Stitching Back to the Lambadas

AUTHORS Abhishek Nirala Akansha Chouksey Amrita Bharti Arpita Arokiam Damini Sudey Dolly Jaai Kotasthane Lovely Verma Pratiksha Tiwari Ria Arora Riya Raj Shubham Chaurasia Shubham Shinde Shweta Gupta

CERTIFICATE

This is to certify that students of Banjara cluster ‘2017 of Fashion and Lifestyle Accessories Department at National Institute of Fashion Technology, Hyderabad have been evaluated for their Craft Cluster Documentation report titled Stitching Back to the Lambadas and have fulfilled the requirements set the institute and the evaluation jury. The work has been found satisfactory.

Mrs. Lakshmi Reddy Professor (Faculty Guide)

Mr. Satya Prakash Professor (Centre Coordinator)

Dr. N. J. Rajaram (Director)

“

Once upon a time, the Banjaran wonders were all in-

doors, self established, self satisfactory, self sufficient....

�

PREFACE The basis for this research stemmed from the vision of the Textile Ministry of India and National Institute of Fashion Technolgy to preserve and promote the indigenous crafts of India. It allowed us to understand one of the many ethnic handicrafts of our nation.The project encompasses the traditional and modern aspects of the Banjara embroidery Craft of Yellamma Thanda. It talks about the birth, evolution, current scenario as well as the intricate process of this alluring bohemian craft, which in itself is a lifestyle. The project also communicates about the people of Yellamma Thanda without whose co-operation the research would not have been possible.

Acknowledgement We would like to thank The Textile Ministry of India and National Institute of Fashion Technology for providing us with an exposure to craft practices and inculcating indigenous craft knowledge in our curriculum. We also express our heartfelt gratitude towards the people of Yellammathanda for their cooperation and generosity.We owe our appreciation to Ms. Lakshmi Khetawat for guiding us throughout our Cluster visit. We are thankful to our Bus driver Mr.Ali for being persistent and facilitating our trip. We are also thankful to the Center Coordinator Mr.Satya Prakash and Professor Lakshmi Reddy for their able guidance and support thoughout the project.

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INTRODUCTION EMBROIDERY : THE NEEDLE ART TYPES OF STITCHES YELLAMMA THANDA ABOUT THE VILLAGE FACILITIES TRAVELLING TO YELLAMMA THANDA HISTORY AND ORIGIN OF BANJARA ORIGIN OF THE CRAFT CULTURES AND FESTIVALS PRACTISES OF THE LAMBADIS THE NEEDLE CRAFT COMPARITIVE STUDIES DESIGN PROCESS COIN POUCH CHOLI PRODUCTS OF BANJARA EMBROIDERY MARKETING ERGONOMIC ASPECTTS LEKAPSHI AS AN AID A TALK WITH THE ARTISANS SWOT ANALYSIS REFERENCES

Handicrafts constitute a significant segment of the de-centralised sector of our country. The craft cluster is an innovative initiative of the Textile Misitry of India that provides a new patform to the Indian artisans to showcase their traditional crafts. The cluster displays various products under thirty two different categories. With the joint collaboration of the Textile Ministry of India, Office of Development Commissioner (Handlooms) and Office of Development Commissioner (Handicrafts) as well as the National Institute of Fashion Technology, the students are given an exposure to the handloom and handicraft clusters, thus providing an opportunity for creative innovation and experimentation.

INTRODUCTION

EMBROIDERY: THE NEEDLE ART Embroidery is the handicraft of decorating fabric or other materials using a needle to apply thread or yarn.

Embroidery may also incorporate other materials such as pearls, beads, quills, and sequins. In modern days, embroidery is usually seen on caps, hats, coats, blankets, dress shirts, denim, dresses, stockings, and golf shirts. Embroidery is available with a wide variety of thread or yarn colour.

Some of the basic techniques or stitches of the earliest embroidery are chain stitch, buttonhole or blanket stitch, running stitch, satin stitch, cross stitch. Those stitches remain the fundamental techniques of hand embroidery today.

TAKE ON EMBROIDERY FROM ALL AROUND THE WORLD The only place where housework comes before needlework is in the dictionary.

-Mary Kurtz Really I don’t dislike to cook, but what you cook is eaten so quickly. When you sew, you have something that will last to show for your efforts.

-Elizabeth Travis Johnson I cannot count my day complete‘Til needle, thread and fabric meet.

-Author Unknown She watched and taught the girls that sang at their embroidery frames while the great silk flowers grew from their needles.

-Louise Jordan Miln, The Feast of Lanterns Sewing fills my days, not to mention the living room, bedroom, and closets.

-Author Unknown We Irish prefer embroideries to plain cloth. To us Irish, memory is a canvas--stretched, primed, and ready for painting on. We love the “story” part of the word “history,” and we love it trimmed out with color and drama, ribbons and bows. Listen to our tunes, observe a Celtic scroll: we always decorate our essence.

-Frank Delaney

TYPES OF STITCHES The art of embroidery encompasses a wide variety of stitches and techniques owing to cultural, geographical differences all over the world. Yet some basic stitches are seen repetitively in all these embroideries in some or the other way. Some of these common stitches have been listed below: Satin stitch One of the most classic embroidery stitches for filling an area is the basic satin stitch. Satin stitch is just a series of straight stitches worked next to each other. The secret to making those straight stitches turn into something special is in practicing the length and proximity of the stitches. The result is a filled shape that is simply stunning. This stitch is seen in Banjara and kantha embroidery.

Take your needle and floss and create one stitch. Bring the needle up again just next to the opposite side of the initial stitch. Keep the stitches close to one another, as required to fill the pattern or design you are working with.

Running stitch Running stitch is a simple embroidery stitch that is good for making dashed outlines and adding details to your embroidery. It changes the look just by adjusting the length and spacing or adding a second row of stitches between the first. It’s also another stitch that works well with weaving and wrapping. It’s also the basis for Japanese sashiko embroidery.

This stitch is seen is most of the embroideries like Chickenkari, kantha, Bnajara and kasuti work of Karnataka The first method is similar to hand sewing and can be completed by pushing the needle and floss in and over the fabric in one continuous motion; the second method can be literally pushing the needle through the fabric and pulling it back up. I have heard this called the “punch and poke” or “stabbing” method.

Back stitch Unlike the running stitch, the backstitch creates a solid line and is good for hand embroidering text or outlining a design. Begin by pulling the needle and floss up through the fabric and do one stitch forward. From underneath, space the needle out the length of your desired stitch, pull up through the fabric, and bring the needle and floss back down through the end of the previous stitch. Chickenkari embroidery uses backstitch Chain Stitch Chain stitch is an outline stitch as well as a frame for a pattern or design.

Chain stitch is seen in embroideries like Banjara, kutch and kasheeda of jammu and Kashmir.

Take your needle and floss and create a stitch, but before you pull the floss all the way through the fabric, allow it to form a loop. Bring the needle up through that loop in order to tether it from being pulled all the way through the fabric and pull. Place the needle either directly in the hole you just stitched, or close to it, and pull through creating anoth er loop by not pulling the floss completely through the fabric.

Pull the needle up through the loop to tether it and pull.

Repeat the steps to continue the chain. When you reach the end of the chain, simply create a small stitch over the loop.

Cross Stitch Cross stitch is an edge for applique within your embroidery. Cross-stitch has become increasingly popular with the younger generation of the United Kingdom in recent years.

Bring the needle up in the bottom left hole, reinsert it at the top right to create a diagonal stitch. Bring the needle back up directly below its current position, in the next hole down.

Take it back through the fabric in the diagonal hole to the right. Continue in this way across the row. To complete the stitches on the journey back bring the needle up in the bottom right and take it back down through the top left hole to make the cross.

This type of stitch is seen in embroideries Kasuti of Karnataka, kassheeda , banjara , kutch , chickenkari

YELLAMMA THANDA : a knot of banjara The Banjaras are spread in the Asian country : India

RangaReddy district of the Southern State Telangana is closest easily recognised area of their settlement

Ibrahimpatnam is furthermore the closest recongition of the cluster

The journey for Research is about two hours. The pocket of Banjaran culture is about 15 kms from Ibhrahimpatnam : the town closest to its recognition.

Locality Name: Yellamma Thanda Mandal Name : Manchal District : Rangareddy State : Telangana Region : Telangana

Language : Telugu and Urdu Altitude: 523 meters. Above Sea level Telephone Code / Std Code: 08414 Latitude: 17.4 Longitude:78.48

ABOUT THE VILLAGE Yellamma thanda is a beautiful village surrounded by many hills and farms which is situated at a distance of 20km from Ibrahimpatnam district. The village is well developed where the entire infrastructure facilities are easily available with proper means of transportation and travelling. As the village is surrounded by hills and greenery the weather remains cold in early mornings and late nights. There is a population of 3500 people in the village out of which 300 ladies work in the handicraft of banjara and all around there are 700 houses where people stay in joint families.

Most of the people in Yellamma thanda belong to the Lambada Tribe, where now only one percent of old ladies wear the banjara attire, while 99 percent of the women in the village have given up the banjara attire in exchange of saree.

The main occupation in the village is agriculture and cattle breeding for men and handicraft of banjara for women. Other occupations are small business, auto rikshaw driver, kirana store, wood cutting and carpentering. On the other hand women of the houses do their household work and perform the handicrafts of banjara on a regular basis. During the months of October- January more of agriculture is practiced.

The major festival is Teej, which is celebrated for nine days.

They also celebrate Dussehra and other festivals like Diwali, Holi, Sankantri and Ugadi.

They have a lot of interesting rituals and traditions followed in their marriages. The bride’s family gifts banjara attires to the groom’s family where the total number of banjara dresses gifted is decided depending upon the total number of women in the groom’s family. The newly wed bride takes hot water from her maternal house, carries the pot on her head with the help of pulia gala which is richly embroidered and gives it to her mother-in- law to bathe.The cows are decorated with the embroidered chandiya and singdi on which the newly wed bride first enters her new home.

Yellamma Thanda is a small village in Manchal Mandal in Rangareddi District of the state of Telangana, India. It is located 79 KM towards East from District headquarters Hyderabad Yellamma Thanda is surrounded by Ibrahimpatnam Mandal towards west, Yacharam Mandal towards South, Narayanapur Mandal towards East, Hayathnagar Mandal towards North.Â

FACILITIES OF THE VILLAGE WATER

The village does not have good amount of water supply to every house where in boring water is provided with one electrical water motor between ten houses. Due to this villagers face problems of water so they store the water in big drums and other utensils for their every day uses. Drinking water is also available. There were hand pumps outside as well as inside the houses for their other everyday uses like washing clothes. There were some wells with water and some without water.

Other facilities include electricity, gas connection and also different cellular networks too.Proper drainage systems are available to the houses where most of the houses have separate washroom outside their houses which is common between few number of houses.

EDUCATION

Schooling is accessible till fifthth standard in the village for the children but for further education i.e. above standard five the village children have to go to the nearby schools in Ranga Reddy district. Higher education is preceded by going to the nearby collages of engineering and technology available in Ibrahimpatnam and Mancal district.

MEDICAL

During the morning hours of 8 -10 am and in the evening duration of 5 - 6 am, a doctor visits the village for all medical help to the villagers. For further medical help there are hospitals available at a the nearby distance of three kilometres.

TRAVEL AND TRANSPORT

Village roads are well connected to other village as well as city roads.

Thus means of traveling available are personal vehicle, auto rikshaw as well as busses. Mode of transportation of goods and other materials is also easily accessible with the help of small and big trucks as well as small vender cart or vehicle.

All the people in the village have access to a bank account where in their money is safe. Bankers visit the village for the banking activity like loans.

ATMs are available at a minimum distance of 10-12 km form their village.

TRAVELLING TO YELLAMMA THANDA If one wants to travel to Yellamma Thanda village, the nearest airport is the Rajiv Gandhi International airport, Hyderabad.

From Hyderabad private cabs by operators like Ola and Uber can be hired. Buses of the Andhra Pradesh State Road Transport Corporation (APSRTC) are also available.One has to travel to Ibrahimpatnam and from there to Yellamma Thanda.

One can even travel through the medium of railway by taking a train from ones respective location to the nearest railway station like Hyderabad deccan railway station (Nampally Railway station), Secunderabad Railway station, Kacheguda Railway Station (near to Hyderabad) , Malakpet Kcg Railway Station (near to L B Nagar) , Kacheguda (Yaku Railway Station near to L B Nagar) , are the Railway stations reachable from nearby towns.

Later one can take a personal vehicle, private operators or a bus to reach the Village Yellamma thanda.

The road to Yellamma thanda is in good condition and small breakfast joints, general stores are also available along the route. It is a two and a half hour journey from hyderabad by road.

history and origin of banjara

The Banjaras also known by the various names Lamani, Lambadi, Vanjara,Gormati are described to have nomadic origin. It is believed that they originally migrated from Afghanistan before settling in Rajasthan and other parts of India. Now they have spread all over the Indian subcontinent but the concentration of their population is majorly in the states of Rajashthan, Karnataka, Andhra Pradesh, Maharashtra and Telagana.

Traditionally, they were considered to be the suppliers of bullocks and salt merchant. The word Banjara is said to be derived from the Sanskrit word Vana Chara, which means wanderers in jungle. They are also associated with the words Lamani and Lambani which is derived from the sanskrit word lavana(salt) which was the primary commodity they transported.

Lambadi and Gor Boli are the major languages spoken by the Banjaras and they belong to the Indo-Aryan group of languages. These languages are acquired from maximum words of Sanskrit. Since the Banjaras have migrated across the Indian subcontinent and settled down, they have now adopted various languages frrom the places they have settled in.

During the Colonial rule of British in 18th century, the movement of Banjaras was abandoned under the purview of Criminal Tribes Act of 1871. However, after the Indian Independence, this law was abloished in 1952. Today there are over 1.1 million Banjaras spread across the Indian subcontinent and they are categorised as OBC, scheduled caste or scheduled tribe in different states.

ORIGIN OF THE CRAFT The origin of the cluster can be taken back to few years ago, when Miss Lakshmi Khetawat was cooking food at a government school for the children. Dressed in a traditional Lambadi tribe attire which caught attention of an officer that had come for a regular visit. After knowing that what she was wearing was a product of hand embroidery and applied techniques, the officer was highly amused .He purchased a choli and gave it to her daughter of Nages Rao, Miss Satyawati. The embroidery work on choli pleased her.She came to the village again and asked Miss Lakshmi if she could make such attire for her. The actress gave her 15 meters cloth for fifteen cholis. She also provided them with a designer teacher, who trained 15 women for a year and improvised on working of the embroidery designs and techniques under her guidance.

Finally in 1989, Miss Lakshmi started this cluster with 120 women. Later, as the craft of hand embroidery on cholis was popularized. It was recognised by the Craft Council of India The inspiration to their designs is nature and the work is mostly done as a combination of patchwork and stitches. Slowly the craft of banjara got its name and fame where now when we can see this embroidery banjara craft at different states and foreign countries too. Â

CULTURES AND FESTIVALS Teej is one of the major Festival celebrated by the Banjaras.It is celebrated during the Shravana. (the month of august). In this nine days festival young unmarried Banjara girls Pray for good groom. They sow seed in bamboo bowls and water it three times in a day.If the sprouts grow thick and tall enough, it is considered that the girl would get married soon and be blessed with a good husband.

During teej the basket of seed is kept in the middle and all the girls and women sing and dance around it. They also celebrate the festival of holi and dushera in which women go houses around the houses collecting donation for the feast, singing and dancing all the way.The families are generally nuclear and joint families. Ordinarily the sons with their wives live with their father, mother and grandparents. The married sons sometimes establish their own separate house. Family is patrichal which means in the individual family the father or the senior most male members is the head.

Banara share same of the religious beliefs of the hindus and consider Lord Venkateshwara of  Tirupati as their family deity. They also worship other Hindu Gods like Jagdamba Devi, Thuljha Bhavani,Ganesh, Mahadev and Hanuman.The main deities of the Banjaras are Sati and Saint Sevalal.The village of Yellamathanda has two temples, one dedicated to Lord Hanuman and the other to Thuljha Bhavani.

The conception and birth of a baby is considered to be a very prestigious event among the Banjaras. The pregnant woman is given special prestige and care. The birth of a child in the house of a Banjara is considered to be very auspicious as it confirms the fertility of the couple. If a baby boy is born then he will carry the name of the family and inherit the property of the parents. If a girl child is born then she will be exchanged during the time of marriage for the continuity of the race. The Banjaras give equal status to both the girl and boy child and hence they celebrate the birth of both. The Banjara celebrate the occasion by singing and dancing. After the birth of the child the mother and her baby are considered to be impure. Hence after five days the mother and the child take a purificatory bath. The house is also washed and purified with mud, cowdung and water. After the end of the purification ceremony the mother keeps rice in her jholi, and pays a visit to the community along with her child to take the blessings of the elder members. After the completion of ten months, a ritual takes place (called mundan) in which the head of the child is shaved.

Banjaras have their own beliefs about death. They believe that the death of aged people is coAnsidered to be a good sign as they believe that they either get transformed into new bodies or get salvation. Premature deaths occurring due to various other reasons like accidents, murders, burning, diseases etc. are not considered as good signs. They believe that these unsatisfied souls may harm the people. The male member of the family burn the body of the deceased. Thereafter all the members of the community sit together and sprinkle water on their head for the sake of purification. All the ladies bring two rotis (indian bread) in their hands from their houses and eat together without using any plate.

After the death of their hasband the Banjara ladies (widow) remove wakri, mirrors, headgear, ghugri (near ears), bangles (above the arms) which are considered the signs of a suhaagan (married woman).

PRACTISES OF THE LAMBADIS Banjara women used to wear the traditional attire along with the Banjara jewellery. However today only one percent of the elder women follow the banjara attire. the women mostly wear shiffon and cotton sarees as it is difficult to work in the heavy traditional attire.

The banjaras were predominantly illiterate since they led a nomadic life which did not give them the opportunity to learn. However with the spread of modernisation, the people send their children to schools and colleges and it is difficult to travel and study in such a heavy attire.

Due to the commercialisation of the Banjara craft, the women are busy with completing the orders placed to them as a result of which they find it difficult to take time out of their busy schedule to create attires for themselves.

The motifs of the Banjara embroidery has experienced a lot of change due to the involvement of the Craft Council in the designing of the Banjara crafted products.

the NEEDLE CRAFT The banjara embroideries were mainly premeditated for a nomadic life. In their earlier days, Banjaras used mirrors on their clothes in order to protect themselves from the uninhabited animals. When any of the approaching wild animals saw themselves in the mirrors, they would generally run away. The Banjaras lived in the wild; hence they used old clothing to make beautiful patchworks. They crafted ghagra cholis, quilts, and batwas (wallets) as well as numerous other utilitarian products for themselves.

To the Banjaras, their embroidered textiles form an integral part of the bride’s trousseau.

They show her skills and also are symbols of prosperity; with abundant cowries and coins worked onto the fabrics. The craft started as a leisure time activity for the women of the Lambani tribe. They would stitch together various patches of clothes available to them during their stay in the forests or deserted areas of the country. Their products mainly included apparel, quilts and coin pouches.

As urbanisation spread and evaded the tribe, the banjaras who settled in Yellamma Thanda stayed rooted to this craft and continued teaching it to their younger generations. Â In 1990, Ms. Satyavati (daughter of Mr. Nageswara Rao) introduced the banjara craft into the Craft Council of India. She started training fifteen women of the village to incorporate the needle craft into urban products that led to commercialisation and hence the evasion of the vibrant craft into the homes of people all around the world.

The design interventions being done by the Crafts Council of India has helped the development of their skills as well as increased their understanding of the urban market.

A new range of products formulated for decorative as well as daily use products has increased the quality, colour balance and design pattern of their repertoire. Efforts have been made to keep the indigenous style unbroken, while assisting them meet the requirements of the varying trends.

Even today, the Banjara needle craft remains an integral part of the tribe, the technique of which is tendered down over generations.Today their products include bags, bed spreads, jewelleries, wall hangings, cusion covers, apparel, gift articles, as well as other home furnishings products.

COMPARITIVE STUDIES KASUTI EMBROIDERY Kasuti is a traditional form of folk embroidery practised in the state of Karnataka, India.

Kasuti work, which is very intricate sometimes involves putting up to 5,000 stitches by hand and is traditionally made on dress wear like Ilkal sarees, Ravike and Angi or Kurta. The Karnataka Handicrafts Development Corporation (KHDC) holds a Geographical Indications (GI) protection for Kasuti embroidery which provides Intellectual Property rights on Kasuti to KHDC. The motifs of Kasuti craft generally have shapes like triangles, squares, rectangles, hexagons, ladders, tiny flowers and architecture. However Banjara craft mostly uses floral motifs which are inspired by nature.Mostly red, crimson, purple, green and orange colours are used.

White is prominently used on a black background in Kasuti craft. In Banjara craft use of vibrant colours is the essence of the craft.

The materials used in Banjara craft are anchor threads, mirrors, varieties of beads and cowry shells however only cotton thread is used in Kasuti craft.

KUTCH EMBROIDERY The Kutch Embroidery is a handicraft and textile art tradition of the tribal community of Kutch District in Gujarat, India. This embroidery with its rich designs has made a notable contribution to the Indian embroidery traditions. The embroidery, practiced normally by women is generally done on fabrics of cotton, in the form of a net using cotton or silk threads. In certain patterns, it is also crafted over silk and satin. The types of stitches adopted are “square chain, double buttonhole, pattern darning, running stitch, satin and straight stitches”. The signature effect of the colourful embroidery sparkles when small mirrors called abhla are sewn over the geometrically shaped designs.

Depending on the tribal sub groups of Rabari, Garasia Jat, and Mutava involved with this craft work many hand embroidered ethnic styles have evolved. These six styles are : Suf, khaarek, paako, Rabari, Garasia Jat, and Mutava.Various colours are used in Kutch craft however these colour are very light.

Motifs are inspired by Mughals and designs created on the cloth to embroider relate to the themes of daily lifestyles, animals and birds (like elephant, camel, parrot, peacock, etc.), flora, religious places such as temples, and figurines of women in dancing postures, and also geometrical shape.

Materials used in Kutch craft are expensive silk fabrics, khadi, metallic and cotton threads, silk woollen, sequins and mirrors.

SUJANI EMBROIDERY Sujani (also known as Sujini) is a form of embroidery originating from Bhusura village of Bihar, India. In ancient times, it was considered as a form of quilting wherein old sarees and dhotis were used as the creative canvas, the cloth was folded twice or thrice and then simple stiches were done on these used clothing to add newness to them. Today, sujani embroidery is also practiced in southern part of Rajesthan for making patterns on sarees, dupattas and other clothing and home furnishing.

Raw material: Cotton. Tussar silk, Embroidery Tool Used, Needle, Frame, Scissor In Sujani, running stitch is used in straight lines to fill the motifs. In Banjara craft running stitch is generally used in creating grids or parallel lines in the design.

In Sujani the outline of the motifs are done by chain stich in dark colours. However, Banjara craft does not have borders around the motifs.

Sujani craft uses frame for tightening the cloth and avoiding wrinkles. Banjara craft does not use any frames for the embroidery.In Sujani, the background is mainly filled with fine running stitch with thread whose colour is similar to the background. This creates a visual as well as a tactile texture. In Sujani, chain stitch is usually used in colours such as black, brown and red for the main outline of the motif and the design is then filled with running stiches in coloured threads.

Sujani uses motifs inspired from daily life, flower, trees, flying birds, fishes, elephant etc.

Whereas Banjara craft uses motifs inspired mainly from flowers, geometry as well as muggu (rangoli).

DESIGN PROCESS THE SPUR OF DESIGN The cultures, religion, traditions and surroundings have a huge influence on the artisans, who imbibe the ideas, feelings and emotions and translate it artistically onto their works : embroideries. The blue of sky, pink and red of flowers, yellow of sun, green of leaves highly indicate the use of the primary bold colours in the craft. The traditional songs of the Banjaras talk of the fruits and vegetables they eat and gratify the God they pray to. The flowy lines, colourful geometric patterns are all derived from the songs of God and flourishment that they sing. The traditional songs of Teej that welcome the monsoon season, remembering Goddess Parvati and her union with Lord Shiva bring the richness and vibrant shapes, patterns colours onto the craft. The essence of Rangoli or Muggu is very aptly transferred onto the fabric as motifs. The Banjara embroidery almost never contains any figurative expression, be it in the form of flora , fauna or even humans forms. “ The blue of sky, the red of flowers, the yelllow of sun , the green of grass indicate the use of bold colours”,

TOOLS AND RAW MATERIALS Times have changed and so has the approach towards the craft. A lot has come since the Industrial Revolution and from then, evolution is the only phenomenon. Initially, all the raw materials were produced by the Banjaras. Now, since the tribes have settled down, and their culture has been recognised, all the raw materials are readily made and available in the market.

Initially, unspun cotton threads were used along with handmade irregular beads and fabric beads. Now a variety of Nadhi (metal pipes), Topli (metal dome shaped trinket), Ghungroo (bells) ,Kwadi ( cowrie shells), Titri (coins), Kaachan (Mirrors), Diamond RC, Sequins and Para (beads) are bought from Devarakonda,Telangana. Doran ( Anchor embroidery threads) and fabrics are bought in cartons from Delhi. The materials are sourced and provided by Craft Council of India or Lepakshi according to orders are placed by the craft cluster head.

Cotton was the primary fabric that was used in making the traditional dresses. Now a variety of Pattu (silk) fabrics are used to make embroidered blouse pieces, borders, patches etc. Casement fabric is also used to produce embroidered accessories that have a greater functional aspect (such as storage) and require higher strength. For example: coin pouches, gift pouches, bags etc.

All the success of Banjara embroidery lies in patience, dedication and determination of the maker, or more aptly the artisan. Evidently, the procedure seems to be easier in terms of number of steps involved in the creation of a product. However, the efforts and time taken for each step surpasses the doubts of ease.

The first step of the process is marking.Once, the pattern is decided, a set of lines may be used as grids, patterns, motifs that are marked onto the fabric to ensure a precise outcome during execution.

In the olden days, when there was no knowledge of scale, measures and marking, it would be imperative to question that how did one know which path would create a straight line, as all the patterns are in fact derived from Geometry. Distinctly, a yarn from the warp of the fabric was pulled to guide the artisan and execute the work with precision.

Then, with the knowledge of measures and training, the artisans started using steel scale and chalks as marking tools. Recently, chalks have been replaced with Glass marking pencils, which are long lasting and do not fade while working.

Once, the marking is done, mental planning of execution is done according to the type of work and convenience of the artisan. If the work is based on grids and patterns, one may prefer to stitch the grids first and the motifs later. If the work is more intricate towards the center with borders on edges, one may prefer to stitch the intricate work inside first and then finish it with borders.

Thread and Needle are used to execute different types of stitches as embroidery.Thinner needles are generally used to produce thinner stitches in the various embroidery techniques. Banjara craft creates a very fine embroidery work.The thread and needle are continuously passed through the fabric and locked at the end.

TyPES OF

STITCHES There about 14 different types of stitches and 8 combination stitches that are largely seen in the embroidery.

Maaki Nakra Pote is combination stitch of Nakra, Pote (filling) and Maaki.

Vele or chain stitch is used to give borders to any stitch which is parallel to fill the space. and to cover the cloth completely

Maaki Stitch is a single thread stitch used as a decorative element. The pattern formed by interlacing the thread in such a way that it forms triangles with twisted thread.

Sasiadaanth means rabbit teeth. It is made of a single thread to form a triangular edge in such a way which has two triangles oppositely to a line.

Kalani or cross stitch is single threadwork in which thread is sewn in ‘x” or ‘+” shape

Baakiya (Running stitch) is a single thread basic stitching in which thread is pulled by a needle from inside to outside of the cloth. It is used as border and to divide columns on cloth.

Maalikanth is done in straight lines by making cross with single thread.

It is used as filling and also as border.

Nakra Booti is a combination stitch of of Nakra along with filling inside each of the diamond shaped form, called booti.

Nakra is a decorative stitch done with single thread with contrasting inside filling. A small diamond is formed using four straight lines.

Posetek box is a type of filling stitch where Baakiya stitch (running stitch) os used to continuously fill a box like a maze.

Khulchi is a two thread work with two different colours, with seven dots in which the second thread is passed in such a way which makes a diamond shape.

Jaadhi is done using a single thread, it is a decorative stitch, to fill a cloth by giving the inside fill in any shape

Ali Booti is a two thread work used as a decorative element.

It is done with limited number of required dots (mostly fourteen).

The motif of geometry flower pattern is interwoven which are very similar to rangoli or flower decorations.

APPLIQUE WORK AND PATCHWORK Applique work is a form of needlework that involves stitching smaller pieces of fabric onto a larger surface.

Applique work may involve any organic or geometric patch that is sewed on a defined area on the fabric.

Patchwork is also a form of needlework that involves stitching of smaller pieces of fabric onto a larger surface.

Generally, small patches are used conjointly to completely occupy the entire surface. Patchworks are more geometric, where polygons of different sizes and colours are sewed together.

The embellishments are directly stitched onto the fabric with no use of adhesive.

STITCHING GHUNGROO (BELLS) AND TITRI (COINS) TO THE FABRIC The bells and coins that are bought have jump rings attached to them.

Hence, thread and needle are easily passed through the jump rings and stitched on the fabric in a position that is required. About 4-5 stitches would be enough to make a strong joint.

The bells are traditionally stitched on the borders of pallu, that fall outwards of the cloth. Also, the Dori and Dari of the choli has a bunch of bells stitched at the bare end. Now, their application has become wide and are used in various accessory products like mobile pouches, bags etc.

STITCHING KWADI ( COWRIE SHELLS) TO FABRIC The shells are examined and a surface is chosen, which is to be exposed when stitched. The surface which isn’t exposed, is sliced using a knife. While stitching the shell onto the fabric, the needle is passed from the center of the shell (that is hollow and has a  fold inwards) to the end of the sliced surface and then through the fabric.

This process is repeated 4-5 times.

Once the joint is strong, the thread is locked at the back and finished.

Conventionally, cowrie shells were sometimes seen on Chatti ( rectangular piece covering the chest) and coin pouches.Also, the shells are sometimes stitched on the bare ends of Dori or Dari Now they are majorly observed in cushion covers and other home furnishings.

EMBELLISHMENTS ON CLOTH

STITCHING KAACHAN Â (MIRRORS) TO FABRIC Round and Square shaped mirrors are more commonly seen in the craft.

The mirror is first placed on the fabric and its position is assured. Using thread and needle, a frame is created along the edges (for a Square/ Rectangle shaped mirror) or along the circumference (for a round mirror).

Gradually, the frame is stitched to give a border around the outer contour of the mirror and the thread is locked.

Conventionally,the mirrors are stitched on the borders of Pallu (of the traditional attire) and coin pouch.Nowadays, its application has majorly increased and is observed on variety of Womenswear like blouse pieces, patch works and home furnishings like cushion covers.

STITCHING NADHI ( METAL PIPES ) AND TOPLI ( METAL DOMED SHAPED TRINKET) TO Â THE FABRIC The metal trinkets are hollow. Hence, thread and needle can easily pass through the embellishments and make a joint with the fabric. Generally, the Nadhi (Metal Pipes) are stitched horizontally on the fabric. Similarly, Sequins and Para (beads) are stitched on the fabric.

coin pouch in making

The traditional attire of the Banjara community has forever been appreciably recognised and associated with rich cultural essence.

The Ghagra (skirt), Choli (top), Chunnari (long scarf) and Batwa (coin/money pouch) are the rudimentary foundation of the attire.

The practise and making of the components of attire entails abundant patience and time. A Ghagra (skirt) may or may not have embroidery work. Traditionally, it is kept unadorned and would take minimal time of a day to fabricate. Â Conventionally, a choli (top) and batwa are embellished with cowrie shells, coins, mirrors etc along with fine embroidery work and would take minimum a week's time to produce. A chunnari (long scarf) is adorned on its borders and would take minimum of a week to fabricate.

1. Cowrie shells, Topli (metal trinket), fabric , anchor threads and needle are required for its manufacturing.

2. Two strings of  anchor thread (single or double colour) is used to yarncraft a dora (string) 3. A 10 cm square of a cotton fabric is cut using fabric scissors and glass marker is used to indicate the lines onto the fabric.

4. Four squares are marked equidistant from the center, clearly demarcating the border.

5.The embroidery starts with stitching the four squares. Chain stitch technique is practised for filling the box in a spiral.

6.Next, the borders of the four squares are chain stitched. Contrasting colours are used to make the demarcation evident.

7.Later, Rele stitch is used to fabricate the vacant area A cotton lining is blanket stitched beneath the exposed fabric.

Form Generation : Three - dimensionality has been very well indulged into. Processing a flat surface to a three dimensional container has been processed by the following means : 1. Generating a fold : Keeping the center of the surface in mind, four consecutive folds have been generated in such a way that each corner adjoins the center.

2. Creating a joint : Once, the adjoining corners are in place, the edges of the meeting corners are stitched from the bottom. About 2.5cm of the edges from the center are left unstitched to keep the storage accessible.

3. Attaching Strings : The yarn crafted Dora (strings) are stitched on the inside of the generated form to anticipate usability by either holding or tucking (as in case of traditional Banjara attire) 4. Ornating : Topli ( metal trinkets) and cowrie shells are used to adorn the form. One surface of the cowrie shell is sliced (to allow the thread and needle to pass through it) and stitched onto the corners of the fabric along with the topli. Two flower-like adornments are produced using five cowrie shells. The shells are placed radial , having a common center and stitched. One of the generated adornment is stitched onto the dora and the other used as a locking mechanism.

5. Securing the opening : A secure is generated for the opening using a flower-like mechanism (as mentioned) and is made movable on the dora. When the mechanism is moved away from the pouch, the pouch becomes accessible and vice-versa.

Hence, the synthesis of surface embroidery and form generation, along with adornment and usability  are the fundamentals of production of a coin pouch.

Cutting desired shape (top view)

Folding the shape into a form (top view)

stitching the ends of the form to generate a function of storage (side view)

choli the banjaran blouse

Considering the example of Choli, which is a top/blouse of the traditional Banjara dress, following is the pattern required for the construction of the piece.

Nomenclature and description of the various parts of a choli : 1. Chatti : These are the rectangular pieces of the choli that cover the chest of women.

2. Peti : A piece below the Chatti that covers navel of women 3. Chirma : These pieces are on sides of the chatti that cover the sides of chest and ribs.

4. Khadapa : On either sides of peti, Khadapa cover the waist from the sides.

5. Khuppa : The sides of neck opening have Khuppa on either sides.

6. Bahi : The sleeves of the Choli are known as Bahi 7.Katta : The piping of the dress is known as Katta 8.Dari : These are the strings that are fastened at the back 9. Dori : These are the strings that are fastened at the neck.

PATTERNMAKING : Each individual piece of the choli , as described above is made separately according the measurements of one’s body and stitched together to form a single garment, choli. The Dori and Dari are stitched on edges of the garment ot fasten the neck and back respectively.

DECISION OF COLOURS: The colours are concluded on basis of their environment, surroundings and nature.

The red of flowers, blue of sky, black of soil, yellow of sun are derived and settled upon.

DECISION OF MOTIFS : From the past evolution of seven generations of this craft, alot of motifs and forms have been pre-defined and gained recognition and association with the artisans.

Geographically, the village is surrounded by hills on all sides. This is probably one of the major inspirations for the triangular Katta on the sides. Katta is a continuous range of triangles which is generally made of a white cloth and stitched onto the garment using the applique needlework. As the figure represents, Katta has been derived from the range of hills that border the village.

Sunrise is the quotidian observation of the Banjaras residing in village. As they are close to nature by the hills, they are closer to translating its essence in their designs. The derivation of ‘V’ and inverted ‘V’ along with DECISION OF STITCHES. The stitches are enormously dictated by the type of motif that to be represented on the choli. Solid motifs require Maaki , Jaadhi, Pote stitches (fillings) whereas motifs that are to be represented only with outline have numerous other types like Nakra, Kaache tune etc. Some motifs have a larger structure and need to be constructed using dots and grids, such as Ali Boot, Kalani

yellow circles seems to be derived from the hill’s sunrise. Food is the vital aspect of livelihood and so is the derivation from it. The colours, shapes, forms etc dictate the construction and ethos of the garment. Jowar is mainly cultivated and consumed by the Banjaras. During the months of September to November when the crop is harvested, the grains are extracted and beautiful open forms of the flowers are observed. When the human eye observes the forms from the top, it is perceived as a polygon, relatability alike rhombus.This probably is the source of ingenuity of the geometric repeated polygon patterns vertically across the choli.booti etc. The construction of choli has been completed with the aid of a series of Nakra stitches for the rhombus motifs, Jaadi for the solid lines along the sleeves and on the blue border near the Chatti. A combination of Nakra have been used to stitch the Jowar inspired motifs vertically along the garment. Various kaacha(mirrors) have been stitched on the choli, visually balancing the attire.

DECISION OF EMBELLISHMENTS Traditionally , the banjaran attire is fabricated with vibrant bold colours and various embellishments. Coins and shells are observed near the chest i.e on chatti and set of mirrors are on Peti.

However, there is no stipulation on usage of embellishments and they may be placed in accordance to repetition and regulation of visual elements of design.

Here, only circular mirrors may be used as rest of the motifs are linear. The circular mirror breaks the monotony from the straight lines and adds value to the attire.

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CONSTRUCTION PROCESS A choli is an aggregate of 9 different parts, that are stitched together. First, the base cloth for all the 9 parts are cut using tailoring scissors according to the decided pattern and stitched. Next, the details of motifs and stitches are determined. A mental planning may be done, or a paper may be used as per the intricacy and purpose. Bridal wear has greater details and may require greater planning. Here, since the details are lessers, and variations of motifs about 3, a mental planning of positions and repetition would probably suffice.

Once the planning is done, the lines or grids are marked onto the fabric with a glass marker and metal scale. Due to the geometricity of the Banjaran motifs, all the stitches follow straight lines which are clearly highlighted during marking.

Next, as per the comfort and convenience of the artisan, the marked patterns and motifs are stitched. Conventionally, the Nakra stitch and its variations would be done first along with the kaata applique needlework. Then, the mirror would be stitched once the Jaadi stitch is completed. As per the convenience , on an average, artisans would prefer to complete contour stitches first, and then go on to the solid needle stitchwork.

After all the stitches have been completed, The Dori and Dari (cords to fasten the neck and back respectively) are stitched securely and the construction is complete.

Unlike, the usual blouses that are fabricated to fit to the body of a woman completely , the banjaran blouses(choli) are fabricated to smother the foreparts of the body, i.e shoulders, chest, waist and stomach. The back is left bare and cords are stitched to the garment to fasten the neck and waist.

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PRODUCTS OF

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The products crafted under this cluster include items of cultural significance as well as that of modern context. The main factors being functionality and adornment. Here are some existing Banjara embroidery products: 1. The Ghagra Choli: The traditional attire of the Banjara tribe is the Ghagra Choli and Ghunghat, since they originate from Rajasthan. This attire consists of high amount embroidery, covering almost all the stitches generally used in this embroidery.This particular product holds a lot of cultural value.

2. Blouse piece: A standard size blouse piece is embroidered using various grid based designs.

Different pieces include different sets of stitches.The fabric used is generally cotton, but can be customised according to the will of the consumer. Subtle, toned down colour combinations are seen in this product. The price range for this item differs depending on the amount of work.

3. Dress Patches: The dress patches which come in two sizes, are heavily embroidered and have a specific set of stitches in their designs. The patch is either rectangu-

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BAnJARA EMBROIDERY lar or square, where the shape is repeated in itself, while the size of the square/ rectangle gradually decreases. The sections are embroidered in contrasting colours and mirrors are extensively used.

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4. Mobile Cover: The mobile cover is a sleeve in a rectangular shape, which is embroidered only on one side. The stitches generally used are running stitch, nakra, maalikanth, alli booti. The embroidery is minimal and the colour schemes are subtle.

5. Chausar: Chausar is a traditional indoor board game. It is a plus shaped piece of heavy fabric, embroidered heavily.

The surface is almost completely covered with embroidery. The colours used are red,orange,teal,purple,etc. Cowrie shells are sometimes used as embellishments.

6. Tithri mirror: A square mirror is embroidery on all four sides and then attached to a dori made up of two colours.

It is meant for the purpose of decor.

7. Coin pouch: The coin pouch is a decorative item,which is lavishly embroidered. It is made using fabric, dora( yarn craft), cowrie shells and topli. Contrasting colour schemes are seen in this product. For example: Red and green, blue and orange. There is a stopper made up of cowrie shells which also serves as a decorative element.

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8.Saree border: The saree border also has a standard length while the width may vary. The patterns seen in this product are largely symmetrical and are embellished lavishly. The colours used in these saree borders are bright and bold.

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Sr.No Product Range 1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

Banjara attire Dupatta Chausar Blouse Piece Saree Border Toran Patchwork(Big) Patchwork(Small) Mobile cover Coin Pouch Tithri mirror

Size (cm)

B

L

E

Cost Price (INR)

Selling Price

-NA-

Time span 1 to 2 months

250

500/- to 1500/-

1000/- to 2500/-

3 to 6 days

62.5 x 12.5

2300/-

2800/-

20 days

100 x 100

400/-

500/- to 5000/-

5 to 30 days

150 x 8

270/- to 350/-

400/- to 550/-

5 to 6 days

50 x 15

400/- to 500/-

416/- to 525/-

2 days

26 x 18

350/-

500/-

4 days

10.5 x 10.5

180/-

250/-

2 days

17.5 x 10

180/-

180 to 227/-

1 day

5x5

300/-

413/-

1 day

4x4

125/-

258/-

1 day

MARKETING

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Selling system: The Yellamma Thanda Banjara craft cluster follows a selling system largely based on pre-order method. They procure orders first and then source materials and work accordingly. Some amount of stock is maintained but is only limited to the smaller items. They do not produce the larger items unless an order is placed.

The due amount is either acquired in cash or through bank procedures.

mode of sale is state, national and international level craft exhibitions organised by The CCI or Lepakshi, which occur yearly. These exhibitions are crucial for the publicity of the craft as well as the exposure. One more notably prevalent mode of sale is the showroom. The banjaara embroidery products are marketed through Lepakshi showrooms in Telangana.

Modes of sale: The cluster divulges into diverse modes of sale ranging from rural level to the international level. The banjaras put up stalls of their merchandise in their village on occasion of their significant Teej Festival. They also participate actively in local fairs to market their products. Another

Marketing Strategy: The banjara artisans at Yellamma Thanda are unaware of proper marketing strategies but they do not lack creativity. They employ their own methods for example: fully embroidered banners put up at their stalls which attract consumers by creating interest.

ERGONOMICAL ASPECTS

The design interventions being done by the Crafts Council of India has helped the development of their skills as well as increased their understanding of the urban market. A new range of products formulated for decorative as well as daily use products has increased the quality, colour balance and design pattern of their repertoire. Efforts have been made to keep the indigenous style unbroken, while assisting them meet the requirements of thevarying trends.

Even today, the Banjara needle craft remains as an integral part of the tribe, the technique of which is ten-

dered down over generations. Today their products include bags, cushion covers, bed spreads,jewelleries, wall hangings, apparel, gift articles, as well as other home furnishings products.

The workspace: The workspace generally includesa chair, an elevated platform or just the floor. Most of the materials required for the embroidery are placed within the primary reach of the artisan.

Ergonomics: Traditionally, most of the women prefer to sit down on the floor while working, with either open or folded legs. Due to these postures, the artisans tend to develop knee aches as they age and find it difficult to sit down and hence find a sitting on a higher level comfortable.

Due to the intricate work, the neck, arm, elbow and wrist may get strained. Also the work is done keeping the work piece below eye level; hence the neck and the shoulder areas get strained.

The work is generally kept close enough to the body (belly button room) in order to prevent fatigue.

Suggestions:Having a proper back support along with a small table in front of the artisan to support the arms can help reduce fatigue and various other health issues due to improper sitting posture.

LEPAKSHI AS AN AID The Banjara embroidery of Yellamma Thanda as a craft is receiving aid from the government in order to preserve this intricate piece of culture that it is. This aid includes providing marketing solutions, funding etc. Under marketing these Banjara embroidery products are displayed in the Golconda(Lepakshi) showrooms in Hyderabad.

The Golconda showrooms house numerous crafts from across the state/country to create awareness and build up business.

Thus benefiting the artisans. Similarly the Banjara craft has been acknowledged and put forth in their showrooms. They house a diverse product range of Banjara craft, viz. Blouse pieces, handbags, wallets, torans, wall hangings, coin pouches,etc.

Most of which are sourced from Yellamma Thanda. These products are offered at reasonable prices with little margin for profit. Though there are other competing crafts, the Banjara products stand out.

Such exposure bodes well for the craft.

A TALK WITH THE ARTISANS In the population of 3500 people there are 300 working on banjara craft.

Laxmi Khetawat is the head along with we interviewed few more artisans.

Surname: Sapawat Age: 75 First name: Jhilli Sex: Female Ethnic group : Banjara Nationality: Indian Address of workshop: Shree Shakti Bhavan Estimated number of people living on earning from work shop: 300 Official registration: NO (just applied) Year of experience: Experience from 10 year of age Initial training : 1950 Person responsible: Satyavati Place : Yellama thanda Length of training : No training given.

Product/object of expertise : Patches, Border, Banjara choli.

Type of product : Traditional & Functional Activity: Seasonal Time of year: January - September Aspects of lifestyle (vehicle, housing, telephone): vehicle , mobile phone Local status ( e.g. village chief, farmer) - Agriculture

Surname : Khetawat Age : 50 First name : Laxmi Sex : Female Ethnic group : Banjara Nationality : Indian.

Address of workshop : Shree Shakti Bhavan Estimated number of people living on earning from work shop : 300 Official registration : YES If yes, where registered : Craft council Year of experience : 40 years Initial training : 1950 Person responsible : Satyavati Place : Yellama thanda Length of training : 1 year Product/object of expertise : All products Type of product : Traditional & Functional Activity : Seasonal Time of year: January-September Aspects of lifestyle (vehicle,housing, telephone) : vehicle , mobile phone Local status ( e.g. village chief, farmer) : Agriculture.

Surname : Sapawat Age : 47 First name : Anguri Sex : Female Ethnic group : Banjara Nationality : Indian Address of workshop : Shree Shakti Bhavan Estimated number of people living on earning from work shop : 300 Official registration : YES If yes, where registered : Craft council Year of experience : 28 years Initial training : Date:1950 Person responsible : Mother Place : Yellama thanda Length of training : 1 year Product/object of expertise : All products Type of product : Traditional & Functional Activity: Seasonal Time of year : January - September Aspects of lifestyle (vehicle,housing,telephone) : vehicle , mobile phone Local status ( e.g. village chief, farmer) Agriculture

Surname : Sapawat Age : 60 First name : Chandi Sex : Female Ethnic group : Banjara Nationality : Indian Address of workshop : Shree Shakti Bhavan Estimated number of people living on earning from work shop : 300 Official registration : NO Year of experience : Learning since age 10 Initial training : 1950 Person responsible : Satyavati Place : Yellama thanda Length of training : No Product/object of expertise : All products Type of product : Traditional & Functional Activity : Seasonal Time of year : January - September Aspects of lifestyle (vehicle,housing,telephone) : Mobile phone Local status ( e.g. village chief, farmer) : Agriculture

STRENGTH: Years after bidding adieuto the nomadic lifestyle, the banjara needle craft still remains as an integral part of the culture of the banjara tribe.

The products created using banjara craft are highly functional hence prove to be a participant of the fast pacing trend domain.

The lambanis are open to incorporation of new ideas into the craft which attests to be a major strength of the banjara craft.

WEAKNESS: The village lacks an appropriate selling point as a result of which the display of the product range gets negligible significance. The village lacks a well-connectedtransportation facility which results in an aloofness of the village from the other parts of the state. There is less or rather no prominent advertisementfor the needle craft thus reducing its awareness among the people. The craft requires a lot of persistence and is time taking thus reducing the number of products getting crafted in a single duration of time. The craft focuses mainly on women accessories and does not create products especially for men.

OPPORTUNITY: There is still a lot of scope for the exploration of the craft as it is being accepted by more and more costumers. Here is an emerging demand for the handicraft in countries such as USA, Canada, Britain, France, Germany and Italy. Development in the Telangana tourism sector will also increase the trade of the needle craft.

THREAT: Even though the younger generation is exposed to the skills of the handicraft, it is not treated as an occupation by them due to the nominal revenue it offers. The pure essence of the handicraft is lost due to the increase in the involvement of newer trends into the products.

Machine made products similar to the banjara craft are being sold in the market at cheaper prices thus posing a threat to the original hand crafted products.

SWOT ANALYSIS

REFERENCES BOOKS 1) Charllotte Kwon / Tim McLaughlin - Textiles Of Banjara - CLoth and Culturre of Wandering tribe - Thames Hudson - United Kingdon - 2016 WEBSITES ) http://www.embroidery.rocksea.org/stitch/fly-stitch/fly-stitch/ 2) http://www.onefivenine.com/india/villages/Rangareddi/Manchal/ Yellamma-Thanda 3)http://craftclustersofindia.in/site/index.aspx?mu_id=3&Clid=654 4)http://soki.in/yellamma-thanda-manchal-rangareddi 5)https://www.craftscouncilofindia.org/kamala-samman-2017/ 6) http://www.craftclustersofindia.in/site/index.aspx?Clid=654 7) https://www.craftsy.com/blog/2014/04/hand-embroidery-stitches/ 8) https://www.thespruce.com/stitches-every-embroiderer-shouldknow-4122123 9) http://bieap.gov.in/Pdf/FGMPaperIIYR2.pdf 10) https://www.needlework-tips-and-techniques.com/basic-embroidery-stitches.html

MEMORY LANE