mohollas’. The roofs of the houses are invariably sloping and are tiled, thatched, or covered with iron sheets. Middleclass houses do not have an enclosed courtyard and could be described as a rectangular block divided into one or two rooms on the rear and verandah in the front.

They use them to work, relax and for the visitors to reside. At certain corners of the meandering lanes small temples are seen. The kind of trees seen in the vicinity include banyan, neem and babul along with other foliages.

At a distance there is a cremation ground.

Photos: Courtyard of Sathwara houses in Arambhada, Mithapur.

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The Sathwaras who have evolved with time have started living in modern concrete homes. The chulhas have been taken over by gas cylinders; the cow dung floors are taken over by tile floorings.

A very few traditional homes with their traditional crafts can be seen where elderly people are still residing.

Thus it has been observed that with the status of every family residing in the community, changes and differences are seen within their settlements.

Photos: Kitchen and bedroom of Sathwara houses in Arambhada, Mithapur.

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Classification

E

Embroideries are distinct in their own unique way

birth to man’s desire for beauty. It is a platform

• The embroidery executed by the artisans.

mbroidery is one art that dates back to

EMBROIDERED TEXTILES

antiquity. This art of this needlework owes its

and depict the class of their own. They can be categorized as:

for self-expression of creativity and aesthetics

These artisans are mostly men who work in the

rendered with patience. It introduces grace and

ateliers. This could be a very good example of

elegance on the blank surface with substance

the artisans engaged in the royal courts during

and meaning.

the mughal period. This group of embroidery includes Kashida from Kashmir, Chikankari

The inspiration for this beautiful form comes from

of Uttar Pradesh and the gold and silver

elements of nature-flora fauna, animals, history,

embroidery of Zardosi and Kamdani. These

religion which imbibe the fabric with deep

have been done for commercial purposes

connectivity of ones heart and soul adorning

since history.

their respective culture.

•

The other would be the folk embroidery done

by the women for their personal use and for

Embroidery is the art of decorating fabric with

their near and dear ones. These reflect their

needle and thread. Some embroidery stitches

mirror of life, culture, tradition and beliefs.

undoubtedly have their foundation in early

They include Phulkari of Punjab, Kasuti from

textiles, basketry, mat-making and weaving;

Karnataka, Kantha from West Bengal. These

others have developed from early sewing, where

women do this during the free time at the their

stitches were used for joining pieces of fabrics or

disposal for the pure love of it.

skins together for specific ornamental purposes.

•

The third category would be the tribal

Women are the pioneers in creating excellent

embroidery executed by the women of the

delicate embroidered garments since ancient

tribal communities whose imaginations are

times.

translated direct on the fabrics through the medium of threads. Their imagination knows

Western India is the richest area for embroidery

no bounds and remain unharmed by the urban

and signifies large culture ties with Rajasthan,

ideals and their feeling are emoted in their

Gujarat and Sindh due to common style of

work which they do for their own personal

embroidery. These pieces are produced mainly

work and is not commercialized.

for dowry and get passed on from generations

embroideries are done bythe tribes like

from a mother to her daughter.

Lamanis, Banjaras, Ahirs, Rabaris etc

These

A Vow: To The Timeless Traditions 49

Embroidery Of Gujarat Gujarat, which is located on the West coast of India, is famous for the craft of embroidery.

The women, peasants and tribal have maintained their rich heritage through these styles of embroideries where in the beauty lies in the rich designs, hues, motifs and stitches. They practice them in their free time after harvest on the costumes for their daughters.

It is believed that embroidery was introduced by ‘Kathi’ the cattle breeder, who was basically wanderers and brought by Karna, the famous warrior of Mahabharata. These wanderers used to worship Shiva and Ganesh and used to embroider these idols on a small piece of cloth.

A legend explains that a notorious demon had enslaved thousands of women in a forest, who was killed by Lord Krishna and freed them.

Later these women turned out to be his gopikas and who were brought to Dwarka. They were inherently talented in stitcheries whose individual contribution nobbled into a new form of Saurashtra.

Photo: Sadu Bharat embroidered motifs of Chandarwa (Canopy cloth) of Sathwara Community, Dwarka.

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The form of embroideries found in these regions are:

• The Kutchi embroidery This form of embroidery is an art tradition of various clans such as Ahirs, Kanbis, Mochis and Rabaris in the Kutch District. Their signature effect of the colorful embroidery sparkles when small mirrors called abhla are sewn over the geometrically shaped designs.

• Th Ahir bharat The peasants of Saurashtra are known as Ahirs who are believed to be migrated from Mathura along with Lord Krishna. Women do this embroidery during the seasonal time mostly for their attires. Ahir is a hooked needle with help of which embroidery is executed in the form of a chain.

• The Kanbi bharat Kanbis are basically cultivators and have migrated from Saurashtra. The darning for outlines and herringbone for filling, characterize their embroidery. The Persian influence is reflected from this form of embroidery.

• The Mochi bharat Mochi is the community belonged to the artisans, cobbler who used a unique technique for preparing chappals and shoes. It is similar to Ahir bharat done using a needle with continuous repetition of the chain stitch .

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Kathiyawar embroidery Kathiyawar has a great influence from neighboring states of Sindh, Punjab and Kutch.

Women not only decorate their attires but also embroider household articles with the vibrant threads. The main feature of this kind of embroidery is the lavish use of mirrors. The embroidery is very pictorial and original, the mirror work and interlacing stitch sets it apart from any other kind of embroidery. Persian influence can be seen in the motifs. The Kathiawar embroidery designs are hand-drawn on cotton cloth and are worked with silk floss (heer). The embroidery is done in long stitches, use being made of tiny mirror to give glitter to the center of flowers or eyes of animals and birds. Bold embroidered motifs of birds, animals, deities, plants and flowers are skillfully spaced so that their rich colored threads and glittering mirrors form the perfect counterpoint to the black stitches and the white material of the background.

Photo: Embroidered handbag of Sathwara Community, Dwarka.

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Various influences have been brought into Kathiawar embroidery. In the 19th century, the Mochi embroiderers employed by the Kathis brought in a new sophistication but, as happened in the art of painting all over India, the craftsmen used the motifs dear to the hearts of their patrons while using their own techniques.

The Ari-work chain stitch of the Mochis was also combined with the decorative needlework stitches of the Kathis to produce a whole new range of stitches and designs. Very elementary devices are used to create maximum effect such as two diagonal lines creating four triangles divide a square. A single mirror is placed at the point where the apexes of the triangles meet. The long stitches are placed vertically and horizontally in each alternating triangle to create a rippling effect of light and shade without changing either material or stitch.

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Whether the animals are real or mythological— the Gajasinha (half elephant half lion), the Kinnara (half fish, half elephant)— and whether the scene shows humans or Gods, a striking feature of kathiawar embroidery is the movement with which each figure is imbued. One can almost see the wheels of the chariot turn as the horse pulls it forward. Singers sing, dancers dance, devotees worship, horses gallop and elephants move at a brisk pace. Even in pieces where the drawing is elementary and closely resembles the drawing done by primitive man in caves, the sense of movement is never lost.

Nothing is ever static and the work is always full of life and vigor.

The embroidery is used to embellish ‘ghagras’ – these are long colorful skirts, cholis or blouses, torans or wall and door hangings, floor mats, cushion covers, bolster covers, footwear called mojadis etc.

The displaying of toran on the doorway is the symbol of welcome.

The fabric used is also very brightly colored. All said and done, India is a very colorful place to be in.

Photo: Sample cloth with different embroidery stitches at Okhai center, Mithapur.

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The Kathiawar Embroidery is a handicraft and textile signature art tradition of the tribal community wherein there are about 15 different types of embroideries stitches done to adorn the plain fabric base.

They are as follows: 1. RUNNING STITCH 2. SANKLI - CHAIN STITCH 3. AAMLO 4. PEENCHO TANKO (feather) 5. MOTI TANKO - BEAD STITCH 6. POLO TAKO 7. ANKHADIYO VAKADIYO 8. SADU BHARAT 9. ANTI VALU BHARAT (knot) 10. CHOKTI 11. PHUDAKI 12. SARVARIYO 13. GAAJ TANKO (buttonhole) 14. ABHLA BHARAT(mirror) 15. BAVALIYO

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1. RUNNING STITCH The community addresses this as the running stitch. This stitch is a simple needlework stitch

a

b

consisting of a line of small even stitches which run back and forth through the cloth without overlapping. The stitch is worked by passing the needle in and out of the fabric. Running stitches may be of varying length. c

STEPS Begin the running stitch by poking the threaded needle up through the fabric from point ‘a’.

Poke the needle back down through the fabric next to where you just came up at point ‘b’, and pull the thread down into your first stitch.

Now poke your needle back up through the fabric at point ‘c’, leaving a space from the previous stitch. Then poke the needle back down through the fabric again making your second stitch.

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2. SANKLI –CHAIN STITCH The Chain stitch in this community is addressed, as SANKALI. Chain stitch is an embroidery technique in which a series of looped stitches form a chain-like pattern. Chain stitches can form flowing and curved lines which make the surface embellishment more enhancing

STEPS Begin the stitch by poking the threaded needle up through the fabric from point ‘a’.

Poke the needle back at a very close point near ‘a’.

Pull the thread at point ‘b’ so it forms a loop.

Holding the loop with the finger, poke the needle from the back of the fabric at point ‘c’.

Again place the needle close to point ‘c’ and insert the needle in the fabric at point ‘d’ to form a loop again as the initial step.

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3. AAMLO The AAMLO is called as the Backstitch. It is the kind of embroidery wherein individual stitches are made backward to the general direction of sewing. In embroidery, these stitches form lines and are most often used to outline shapes. It’s smaller, stronger, and easier to keep straight than a running stitch.

STEPS Poke the needle from the back of the fabric at point ‘a’.

Poke the needle back down through the fabric next to where you just came up at point ‘b’, and pull the thread down into your first stitch.

From the back of the fabric bring the needle up at point ‘c’ at a distance equal to that of ‘ab’.

Poke the needle again at point ‘a’ so as to see a continuous line.

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4. PEENCHO TANKO The Peencho tanko is known as the Feather stitch. This is a hand-embroidery decorative stitch which creates a vine or branch looking line.

This looped stitch is worked evenly with stitches alternating to the right and the left. It looks like a series of interconnected ‘V’s.

It is very cautiously done stitch lines to avoid any asymmetry.

STEPS With the help of four parallel lines a, b, c and d, poke a threaded needle from the back of the fabric at point ‘1’ and poke back at point ‘2’ keeping the thread loop towards your end and again bringing the needle from he back of the fabric at point ‘3’ making sure that the needle comes over the thread and not passing under it.

Insert the needle down again at point ‘4’ and bringing it up at point ‘5’ again making sure that the needle passes over the thread.

Repeat the same on lines ‘c’ and ‘d’.

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5. MOTI TANKO-BEAD STITCH Moti in English is called as the bead. It is beautiful embroidery, which pops out in a form of a bead, which is formed with the help of the embroidery thread itself. It gives the base a texture with the continuous bead like forms running through the fabric.

STEPS Begin the running stitch by poking the threaded needle up through the fabric from point ‘a’.

Poke the needle back down through the fabric next to where you just came up at point ‘b’, and bring it up at point ‘c’ from the back of the fabric.

Insert the needle in the loop ‘ab’ which is formed in the previous step.

As seen in step 5 in the illustration, insert the needle in the loop formed in the previous step from left to right and bring the needle over the loop and not under it. Continue the same steps at a little distance from the bead that is formed.

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6. POLO TAKO The term polo in Gujarati means ‘hollow . This embroidery is in form of loops. This technique is mostly used in making flowers and leaves on the creepers.

STEPS Continuing from the running stitch poke the needle at point ‘a’ and get it back at point ‘b’ from the back of the fabric making sure the needle comes over the loop as seen in the illustration.

Insert the needle back t a point close to point ‘b’ and bring it out at point ‘c’ keeping the thread on the other end.

Continue the same above steps at points ‘c’ and ‘d’ and so on to complete the stitch.

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7. ANKHADIYO VAKADIYO The Herringbone stitch is addressed as Ankhadiyon vakadiyo. The herringbone stitch is made of crosses that are not cut exactly in the middle, but in quarters. It is so named, as it resembles the bones extending from the spine of a herring fish. In short a pattern consisting of columns of short parallel lines, with all the lines in one column sloping one way and all the lines in the next column sloping the other way so as to resemble the bones in a fish.

STEPS Bring the needle out through the first stitch line at ‘a’. Now, take the needle in through ‘b’, which lies diagonally across ‘a’ on the second stitch line. Then, take the needle backwards out through ‘c’, which lies near ‘b’. Now, the same procedure will be worked on the first stitch line.

Take the needle diagonally across to ‘d’ and bring the needle backwards out through ‘e’.

Continue to make such crosses on both stitch lines alternately making sure the diagonal stitches are parallel to each other to bring out the best look.

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8. SADU BHARAT The Satin stitch is addressed as Sadu bharat.

It is a series of flat stitches. The difficulty underlying in this stitch is to maintain the neatness, especially on the sides of the pattern that is being filled. So, very often, a satin stitch is outlined using one of the straight stitches. It has to made sure that the stitches are not pulled too tightly as it will distort the fabric. Keeping it too lose will sag the stitch. To avoid these, they use an embroidery ring to hold the fabric tight.

However the expertise of these women lie in their well-defined consistency and attention to every detail that makes the embroidery appear in sheer elegance. This stitch is not kept too long. If

STEPS

the pattern happens to be big, it is divided into

Draw the motif that needs to be filled with this embroidery.

smaller sections and each section can is filled

As seen in the illustration bring the needle from point ’a’ to point ‘ b’ again from point ‘c’ to ‘d’.

with shorter satin stitches. To maintain a smooth

Make sure the these point are close enough so that the motif gets evenly filled.

edge, shapes are outlined with other embroidery stitches.

This stitch gives a more uniform effect, with the individual threads merging.

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9. ANTI VALU BHARAT Anti in Gujarati means knot. The Antiwalu bharat as it is called is similar to that of the satin stich where in the only difference observed is that the filling inside the motif has an outer lining which gives the entire form a distinct clean edge look.

It defines the motif well. The outline here is not done differently but the process of outlining and filling happens simultaneously.

STEPS The thread is secured on the form as seen in the illustration on the upper surface since it gets filled. A running stitch is made as per the form that is supposed to be filled. Bringing back the thread close at point ‘c’ and making sure the needle passes through the loop formed during the running stitch, poke the needle at point ‘a’ and bring it up at point ‘b’ as seen in the illustration. Again bring the needle at point ‘d’ to ‘e’ as seen keeping the thread on other end and making sure that the needle passes over the thread. This step would give the design the desired outline. Keep repeating the above steps till the form to be filled gets completed.

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10. CHOKTI The square is addressed as Chokti in this community.

This is a simple stitch, which is used along with the running stitch on the borders of the fabric.

STEPS Poke the threaded needle in the fabric at point ‘a’ and bring it down from point ‘b’, again up through point ‘c’ and back in point ‘b’.

Bring back the needle through point ‘c’ into point ‘d’.

Poke the needle from the back at point ’a’ and back to point ‘d’ again to form a Chokti which is the square.

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11. PHUDAKI The combination of a plus and multiplication sign is addressed as the Phudaki. This form of embroidery is used along with running stitch and is very simple linear style.

STEPS Make two to three lines of running stitch and then follow the steps in the illustration.

Bringing the needle from the back of the fabric from point ‘a’ insert it at point ‘b’ and back at point ‘c’ from the back of the fabric and again poke at point ‘d’ over the line ‘ab’ formed by previous steps. A plus will be formed using the above steps. From point ‘d’ and exactly in the center of points ‘b’ and ‘d’ bring the needle up at point ‘e’. From point ‘e’ go across to ‘f’ which is exactly in the center of points ‘a’ and ‘c’.

From point ‘f’ bring the needle through point ‘g’ from the back of the fabric which should be exactly in center of points ‘c’ and ‘b’ and then back again at point ‘h’ which is between points ‘a’ and ‘d’. The above leads to the forming of a multiplication sign.

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12. SARVARIYO Sarvariyo as the word addresses in Guajarati means the way a snake takes its stroll. The stitch comprises of a running stitch and then a thread running like a wave in between which are secured in the little loops of running stitch.

The beauty of it is that the wave is secured to the cloth only at the start and end while the rest of the thread is secured between the lines of running stitch. Same or different colors are used in the two different stitches. The smaller the lines of the running stitch, the better the thread gets secured between them representing an even wave.

STEPS Start with the running stitch as seen in the illustration. Now poke the needle at point ‘a’ from the back of the fabric and start passing the needle through the loops of the running stitch as seen in the illustration and secure the thread when it finishes.

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13. GAJ TAKO The Buttonhole stitch is addressed as the Gaj tanko. Gaj means ‘button’ in Gujarati.

Traditionally, this stitch is used to secure the edges of buttonholes as it gives a much sturdier stitch due to the knots it makes. A buttonhole stitch is best done with a slightly thicker thread.

Buttonhole stitches catch a loop of the thread on the surface of the fabric and needle is returned to the back of the fabric at a right angle to the original start of the thread. The finished stitch in some ways resembles a letter “L” depending on the spacing of the stitches.

STEPS Begin the stitch by poking the threaded needle up through the fabric from point ‘a’.

Keeping the thread loop on your end, insert the needle at point ‘b’ and bring it up from the back at point ‘c’.Keeping the needle above, pull the thread carefully so that it forms an ‘L’.

Repeat the same there on.

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14. ABLA BHARAT Abla is the local name for mirrors. Mirrors have been extensively used in decorating these pieces of fabric to enhance and embellish them. Earlier circular pieces of mirrors of varying size were used.

The mirror is first framed firmly on the base fabric in a pentagon shape called as Machi Nakana.

Then it is embroidered all over with double buttonhole stitch called as guthani. After this with same or different color of thread, buttonhole stitch is done locally called as cheen to lift the aesthetics.

However with time circular mirrors are replaced with triangular and diamond shaped mirrors. In recent times however, mirrors have been replaced by reflective luminescent metal pieces of different shapes and sizes, particularly on apparel. Mirror work is used on various fabrics such as georgette, crepe, cotton, silk, chiffon and many more.

Mirror work is used to embellish and decorate a variety of items such as sarees, dresses, skirts, bags, cushion covers, bedspreads, wall hangings and many such items. The products not only have a great demand within India, but globally as well. Sheesha work products are always in vogue regardless of the occasion or the type of dĂŠcor.

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15. BAVALIYO Bavaliyo is one of the main embroideries practiced by this community. The story behind it goes as traditionally, the Sathwaras have been farmer’s helpers. The place in south of Gujarat is full of Bawar trees and that is how it gets its name from. These are dense trees and are very strong. They were used around as fences around the farmland proving their strength and stability to protect them.

The embroidery too is dense like the tree and fills up every square. Just the way the branches of this tree looks entangled in the similar manner the threads in this form of embroidery are interlaced making it sturdy.

They call it Painting the textile since this kind of embroidery fills all the spaces without any fabric visible.

This geometric simplicity brings the robustness into the design and also their creative work expresses a kind of harmony with nature.

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The initial stitch before filling the grid.

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EMBROIDERED PRODUCTS OF SATHWARAS AND MOTIF SYMBOLISM

T

he most common of all products seen in this

All these pieces of timeless toil are made with

community are the ones belonging to a girls

animal, birds and floral motifs. Contrasting

wedding. The products include the dowry bag,

color combinations used give them a striking

the clothes for her wedding which has a ghagra

appearance and in turn enlivens the house of this

that is a skirt , blouse and the veil, different sized

community. In short they dress there abodes too.

bags in which she keeps her personal belongings which she carries on to her new home after

Traditionally they valued this art more than

marriage. These pieces are heavily embroidered

household work, rearing children and farm work.

by the girl since her childhood as when the boys

Their sensibilities and skill are evident in the

family approaches for the girls hand, the first

filling of these art pieces.

thing they question is if she knows how to do embroidery. Thus it plays a very important role in

We were fortunate enough to find these products

the families of this community.

in Dwarka. However, sadly to our notice only a few families adorn these pieces in their homes

Other art pieces which adorn their houses are

where as the rest of them sell these products at a

wall hangings, torans which are used to decorate

very less price in return of something. The family

makeshift entrances and backgrounds of pandals

does not meet upon the true value of making

erected for religious gatherings and at the time

these products made since ages.

of weddings to decorate the pavilion. It is used to welcome the guests and is considered very

The tradition, memories and myths are framed

auspicious. Bedsheets are used at the time of

by our response to it. However, they are loosing

weddings and festivals where guests visit their

the essence of the craft and slowly the tradition

houses. Clothing for small children, everyday

is vanishing.

outfits, handbags and asans to sit on the floor and other household items. The pieces are lightly or heavily embroidered according to the occasions they are being made for.

A Vow: To The Timeless Traditions 81

Motifs and Symbolism

The Sathwara commumity being ancestors from

Cow

the land of Dwarka, their motifs all include TALES

The sanctity of the cow is perhaps the foremost

OF KRISHNA and animals surrounding them.

sentiment of Hindus. It is natural that in a

The symbolism present in folk art for domestic

predominantly agricultural and pastoral country

purposes, one can see a rich repertoire of

like India, cows were and to some extent still are,

man’s beliefs, fears and aspirations. The typical

considered to be the real wealth of the people.

elements seen in their embroidered pieces include

Creeping vines They look harmonious and rhythmic which gives

Lotus

the viewer a pleasant feeling.

The lotus has a lot of relevance in the Hindu religion, goddess Laxmi, the goddess of

Footprints

wealth holds a lotus in her hand. So the flower

The foot-print motif drawn all over can be

symbolizes her and also lord Krishna’s feet is

safely assigned mainly to be those of goddess

compared to lotus.

Lakshmi, the Goddess of abundance, prosperity

People believe that the products, which are

and happiness,

designed with lotus motifs, are considered to be

whose pleasure may turn a pauper into a

blessed by the goddess with better status in life.

millionaire. It is seen that women are allured to adore

Swastika:

the foot-prints of Lakshmi, inviting the goddess

The term ‘Swastika’ is believed to be a fusion of

of wealth to come and reside in their homes

the two Sanskrit words ‘Su’ (good) and ‘Asati’,(to

believing that she would bestow upon them

exist), which when combined means ‘May Good

riches and happiness.

Prevail’. Thus the symbol implies auspiciousness and good fortune.

Kalash (pot) The Purna kumbha or the Purna kalasha is the commonest of all auspicious symbols used in Indian art throughout history. It is a symbol of abundance, fertility.

82 A Vow: To The Timeless Traditions

Basic four elements used in making

These four elements are combined in the following manner to make various floral compositions.

embroidered composition in Sathwara community.

A Vow: To The Timeless Traditions 83

Toran: Traditional Door Curtain Toran has embroidered motifs of auspicious diety Ganesha, godess of wealth Lakshmi and Radha-krishana on either sides, along with the decorative floral and peacock motifs . Floral space fillers, and their direction and thurst, build up an alternating, cross compartmental network of rhythm.

84 A Vow: To The Timeless Traditions

Ulech: Embroidered Canopy Cloth This embroidered piece of cloth is used as canopy during marriage celebration.

Motifs of different dieties are emboidered in the central area and decorative floral border is embroidered on the edges.

A Vow: To The Timeless Traditions 85

Bavaliyo motif variations

Chadra: Bedsheet This bed sheet is fully embroidered with varoius motifs of Bavalio. Bavaliyo embroidery has geometric motif forms. The geometric nature of bavalio embroidery allows the motif to grow in various forms. This bedsheet is a good example of various forms of bavalio motifs composed together in a balanced manner.

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A Vow: To The Timeless Traditions 87

Embroidered motifs on garments Pattern of half-flower motif (Ardhi- phulwadi) Today’s bride will be mother tomorrow, hence patterns like ardhi-phulwadi, plants and treess embroidered on garments symbolizes this ‘floweing’ yet to happen.

These motifs and patterns suggests further growth of plants and trees in their fields and orchards, idicating future prosperity.

88 A Vow: To The Timeless Traditions

Chaniya (short skirt) The embroidered field-patterns on a chaniya are mainly derived from the shapes of the fruits and plants and birds in that area.

Cotton is the most important crop in this region. Cotton balls grow from buds, called Kala. Some patterns in the embroidered skirts are named after ‘kala-sankala’. The ‘katara’ pattern is derived from the shapes of tamrind pods. In many patterns, shapes from nature are emulated in embroidery A Vow: To The Timeless Traditions 89

Kothari: Embroidered Hand Bag According to the ritual when a girl is married she is given 6-8 handbags in dowry. Interesting combination of florals in goemetric grid is seen in the embroidery of handbags. The motifs naturally are geometric, or in form-conglomerates that go into a geometric space division. These lead to a playfulness of image.

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Small Chakla: Wall Hanging There are many examples of wall hangings like ‘toran’ and ‘Chakla’ that uses geometric shapes. Gradually, the geometric shapes gave way to large flowers. This type of bold flower motifs and bright colors is the identity of kathi embroidery of Sathwara community.

A Vow: To The Timeless Traditions 91

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Big Chakla: Wall hanging Basic motif placement in the composition of ‘Chakla’ is such that, a large flower motif is embroidered in the center of the square cloth and four large flowers are embroidered on four corners of the cloth. These adornments are in bright and contrasting colors and consists of bold designs.

A Vow: To The Timeless Traditions 93

94 A Vow: To The Timeless Traditions

T

These days, applique is sometimes confused with

applying fabric on fabric with the edges sewn

patchwork. Though both techniques derive from

down by stitching can be termed as Appliqué.

the recycling of old fabrics by sewing different

A colored piece of fabric cut into various

fabrics to create one piece, they are quite

snowflakes like forms or abstract rendition of

distinguishable. Patchwork refers to a variety of

birds and animals or simple linear patters is

fabrics sewn together to create a single textile

sewed on the surface of a different colored

pattern. On the other hand, applique refers to

fabric. The composing of forms on fabric

a variety of colored fabrics and ornaments, such

surfaces adds in a quality of dimensionality while

as small round mirrors, layered on top of one

providing visual depth and surface richness to

another in order to create elaborate designs

the negative and positive design background.

by means of various forms of stitching. There is

he art of decorating a textile product by

APPLIQUE

no restriction to the type of fabrics used in the Appliqué is created by two different techniques

creation of applique items, and may even be

and its origin can be identified by the style of

of varying textures. It is often found alongside

fabrication, color usage, composition and the

embroidery and can be sub-divided into two

kind of forms of patterns used.

techniques. The simple ‘play by ear’ technique consists of the open use of an assortment of materials of various shapes and sizes, stitched together without much preparation. The more complex technique involves thorough planning of the design before any work is done with the materials.

A Vow: To The Timeless Traditions 95

Appliqué is an essential component of many types of ancient Indian folk art. Fabrics used for ceremonial tents and religious rituals bore appliqués of elephants, peacocks, flowers and mythical characters. Appliqué became a skilled trade, performed by a caste called darjis. In addition to being used to decorate the fabrics and clothing of royalty, appliqué was used to decorate a temple’s ceremonial umbrellas and tents. Different areas developed unique styles of appliqué. Gujarati style, for example, consists mainly of patchwork in which small, intricately cut pieces of fabric are sewn over a solid colored base to create a larger image. Bihari style focuses more on a single large piece of appliqué, folded and tucked to create the desired shape, then sewn over the base fabric

Photo: Rabari woman doing applique stitches in Aarambhada village, Mithapur.

96 A Vow: To The Timeless Traditions

Origin of appliqué can be identified by the style of fabrication, color usage, composition and the kind of forms of patterns used. History of appliqué work in India can be traced as back as the times when the women folk of the native communities of north Gujarat; the Kathis (the land owners), the Mahajans (the businessmen), the Rabaris (the nomad camel herders) and the Muslims produced large canopies, hangings, friezes, bullock-covers (jhul), tents for ox-carts with human and animal figures stitched on them.

Some of the old examples of this craft are full of patchwork with cotton and silk, Bandhani and Mashru fabrics, covered with exuberant imaginative forms, both symmetrical and asymmetrical. Quite often the appliqué technique was accompanied by range of stitches adding more value by increase the visual depth and surface richness. Another method known by the name of ‘reverse appliqué’ in which cutwork in the surface fabric forms the shape was also explored. The color palette of appliqué artists of Gujarat varies from warm to cool, white on white, bright and festive to natural and neutral tones today.

A Vow: To The Timeless Traditions 97

Applique Of Rabari Bhopa Rabari extensively applique as well as embroider. Although there are discrepant views among the artisans, work that is predominantly applique is probably considered a tradition older than embroidery. Hence it is believed that Bhopa Rabaris have maintained a very old tradition of applique intact from the time of their migration to Dwarka.

The Rabari are a population of semi-nomadic camel herders residing throughout Gujarat, Rajasthan, Haryana and the Punjab. Modern times have seen members of the Rabari community integrate into society through education, commerce and agriculture. However, there remains a small percentage of Rabaris who continue to live semi-nomadically, carrying on the tradition of their ancestors. It is the women of the Rabari community, who are most famed for their skills in the hereditary art. Rabari applique often goes hand in hand with embroidery and patchwork, appearing extensively on dowry items and domestic items such as quilts. Their style, execution, designs, colors and motifs around the villages show a lot of similarities.

The two kinds of appliques seen in these communities are Katab bharat that is embroidery with accessories and Sadhu bharat one without accessories.

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Craftswomen The women folks wherein they receive their primary education at home and their mother and grandmothers teach this craft to them since childhood from the age of 5-10 years extensively carry this craft.

The articles that they made were purely for domestic use. The girl child is trained since her childhood until she is indulged into making these articles for her marriage purpose.

Photo: Toran (Door hanging) used in marriage ceremony of Rabari community in Devbhoomi Dwarka A Vow: To The Timeless Traditions 99

Motifs With the information collected on the fields and the observations showed that the motifs were all inspired from nature however they weren’t able to give the symbolism behind using them.

Different sources would say the depicting nature enlivens the piece; the animal and birds are depicted with foliage in real as well as abstract forms. Camels and scenes of the desert and countryside inspire vivid multi-colored motifs.

Different motifs and sizes were decided upon their use whether on the border or on the center.

These motifs are all hand drawn and cut so there would be a little difference but the basic shape remains the same. The motifs and size is not article specific but are their own personal preferences. More over there are no specific layouts too in making these articles; they again follow the personal desires of the craftswomen.

However through the observations it was noted that the articles with a square or rectangular layout such as the charkhas, bed linen there is a border placed on all four sides of it, a flower would be a central motif called as TALA and horizontally besides the central motif would be usually a peacock and vertically besides the central motif would be birds called as DEVADA. SATHIYA is a position above the Devada where an animal or Swatik motif would be placed. The rest would be filled with foliage or kept blank as per their choices.

100 A Vow: To The Timeless Traditions

Motifs Size And Color Patchwork motifs of various sizes, shapes and colors are arranged in a manner that produces captivating patterns.

Colors Colors play a vital role in sensing the brilliance of each and every community in their own unique way of using colors. It helps in bringing out the appearance and characteristic feature of every piece they do with utmost love and affection.

The colors used by them are neither design specific nor article specific, it is always a matter of choice.

Traditionally the colors used were subtle since cotton fabric was used instead of polyester. The colors used were Red- Lal, Yellow- Peelo, Green- Neelu, BlueBillu, Brown-Bajriya, Maroon-Guthu, PinkGulabi, Purple-Gulabo, Orange-Kesari, Light blue-Duthiya, Mehendi green-Henna and Parrot green- Popati.

The combination of colors used too was an individual choice. The hues used traditionally and in modern times have similar basic hues however their tints, tones and shades have changed over a period of time because of change in fabric choices.

Photo: Applique motif in Ulech (canopy cloth) used in marriage ceremony of Rabari community in Devbhoomi Dwarka.

A Vow: To The Timeless Traditions 101

Motif: Design and Symbolism The motifs may be classified as geometric, realistic or natural, stylized and abstract and are linked to natural, cultural, religious and socioeconomic factors prevailing in any society. The meaning of the motifs used in decoration of textiles may change with cultural context but the

The motifs are categorized into three:

2. Corner motifs They incluse Flowers- Phulada/ phul.

1. Patch motifs They are used all over with no specific position of

3. Border motifs

placement. They include

They include Kangari vel – The temple motif.

Peacock –Mor

Hathi vel- The designs with elephants.

same wherever they are applied.

Tiger- Deepada

Mor vel – The peacock borders.

Elephant-Hathi

Sandhiya vel- The border motifs with camels.

India is always been known as the land that

Parrot- Popat

Phul vel- The borders with flowers.

Camel-Sandhiya

Vakia vel- Theabstract vine.

Snake -Nagin

Munda/mundiya- The abstract mountains.

Cucckoo-Koyal

4. CENTRAL MOTIFS

Foliage -Jhada

Known as the TALA these are rectangular or

Swastila-Sathiya

square motifs placed centrally.

The animal motifs in the embroidery shows the

5. Tikki

imagination of these women where they use

These are small pieces of circular cut fabrics

these animals in a pair, or combine two animals

instead of mirrors used in applique work.

symbolic meaning of various motifs remains the

portrays cultural and traditional vibrancy. Widely used as motif in this craft is the elephant.

Elephant is a symbol of wisdom, fertility, prosperity, strength and royalty. Elephants are important in Indian mythology too. Lord Ganesha bears an elephant head, symbolizing great intellect and wisdom. As vahan of Indra, the Vedic deity, the elephant is associated with rain and fertility. The elephant is a symbol of good luck, happiness and longevity and have been interpreted in the motif as the result of religion,

102 A Vow: To The Timeless Traditions

or birds.

6. Chatki Small rectangular pieces of fabric used in alternating sequence called as chatai or odadiya.

Variations of Peacock Motif The motifs may be classified as geometric, realis-

The most important motif used in embroidery is

tic or natural, stylized and abstract and are linked

the peacock. The Hindus consider it as a pious

to natural, cultural, religious and socio-economic

bird. Lord Krishna and his Raasleelas or dances

factors prevailing in any society. The meaning

too are associated with peacock.

of the motifs used in decoration of textiles may

The image of peacock is also used in the Vedi

change with cultural context but the symbolic

or the marriage podium as a defensive charm

meaning of various motifs remains the same

against the evil eyes.

wherever they are applied.

A Vow: To The Timeless Traditions 103

Parrot motif The parrot is said to be the vehicle of Kamadeva or the god of sex or cupid in Hindu mythology.

It symbolizes love passion and fertility. It is also used in the decoration of Vedi or marriage podium and at the entrances.

The motif is skillfully cut out from a square or rectangular piece of fabric and curves and straight lines are made to give it a form. The eyes are again made with neatly cut circles.

104 A Vow: To The Timeless Traditions

Elephant Motif India is always been known as the land that portrays cultural and traditional vibrancy. Widely used, as motif in this craft is the elephant. Elephant is a symbol of wisdom, fertility, prosperity, strength and royalty. Elephants are important in Indian mythology too. Lord Ganesha bears an elephant head, symbolizing great intellect and wisdom. As vahan of Indra, the Vedic deity, the elephant is associated with rain and fertility. The elephant is a symbol of good luck, happiness and longevity and have been interpreted in the motif as the result of religion, customs, natural surroundings and social beliefs of that particular area to which its creator belongs.

The motifs of elephants are made on a square fabric,combining the profile views two elephants together or a sinlge one.

A Vow: To The Timeless Traditions 105

Snake motif Snakes are popularly associated with Mother Goddesses and considered to be bestowers of fertility and progeny and dispeller of sterility.

The motifs of snakes are evident by their way of crawling and the curves are skillfully depicted.

The designs are symmetric in nature and the forms are made distinct with the circles made in them.

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Foliage Motifs The local flora and fauna are featured in these decorative arts. A variety of assorted flowering creepers and trees like babul, neem and banyan are seen in this region. These are skillgully translated on the fabrics by these women.

The foliage motifs are stylised to ease the stitch process. The craft depicts nature extensivley which help these women to paint what they behold in everyday living. These motifs fill in the spaces of the fabric.

They bring in movement and rhythm to the decorated piece. The motifs involving plants have a symbolism where in, a bride who leaves her parents house after marriage is blessed that her new home would be bestowed with abundant yeild in the feilds and orachards, thus indicating future prosperity.

A Vow: To The Timeless Traditions 107

Central Motif The central motifs are made using the foliages, animals or birds. It gives them a direction to the outward movement of the design. It grows centrally and these can be symmetrical or assymetrical designs.

Simple depictions of lines, curves, petals ad animals are created and put in symmetry. Along with them are the circles that distinguishes them.

108 A Vow: To The Timeless Traditions

Border motifs The border motifs are beautifully designed

series of abstract animals, which include the

elephant, camels, peacocks and other birds.

They go around the corners of the fabric that is

being designed. These animals are clubbed with geometric or floral motifs. The applique around

the borders is given a rich touch of embroidery.

The motifs around the edges are static rather than flowy.

Also these animals are represented along with the terrain they are surrounded by for example the camels are surrounded by triangular motifs which represent the dunes, while the peacock is depicted with flowers. They too are depicted in symmetry.

A Vow: To The Timeless Traditions 109

Technique The craft consist of cutting intricate floral, animal and geometrical patterns in fabric that are then tacked along the edge of the cut fabric by hand Muslin, which is used as the base material is procured from Ahmedabad. Thick count fabric for a strong and durable base and a thinner count for the upper layer, which is to be cut and stitched together are chosen. These are cut in the size of 16� x 16� panels for work ease.

Desired patterns are either individually cut on the thinner fabric (in case it is a new design) or they are stacked together, starched and ironed to make them crisp and then cut together in a stack, running a rolling blade tool over the entire stack. These layers are then separated and sandwiched with the thick count muslin at the base and distributed amongst the women. . The patch is then turned inwards and hemmed to the base fabric. This patchwork is then decorated with various embroidery stiches along the outline of the motif. Mirror work with tiny round mirrors embedded in the white applique work gives it a breath taking appeal.

Photos: Steps of cutting and stitching applique motif.

Facing page: Sample of applique motif in process.

110 A Vow: To The Timeless Traditions

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112 A Vow: To The Timeless Traditions

T

he embroidering of household decoration

APPLIQUE PRODUCTS

is a regional custom that was probably adopted

Various Embroidered products found in Rabari houses of Okhamandal:

coincidentally in Sindh, Kutch, Saurashtra and north Gujarat after subgroups migrated into their

- Maaldi: A Big Storage Bag.

respective region and began to settle.

- Kothalo: The Dowry Sack.

Household decorations of all the embroidering

- Kothali: A Small Dowry Sack.

subgroups are worked in styles that show pro-

- Toran: A Festival Doorway hanging.

nounced regional influences.

- Chabi: A Wall Hanging on the sides of the door.

Regional influences are evident in all Rabari em-

- Chalko: A Wall Hanging.

broideries, particularly in colors and fibers, which

- Pati: A Long horizontal festival hanging that

must be selected from locally available material

runs across the walls of a room.

- Todaliya: A letterbox.

From the traditional articles to the modern time-

- Ochaad: The Bed cover.

pieces there has been a considerable change in

- Oshika: Pillows.

the usage of materials and colors.

- Dhadaki: Quilt.

A Vow: To The Timeless Traditions 113

MALADI A rectangular bag used to store bed linen in the house locally called as the Maladi. Depending on the use it is decorated whether for daily purpose or for a ceremony. They are stored in such a way that the heavily decorated side is visible for the onlookers.

114 A Vow: To The Timeless Traditions

WALL HANGINGS These are square or rectangular pieces of varying size for decorative purposes framed along the wall locally known as chakra.

A Vow: To The Timeless Traditions 115

DOOR HANGING These pieces adorn the doors of their houses used as a gesture of welcoming guests known as the toran. They are hung for daily uses or used at the time of weddings or ceremonies.

116 A Vow: To The Timeless Traditions

HANDBAG These are applique pieces, which are lavishly decorated with mirrors, sequins and beads used during marriage and other festive occasions.

A Vow: To The Timeless Traditions 117

DOWRY BAG This bag plays a very important role in the lives of Rabari women. It marks the family’s social status and is given utmost importance. The girls make it since their childhood with the help of her mother and grandmother until she gets married to keep in her accessories, store bridal belongings and wedding gifts such as sweets, footwear, clothes etc. It is locally called kothri.

The dowry bag comes in different sizes; they are 57 x 73cm, 79 x 89cm and the small one which measures38 x 52cm. These are made of cotton cloth and embroidered with silk and cotton threads, hand sewn with applique and mirror work. The embroidery stitches used are running stitch, sadu bharat, abla bharat and gaj tako but, the most dominating of them is the Sadu bharat.

118 A Vow: To The Timeless Traditions

A Vow: To The Timeless Traditions 119

Embroidered Applique Covers For Cows The cows are adorned with these beautiful pieces of applique during marriages and other festivities. These are embroidered with contrasting bold colors and have animals, birds and flowers motifs on it. The back covering of the cow is usually a square piece of fabric which has a centrally placed flower along with birds.

Surrounding them are animals in their large sized forms.

The border motifs include either the hills represented in the form of traingles or the flowy waves. To further adorn these pieces mirrors are attached with tassels on the four corners.

In this manner, the cow is beautifully embraced with these pieces of art.

120 A Vow: To The Timeless Traditions

The Cradle Cloth - Ghodiyun This is referred to as ghoriya in local terms used in the cradle for babies and only has applique work since the accessories would be harmful for the baby. It consists of four loops in the four corners to tie it along the wooden frame.

Cradle cloth is a colorful piece of product used for the babies. It consists of a wooden stand like structure which has a metal croosbar where the piece of fabric is hung to form a couch and can be easily detached for easy carriage. The wooden structure is also colourfully lacquered.

The piece of cloth hung from this structure is a thick white cotton cloth which is lined by other fabric richly done with applique. These consists of floral and geometric motifs which are further made rich by adorning mirrors on them. The edges are hemmed or finished with fringes known as Jhalar in Gujarati. After the birth, both the mother and the baby go to the parents home where they are gifted with clothes and this cradle.

A Vow: To The Timeless Traditions 121

PILLOW COVERS They are applique pieces locally called as the osika and are not heavily accessorized. They are covered with a fabric border.

OCCHADS They are single and double bed sheets for everyday use made of plain applique.

122 A Vow: To The Timeless Traditions

GODHARI These are square or rectangular seating’s heavily and lavishly decorated for the bride and groom to sit during weddings and the ones used for guests are plain appliqued.

SUITCASE COVER The recent additions show their outlook towards contemporary styles of making lovely decorated suitcase covers for ceremonial purposes. Embroidered objects.

A Vow: To The Timeless Traditions 123

124 A Vow: To The Timeless Traditions

AESTHETIC COMPARISON OF THESE CRAFTS: PAST AND PESENT

A

s observed the Sathwara community in-

Since the forms are cut from a fabric, a variation

dulges itself purely in embroidery and beadwork

in sizes from bold to small is seen in the Rabaris

while the Rabari community combines Applique

whereas the motifs remain small in the Sathwaras

with a few embroidery stitches and beadwork.

for the easy filling with the threads.

The Sathwaras embroidery has evolved with the usage of contemporary embroidery stitches

The Sathwaras make use of solid colored threads

while the Rabaris still continue to do their craft

to do their work however as seen on the prod-

in a traditional way. The most used embroidery

ucts of the Rabaris golden and silver threads are

stitch in the Sathwara community is the Bavaliyo

used. The embroidery seen on the prodcuts of

where as in the the Rabaris is Sadu bharat. The

the Sathwaras are spaced out and the base fabric

craft of the Rabaris involve three layer ie first

is visible but the ones of Rabaris are dense with

includes the base fabric, second has the cloth of

motifs, beadwork and embroidery giving very

Applique and the third upon which embroidery

less visibility to the base fabric. Looking at the

is done. Mirrors also form a layer on it. Where-

color palette of both these communities, almost

as the Sathwaras only have the base fabric and

all the basic colors are used in making of one

the embroidered thread.Traditionally both were

piece. It is evident that they lack the sensibility

done on a white base of fabric which they treat-

of using them and they depicted every color as

ed as a canvas for their endless imagination and

seen the environment. The kind of colors used by

believed that white fabric would pop the colors

hem were very loud ad bold however that even

that they paint with. However the Sathwaras now

changed with the type of thread that they used.

use colored fabrics for their base.

However now they do not depict them exactly as seen and have taken a step forward of using

The kind of motifs include same animals, birds

different colors on a subtle tone. With the inter-

and flowers however the style in which they are

vention of designers in this craft, a lot more con-

portrayed on the fabric differs. The Sathwars

temporary styles have evolved giving the craft

depicts them in a amateur way while the Rabaris

a designed thoughtful layout along with color

have an abstract form of depiction. An entire

sensibilities and endless possibilities to exploit.

form is embroidered by the Sathwaras while the form is entirely cut from the fabric by the Rabaris.

A Vow: To The Timeless Traditions 125

126 A Vow: To The Timeless Traditions

CHANGE IN THE USE OF COLORS OVER TIME

THEN

NOW

Traditionally, these colors were used which were

With time, colors with various tints, tones and

very bright and bold since they were used on a

shades have been seen in the products. Addition

white base. Very less tints and shades are seen in

of black along with neon is a striking features

the pallete, but almost all were used in making

seen in them. Moreover the color of base fabric

one product.

has also turned colorful.

There was a complete absense in the usage of black. However the base fabric always remained white.

Photo (Facing page) : Rabari women working on applique bed spread in Okhai center, Mithapur.

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128 A Vow: To The Timeless Traditions

T

he beauty of the craft being so traditional

THE VANISHING THREADS

Secondly, the Sathwara women used to

and stretched out over a long period of time

embroider since childhood in order to give

has reached to a point of mere extinction but

in laws these pieces as dowry when they got

has been preserved or carried through in a

married. Now with their modern outlook they

contemporary manner. The forespoken reasons

don’t follow the system of dowry and find it too

heard from the communities words vary and have

tedious to do the intricate embroidery, so they

different stories for the vanishing craft.

don’t practice the craft anymore.

The few reasons stated were: Firstly, houses in the olden times were kacha

And lastly, with evolving time people have

(raw) made of mud.

become less orthodox and are living with

Believing in beautifying the surroundings,

modern thinking. They now prefer their girls to

women toil with threads and needles to make

get educated and get an independent life. So

unique pieces like door hangings, seat covers,

instead of getting their time in embroidery they

canopies etc. and even decorate animals.

are now getting their hands into books.

So in order to beautify these raw surroundings the women make beautiful pieces to adorn their

Every house holds a different story according to

house. However the Sathwaras have evolved with

their beliefs and ideals.

time and no more possess such houses. So this is one reason for the non-continual of the craft.

A Vow: To The Timeless Traditions 129

130 A Vow: To The Timeless Traditions

About TCSRD

THE PRESENT VENTURE

Tata chemicals believes in a cohesive, inclusive

It is with this in mind that Tata chemicals society

and integrated society, in which all individuals

for rural development (TCSRD) set up Okhai.

have access to opportunities for personal growth

With the support of TCSRD, self-help groups

and inclusive economic growth. The present

(SHGs) have been formed in the villages of

socio-economic environment necessitates a

Okhamandal and members of these groups are

more constructive role by industry for achieving

trained in the processes of modern handicraft

inclusiveness and complementing the ongoing

production.

efforts of government and civil society in enhancing social equity.

At present, over 500 rural artisans are benefiting from this programme, with a goal to reach 5,000

They are principle promoters of:

over the next five years. Artisans are earning

- The promotion and growth of rural economy.

a monthly income of Rs 500 to Rs 11,000

- Rural welfare.

depending on the hours they work at home or

- Activities relating to environmental protection.

the center, their skill level and design difficulty.

- Conservation of natural resources.

The idea is to ensure that the women can work

- Creating and developing facilities for public

at their pace and in their homes while managing

education.

their household.

- Fostering conservation and research in the field of natural history.

- Other programs for promoting the socioeconomic development and welfare or uplift of the people in any rural area in India.

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Okhai offers handcrafted apparel and lifestyle products created by rural artisans from across India. These artisans are gifted with the talent and traditional skills to craft exquisite designs in styles that are unique to their culture and heritage. Okhai’s mission is to encourage women from less privileged backgrounds to acquire new skills; to give them the self-confidence and selfesteem required to earn by their own industry and initiative; and to enable them to carry this newly discovered skill and confidence into the wider world. Okhai understands the rich culture and traditions that these rural communities are steeped in and translates this heritage into products by pairing traditional art with contemporary designs and modern processes. It continues its march towards fulfilling its vision of being a brand that symbolizes empowerment of rural and semi-urban women while recognizing and promoting traditional handicraft techniques that are in danger of dying out with increased industrial growth and rapid urbanization.

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Tata Chemicals Society for Rural Development (TCSRD) has played a pioneering role in promoting the Saurashtra handicrafts at Mithapur, Karjobi at Babrala and jute craft at Haldia less than one brand “OKHAI”. The members of the Self Help Groups (SHGs) formed

by TCSRD are the backbone of this handicrafts project as they themselves are involved in developing and promoting their native craft.

TCSRD has been working towards enabling the women artisans so that they have their own independent identity and are able to manage their own funds while taking responsibility of the backward and forward linkage to help merge into a cooperative in future. In order to meet this objective, various training programs are being provided to regularly help upgrade their skill in embroidery, patch work, tailoring etc. This has helped enhance their productivity, introduce new designs, and improve overall quality as well as increase speed of production. Okhai strives to bring the traditions of India to customers all around the world with its unique creations and products. It not only helps its artisans become wage earners, but also spreads awareness about the traditional crafts of the region, thus helping preserve a rich part of India’s national cultural heritage.

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The Okhai Story The Okhamandal region of Gujarat has been home to many tribal cultures and nourished them from the very earliest periods of history.

The stark monotony of the arid landscapes in this region is relieved by the bright shades in the handicrafts made by the tribal women belonging to tribes like the Rabaris, Vaghers and Ahirs.

The most prominent tribe here, the Rabaris, are a semi-nomadic tribe, known for their survival and adaptation in arid regions of Gujarat and Rajasthan – pursuing a pre-agrarian, pastoral lifestyle found mainly in the kutch and Saurashtra regions of Gujarat. The Rabaris today lead a quaint, colorful and rugged lifestyle, which finds a manifestation in the embroidery and crafts made by them.

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The motifs of their old world custom are replicated in the intricate embroidery patterns.

The objects that they embroider highlight important events, rites and rituals and values in their lives. Rabari girls traditionally embroider blouses, skirts, veils, wall hangings, pillows, purses, etc. It is only recently that this form of art has found its way to the commercial market. The various forms of artwork of Gujarat are appliquĂŠ, heer bharat, kathi and bead work. Of these, the appliquĂŠ work symbolizes the integral part of the decorative needlework done in Okhamandal. It is based on patchwork, in which pieces of colored and patterned fabric are finely cut in different sizes and shapes and sewn together on a plain background to form a composite piece.

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Economic benefits: 路

Artisans are earning a monthly income of Rs

500 to Rs 11,000 depending on the hours they work at home or the centre, their skill level and design difficulty. 路

Around 470 families are benefited from this

rise in income levels. With the average family size in Okhamandal being 7 to 8 members, Okhai has helped improve the economic condition of around 3200 people directly. 路

Okhai plans to reach over a 5,000 women

over a span of five years, which means it would potentially affect 8,000-10,000 people. This means a substantial population of Okhamandal would directly benefit from Okhai. 路

With improved skills and the enhanced

capabilities, okhai has helped the rural women of okhamandal to become financially stable and self sustainable

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Social benefits: ·

Women’s role in decision making, both at

home and in their village has increased, as they have become financially independent. ·

They have become agents of change in the

village. ·

Various exposure visits to related works and

work sites have increased their outlook of life. It has boosted their self-confidence. ·

The outlook of the villagers towards their

women has undergone a major change. They get more respect from the family members as well as from the members of the village. ·

As women get work at their doorstep, they

are in a better position to balance their family, social and work life. They can devote time for their household chores as well as take care of the family while working from out of home. Okhai has successfully enhanced as well as helped to maintain the social fabric of the village

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Empowerment Stories Name: Laxmiben Karamta Community : Rabari.

Native: Arambhada village.

Laxmiben is a master cutter and has been associated with the handicrafts project for the last 12 years. Managing a group of 20 women, she specializes in cutting and designing color patterns.

Okhai has helped women like Laxmiben become monetarily independent while also helping them develop their individual skills. “While earlier I would do patchwork or embroidery for homemade blankets, today I work with bed sheets, cushion covers and kurtas to be sold at Okhai stores. I am skilled in doing the designs that are very intricate and it requires me to pay special attention to detail,” says Laxmiben.

Okhai conducts frequent training sessions for rural women, helping them understand fashion trends and color patterns. Apart from this, they also visit exhibitions across India. Laxmiben adds, “earlier we use to work with only four colors but after joining Okhai I understand more about various shades of each color and also about color combinations. I frequently visit malls, designer showrooms to understand fashion, understand details about handicrafts and gain inspiration.”

Life has definitely changed for women like me who previously had not even seen a bank but now travel to Mumbai, Delhi and Bengaluru without any fear. My family has now shifted from a rented house to one of my own and I can also afford to send my children to private schools.

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Empowerment Stories Name: Sabhaiben Punraj Community: Rabari.

Native: Arambhada village.

Sabhaiben is a leader in the making, who has been with Okhai for last 12 years. Her work includes organizing fabric and then getting them to the Okhai center, where kits are prepared. She then ensures that the kits reach the SHG members who work from home.

She says, “Finishing my household chores, I head and collect the fabric to be worked upon. They are brought to the Okhai center where I make kits out of them, which include thread and any other material that our designers might require. Then I head to the villages carrying these kits and delivering them to Okhai members and also collecting their previous assignments. For every kit deposited and collected, these women have to sign against in the bill book and that helps me update and maintain my record at the end of the day when I reach back at center.� My work also involves explaining to every member the designs expected, the quality parameters and the importance of meeting delivery timelines. I also counsel new members on the benefits of joining the Okhai program me.

She comes across as timid, but the clarity and confidence in her speech shows her to be one of the best orators at Okhai and she credits her work for this positive change in her. She is proud of the fact that she earns money and assists her family with the household expenditure. Sabhaiben believes in sharing and has taught her skills to many new members at Okhai.

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Reference books

• • • •

Traditional Embroideries of India, Shailaja D. Naik Textiles and dress of Gujarat, Eiluned Edwards Threads of Identity, Judy Frater The arts of the KHARAK and crafts of their region-Saurashtra, Dr. Suresh Sheth

Web references:

• New map of devbhoomi dwarka - http://deshgujarat.com/2013/08/13/maps-of-gujarats-new-7-districts-andchanges-in-existing-districts/

• Marine archeological investigation of Okhamandal - http://agris.fao.org/agris-search/search. do?recordID=AV20120129783

• www.okhai.org

Photograph reference

• • • • • •

page 10: Culture of gujarat @pintrest.com page 15: Layout of mythological city of Dwarka @wikipidea page 24-25: Shot from the movie Parched by Ajay Devgan, 2015 page 36-37: Idol of Krishna and Radha @onlineprasad.com blog page 120: Applique cushions on a charpoy @Okhai facebook page page 122-127: pictures of women working at Okhai center in Mithapur @www.okhai.org

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