Kutchi Jhalkiyan

A virtual tour through the white desert, exploring

the great handicraft treasures it has to offer
 Acknowledgements
First and foremost, we’d like to thank our esteemed institute for
providing us the experience of touring Kutch from the comfort
of our own home. For our deep understanding of the Kutch
region and for preparing us for our conversation with the
artisans, we would like to thank all the faculty members of the
Fashion Design department. Their guidance and mentorship
helped us reap full benefits of this opportunity.

Another person who supported us throughout is Mr Manoj

Kundu. An officer for the Development Commissioner
(Handicrafts), sir took out the time to travel to each of the
artisans and facilitated our interaction. Without his help the
entire process would have been impossible.

We would also like to extend our gratitude to all the experts

who met with us and taught us about the handicraft industry,
sustainability, research and documentation - knowledge that
was instrumental in enabling us to to complete this project.

Lastly, we would like to thank all the experts who showed

us their craft. The artisans allowed us into their home, into
their culture and shared an extremely personal practice with
us. Understanding the complete weight and value of the
handicrafts of Kutch would not have been possible without
this.

By
Abhijeet Singh, Diksha Keshri, Ipsita Khalko,
Manyata Kumar, Mrunali Chopde
Kutch Skyline
Contents 54 62 72
Suf Emrbroidery Rabari Embroidery Mutwa Embroidery
Artisan - Ms Kanchanben Artisan - Ms Pabiben Rabari Artisans - the women of
Rathod Rabbu Ali Bhai’s family

6 8 11
Preface Welcome to Gujarat! Let’s Head to Kutch
84 94 98
A Virtual Tour The place and the people Ahir Embroidery Parting Thoughts Other Crafts
The Itenerary Artisan - Ms Manjulaben Bhujoudi Weaving
Ahir Bandhani
Leather Work

18 24 28
Interaction with the Experts Introducing the Lush The Zoom Call Begins!
104 110 111
Opportunities are Calling!
Orientation and Sensitisation Embroideries of Kutch Kala Raksha Conclusion Glossary
towards the craft cluster Shrujan
Rann Utsav

29 31 46
The Sodha Rajputs and the Pakko Embroidery Kharekh Embroidery
114 118
Meghwals Artisan - Ms Lachhoben A Visit to the Kala Raksha Annexure Appendix
2 communities in sync Wankar Museum
 Preface
As a part of Craft Research and Documentation module, we undertook a
research based project. This project was focused on learning about traditional
craft clusters and culture of India, in particular, the region of Kutch.
Our research and interaction with the artisans took place through Zoom
Calls facilitated with the help of the office of the Development Commissioner
(Handicrafts). The agenda of this documentation project was to interact with
the craftsmen from Kutch, educate ourselves about their craft and culture, and
become more aware towards the struggles, lives and practices of the artisans.
We learnt about their traditional craft and their business and interacted with
experts in the field who prepared us to enter the cluster.
Apart from our learnings and insight, the aim was to explore where an intervention
can be made as design students and to help the artisans in such a way that their
craft can be revived and marketed with a more sustainable approach in all aspects.
This document includes our learnings, insights, analysis, diagnostics and
suggestions.

A Virtual Tour
The year 2020 has been a turbulent one with universal anxiety. The global
pandemic has pushed us all indoors and online. After the first shock of the
lockdown, we have discovered an all-new way of travelling the world and
meeting new people - through the internet!
For us, the year ended with a tour through Kutch, Gujarat. The salt desert in
the western part of India boasts of a rich and varied culture. Their colourful
handicrafts add life to the region - and we were ever so grateful to be able to
witness it. This document is an account of our entire tour, in a sense. Zoom
Calls were our mode of transport!

The Itinerary

6 7

Welcome to Gujarat!
To understand the context
and culture of the artisans
we will be visiting, let’s learn
about the state in which they
reside.
With Gandhinagar as its
capital and Ahmedabad
as a booming metro city,
Gujarat lies in the Western
part of India, along the India-
Pakistan border and the
Arabian Sea. This state has
been historically significant -
it not only houses the Surat
port but is also the birthplace
of the father of the nation,
Mahatma Gandhi.
Considered as the best
businessmen, Gujaratis
are also known for their
extravagant food and
festivals. Items like Dhokla,
Khakra and Fafda make our
mouths water - the Gujarati
thali is to die for! For festivals
like Makar Sankranti (kite
flying festival), the Kutch
Speaking of Gujarat’s
economy, this state is also
called the petroleum capital
of India because of the
booming industry. It also
accounts for 75% of the
world’s diamond shares. In
Mahotsav etc., they wear terms of its contribution to
traditional colourful ghagra- the textile industry, it is the
cholis (skirt and top for third-largest manufacturer
women) and chorno kediyu of denim in the world. They
(pants and top for men). also get a lot of business
Their folk dances include through tourism - no wonder,
Dandiya, Garba, Dangi and as Bollywood hero Amitabh
Sidi. Bachchan is the impressive
brand ambassador for
Gujarat tourism.
Area: 75870 sq.km. area
Coastline: 1600 Km
Population: exceeding 60 million
Sabarmati River at Ahmedabad

8 9
 Let’s Head to Kutch!
Kutch is a Gujarati district
and the Rann of Kutch, one
of the biggest salt deserts in
the world, occupies most of it.
The word Kutch or Kachchh,
at its root, means something
that alternates between
being wet and dry. This is the
perfect description for the
Rann as it becomes a marshy
shallow wetland during the
rains and a dry desert during
the dry seasons.
It has no shortage of claims
to fame! Some include its
marshy salt flats, its diverse
handicrafts, snow-white
desert sand, kite festivals,
Harappan site Dholaveera,
its beaches and its hills,
its wildlife sanctuaries and
nature parks - the list is
endless!
Area: 45,674 sq. km.
Population: 2,205,900
Population Density: 46 people per sq. km.
Sex Ratio: 908 women per 1000 men
Villages: 924
Literacy Rate: 71.58%

10 11
 HISTORY
This region has seen a long
and tumultuous history. It
joined independent in 1948
and became a district of
Gujarat in 1956.
The India Pakistan
war of 1965 had some
repercussions on Kutch.
Amidst the various battles,
including an operation in the
Rann of Kutch as well, several
communities migrated from
the Sindh region of Pakistan
to India. The India Pakistan
war of 1971 also caused a
similar impact.The Sodha
community is one such
refugee community.
Later, in 2001, the Gujarat
earthquake shook the entire
region. 7.7 on the Richter
scale, it took the lives of
over 20 thousand people. It
left immense destruction in
its wake, but with help from
the Indian and international
community, it rose from the
ashes! This event resulted
in connecting Kutch with the
rest of the country, opening
up business in a big way.
Considering the arid climate,
droughts have been frequent
At Banni, Kutch, 1971
Image by artist/photographer
Jyoti Bhatt
12
in the Rann. Some of the
worst droughts were in
1985-88 and again in 2019.
Drying dams, shortage
of fodder, famine - it was
when the region was worse
hit that other opportunities
presented themselves.
Drought relief efforts brought
resources that helped the
handicraft industry of Kutch
to grow even more!
Even though it is the
largest of the Gujarati
districts, it used to be quite
disconnected from the rest
of the state and the country.
The communities would
interact through trade, barter
system, and intermarriage.
Ever since the opening
up of the region, activities
like animal husbandry,
agriculture, tourism, textile
art, engineering etc. have
thrived, making it an industrial
hub.
13
 PEOPLE AND CULTURE
The people of Kutch have
never let their past get in the
way of their future! Always
the ones for self-sustenance,
they don’t like to take charity.
Instead, they have used the
help they have received
to create opportunities for
themselves. They certainly
embody the spirit of learning
to fish!
Just like the geography of
Kutch, their culture is as
rich and diverse. Multiple
communities live in this
district, and each of them
has their own rituals, dialects,
costumes and traditions.
Some of these communities
are natives of this region
(Ahirs, Kolis, Vaghris, Vadis
etc.), some have migrated to
this region from other parts
of the country (Marwada
Harijans come from the
Marwad, Rajasthan). In
contrast, some have crossed
the border to India at different
times in history (Rabaris went
from Sindh to Jaisalmer to
Kutch about 700 years ago).
Even though each of these
communities and sub-
14
communities has their own
culture, it is interesting to
note how they have evolved
together through interaction,
trade, inter-marriage etc.
The most common religion
within these communities is
Hinduism (Ahir, Marwada
Harijan, Sodha etc.), followed
by Islam (Khatri, Mutwa,
Halepotra, Raysipotra etc.)
and then Jainism. The
vegetarian diet comprising
Kadhi-Khichdi, Bajra na
Rotla (Bajre ki Roti) with curd
and buttermilk is a staple.
Their folk dance and music
are very important to these
tribes. Their folk stories carry
centuries’ worth of spoken
history that is passed on from
one generation to the next.
An important festival in
Kutch is Makar Sankranti
or the Kite Flying Festival.
The sky is full of colourful
kites as people try cutting
the thread of each others’
kites with their manjha, or
glass strengthened threads.
In the interest of preserving
Kutchi culture and boosting
tourism and handicrafts, the
state organises the Rann
15
 Utsav (December - January)
and the Kutch Mahotsav
(February - March) every
year. These events showcase
the unique and rich culture of
the region to the world.

FAUNA - wild asses, Nilgai,

striped hyena, wild boar,
Indian wolf, desert hare,
mongoose, wild cats, black
cobra, russels viper, sea
snake, crocodile, monitor
lizard, kutch rock gecko etc.
wildlife sanctuaries and nature (L-R)
parks in Gujarat Top - cobra, black buck
Bottom - desert fox, nilgai
16 17

Interaction with the Experts
Before virtually visiting the culturally rich land of Kutch, we interacted with experts in the
field of handicrafts, research and sustainability. Over a week-long orientation process, we got
insights into the world of traditional handicrafts and got sensitised about the lives of artisans
across India and within Kutch.
The Craft Documentation
and Design Process with
Mr Debi Prasad Chhual
Singh
Our interaction with Mr
Chhual Singh involved a lot
of sharing - and sir had lots
of experience to share! He
has worked as an assistant
designer at Sabyasachi,
and as a designer at
Raghavendra Rathore before
that. that. Currently, he is the
18
head designer at MRA
Enterprises and the brand
Tanera.
In our session with him,
he gave us an insight on
various handicrafts and craft
clusters. He has worked with
crafts like Dabu printing,
Block printing and Mukaish
work. Listening about each
of these crafts and their
process was incredibly
interesting.
Further, he shared his design
process, things to keep in
mind while designing (such
as trends, the market etc.)
and showed us his work with
the brand.
We were able to get a
unique insight into the retail
experience of incorporating
handicrafts and how one
can bring about design
intervention without losing
the essence of the craft.
Zoom call with Mr Debi
Prasad Chhual Singh
Insights on Kutch
Handicrafts and Handlooms
with Ms Aparna Patel
Ms. Aparna Patel Is an
expert in kutch handicrafts
who Introduced us to local
words that are relevant to
kutchi bharat. She also
sensitizes the students
towards the region by telling
us even though there are
multiple communities which
might be depicting the same
motif drawn from nature, the
stylisation and embroidery
technique varies from
community to community.
She also showed us visuals of
various kutch embroideries,
and explained about the
process and the communities
as well. We were also told
about Kharekh bharat, mutva
bharat, pakko bharat, suf
bharat, rabari bharat and
also about other crafts like
weaving, kala cotton, rogan
art, mashru weaving, leather
art.
Insights on Commercial
Value of Hand crafted and
Hand Woven Products with
Ms Anindita Sardar from
Taneira
In conversation with Ms
Anandita Sardar from Taneira,
we got a lot of valuable
insights into the retail value
of handicrafts and also learnt
that there is a vast scope
for commercialization of
handlooms and handicrafts,
and how one can make
them fashionable ; but the
downside is that the sector is
unorganised, which makes
it difficult but also gives us a
direction in which one can
Ms Aparna Patel showing her
Kutch embroidery shawl
bring about improvement
through conscious design
intervention in this segment.
She said that bringing
traditional handicrafts to the
market is not the issue; it
already exists . But for one to
make sense of the true value
of this handicraft realised in
the market, it is essential for us
to take the consumers’ point
of view into consideration.
Keeping all this in mind she
said that there is an immense
scope for artistic intervention
to make it appeal to urban
markets.
19
 The Sustainable Approach
for Designers in Craft
Cluster with Dr Toolika
Gupta
Dr. Toolika Gupta, Director,
Indian Institute of Crafts and
Design, is a researcher and
teacher in the field of crafts
and design. She has been a
faculty at NIFT, Delhi.
Realizing the need to promote
indigenous research and to
bring it closer to interested
people, she founded TCRC,
the Center for Textiles and
Clothing Research, New
Delhi, in 2016.
In a session with Dr. Toolika
Gupta, she gave us an insight
about Sustainability, UN’s
Sustainable goals and also
spoke about what aspects
make a design sustainable.
On such lines, she shared
about a project one of her
students was working on -
it involved creating textiles
using waste chicken feathers.
Dr Gupta had also posed
some very relevant questions
to us regarding the role of
craft in changing times and
how as design students we
can bring about a change in
On call with
Dr Toolika Gupta
20
the aspect of sustainability.
We got some insight into
what a craft essentially is,
bared down to its minimum,
and how far one can bring
about design intervention
without losing its authenticity.
We were urged to ponder
upon how as future designers,
can we make innovative
changes to a craft to make it
appealing to today’s market
and design sensibilities with
sustainability as the guiding
principle, without affecting
the authenticity of the
traditional craft.
Interacting with Mr Raviveer
Chaudhary from the
office of the Development
Commission (Handicrafts)
at Bhuj, Kutch
Mr Raviveer Chaudhary is
posted in Bhuj, Kutch and
he shared very in depth
knowledge with us about the
craft community at Kutch.
From his experience in the
region, he told us about how
hospitable and forthcoming
the artisans are, provided one
is sensitised and respectful.
We spent considerable time
asking questions about the bring in a new understanding
sustainable approach that of commerce. It is essential
has forever existed at the for us to integrate all aspects
grassroot level. The spirit of of this newly commercialised
“jugaad” is ever present in art to be able to do justice to
every fiber of the community the artisans and the art. This
and there is no lack of session was eye opening
innovation. when it comes to our role
Further, he shared his as designers and design
insights regarding our role students.
as self sustained designers
who might be involved with
traditional handicrafts. The
most essential thing was
a hunger for knowledge -
unless we seek our authentic
information and learning, one
will reach their saturation point
as designers undoubtedly.
The second aspect was a
holistic approach when it
comes to the commercial
side of things, connecting
the dots between traditional
design, the local ecosystem
and story, economics and
sustenance, science and
information, and marketing.
We learnt about the ideal
avenue for our intervention
in the craft process. The
craftspeople are not lacking
a sense of creativity and
aesthetics, but what we can
21
 Interacting with Amiben motifs and stitches. They our interaction with Ms Shroff
Shroff, Managing Trustee interacted with each proved incredibly insightful in
at Shrujan generation of artisans - terms of how to interact with
NGO Shrujan founder, the grandmothers had artisans. Rather than acting
Ms Chandaben Shroff’s lots to share and were as interviewers who solely
daughter, Ms Ami Shroff supervisors, the mothers asked questions, it was
has worked extensively at and elder daughters worked important for us to share our
the grassroot level in the extensively and contributed own stories as well. Making
Kutch region of Gujarat. As a heavily to the sampling that our respect for them known
member of the organisation, Shrujan was involved in, would guarantee us respect,
she has been involved and the younger daughters and would also enable us to
in the Design Center on watched and learnt, eager almost make them family!
Wheels project, and also the to get their chance to start All in all, this interaction
research and documentation embroidering. sufficiently prepared us to
of the Kutchi embroidery Apart from understanding enter the craft cluster with
Ms Chandaben Shroff, founder
project. She is also to be about the craft of embroidery, adequate knowledge.
of Shrujan, with artisans
credited for spearheading
the LLDC museum, or the
Living and Learning Design
Center which houses a craft
museum and a center for
artisans to get training as
designers.
Ms Shroff gave us an
overview of Shrujan’s history
and their work till date with
the artisans. She explained
to us about the various
communities residing in the
region and their lifestyle and
livelihood. Her organisation
is responsible for much of the
revival of the embroideries in
terms of quality and forgotten

On call with Ms Ami Shroff

22 23

Introducing the Lush
Embroideries of Kutch
Considering the rich and
varied culture flourishing
in the Kutch region, one
finds a different style of
embroidery being practised
every ten-odd kilometres. Of
the communities residing in
Kutch, there are twelve who
practice 16 to 18 different
styles of embroidery with over
42 distinct variations within
them. This art adds colour to
the stark white landscape of
the Rann.
It is interesting to note that
traditionally, embroidery was
not meant for commercial
purposes - this is why it
is practised only by the
women. It was a personal
craft passed from mother to
daughter - used as an identity
marker for the community, to
adorn one’s clothing, house,
or cattle, or as a part of one’s
wedding trousseau.
24
Starting in the drought of
the late 1960s, thereafter
getting a push in the 1980s
drought and the 2001
earthquake, the rehabilitation
initiatives brought with
them opportunities for
commercialisation. Rather
than accepting charity, the
women of Kutch earned for
their family with dignity and
began selling embroidered
items. It was with help from
the government and various
NGOs like Shrujan, Kala
Raksha and Qasab that the
women also became bread
earners. This started a new
wave of empowerment - one
that isn’t dying down anytime
soon.
Today, Kutchi Embroidery
has been given the respect
and recognition that it
deserves. It has been given
a Geographical Indication
Tag. This is a matter of great
prestige and means that this
type of embroidery belongs
to Kutch and its artisans.
Artisans may be registered
and authorised to use a GI
Tag on their work, giving it a
unique authenticity. In Kutch,
the art of weaving the Kutchi
shawl has also received a GI
Tag.
On our virtual tour, we
visited various communities
from Kutch and met with
expert artisans in the field of
embroidery. Let’s learn more
about them!
Women as the sole artisans
in embroidery plays a major
part in empowering them
25
 Mochi Bharat Jat Garaasiya Bharat Katab Applique Khambira Bharat Mukko Bharat Neran Bharat

Suf Bharat Pakko Bharat Kharekh Bharat Rabari Bharat Ahir Bharat Mutwa Bharat

26 27
 The Zoom Call Begins! Sodha Rajput and Meghwal
Over the course of two weeks, we met multiple times via
Zoom. Mr Manoj Kundu, who belongs to Haryana, was our
Communities
guide throughout our craft interaction sessions. He works at Sodha Rajput
the office of the Development Commissioner (Handicrafts) The Sodha community is women are also involved in
and has been posted in Bhuj, Kutch for the past couple of native to the Sindh region this. As for their costume, they
years. Our understanding of Kutchi embroideries is owed of Pakistan. They are the dress similar to the Marwari
completely to him. most recent group to have Rajputs of Rajasthan, but with
migrated to Kutch in hordes passing time, less traditional
during the India Pakistan war items are gaining popularity.
of 1971 as refugees. This
Hindu Rajput community,
who settled in government
village camps in Rapar
and Bachhau districts,
still maintains ties with the
SIndhi people on the other
side of the border through
intermarriages.
They are a protector-warrior
community who is known
to be dictated by strong
patriarchal customs. Ever
since the commercialisation
of embroidery began, women
have started earning as well
and this has been a welcome
change. As for the men, they
primarily work as daily wage
labourers and in agricultural
fields - this is their primary
source of income, and many

28 29
 Meghwal
The Sodhas brought their
traditional craft of Kharekh
and Suf embroidery to Kutch
and now share it with the
Meghwal community. The
word Meghal or Meghwar
comes from “Megh’’ or rain
and “War” or people who
pray, meaning that they are
worshippers of the rain. They
claim to have descended
from Rishi Megh, a saint who
30
had the power to bring rain
from the clouds through his
prayer.They are also known
as Vankar or Dhedh in some
regions.
This community also came
from across the border some
700 years ago. Some of them
settled in the Marwad region
of Rajasthan, while a group
of them also settled in Kutch.
Their primary source of
income includes traditional
crafts done by men
(leatherwork, weaving and
woodwork) along with
agriculture and cattle rearing
on the side.
The two communities live
Pakko
closely together and have a
custom of inter-marriage and
they now share other crafts
as well, including the Pakko
Embroidery
embroidery.
The Artisans
First, we met Ms Lachhoben
Wankar. She was sitting on
the sun-lit verandah of her
home with her husband,
both busy in their respective
crafts when we met them.
15km from Bhuj, in a village
called Kukma, lives this
well-accomplished Wankar
family. One of the most
well-travelled artisans, Mr
Wankar is the patriarch. He
is an expert Kutchi shawl
weaver - a skill for which he
has been given the National
Award (in the 1990s) and the
prestigious Sant Kabir award
in 2010. Having exhibited his
work in over 18 countries,
there are few that match his
knowledge of weaving.
31
 His wife, Ms Lachhoben
Wankar, is also a National
Award winner (in 2014).
She is 55 years old and has
now been practicing Pakko
Maru Embroidery for over
40 years. She doesn’t have
time for hobbies as she
remains extremely busy with
managing the household.
With the commercialisation
of the Pakko Bharat in the
late 1980s, she spends a
minimum of 2-3 hours doing
embroidery daily.
Showing us her National
Award-winning piece, she
told us that it took three years
worth of work to complete it.
The proud husband piped
in to say that there is no
other craftsperson who can
do such detailed work! This
sample would typically be
sold for Rs. 90,000. Someone
had recently offered to buy it
for a whopping Rs. 1.5 Lakh,
but they didn’t sell because
of the emotional value of the
piece. In spite of the skill they
have and the recognition
they have received - the
family doesn’t use the GI Tag
for their work. This was
From the Zoom call, artisan at
work (Ms Lachhoben Wankar)
32
definitely something that
puzzled us - perhaps
something they might be
starting with soon.
The husband and wife
typically work together -
while the husband weaves
the shawl, the wife spends
time adorning it through
embroidery. They work daily
in the verandah of their
house, which houses their
loom. Ms Lachhoben lays
a mat in the verandah and
basks in the sunlight while
doing her embroidery. She
only gets a chance to do
this after she has completed
her house chores, though.
Luckily for her, the other
members of her family also
help out. With about 12-13
girls in the house, including
daughters, daughters-in-law,
and granddaughters, each
of them is involved in the
family’s occupation.
33
 This Wankar family is
also extremely proud of
their daughter-in-law, Ms
Kankuben Wankar. She is
not only a National Award-
winning artisan (in 2011)
but also the Sarpanch of the
village. She worked hard for
her education even as a child
- as a student of 1st class,
she would spend her recess
helping with the embroidery
work at home - whether it
was winding the bobbins
or organising the yarn. She
started young and is now an
expert embroiderer and also
a weaver.
Breaking gender norms, it
seems almost 60% of the
women in their village are now
doing a traditionally male-
dominated job - weaving.
When asked about why
men aren’t crossing over the
same boundary and taking
up embroidery, she jokingly
said, “ego hai na!”
34
We also got to interact with
a budding artisan in the
family, Ms Lachhoben’s
granddaughter, Maru
Ashwini. She was wearing
her school uniform and was
helping her grandparents
showcase their work. Ever
proud of the women in his
family, Mr Wakar beams
while Ashwini speaks to
us. Choosing not to take
up embroidery, she is
comfortable working on the
family loom. As this is not
as time-consuming, she
finds it easier to balance
this with her school work. A
proponent of modernisation,
she encourages the elders
in the family to increase their
online sales - something she
is sure will help during the
COVID times.
“Men stay away from
embroidery because it’s a
woman’s craft. It’s their ego!”
(L-R)
Top - Ms Lachhoben Wankar; husband Mr Wankar
Bottom - Daughter in law, Ms Kankuben Wankar; granddaughter, Ms Maru Ashwini
35
 The Comunity
The women of the Wankar
family belong to the Meghwal
community and they practice
Pakko Maru Bharat, a subtype
of the Pakko Embroidery.
Typically, this is done primarily
by three communities -
Sodha, Rajput, and Meghwal.
The Rajput (or Jadeja)
community, traditionally
Sindhi Rajputs, belongs to
Kutch. The Sodha community,
on the other hand, migrated
to Kutch from Sindh during
the war of 1971 as refugees.
They brought their rich
tradition of embroidery with
them.
It is interesting that both
these groups live together,
and practice the same
embroidery techniques -
a unique custom of inter-
marriage is the reason
behind this. Some say that
traditionally, the Jadeja
community did not practice
embroidery while some say
they were masters of the
Huramjee Bharat technique.
Either way, young Jadeja
girls are taught by their
Sodha sisters-in-law and
36
mothers-in-law, making
way for a shared home and
craft. The women of both
communities generally stay
at home and embroider
whenever they get free
time from housework. The
men are primarily involved
in agriculture, and it is the
primary source of income,
but tends not to be sufficient
to run the household.
Along with the Sodhas and
Rajputs, the Meghwals also
practise the art of Pakko
Bharat. The women are
engaged with housework
throughout the day, but take
out time for embroidery as
well. They use a combination
of Pakko (durable) and
Kachcho (not as durable)
stitches to create various
designs.
Craft products
Bharat
What is Pakko Bharat?
The word “Pakko” literally
translates to Pakka or
solid and permanent, and
“Bharat” means to fill. It is
named so because of its
dense stitches - it is said that
even if the base fabric wears
away, the embroidery will
remain. Multiple communities
practice it, each with their
own stylistic variations.
This technique is passed
down through generations
as young girls help their
mothers and grandmothers
since they are children. They
properly start to embroider
by around 12-13 years of
age. Soon they start making
items in preparation for their
own wedding trousseau.
They pick up the skill quite
quickly, and their design skill
is instinctive - it is “majgar”
or comes from their mind
as Mr Wankar said. The
popularity of this craft was
going down as it seemed
like an unnecessary waste
of effort, but it is regaining
its former glory since the
commercialisation of the
craft in the 1980s.
with Pakko
37
 The Technique
To create this sturdy embroidery a variety of stitches so dense that one can not see the base
fabric. Ms Lachhoben Wankar sources her thread from Bhuj, Kutch, and the fabric primarily
comes from her husband’s loom.
The first step is to trace the
motif onto the base fabric by
passing black or white mud
through a punctured stencil
or khakah. This step is called
Aarekhani or Chhapai. This
may be done by the artisan
themself, or more commonly,
it may be outsourced to
another craftsperson who
specialises in this.
The most popular motifs
featured have been
drawn from their physical
surroundings - whether it is
flowers, animals or birds.
Each community has its
own stylistic variations, and
dialect-based changes in
the names. One generally
sees a mix of geometric
designs and floral designs.
Some examples include
Morla or Moriyo (peacock),
Mayyari (a woman), Bavariya
(a criss-cross motif), Chakli
(sparrow), elephants,
scorpions, Phool or flowers,
borders etc.
top - chhapai
bottom - abla bharat
38
These stylised motifs are
then embroidered with
colours like maroon, red,
dark green, white, or yellow.
The most common stitch
used in Pakko embroidery
is the Chireli Saankdi (also
called the Pakko Ni Aank or
Chireli Aank). Translated, this
means a torn chain (stitch),
or a broad square chain
stitch. Another significant
stitch is the Sewa Bharwan
or running hand stitch. Also
known as the Khann stitch,
it is generally done in white
to highlight or outline the
motif. They also incorporate
mirrors in the embroidery
- this is called Abla Bharat
(abla or taak means mirror).
The abla is shaped, then
secured using the sankdi
stitch, around which a variety
of stitches can be used to
decorate it further.
various stitches used - including
chireli sankdi, tappo, bakhiyo,
sebho etc.
39
 abla bharat motifs

Generally, the embroidery is

done directly on the fabric,
without holding it taut with
an embroidery frame. This is
when the fabric being used
is cotton or wool. If the base
fabric is a silk or silk blend,
an embroidery frame is used
to avoid any pulls in the
delicate fabric. A beginner
may also use a frame while
learning.
To identify if a piece of
embroidery is authentic or
not, one must look at the
wrong side of the fabric. If
there are no loose ends or
if the thread colour does not
match the colour on the right
side, then it may be machine-
made. To distinguish a
Pakko Bharat design done in
Kachho Bharat (not as sturdy
or dense), one needs to have
an expert eye. A Kachho
(L-R)
Bharat piece will cost about
Top Row - Phool Bharat,
Rs. 200-300 less than its
Achha Phool, Bavariya Bharat
Pakko Bharat counterpart.
Center Row - Mayyari (girl),
Chakli (sparrow), Morla
To explain the value addition process, the Wankars showed
(peacock) Bharat
us an embroidered blouse. After spending about a week or
two on it, a profit value of Rs. 200 is added, and it is sold for
Bottom Row - Hathi
Rs. 1200, where input cost was Rs. 1000.
(elephant), double phool

40 41
 Cuurent Scenario and
Diagnostics
STRENGTHS
This craft boasts of a truly
diverse variety of stitches and
motifs. As it is done by multiple
communities, each having
their own stylistic variations,
the options to choose from
are virtually limitless. The
artisans are highly creative
and their aesthetic sense is
impeccable. This provides
for items that sell every time.
Artisans who embroider
for commercial use are not
sceptical about diversifying
their range of products.
In fact, they constantly
think of new items that can
be embroidered to suit
different markets. They
have diversified their range
of products in response
to trends. There are now
face masks, T-Shirts, skirts,
embroidered stick-on
patches, belts, caps etc. - all
with Pakko Bharat!
42
WEAKNESSES
Till recently, the younger
Another commendable artisans practised it as a one
aspect is the convenience stitch technique, meaning
of this craft. No matter the that only one or two types
weather, time of day, or the of stitches were in use, and
availability of space, one the motif options were also
can continue embroidering highly limited. As with the
unhindered, unlike weaving other embroideries, there
which requires space and was no standardisation,
specialised machinery. formal record keeping or
On top of that, it allows organisation of the craftsmen.
women to contribute to the Hence, some elements
family’s earnings. This not began to get forgotten.
only makes them more self Fortunately, with the
reliant and independent, commercialisation of
but also raises their value in the embroidery, the
other community members’ government’s initiatives, and
eyes. One can see the pride several NGOs’ tireless efforts,
that the women bring in Ms the truly diverse nature of
Lachhoben Wankar’s family. the Pakko embroidery was
revived. The “grandmother”
generation became involved
in the research and study of
the art, and over 42 different
kinds of stitches were
discovered. Several motifs
were also brought back into
practice.
wrong side of pakko embroidery
- loose threads for identification
Also, there is still a stigma
associated with the craft.
As Ms Kankuben Wankar
told us, men consider
embroidery to be beneath
them as it is a woman’s job.
Their ego doesn’t allow them
to truly appreciate this craft,
let alone practice it themself.
A consequence of this is
that the women remain
perpetually overworked.
They have to look after the
house and children, help
out with the family’s other
sources of income including
weaving, and also take time
out for embroidery. Not a
moment’s rest is allowed.
43

OPPORTUNITIES
According to Ms Kankuben
Wankar, the Sarpanch at
Kukma village, the various
programs started by the
government have certainly
helped revive the art, but very
limited benefit has reached
the artisans themselves. She
wants the government to
help by buying the unsold
stock with the craftsmen
and include their work under
MNREGA. She also hopes
for a “Work Shed” for the
ladies practising embroidery
- this would not only allow
them a break from home and
working in an organised set
up but would also create an
empowered community.
44
THREATS
Talking about the impact of they don’t know how
the Pandemic, sales have to distinguish between
certainly taken a hit this year, authentic work and ripoffs.
but the artisans continue Marketing the authenticity of
creating items in hopes for the hand done Pakko Bharat
larger sales going ahead. and increasing awareness
It is essential to come out about it can help.
of this drop soon, through It is not unheard of that there
online sales and exports, or might be designers or NGOs
it can become difficult to get who work with the artisans
out of the slump. under the garb of people who
Machine made embroidery, want to help but end up taking
A lucrative opportunity for which is cheaper, causes a big chunk of the earnings
increasing the reach and problems for the craft. Most for themselves. A lack of
sales of their products is customers are not aware of business education makes
making use of social media. the significance of traditional the artisans vulnerable to
There are some artisans hand done Pakko Bharat and being cheated in this sense.
who make use of Whatsapp
but establishing a brand on
other platforms might help
them greatly. While most
older crafts people are not
well versed with using social
media, the younger school
going generation can help
in this. Like Maru Ashwini
suggested, especially in the
time of COVID, the internet
provides many marketing
opportunities. This would
also greatly involve younger
artisans and pique their
interest in the craft and
entrepreneurship.
45
 The Community
The Sodha and Meghwal
communities living in
Sumrasar village, Paragpar
Mundra Taluka of Kutch
and in Banaskantha Village
of north Gujarat practise
the Kharekh embroidery.
Relatively recently, the
Kharek embroidery has also
been taken up by the Harijan
community. They used it to
adorn their Kanjaral-Tunic
like top and Choli/blouse. The
people of these communities
Kharekh follow Hindu religion and
wear costumes rooted in
Women are highly skilled
in embroidery and mostly
prepare to do it in their
leisure period, they generate
income by creating
embroidery samples. Other
than embroidery they
spend their days doing
household work and looking
after their family. The main
occupation for men in these
communities is agricultural
labour, weaving (especially
Khadi), woodcarving, and
cattle rearing.

Embroidery tradition, With the marvelous

heavy kharek embroidery
done all over the garment.
Their regular diet includes
rice, wheat and maize, and
A Visit to the Museum
pulses such as moong,
Next, we visited the Kala
urad and chana. They also
Raksha museum at Sumrasar,
eat egg, fish, chicken and
Kutch. Kala Raksha is an
mutton when available.
organisation that works
Eating pork, beef and buffalo
towards the preservation of
meat is against their religion.
traditional arts at Kutch. Mr
Mukesh Bhanani, a member
of the organisation, showed
us around the museum,
going into the history of the
community that practices
Kharekh Embroidery.
Zoom call with Mr Mukesh Bhanani

46 47

What is Kharekh Bharat?
Traditionally done during
their leisure time, it has now
been taken up as a main
income source for families of
these communities. Typically,
the embroidery is practised
by girls, for gifting it to their
future husbands. Girls of the
Meghwal community begin
to learn embroidery from the
age of 15-16 years. While
learning, they create small
swatches of embroideries
and give them to their family
members. Later, with practise
they develop fine quality
in their work, and begin to
create embroidered items for
their future husband.
The embroidery products
created by the girls represent
them. It is believed that the
patterns, motifs, and the
48
colours they choose tells a
lot about them. Whenever
the embroidered products
are sent to the groom’s
house, women from around
the neighbourhood gathered
there, to look at the items
sent by the bride to discuss
her qualities, behavior and
personality.
Traditionally, 60-70% women
of these communities
practiced Kharek
embroidery, they were mostly
from the age group of 18-40
years. After around 45 years
of age, it becomes difficult to
continue with this craft as it is
extremely intricate and years
of practise take a toll on one’s
eyes. These days, fewer girls
are taking up this craft as it is
extremely painstaking.
The Technique
Step 1: First they count the
warp and weft of the fabric.
The fabrics used include
cotton and silk. Artisans plan
their motifs and its placement
by counting the threads. They
are very precise in counting,
as the miscount of any one
thread can change the shape
of the motifs and will not be
able to generate the quality
as per expectation.
Step 2: They do not trace the
pattern on the fabric. Instead,
they start embroidering
directly, making the motifs
through a combination
of their imagination and
counting the threads. Silk
floss yarn, rayon, and cotton
threads are used. They
draw code of the motifs by
counting the threads as per
motif over the fabric. Code is
the motif’s outline drawn over
the fabric by black thread.
The plain stitch is used with
black thread for this. The
motifs are generally floral and
geometrical. Some common
motifs include scorpions,
peacocks, flowers etc.
49
 Step 3: After the black
outline is ready, artisans fill
them with vibrant colours
using satin stitch. The satin
stitch is done from top (right
side of the fabric), unlike suf.
Women have a marvelous
sense of colour combination.
Traditionally they don’t use
many colours in a motif
pattern, but today they use a
combination of 8-9 colours,
each placed so beautifully
that never one colour
will be contradicting with
others. Red, yellow, blue,
green, pink, orange etc. are
common colours.
Step 4: Mirrors are an
important part of embroidery.
They decorate their designs
by placing different shaped
mirrors or abla between
them. The cross stitch is used
for Abla Bharat. In Kharek
the whole fabric is covered
with embroidery, there is no
trace of base fabric that can
be seen from the top.
50
Current Scenario and
Diagnostics
STRENGTHS
The strength of Kharek
embroidery lies in its unique
process. As the motifs and
patterns are created through
the artisans’ imagination,
which make every motif
unique and make the craft
luxury by itself.
It is also said that the
one who can do Kharek
embroidery can also do any
other embroideries, as it is
most difficult. Whereas other
embroidery artisans cannot
practise Kharekh, if they are
not much experienced in it.
Organisations like Kala
Raksha, Shrujan and Qasab
tie-up with these artisans,
providing them the raw
materials and the market
to sell their products and
opportunities to make it
recognisable all around the
world. The wages for artisans
are decided by the artisan
community itself. They are
paid according to the time
taken, intricacy of the motifs
done on per meter cloth, and
according to their quality of
the work. These
kharekh bharat products 51
 organisations pay the
artisans per month, and the
women are free to work at
home at whatever time they
prefer.
Presently, Kharek is done on
products like bags, home
furnituring, cushion cover,
quilts, garments, stoles,
scarves and traditional
games like, ludo, chess
and chaupar. These are
sold in both national and
international markets
(exports majorly through
NGOs).
Export, however, has
increased to markets like
Japan, Hong Kong, Australia,
Asian Countries and less
of Europe. Their typical
consumer is usually from
high elite classes. A small
bag would cost anything
from Rs. 500 to Rs. 4000,
while garments can cost way
more.
WEAKNESSES
With strength the craft also
has its own weakness, which
is the requirement of perfect
eyesight and the time taking
process of it. It is a highly
52
detailed craft that requires
immense patience and
precision. Because of this,
today’s generation is not
inclinded to take it forward.
Even though the artisans
of the community can be
authorised to use the GI Tag,
many are not aware of how to
use it in their products.
The global pandemic has
affected the domestic sales
terribly as there wasn’t much
tourism.
OPPORTUNITIES
Organisation and NGOs
have opened the door of
huge opportunities for the
Kharek embroidery, they
help these artisans to make
their craft well published in
the world and help them to
The greatest
earn proper livelihood by
practising it. Today many
designers and organisations
are collaborating with the
artisans, creating a lot of
scope for the craft and
craftswomen.
embroidery
Also, since most Kharekh
artisans are well versed with
other embroideries, they can
create unique combinations
of multiple crafts on the same The current status of Kharek
piece. Alternating between embroidery is precarious
crafts that are simpler and and the number of artisans
Kharekh might also allow practicing this art are
them a much deserved break dwindling. Since it is a
from the painstaking nature painstaking technique that
of their traditional work. requires patience and a
Since there are very few perfect eyesight, girls don’t
artisans who practise want to give their efforts
Kharekh embroidery till date, into the same sample of
there is room for a revival. The the products for months.
artisans who are continuing Moreover, counting and
with this work can re-launch calculating each stitch takes
the craft in a sense, giving a toll on one’s eyesight. Suf
it a luxurious, novel and artisan Ms. Kanchanben
exclusive standing in the Rathod fears that it might go
market. extinct soon. Kharekh artisans getting their
eyes tested
THREATS
Though with the opportunity
there also comes the threats
for them. Most designers
and organisations provide
thing the artisans with their own
created motifs and patterns,
required which for present generation
for this artisans has brought the
feeling of easy earning with
less effort, as they are not
willing to give much time to
is a perfect the craft and working with
eyesight!
others motifs will also affect
the artisans creativity and
imagination.
53

Suf Embroidery
The Artisan
Next, we went to Bhuj city
in Kutch. We visited Ms
Kanchanben Rathod’s home
and got to interact with her
mother as well. They were
sitting in their drawing room,
waiting to showcase their Suf
work.
54
Ms. Kanchanben Rathod
is an expert artisan and
designer in Suf Embroidery.
A member of the Sodha
community, she lives with her
family who left their village
and moved to Bhuj about
30-35 years ago. Her father
is a retired forestry officer
and her mother was also an
expert embroiderer. Now in
her 20’s, Ms. Kanchanben
started learning embroidery
as an adolescent and has
been practicing it for the last
14-15 years. It is only in the
past 2-3 years that she has
taken it up professionally.
She has a younger sister
who also knows how to do
Suf embroidery and helps
out the family whenever she
finds the time.
This Rathod family has built
a business for themselves
in various kinds of Kutchi
embroideries. They have
employed about 30 women
from multiple communities
including the Ahir, Jat, Pakko,
Kharekh and Suf artisans.
They spend about 3-4 hours
doing embroidery, mainly
for Government exhibitions
and sometimes on an order
basis, after having done
their household work. Ms.
Kanchanben herself can
practice 10 of the 18 different
styles of Kutchi embroideries.
Since Suf is one of the hardest
techniques to master, the
others come naturally to her.
She only needs to look at a
piece of embroidery and
can decipher the technique
used.
A prospective project with
the brand Aurelia is in the
works for Kanchanben. She
showed us a sample piece
she did for the brand - having
taken apart the stitching of a
pre-existing kurta, adorning
it with Sud embroidery, and
then re-closing its seams.
She has also worked with the
brand W in the past.
55
 For the time being, she works
for 5 to 6 hours daily, taking
some time out for a special
piece she is working on, in
hopes of getting a National
Award. This piece is inspired
by the India Pakistan war of
1971 (an important event in
her family’s and community’s
history) and is like nothing
one can find in the market.
Her mother, and mentor, was
one of the refugees who
came from Sindh, Pakistan
in 1971. She was 5 years
old when they migrated and
is 55 years old now. She
doesn’t remember much
of Sindh (although they do
have some relatives who still
live there), she has been a
master craftsperson for Suf
embroidery and has headed
many workshops and classes
Top: Kanchanben Rathod
Bottom: Kanchanben’s
mother who was a master
craftsperson and her father
who is now retired
56
for the same. Like most
women who practice Suf
embroidery, though, she can
not embroider any longer.
This art takes a serious toll
on one’s eyesight and such
intricate work involving
counting the warp and weft
of the fabric is not possible
for women over the age of 45
years. Instead, she practices
applique and crochet work
now.
The Community
The Sodha Rajputs and
the Meghwals are the two
communities who have
mastered the art of Suf
Embroidery. It is one of the
most complex embroideries
along with Kharekh, and both
these arts are mastered by
the same group of people.
What is Suf Bharat?
One of the embroideries gaining an education and
practiced in Kutch is the going into more lucrative job
Suf or Soof embroidery. This opportunities, leaving behind
technique is as beautiful as it this traditional craft.
is painstaking and complex.
The word suf means
“triangle” and this element
is a key identifier of the art.
This style is so intricate and
detailed that it often comes
across more as a weave than
a surface embellishment.
Just like all other embroidery
techniques, it is used to
decorate one’s home, one’s
costume, or in preparation
for one’s wedding trousseau.
Some common articles
that are embellished by
the suf embroidery include
the ghagra-kanchli (top
and skirt), bed spreads,
wall hangings or toran,
quilts, cradle cloths, animal
trappings and cushion
covers.
Traditionally, young girls
embroider items for their
trousseau themselves, but
considering the painstaking
effort required, fewer people
are doing it themselves and
often get it outsourced. More
and more women are
57
 Technique
Suf Bharat is one of the
most complex styles of
embroideries in India.
Instead of drawing or tracing
the motifs on the fabric, the
artisans embroider directly
and are guided by the
threads of the fabric. They
create geometric motifs
- “sufs” or little triangles
reign chief when it comes
to identifying this technique.
They design the pattern as
they go, counting the warp
and weft in both directions to
create perfectly symmetrical
designs.
The embroidery is done on
a loose piece of fabric - no
embroidery frame. It is done
on the wrong side of a cotton
or wool fabric so that the
yarns are are clearly visible.
The Rathod family sources
their fabric locally, but their
yarn comes from Mumbai
because of its superior colour
fastness. As for the yarn, the
silk thread is prefered due
to its shine but cotton works
well, too. One must work fast,
though, because the silk yarn
is quick to get tangled.
58
phooladi (flower) motif
The stitch used is the satin chevron design) and lath
stitch and it is done on (criss cross pattern). Even
either side of the fabric. The though it wasn’t a traditional
women create the designs feature in Suf, the use of
from the wrong side, but mirrors, locally called Abla
to the untrained eye, both or Tik, has become quite
sides might seem identical. common to add details.
They do not knot the thread, Practicing the complex Suf
and instead cover and hide embroidery throughout one’s
it within the satin stitches. youth can cause a strain
Their colour choices are on one’s eyes. Because of
highly varied, but it is easier this, women can no longer
to work on lighter fabrics as practice this craft beyond
opposed to dark fabrics as it the age of 40-45 years since
is easier to see the yarns in counting the warp and weft
the former. becomes difficult. Instead,
The motifs created in this they graduate to simpler swatch with various
embroidery are highly crafts like applique work. motifs
stylised and are inspired
moriyo (peacock)
by nature and their and paniyari (girl)
surroundings. Elements like
flowers(phooladi), trees,
peacocks (mor), mandals,
and human forms that
resemble stick figures (like
paniyari or a woman carrying
water) are used as motifs to
create beautiful rhythmic moriyo (peacock),
ped (tree), phooladi
patterns. Other common
(flower)
motifs include golado/
gorado (diamonds), mordh
(sehera worn by a groom on
weddings), lahar (wave/
counting warp and weft
embroidery without knot
final suf or triangle
59
 Current Scenario and
Diagnostics
STRENGTHS
One of the most beautiful
embroideries of Kutch, it
requires immense skill.
Considering the difficulty
level of Suf Bharat, all
artisans who can do it can
also do other types of Kutchi
embroideries as they are
relatively easier.
The motifs of this embroidery
are highly stylised. The
geometric motifs placed in
a minimalistic design, which
is what artisans are leaning
towards, appeals to the
current popular aesthetic
sensibilities. Apart from
traditional items, modern
designs can also be made
using this embroidery.
The various traditional and
tourism responsive products
they are making include
shawls, stoles, laptop bags,
passport pags, cushions,
blouses etc.
Suf embroidery is included
within the Kutchi Embroidery
GI Tag. Being an authorised
artisan with a registered
artisan card authenticates
their work and ultimately
top - Kurta for Aurelia
60 bottom - mark with Suf
helps by means of recognition
and sales. This also allows
artisans like Kanchanben to
get invited by the government
to take part in various craft
exhibitions.
WEAKNESSES
Since this art form is so
intricate, its popularity
seems to be dying down
with younger generations
within the artisan community.
It is still not seen as the most
lucrative of job opportunities
and younger women prefer to
take up other opportunities.
Kanchanben feels that
complex embroideries like
Kharekh might soon go
extinct because the effort it
takes to embroider a product
far outweighs the returns.
Considering the intricacy of
the craft, it takes a toll on
one’s eyesight and requires
great patience.After a certain
age, it becomes impossible
to continue counting the
warp and weft and the
artisans with the maximum
expertise can not continue to
embroider.
The fact that so many women
have given up on this craft,
or only do it for traditional
purposes means that the
responsibility continuing the
tradition is left to a smaller
group of women.
OPPORTUNITIES
There has been a conscious
attempt by various NGOs
and the government to
revive this craft and they
have been somewhat
successful. Many brands
and designers commission
Suf artisans to embroider
items. Kanchanben has
worked with the brand W and
is in talks with Aurelia. Such
mainstream brands using
Suf Bharat is a major nod to
the craft’s market value.
Instead of considering the
Pandemic as a setback,
the artisans who work with
Kanchanben are using it as
an opportunity to experiment
with different design
variations. An optimistic view
is also allowing them to build
their stock in the time being
so that they have more to sell
in the coming years.
Since most Suf artisans are
highly skilled in almost all
Kutchi embroideries, working
together as a group might
provide great opportunities.
It will allow them to support
each other, protect
themselves against unfair
trade practices, and will also
empower them to start their
own entrepreneurial venture
where they don’t have to be
limited with just one craft.
THREATS
On an average, one earns
about Rs. 10-20 thousand per
month through government
exhibitions. With machine
done copies, mostly printed
Suf motifs, act as cheaper
alternatives for customers
who don’t care much for
authentic embroidery. This
threatens to undermine the
novelty of a traditionally
Because of
embroidered item. its intricacy,
Suf dupes
The pandemic has also
caused a huge challenge
for Suf artisans. Sales have
been completely stagnated
are generally
and many artisans have printed, not
been forced to take up other
jobs to sustain themselves. embroidered
61
 Having lost her father at a
young age and dropping
out of school in fourth grade,
she persevered, working as
a labourer as well to support
herself.
Like others of her
community, she started
doing embroidery when she
was 13 years old and has
been practising ever since.
She picked up the skill from
her mother and grandmother
and used to do it along with
her work as a minimum
wage daily labourer. After
getting married, she was
encouraged by her husband
to stop working for others
and start her own venture.
In 2015, she launched a
web-store called Pabiben.
com, involving other women
of her community. As we
interacted with her via
Zoom, she introduced us
to some of the artisans who
were working with her, busy
talking, sitting in a circle and
embroidering. There are over
160 women she employs -
either come and embroider
with her at her workshop, or
they take the raw materials
from her and do their allotted
work at home. One only gets
a chance to do this work
after they have been able to
complete their housework.
A very interesting anecdote

Rabari It has been 4-5 years since

Pabiben has commercialized
she shared with us about her
success was that the popular

Embroidery the embroidery.

The Artisan
Next, we met Rabari
Embroidery expert, Ms.
Pabiben Rabari. She belongs
to Bhadroi Village. A creative
person with an enterprising
spirit, she has made a name
for herself as an expert
artisan and entrepreneur.
In the Rabari community,
Bollywood movie, Sui Dhaga
was inspired by her life. This
there is a custom where one is certainly testament to her
never sends guests back skill and success.
without gifts. She gifted some
embroidered bags to her in-
laws when they were visiting
and this became a huge hit!
This gave her the idea to
start her own bags business
called Pabi Bag.

62 63
 The Community
Traditionally a community
of tribal herders and
shepherds, they primarily
reside in Gujarat, Rajasthan,
and Punjab. They are a Hindu
Rajput community whose
primary deities include Ram,
Krishna and Shiva. In more
recent times, members of
this community have taken
to other occupations as
well, like animal husbandry
(maaldhari means cattle
herder), rikshaw pulling,
retailers etc. They prefer to be
self employed, though, rather
than working for other people
- the very sentiment that
guided Pabiben’s enterprise.
The community also boasts
of strong women. They have
a matriarchal social structure
where women manage the
Women wear black and
men wear white - forever
in mourning and in
respect
64
village and conduct the
majority of their business.
Traditionally, they make items
like toran, home decoration
items, saddles for camels,
blouses with embroidery etc.
Translated, the word Rabari
means outsiders. This is
perhaps since they are
native to the Sindh region of
Pakistan. They migrated to
Jaisalmer, Rajasthan about
700 years ago, and some
travelled further towards
Kutch. Stories of this journey
inform their dress choices till
date. Traditionally, men wear
white clothes while women
wear black. It is primarily their
Ludi or veil that is decorated
with extravagant embroidery.
Pabiben narrated the reason
behind this.
Once upon a time, the King
of Jaisalmer called a barber
to his court. The barber told
the king about the Rabari
women, their wealth, beauty
and their nath (nosering).
He suggested that a Rabari
woman would make for an
ideal bride for the Kind. In
turn, he sent a message to
the Rabaris asking to marry
a female member of the
tribe, but the community
denied, Inter marriages were
forbidden. Furious, the King
then gave an order for all
the Rabaris to be killed. As a
result, the community had to
flee. The girl who the King had
asked to marry prayed to the
Dharti Mata (Mother Earth) to
protect her community from
the King’s men. As sacrifice,
she was swallowed by the
earth. To honor the memory
of the girl who protected
the community, all the men
wear white and the women
wear black in mourning and
respect.
Dharti Mata (Mother Earth) to
protect her community from
the King’s men. As sacrifice,
she was swallowed by the
earth. To honor the memory
of the girl who protected
the community, all the men
wear white and the women
wear black in mourning and
respect.
65
 What is Rabari Bharat?
This is a personal craft
done by the Rabari women
along with their housework
and helping in animal
herding. After finishing
their daily errands, they
gather in a common place
and embroider together.
Daughters learn the craft
from a very young age, about
thirteen years of age roughly.
Mothers would start training
their daughters as soon as
they reach maturity.
Traditionally, it is done
in preparation for one’s
marriage trousseau as dowry.
In their tradition, the groom’s
family pays a bridal price
to the bride’s family and in
exchange, the bride carries
pieces of Rabari Bharat as
dowry. It is essential that the
bride be the one to have done
the Bharat and complete
what was demanded by
the groom’s family, else she
will not be allowed to inter
her in-law’s house. Since
embroidery is a taxing and
time consuming practise and
they also had to support their
family’s work, the impact of
66
this custom was that young
women would find it difficult
to complete the embroidery
before their marriage. This
meant that they could often
not join their husband’s
family till they were about
30 to 40 years old. Hence,
Bharat as dowry became a
social taboo.
As Pabiben shared with us,
simpler crafts like Qatab
applique have increased in
popularity and have filled the
gap created by this.
The Technique
There are primarily three
styles of patterns done
in Rabari Bharat - moti
(beadwork), katab (appliqué
technique), and abla (mirror-
work). They do not follow
a template and embroider
directly on the fabric using
their imagination. The colours
that are primarily used
include black and maroon for
the base fabric and white and
yellow for the embroidery.
The base fabric is generally
cotton, silk, wool or satin and
is sourced from Bhuj, Kutch
or from Ahmedabad.
The most common motifs
include birds, animals,
flowers and geometric
shapes like rectangles,
squares etc. They represent
mythological stories, their
beliefs and culture through
the Rabari Bharat. A spike-
like border is made around
the motifs. This triangular
shape is called daant or
teeth. The names of other
motifs include Panihari
(woman bearing water),
Sandiyo (camel), Vichhi
(scorpion), sudo (parrot),
Makodiy (zigzag) etc.
tracing
67
 The stitch used is primarily
the chain stitch or Saankdi.
The other main stitches
include Bakhiyo, Tappo, and
Trajako. To make it Pakko or
durable, the stitches are filled
very densely. They attach
colourful trims like beads,
shells, buttons and tassels to
add details to the embroidery
work. The mirror or abla is
generally of medium to large
size.
Normally, one can devote
3-5 hours to embroidery on
a daily basis and it takes a
month and a half to embroider
one saree.
Rabari work often also
includes the Katab Applique.
This high quality applique is
done by creating motifs that
resemble Rabari embroidery
with thin strips of fabric.
Mirrors are not generally used
in this applique technique.
top - daant motif
center (L-R) - peacock and panhari
(water bearing girl)
bottom - dedi (temple) motif with
bavariya in the border
68
Current Scenario and
Diagnostics
STRENGTHS
The variety of the stitches
found in this embroidery
draws a lot of attention from
across the world.
A lot of variations can
be made in this type of
embroidery. The chain stitch
method used in this type of
embroidery for decorative
purposes gives an added
edge over various other types
of embroideries. Since it has
received a lot of attention in
the recent past, partly due to
the film Sui Dhaga that was
based on Pabbiben Rabari,
it is one of the most popular
embroideries of Kutch.
Moreover, even though
the style of embroidery
is traditional, it has been
evolving continuously to
match up to new trends. In
terms of diversification of the
products, items like bags,
wallets, diary covers etc. are
being produced.
Unlike most other
communities of Kutch, the
Rabari community has many
strong matriarchs. Their
women are known to be
strong willed and are even
encouraged to be self reliant
and independent. Pabiben,
for instance, has started
multiple entrepreneurial
ventures and was
encouraged by her husband
at every step.
The craft has received the GI
Tag which acts as a stamp
of authenticity for autherised
users. The government also
sets up exhibitions and fests
where this craft can be sold.
Offline, they mainly sell their
products at exhibitions like
Rann Utsav, Shamlaji Fair,
Bhavnath Mahadev Mela
etc. Pabiben prices are bags
from Rs. 250 to Rs. 990, and
sarees from Rs. 2,000 upto
a few lakhs depending on
the complexity of the work.
Many artisans also work on
an order basis with NGOs,
designers, and clients.
69

WEAKNESSES
This type of embroidery
takes a lot of time. It is done
only by the women who must
complete their household
work before picking up
embroidery. Thus they can
only spare a maximum of
2-3 hours per day on the
embroidery.
Earlier, the dowry would
include a lot of this
embroidery work. Young girls
had to embroider their own
wedding trousseau before
70
getting married and moving
to her husband’s family.
Waiting to complete their
dowry would result in delay
of their marriage and hence
this practice was banned.
Apart from the traditional
side of things, the business
isn’t very well organized.
Commercialisation of the craft
has been recent and due to
the lack of relevant training,
the business structure is not
ideal.
The women face a lot of
issues because the majority
of them haven’t had a
chance to complete their
formal education and haven’t
stepped out of their villages,
hence they face difficulties
when it comes to marketing
their products, handling
social media and interacting
with customers, so on and so
forth.
OPPORTUNITIES training in photography, This craft is passed down
With the onset of documentation, and social through generations, The
commercialization of the media management, one will older women teach the craft
craft, Rabari embroidery is be able to see spectacular to their daughters but as it
being widely recognized and results. is passed down, its quality
appreciated across the world is getting degraded. Since
which is helping generate THREATS they are no longer doing
income for the community. A lot of third party sources the embroidery for their
The new found popularity and middle- men are own use, they are not as
and appreciation of the craft involved in the sale of Rabari motivated to create creative
(in part thanks to Bollywood embroidery as the women and superlative work.
film Sui Dhaaga) has created themselves don’t deal with the Moreover, the younger girls
room for a boost in sales. customers and clients. Since prefer getting educated and
A lot of NGOs like Shrujan and they haven’t received proper moving to bigger cities to
Kala Raksha have helped training or had enough first explore more lucrative job
and empowered the women hand experience, they are opportunities.
of the Rabari community. left vulnerable to exploitation
They provide opportunities to by all those involved in the
commercialize the craft and transaction.
export it as well. Working with
other designers and even
being trained by various
organisations as designers
themselves can help give a
creative stimulus to the craft
community.
Many artisans, including
Pabiben, have taken to
e-retailing to sell their
work. Especially since the
pandemic, using the internet
to market and sell their
products is an excellent way
to gain visibility. With some
combination of qatab applique
and rabari embroidery
71
 call with Rabbhu Ali Bhai

Rabbu Ali Bhai has a large

family and all the female
members practice Mutwa
embroidery. This includes his
sister Saleemat, his wife, and
other women of the house as
well. The women artisans did
not communicate with us as
their community is extremely
conservative. Women don’t
interact with strangers or
even leave the village.
Instead, Rabbu Ali Bhai
talked and explained about
his culture and craft to us
and told us that around 8-9
people do the embroidery in
his house. We were able to
see a group of women sitting
on the floor, meticulously
doing their embroidery.
We also got an opportunity The last five years saw rapid interact firsthand with their
to see around their village. commercialisation of the clients. It is the male members
Right outside their house Mutwa embroidery, creating of the family like Rabbu Ali
were a few buffaloes and a space for customisation Bhai who take the items

Mutwa Embroidery
further ahead were their of designs and products embroidered by the women
fields. Both men and women by clients of designers. to crafts exhibitions and
help out in animal herding Otherwise, it is the women melas. Although one feels
The Artisan
and farming. who decide their own themes sad for the women who don’t
After our interactions with the
The women in his family and motifs. get to witness the success of
Sodhas and the Meghwals,
started learning how to Since the community is their work, in some ways it is
we went ahead to the Mithadi
embroider when they were as extremely protective of their heartwarming to see the men
village which is about 80km
young as ten years old. Once women, they don’t get the involved in such a real way
from Bhuj. There, we met
they start, they continue this opportunity to actually sell with the craft.
Rabbu Ali Bhai and his family.
practice throughout their life. their work themselves or

72 73
 The Community
The Mutwa community
resides in the Banni region
located near Kutch, Gujarat
.They are one of the 18
Muslim community circles
that live in the land of
Kutch in small pockets of
villages.One of the villages
is Mithadi village, 80km
from Bhuj in the direction
towards Pakistan. The main
occupation of the community
has revolved around rearing
livestock and cattle herding
for centuries. Women only
do the embroidery in the
community and the men do
the farming and other work.
They also do the patchwork
on fabrics.
The community has been
practising this craft of
embroidery for more than
400 years. They migrated
from Sindh to the Banni
region and after the partition
of India and Pakistan in
1947 when many craftsmen
communities migrated to
India. Thereafter, more
people migrated during the
1971 war from Sindh to India.
The community is very
conservative and the women
74
What is Mutwa Bharat?
are not allowed to go out The community has been
as they have to live under practicing Mutwa embroidery
strict code in dressing sense for over 400 years. Passed
also by doing “purdah” in on from mother to daughter,
front of elders. They need it is done by the women of
to be veiled in front of male the community. It is given
members and elders of the in streedhan or dowry and
community. is given an important value.
They also cannot go out of The women of the community
the village without a male start working from 4 am in
family member. But with the morning and do other
time, embroidery gained so household work, take care
much value and their stature of their children and also of
increased. Restrictions the cattle. Even then, they
on women going out have still manage to take time
relaxed and they can now out from their schedule to
travel to local embroidery do embroidery and yet give
centres for work and supplies amazing results in the form
without being looked down of craft.
upon by the people of the Since this craft has been
community. commercialised, the young
The traditional outfit of the generation is also learning it
community was ghagras as it is the bread and butter for
and choli for women and the people of the community.
kurta pyjamas for men with Since it is done by the Muslim
traditional paghdis and community,they follow
jewellery but nowadays the religious values and beliefs
dressing has evolved and of Islam and do not portray
they prefer to wear punjabi human or any animal in their
suits with dupattas and men designs, so their designs are
wear shirts pants and other mainly geometric and have
garments on daily basis but variations in stitches and
they wear their traditional material. They traditionally
outfits on special occasions.
Mutwa ladies across
generations
75
 make household items like
bedsheets and toran, and
also garments for men and
women, including Kanji
(tunic top for women) and
batwa (wallets).
The commercialisation of
the craft began in the 1970s
when the founder of Shrujan
(NGO), late Ms Chandaben
Shroff decided to visit the
Banni region to look for Mutwa
embroidery. She found out
that the village was severely
affected by drought and how
the people were struggling to
survive and the women were
very ready to do embroidery
to support themselves and
their families. Since then,
the women have become
financially empowered.
Various organisations, NGOs
and the government is trying
to help bring out the craft and
people of the community to
world heritage.
76
The Technique
The first step is to draw the
motif onto the fabric and
then start embroidering it
with needles.They trace
the pattern from tracing
paper by applying kerosene
mixtures to get the outline of
the embroidery pattern onto
the fabric but not always
they follow this process,
sometimes they directly
embroidery on the fabric.
They source their embroidery
yarn (Dora or paghdora) from
Bhuj, Ahmedabad, Surat and
local areas as well.
The yarn used for this
embroidery varies from a
silk, metallic to satin thread
as well. They use cotton,
Mashru, silk as base fabric
but not on Gajji silk as it
loses its shape after doing
embroidery. They use the
most expensive threads
around the mirrors or Abla.
Abla Bharat is done to
add further details to this
miniature embroidery
technique. They use various
sizes of mirror, mainly three
and nine different ways of
ornamenting them in their
designs and it sums up to
Mutwa artisans with Chandaben
Shroff (top) and Amiben Shroff
(Bottom)
27 different styles of using
the mirrors in different ways
in the embroidery. This never
ending range in styles and
innovative combinations
makes this embroidery
very vast and different. The
mirrors are often so small
that they look embedded
within the fabric.
The stitches used are very tiny
and intricate. A combination
of various stitches like
square chain, buttonhole,
chain, satin, herringbone,
Romanian, knots, double
running, lazy daisy, reverse
chain, hemming stitches,
etc. are used. So far, 34
stitches have been identified.
As for the motifs depicted
in Mutwa embroidery, they
follow religious beliefs of
not depicting human and
animal figures in embroidery.
Instead, they have included
new motifs inspired from
nature and surroundings.
They follow geometric design
patterns as well as free
form motif designs. Often, a
white outline is embroidered
outside the motif to highlight
it.
77
 Over 18 stylistic variations
of Mutwa embroidery
have been identified by
the Shrujan organisation.
Some examples include
Mukko, Chikan, Chopat,
Katri, Gotanv etc. Each
uses only one primary stitch
to create either the entire
Bharat or they create its
main distinctive features in
it. The craftswomen use a
stitch called a Pakko stitch
or a Kachcho stitch in local
language. They use these
terms in local language in
which Pakko means durable
and strong to denote the
stitch that follows the locking
principle . The opposite of
Pakko is called a Kachcho
which means fragile stitches
in which the locking principle
is not used.
Female artisans’ role in
business is extremely
limited as the conservative
community doesn’t allow
women to venture out
78
Over 18 stylistic variations
of Mutwa embroidery
have been identified by
the Shrujan organisation.
Some examples include
Mukko, Chikan, Chopat,
Katri, Gotanv etc. Each
uses only one primary stitch
to create either the entire
Bharat or they create its
main distinctive features in
it. The craftswomen use a
stitch called a Pakko stitch
or a Kachcho stitch in local
language. They use these
terms in local language in
which Pakko means durable
and strong to denote the
stitch that follows the locking
principle . The opposite of
Pakko is called a Kachcho
which means fragile stitches
in which the locking principle
is not used.
Nine styles of Mutwa
embroidery use Pakko as
the main stitch, coming
under the umbrella of Pakko
Bharat. They are luxurious
and lush. The remaining nine
styles of embroidery use a
Kachcho style of stitch as the
primary stitch and are known
as Kachcho Bharat, which is
some flower and geometric
motifs
not as high quality as Pakko.
Overall, the embroidery is
lush, ornamental and full
of arresting details and the
women used to restrict their
embroidery to few products
but now the scenario has
changed and a wide range
of products is available. They
do it on shawls, garments,
quilts and various other
products as well.
Pakko Bharat is luxurious
and lush and the Kachcho
Bharat is comparatively not
as good as the Pakko Bharat.
All the nine styles in Kachcho
Bharat use the same kind of
stitch- a kachcho no takao
as their primary stitch and
yet all the nine Bharat styles
have a distinct feature in their
identity.
79
 Current Scenario and
Disanostics
STRENGTHS
Nowadays more and more
women are getting involved
in this craft as it generates
large sums of income. Apart
from providing another
source of livelihood, it also
empowers the women and
improves their status within
the community as they start
actively contributing towards
the family’s earnings. Also,
the way that the crafft has
been passed down through
the generations is a definite
strength.
After the commercialisation
of the craft, the people have
been selling their work in
various exhibitions around
the country and abroad as
well. This not only opens
up alternative channels of
business, but also connects
the community to the people
outside and stimulates
growth. More and more
people are beginning to
know about the craft and the
Mutwas.
The craft is supported by
various outside agents as
well. The government
80
organises the Rann Utsav
every year, where the DRDA
and private companies
like Lalluji and Sons set up
stalls. This is a major tourist
attraction. They also provide
artisans with an artisan
card, authorisation to use
the GI Tag, and national
and international awards.
Various NGOs also provide
job opportunities and export
products.
WEAKNESSES
Even though the craft is
done by the women of the
community, they haven’t
become self reliant or
independent. The Mutwa
community, being so
conservative, doesn’t allow
the women to venture out
of the village so they don’t
get to witness the fruit of
their hard work or learn
more about other cultures.
This, to some extent, would
limit the creative potential
of the artisans. Lack of
education amongst the craft
communities leaves them
at a disadvantage when it
comes to market interaction.
This doesn’t allow women to
participate in entrepreneurial
ventures.
Moreover, since the craft
has not been officially
documented or organised,
some traditional techniques
may have gotten lost through
the generations. Bringing this
craft in the organised sector
will help protect all elements
of the art and also provide a
steady income.
Apart from this, the women
who are embroidering only
get to do it for a few hours
everyday. It does not get
the priority of a primary
profession and leaves
the artisans stressed and
overworked as they also have
to do all the household work
and help out in the fields.
Considering the intricacy
of the embroidery, younger
generations are not
engaging enough. They are
leaning towards a global,
western culture and are less
concerned with their parents
tradition.
81
 OPPORTUNITIES
Opportunities come in
the form of efforts by the
government and various
NGOs. The Rann Utsav, one
of the main exhibitions in
which they sell their products,
is organised every year.
Along with DRDA, private
firms like Lalluji and Sons
also do exhibitions for the
people to sell although they
charge more for stalls than
those of the government.
The crafts person also
gets recognised by the
government as they are
given an artisan card after
they demonstrate their work
in front of officials and get
monthly financial and social
services help. Various NGOs
also help financially by giving
them work. The craftspeople
also get awards on the basis
of their craftwork nationally
and internationally as well.
patches, quilts, Rabbu Ali
Bhai also exports his work
but only on a customer
basis through Whatsapp.
His best selling items are
blouses,sarees and kurtas.
They also do shawls,
pouches, embroidery
82
patches, quilts, cushion machine made rip-offs
covers, belts, wallets, of traditional embroidery
garments, etc. This, along flooding the market, which
with other social media are cheaper. This creates
platforms, seems like a a problem, along with lack
lucrative opportunity for of awareness among the
other artisan families to join. customers to identify the
This craft has a lot of scope hand done work. Making
in terms of its variations the clientele aware about
according to various needs the depths of the traditional
of the market which will craft will allow it to stand out
enable it to have more share from machine embroidered
in the market. pieces.
THREATS
The global pandemic
has opened up room
for threats to the craft of
Mutwa embroidery. Before
COVID, the income was
around Rs.70-80 thousand
but due to the pandemic it
has decreased to Rs. 15-
20 thousand a month. The
pricing varies from product to
product and according to the
time consumed and design
involved. This setback poses
a possibility of causing long
term damage if enough
efforts aren’t taken to restore
the business.
Another threat comes
From mechanisation of artisans
embroidery. There are many working
on some
samples
83

Ahir Embroidery
The Artisan
Finally, we reached our last
e-destination. We visited
the spunky Ms Manjulaben
Ahir who has a nice sense
of humour. We met her in her
home in Sumrasar Village.
84
She is a well known
craftswoman of the Ahir
embroidery craft work. She
is in her late 40s and was
well dressed in her traditional
Chaniya-Choli garment with
a Bandhani dyed dupatta.
Like others, she had started
doing embroidery when she
was 10 years old and she
practises it till today. She is
the only lady in her family who
does this art as she doesn’t
have any daughter to share
it with. Her son’s fiancee,
though, will soon join the
family and give Manjulaben
company.
When we met her virtually,
she showed us the sample
of ahir embroidery she
was making to receive a
National Award. Her craft
was intricate, colourful and
beautifully embroidered with
heavy motifs. She has also
shared that she has been
making the Chaniya Choli
set for her to-be daughter-in-
law for the past four years.
It is a tradition in the Ahir
community to make a special
embroidered chaniya choli
for one’s daughter-in-law,
which is sent to her before
the marriage so that she can
come to her in-laws’ place
wearing it. The daughter-in-
law in turn makes a set for her
to be mother-in-law as well
which is given to the latter
along with the dowry. It is
ironic that it was Manjulaben
herself who traced the motif
on the piece that her son’s
fiancee was making. This
is not a custom, but just a
matter of circumstances!
Although Manjulaben is an
expert embroider, a large
chunk of her income comes
from her Chhapai work, or
tracing the motif on the fabric.
The local craftspersons in her
village come to her to get the
motifs traced on their fabric.
She has a wide variety of
stencils to choose from. She
also does stitching.
She also makes embroidery
pieces that can be used as
patches for the traditional
cholis. A panel placed on
the back towards the side
is generally embroidered.
A complete embroidered
garment takes 2 years to
complete and weighs around
10 kg. The garment cost
around 50 thousand.
85

Pictures of Manjulaben, her
stall etc at NIFT
86
young ahir girls
The Community
The Ahirs or Abhiras were
historically wanderers, known
to be a nomadic agricultural
tribe that descends from Lord
Krishna. They are traditionally
cattle and dairy farmers.
This community was based
in Mathura in Uttar Pradesh
(birthplace of Krishna), but
has relocated to Kutch over
time .There are about 45 to
50 million people within the
Ahir community, living across
India - in Rajasthan, Bihar,
Uttar Pradesh, Orissa and
Gujarat. They may be called
Rawat, Goala, Gopal or
Gaura depending on the
place. They are usually
placed at a lower caste but
this varies. In present day,
the Ahirs of Kutch district are
settled in about eighty four
villages - Bhuj Taluka (thirty
four villages), Anjar Taluka
(twenty four), Nakathrana
(twelve villages), and some
in Saurashtra.
The literacy rates are
comparatively low in the Ahir
community due to the nature
of their income. But in the
recent years modernisation
and access to government
schools has helped up the
number of educated persons
in the caste, which helps
them communicate and
trade with other communities
and even market and share
their craft to different parts
of the country and even the
world.
87
 products by Manjulaben
What is Ahir Bharat?
For the Ahir craftswomen
of Kutch, embroidery is
something they do when the
day’s work is done - it is a
matter of tradition, leisure,
skill, creativity, and pride. Ahir
embroidery is known for its
use of intricate needlework,
mirror work and bright colors
that decorates the entire
length of the fabric. It is not
just another form of textile
embellishment. Its intricacy
and beauty is one of the
reasons why it flourishes and
sustains its heritage even
today.
In this community women are
the ones carrying the craft,
88
men do not take part in
it. As told by Manjulaben,
young girls learn it from their
mothers and grandmothers.
It is traditionally done by
a girl to give it to her future
mother-in-law. Unlike other
communities, the mother-
in-law returns the favour by
embroidering a garment to
her bahu as well. The style or
colour of the garment and its
patterning indicate the marital
status of the embroiderer.
Along with garments women
also embroider household
textiles: quilts , doorway
decos, pillow cases, table
runners , covers for water
pots & vessels, etc.
chhaap - tracing
The Technique
To begin, the artisan draws
the desired design by hand
on a gateway sheet or a
tracing sheet, the sheet is
then placed in a sewing
machine without the thread.
They run the machine over
the design to get the dotted
outlined motif. To trace
this motif onto the fabric,
a process called Chhapai,
a mixture of the colour
(powder) and kerosene
applied through the sheet
and onto the fabric using a
brush. The colour settles on
the fabric and gives us the
resultant motif.
Thereafter, the embroidery is
done. The two main stitches
are Saankdi or chain stitch
and Vaana or herringbone
stitch. Saankdi done in
white is used to outline the
motif and Vaana is used to
fill it. Another stitch called
Bakhiya or Daana is used to
add details.
starting embroidery
89

The motifs embroidered are
majorly influenced by the
environment, for example
popat (parrot), bawariya
bharat (4 petaled flower),
dedwa (daana or seed),
takhderdhi (border), mokhri
(3 petaled design), amba
ki jhaad (mango plant),
scorpions, peacocks etc.
Floral motifs, which dominate
this embroidery, are of five
main types, placed and
repeated in different
ways. These are Dhungo,
Tunaaro Phool, Sedh Phool,
Chaatudiyo Phool and
Mochiyanu Phool.
90
The famous Abla Bharat is
also a significant part of this
embroidery. Various sized
mirrors are used and they
can be shaped by trimming
them easily. Manjulaben also
talked about how variations
of mirrors are used in different
ways onto the garments
like small sized mirrors are
used on the neck part of
the garment and the bigger
sized mirrors are used on
other parts of the garment.
There are two variations to
the Ahir embroidery based
on the stitches used - Saccha
(L-R)
Chhatudiyo phool
Tunaaro Phool
Sedh Phool
(flowe motif variations)
(or true) Bharat and Juttha (or
false) Bharat. The former is
more expensive, denser, and
the mirrors are more visible.
This technique is Shaditak
and its alternative is Jaltak.
Finally, talking about the
colour choices, these are
essential in indicating
the marital status of the
embroiderer. Dark green
and white outlines are very
common. Other colours
include laal (red), kaala
(black), waadadhi (dark
blue), lila (dark green) and
rani (pink).
Current Scenario and
Diagnostics
STRENGTHS
It is the one of the most
commercialised embroidery
from Kutch. People from all
around the world know its
importance and buy their
products.
The mirror work and bright
coloured embroidery on dark
fabrics are an eye catcher. It
stands out due to its exquisite
mirror or the abla work.
During the Navratri season,
there is a huge demand for
their embroidered Chaniya
Cholis and Kediyus.
Because it is their tradition ,
every girl in the village does
learn the craft - maybe with
not as much vigour as their
previous generations but
they know the importance of
their culture and respect the
rules set by their ancestors.
Girls as young as twelve
involve themselves in the
embroidery work with help of
the women in the family.
WEAKNESSES
The main source of income
in this community is Kheti
(farming) and pashu paalan
(animal agriculture/animal
husbandry); Ahir embroidery
is done only by women
after the work for the day is
done, because of which the
completion of each sample
takes longer than it should.
In recent days , the girls in
the community are getting
educated thanks to the
government schools being
established in villages.
The girls nowadays are not
getting involved with the craft
as much as they used to.
But even in this day and age
, a lot of women do not set
foot out of the village to make
trades and promote their craft
, they are not self-sufficient
which has been a major
drawback for the spread
of the craft. Our artisan -
Manjulaben Ahir herself had
been to National Institute of
Fashion Technology , Delhi
in 2020 for the Spectrum and
she said it was the first time
she had ever left her village
in her entire lifetime. Due to
the craftspersons not being
self reliant and not educated
a lot of the time middle men
91
 right side of ahir swatch
or bigger companies buy
from them and sell their
work at high rates in the city.
A lot of the artisans are not
informed about the value of
the work and importance of
the continuation of the craft .
OPPORTUNITIES
NGOs like Shrujan and Kala
Raksha have helped the
artisans realise their craft’s
worth and empowered the
women. They help them
make authentic trade deals
and help them take part
and even win national level
craft awards , our Artisan
herself has been working
on a National award sample
currently.
92
The involvement of NGOs
have made the craftspersons
ensure the continuation of
the craft , by preserving it
and helping commercialise
the craft.
Recently , the craft
community have been going
to education centres to create
awareness of their craft and
promote embroidery.
Every year at the Rann Utsav,
the artisans have their own
stalls , where travellers and
festival goers from all around
the world come to buy their
glimmering products.They
have also started selling
in Rann Utsav, a yearly
exhibition organised for craft
based products and they
also take orders via agents
clients through online and
offline mediums.
Through reach in various
markets, they have also
started to improvise
according to the needs of the
market and consumer as now
they are more aware about
their craft and have included
a product range like Quilts,
dupattas and various other
household decorative items.
Along with this, Manjulaben
also do stitching to support
her lifestyle.
THREATS
Due to the Global Pandemic,
the craft sales have taken a
major hit , They are not able
to reel in as many orders as
they previously used to. But
this year most festivals and
huge gatherings have been
cancelled in aims to maintain
social distancing and prevent
the spread of the virus , which
has negatively impacted the
community and their income.
The major festival for which
the Ahir community prepares
usually is the Navraatri - their
embroidered chaniya cholis
and Kediyus are in high
demand during that time of
the year .
A lot of brands try to rip
wrong side of ahir swatch - for identification
A lot of brands try to rip
off the look of the craft by
machine done embroidery ,
and successfully make bank
off of it. Instead of paying up
to the artisans and to avoid
the long process time of the
craft , these unethical brands
are making money by pricing
their products a little lower
than the artisans. While the
artisans who put in so much
effort are not able to do so.
93

Parting Thoughts
As a result of the work of
NGOs, Organisation and
government initiatives,
reverse migration has
been noticed in the Kutch
in the recent past. Their
work has inspired younger
generation artisans to
carry with their traditional
craft, providing them with a
proper market and a better
way to earn a proper living.
Training artisans as designers
has of course played a major
role in this. There is no lack
of creativity and design
aesthetics in the artisans.
They have been practising
their craft for very long time.
They don’t lack creativity,
inspiration or skills. The only
intervention we can bring
in design is to train them
with modern aesthetics
and market demands, so
they can integrate the two.
We have also observed
that ever since the
commercialisation of the
craft, the work has become
popular, as a result of which
many dupes plague the
94
market. For example, one
sees printed suf, machine
done embroidery etc. for
cheaper prices. Usually,
consumers are unable to
distinguish between the
authentic embroidery craft
and the replicated one, as
they are not well aware of
the handicraft story and its
true value. Hence in terms
of marketing and research
of the product, while doing
business it is essential for
us to look at the ways of
sharing information. The
value of the craft should be
communicated in a holistic
manner. Something like
a “Know Your Artisan”
scheme is a good idea to
personalise the product
and add one’s own story.
We have seen through this
entire project that it is more
than doable to connect and
communicate through the
internet as well. It has proved
that the sharing information
online is very much possible.
So enabling the artisans
through internet would be
very much beneficial for both
consumer and producer. It is
essential for us to bring this
sustainability in other of the
entire commercial process,
by enabling them to new
technology such as, the
E-retailing and other online
forums including social
media. This will allow them to
become more aware of their
market and will bridge the
gap between the consumer
and the artisans. An added
benefit is the fact that this
would interest the younger
generations, giving them
an incentive to join the art of
the family and community.
Going further in the aspect of
Spring Summer 2017,
Lakme Fashion Week; commerce, the gap between
7 Kutch embroidery the artisans and consumers
artisans showcased by way of middlemen creates
their work as designers room for exploitation. In a way,
(through Shrujan)
the NGOs and organisations
working with them act as a
middlemen, and the artisans
remain mere producers Top - E-retailing by Pabiben
rather than interacting with Rabari
the market directly, which Bottom - product variation - mask
could benefit them in many with Rabari Bharat
ways. We have seen artisans
who are well versed with the
ways of business and of the
internet, making them more
95
 independent, and more
confident as artisans
and entrepreneurs.
The embroideries of Kutch
also have their greatest
strength in terms of their
sustainable approach. The
ethics of sustainability have
guided their tradition much
before the concept became
a major talking point at the
global level - the spirit of
Jugaad is in everything!
At the grassroot level, for
example, even if one piece
taking this in their stride,
using this down time to build
their stock. In some ways,
this is perhaps the ideal time
to make developments so
that when the time comes
to enter the markets in a big
way again, they will be able
to do so with full force!
The trending #VocalForLocal
tag, growing popularity of
handicrafts within the work
of designers (Rahul Misra
is working on Bandhani! 1. Holistic information driven marketing
others include Sabyasachi,
Anita Dongre, Ashish Gupta
etc.) and the sentiment of
#MakeInIndia also stand 2. Train them in commerce
to benefit traditional crafts.
Other brands like Aurelia
and W also are influenced by
this trend - giving business
3. The internet is everything!
to artisans.
4. Personal story driven

5. Exposure is key
of the embroidery has the
defect, it is used in another
way to make a smaller product
so that nothing goes waste.
Translating this sustainable
approach in every level of 6. Self & sustainability
the handicraft creation and
sellling process is essential -
from sourcing and production
to empowering them with
7. #vocalforlocal!
a busness know how.
Lastly, it is undoubted that
COVID has hit the artisans 8. A step ahead...
hard. They don’t have much
tourism in the Rann of Kutch
and the Rann Utsav was
extremely small this year.
This has affected business
badly. But on the positive ...And the Zoom Call Ends!
side, some artisans are

96 97
 Bhujoudi Weaving
This craft is done by the limit themselves to veils,
Meghwal community that shawls and blankets only but
migrated from Rajasthan now they have improvised
nearly 400 years ago. This and included a wide range
craft of weaving is known for of products and styles in
its extra weft method and its weaving as well.
distinctive styles of motifs
and designs.
We interacted with Mr Siju
Arjan Bhai, a National Award Right - Siju Arjan Bhai
winning artisan for his craft Bottom - Bhujoudi Shawl
of weaving, who talked
about his craft and it’s natural
processes. Locally grown
Kala cotton, fine khadi, or
even mill made cotton yarn
can be used. It is the men
who weave the fabric, but
women help out with warping,
and later doing embroidery
as well. The dyeing of the
fabric is done by the Khatris
using Ajrakh Printing. This
craft was traditionally done
Other Crafts for community only but now
with time its role has shifted
since commercialisation
As we toured through and witnessed the rich embroideries of has started. This craft has
Kutch, we came across some other handicrafts that were done been given a GI Tag for its
by the same communities. Most of these were traditionally distinctive style. In terms of
commercial activities and thus were primarily done by the the products they used to
men. Let’s go over some of these crafts.

(L-R) Bhujoudi weaving, Bandhani,

Ajrakh Block printing
98 99
 Ajrakh Block Printing
This traditional resist block
printing technique is done by
the muslim Khatri community.
The community was initially
based in Dhamadka village
but the earthquake of 2001
caused the local river to
dry up. Hence, looking for
a more suited location to
continue with their craft, the
entire community moved and
their new village is called
Ajrakhpur, named after the
craft.
Ajrakh prints are recognised
by the iconic red, blue and
black colours used on off
white fabric. The printing
is extremely precise and is
done on both sides of the
fabric.
We met with Mr Abbas
Ibrahim Khatri, an artisan
who talked us through the
entire process.
Top - Abbas Bhai on Zoom
Bottom - the journey from
100 Dhamadka to Ajrakhpur
Traditionally done by the
men, they use a variety of
local ingredients throughout
each step, for example camel
dung, imli seeds, rusted ash,
clay, chuna or lime, indigo,
castor oil etc, along with lots of
water. First, the white fabric is
destarched and mordanted,
giving it a yellowish tinge.
Next, the resist print is
applied, followed by black
and red print - all three are
done using blocks. Next, the
fabric is dyed twice in Indigo
colour. It is then washed
to remove excess dye and
the resist paste, exposing
the white fabric. Finally, it is
boiled with alizerine which
brings out the red colour’s
vibrance.
101
 Bandhani Zoom call with Ms
Tarannum Fayaz Khatri
We also interacted with Ms
Tarannum Fayaz Khatri,
a young expert artisan
Calling Tarannum Ben...
who specialises in Kutchi
Bandhani. She explained to
us that “Bandh” means to
tie and “Ani” means knot.
Hence, she uses the nail of
her ring finger pushing up
the fabric and ties it into knots
with her other hand. The
colours traditionally used are
white, yellow, and maroon.
Typically, it is the women
who knot the fabric and the
men do the dyeing. While
selling, artisans don’t untie
the knots so that it is clear
to the client that the piece
is authentic. Many different
designs can be made using
this technique, and it is often
paired with Ajrakh Block
Printing, which is also done
by the Khatri community.
Even though Kutchi
Bandhani is more intricate
and painstaking than the
Bandhani of Jamnagar, it
is only the latter that has a
GI Tag. Efforts are being
made to incorporate Kutchi
Bandhani within the same
Top - Bandhani samples
tag. Bottom - Bandhani and Ajrakh
Print combination
102 103

Opportunities Are Calling!
Here’s a look at some actors within the Kutch region who have been instrumental in
boosting business and creating opportunities for the craftspeople of this region!
Kala Raksha
The Project KALA RAKSHA
was begun in 1991 in Kutch
with the group of communities
practising embroideries in
Sumrasar Sheikh village, it
is situated 25 km north of
Bhuj. These communities
migrated from Nagar Parkar
in Sindh in 1972. They
brought some of the fine
traditional embroideries and
their skills like suf and kharek
embroidery styles with
them. With the support of
“Patrons Of Traditional Arts”,
a permanent collection of
traditional embroideries was
begun.
At the beginning, the
organisation Kala Raksha
was started with a group of
twenty artisans.They were
organized and guided in
producing suf and kharek
embroidered items, and were
educated about the market
and their sale. Kala Raksha
was legally established in
104
possible. Kala Raksha quality. In efforts to revive
encourages the artisans
community to work together
the quality of the craft, it
has been very important
and achieve the goal that contemporary design
of self sufficiency and is needed to make craft
independence. Income sustainable. To fill this
1993, as a registered society
generated through their gap today artisans are
and trust. Today, Kala
traditional art, will help to collaborating with designers,
Raksha works with nearly
make them realize their as designers have
1,000 embroidery artisans of
strengths and maintain their knowledge, while artisans
seven ethnic communities.
identity in the world. have skills. When design or
art is separated from craft, the
Objective:
Present Scenario: artisan is essentially reduced
Kala Raksha is a hindi
These traditional crafts have to a labourer, reinforcing the
phrase which means “Art
undergone tremendous low social status of craft in
Preservation.” The main
change in the last few the market. As a result, most
objective of the trust is
decades. Fortunately, commercialized craft aim
to preserve traditional art
the urban markets have for quick, standardized and
and craft of the kutch by
welcomed the concept of low cost replication, which
making them well known and
traditional crafts open armed led to the vanishment of
identified in terms of cultural
and well aware of their handmade crafts. Low and
and economic value. Kala
importance. As the market unrecognisable status, led
Raksha values its artisans
has expanded, innovations to the result that even when
and they are totally artisans
should be faster and less artisans can earn a living
driven .
subtle.Today artisans are well by producing contemporary
They are well aware of the
educated about the situation versions, most do not wish
fact that without these artisan
and need of the market. their children to be artisans.
communities there will be
Though, due to the reasons But Kala Raksha believes
no traditional arts. Even
including social attitudes, that the approach must be
the positions from office
they do not have access to altered so that the artisan
managers, to coordinators
the better markets directly, as can be significantly involved
to tailors are also drawn from
a reason, commercialization in both design and craft.
the local communities. They
in this situation has shown a
also provide training to the
downward spiral of declining
artisans to make the project
artisan workshop at
Kala Raksha
105
 Shrujan
The name Shrujan is derived
from the Sanskrit word which
means “Creativity”. Being a
non-profitable organization,
Shrijan is working with
the Kutch’s craftswomen
to revive the ancient craft
of hand embroidery and
support the craftswomen in
every way possible. Shrujan
craftswomen from different
communities create a range of
beautiful hand embroidered
products that are sold in
shrujan’s shops and through
regular exhibitions held
national and international.
In the last few decades,
Shrujan’s work has expanded
to include research into by
documenting the diverse
embroideries of Kutch, and
different communities that
practise these embroideries.
Today, about three thousand
five hundred craftswomen
of diverse communities are
the part of the Shrujan family
spread over a hundred
and twenty remote villages
across Kutch.
These craftswomen work
from home. Organisation
106
with the help of its production
team provides the fabrics
and threads to the artisans,
right at their doorstep. The
women do not have to pay
for the materials and they
receive their fair dues for their
skill and the time invested by
them, as soon as they have
completed the embroidery.
The embroidered textiles are
then transformed into high-
quality apparel, accessories
and lifestyle products,
and marketed through
the Shrujan’s shops and
exhibitions.
These Craftswomen belong
to 12 different communities
across Kutch, and nearby
Banaskantha. They
contribute their skills to
Shrujan. The communities
are: Ahir, Meghwaad Gurjar,
Rabaari, Mochi, Sodha,
Jadeja, Meghwaad Maaru,
Jat, Mutva, Haalepotra,
Meghwaad Maarwaada, and
Raau Node, are the part of
big Shrujan’s family.
virtual tour of LLDC
museum
107

Rann Utsav
Rann Utsav, a travel and
tourism organisation brings
the ‘White Rann Experience’
to the world, driven by the
Tourism Corporation of
Gujarat Limited (TCGL).
When the White Rann, near
the Great Rann of Kutch, was
written off as a lifeless stretch
of land, In 2005 they took
the initiative of introducing
‘White Rann Experience’ to
the world.The festival started
as a three days event, but
108
today it has gradually evolved
into a 100-day celebration
at a village near Rann of
Kutch, named Dhordo.Here
a whole new tent city has
been created, temporary
infrastructure is rebuilt every
year.
Rann Utsav is one of the
most loved and eagerly-
awaited tourism events of
India. Their people celebrate
the marvelous nature
surrounding the White Desert
and the rich cultural
Qasab They also organise training
Kutch Mahila Vikas programmes for women to
Sangathan- QASAB, is enhance their skill set. The
a producer company company also provides its
working with around 1200+ members a complete set of
craftswomen and providing various services that includes
them work on the basis of sourcing them raw material
their craft and empowering organising productions in
them. It’s aim is to improve villages providing them
the livelihood and status of support through marketing
the rural women of Kutch. and designs. They work with
They work on various ground traditional embroiderers of
levels like talukas of Kutch various communities of the
district. Kutch region and aims to
They have a karigar make themselves confident,
sangathan that includes interdependent and artisans working as
around 1150 skilled empowered through their a part of Qasab
craftswomen in 35 villages. skills.
and artistic heritage of
Kutch. The concept of Rann
Utsav was brought into light
by Hon’ble Prime Minister
Shri Narendra Modi, the then
Chief Minister of Gujarat.
Since the beginning of the
festival, today the Rann
Utsav booking has multiplied
dramatically, and positively
attracting over 5,00,000
visitors from 20+ countries
every year.
109
 The true value of a craft lies in the hands of the artisan and
In Closing in the context of their culture. Among the others, a handicraft
that brings colour to the white landscapes of the Rann of
Glossary
Kutch is the embroideries. Only when we are able to learn Abla mirror
and fully conceptualize the context in which a craft has grown Aarekhani Tracing of a motif design onto fabric before embroidering
and flourished, it is then that it is given its due credit. Ahir or Aheer or Abhiras clan of Rajasthan

These embroideries are done primarily by the women to

carry their traditions and for personal use, not for commercial Bakhiyo Shadow work
reasons. The women are the epitome of skill and finery Bandhani is a traditional type of tie-dye textile created through pinching
in their respective craft as they are more than artisans, for the cloth into small bindings
them, it is their culture, history being stitched into the fabric. Batwa or Batua wallets
Their lineage is the originators of the craft and it is their Bharat Bharat
honour and duty to pass it down to their future generations. Bavariya name of the criss-cross motif in Pakko embroidery

Over the last few decades, commercialisation and the wide

distribution of the crafts have not only provided an economic Chorno cotton pants worn by Gujarati men
boost to the Kutch communities, connected them to the rest of the Chakli name of sparrow motif in Pakko embroidery
country but it has also empowered the women as breadwinners, Chireli Sankdi a type of torn chain stitch
creative craftsmen and has enabled them to be self-sustainable. Chhapai To trace this motif onto the fabric

The women are splendid craftsmen with sharp design

sensibilities however there some areas one could intervene Dangi caste of Rajasthan
to elevate the craft in terms of the reach and efficiency Dandiya folk dance of Gujarat
- which would include business opportunities, training Dora embroidery yarn
the artisans in business & commerce, providing an online Dhokla Gujarati sponge cake
platform for the craft wherein the artisans themselves are
able to market products - focus and share the true value that
the craft and its story firsthand so the consumers are able to Fafda rectangular shaped Gujarati snack
perfectly conceptualize its worth; online platforms will help
spread the craft products to a wider audience, especially
during the pandemic; sustainability plays a major role in Garba traditional Gujarati dance
the traditional handicrafts and while we promote the craft ghagra-cholis traditional top and skirt attire of Gujarat
further, commercialize it we also need to keep the spirit of GI Tag sign which is used on products which tallies to a specific
sustainability and move ahead. geographical location or origin

110 111
 Handicrafts making things with hand which represent a community’s Paniyari Motif of a woman carrying water
aesthetic characteristics Phooladi elements like flowers

Katab applique technique done by the Rabaris of Kutch

Kanji or Kanjaral tunic top for women Qatab (Katab) Applique work
Kachcho something which is not permanent and durable/ fragile
Kediyu garment that is worn above the chorno to cover the top part
of the body Rann Utsav It’s a festival of Kutch
Koli caste in Rajasthan
Khakra a thin cracker common in the Gujarati cuisines
Kharekh a type of Gjarati embroidery practiced by the Sodha community Suf type of counted thread weaving embroidery based on the
Kheti farming triangle on a surface satin stitch worked from the back
Sodha is a Rajput subcaste
Sandiyo camel motif
Lahar wave or chevron design sudo parrot motif
Lath criss cross pattern
Ludi veil
Toran a gateway commonly of wood
Tappo type of stitch in kutch embroidery
Majgar something that comes out of one’s imagination Trajako another kind of stitch in Kutch embroidery
Makar Sankranti Hindu festival
Mayyari motif depicting a woman
Morla or Moriyo peacock motif Vichhi scorpion motif
Mordh traditional headdress worn by a groom on weddings Vaghri another caste of Rajasthan
Maaldhari cattle herder in local language Vaana herringbone stitch
Meghal or Meghwar a caste in Rajasthan and Gujarat
Makodiy zigzag stitch
Mutwa Kutchhi style of embroidery Waadadhi dark blue

Nilgai Indian antelope

Pakko means permanent or durable stitch

112 113
 INTRODUCTION TO KUTCH EMBROIDERIES
Annexure - Elements of Style: The Artisan reflected in Embroideries of Western India by Judy Frater.
Women Who Embellish Their Environment, exhibit by Dastkari Haat Samiti on Google arts and
WELCOME TO GUJARAT!
culture - https://artsandculture.google.com/exhibit/0wJyhzuMAtndJw
- https://www.whatisindia.com/issues/gujarats/gujarat_general.html
- AsanJoKutch.com, Kutchi E-directory - http://www.asanjokutch.com/content/bandhani.
- Gujarat – Introduction And History - blog by Dr. Bharat Desai; Feb 18, 2014.
asp?main_cat=handicrafts
- http://nopr.niscair.res.in/bitstream/123456789/19445/1/IJTK%2012(3)%20524-529.pdf
LET’S HEAD TO KUTCH!
- The Sparkling Embroideries of Kutch , exhibit by Dastkari Haat Samiti on Google Arts
SODHA RAJPUT AND MEGHWAL COMMUNITIES
and Culture - https://artsandculture.google.com/exhibit/the-sparkling-embroideries-of-kutch-
- Document by LLDC, Shrujan - https://shrujanlldc.org/wp-content/uploads/2018/01/
dastkari-haat-samiti/7gJypL8wMm7sKA?hl=en
HAALEPOTRA.pdf
- Rann Utsav official website - https://www.rannutsav.net/rann-utsav/
- Document by LLDC, Shrujan - https://shrujanlldc.org/wp-content/uploads/2018/01/
- AsanJoKutch.com, Kutchi E-directory - http://www.asanjokutch.com/content/geography.
Meghwaad.pdf
asp?main_cat=geography
PAKKO EMBROIDERY
History
The Community
- When Indo-Pak Armies Met At Rann of Kutch, Leading To Operation Gibraltar And 1965
- Shrujan official facebook page - https://www.facebook.com/shrujanindia/photos/
War - article by India Times; Oct 19, 2016, 17:31 IST.
the-embroiderers-of-kutch-sodha-and-jadeja-crfatswomen50-years-ago-we-started-
- History And Culture Of Klutch Cultural Studies Essay on ukessays.com - https://www.
ou/4589895611036776
ukessays.com/essays/cultural-studies/history-and-culture-of-klutch-cultural-studies-essay.
php
What is Pakko Bharat?
- AsanJoKutch.com, Kutchi E-directory - http://www.asanjokutch.com/content/historY.
- Document by LLDC, Shrujan - https://shrujanlldc.org/wp-content/uploads/2018/01/
asp?main_cat=history
SODHA,%20JADEJA.pdf
People and Culture
The Technique
- Kutch population census on indiagrowing.com
- Traditional “Pakko Bharat” Embroidery of of Sodha Rajput; supported by Shrujan;
- AsanJoKutch.com, Kutchi E-directory - http://www.asanjokutch.com/content/culturE.
published by Mehendi Sharma in June 2015 - https://www.behance.net/gallery/27100055/
asp?main_cat=culture
Traditional-Pakko-embroidery-of-Kutch
https://www.trc-leiden.nl/trc-needles/regional-traditions/indian-subcontinent/pakko-work
Fauna
- AsanJoKutch.com, Kutchi E-directory - http://www.asanjokutch.com/content/flora.
asp?main_cat=geography

114 115
 KHAREK EMBROIDERY What is Mutwa Bharat? -
The Community - https://kalacafe.wordpress.com/tag/kharek-embroidery/ - https://kalacafe.wordpress.com/tag/mutwa-embroidery/
What is Kharek Bharat? - https://asiainch.org/craft/soof-kharek-embroidery-of-gujarat/ - https://maiwa.com/pages/kachchh-embroidery

SUF EMBROIDERY The Technique -

The Community - Document by LLDC, Shrujan - https://shrujanlldc.org/wp-content/uploads/2018/01/
- Colours of Kutch, article by Anil Mulchandani in India Today; Feb 15, 2012 12:49 MUTVA.pdf
IST - https://www.indiatoday.in/travel-plus/story/colours-of-kutch-gujarat-sodha-rajputs-
khavda-148316-2011-12-09
- https://pleatsnpallu.wordpress.com/tag/sodha-rajput/ AHIR EMBROIDERY
The Community - https://www.encyclopedia.com/humanities/encyclopedias-almanacs-
What is Suf Embroidery? transcripts-and-maps/ahirs Document by LLDC, Shrujan -
- https://kalacafe.wordpress.com/tag/soof-embroidery/ https://shrujanlldc.org/wp-content/uploads/2018/01/Ahir.pdf
- https://maiwa.com/pages/kachchh-embroidery
What is Ahir Bharat?
- https://kalacafe.wordpress.com/tag/aahir-embroidery/
RABARI EMBROIDERY - Document by LLDC, Shrujan - https://shrujanlldc.org/wp-content/uploads/2018/01/
The Community AHIR,%20MEGHWAAD%20GURJAR.pdf
- Mishra, Jaina, 2014. The Sultry Black Ludhi of the Rabari Tribe. The Art Blog
- https://www.sahapedia.org/the-rabaris-the-nomadic-pastoral-community-of-kutch The Technique -
- https://kashgar.com.au/blogs/tribal-culture/rabari-people-of-northwest-india - Ahir Embroidery - Kutch, Gujarat Rhythmic Row of Embroidery Patterns, document by
- https://www.traveldiaryparnashree.com/2017/01/rabari-tribe-wandering-gypsies.html Prof. Bibhudutta Baral and Sandhya B. NID, Bengaluru - http://dsource.in/sites/default/files/
resource/ahir-embroidery-kutch-gujarat/downloads/file/ahir_embroidery.pdf
What is Rabari Bharat? -
- Document by LLDC, Shrujan - https://shrujanlldc.org/downloads/ OPPORTUNITIES ARE CALLING!
- The Treasure of Art – Kachhi Rabari Embroidery, document by Jyotiba. R. Jhala - https:// Kala Raksha - official website - http://www.kala-raksha.org/
www.rsisinternational.org/3ICMRP-2016/415-417.pdf Shrujan - LLDC official website - https://shrujan.org/
Rann Utsav - official website - https://www.rannutsav.net/
Qasab - official website - https://kmvs.org.in/qasab/
MUTWA EMBROIDERY
The community - https://www.livemint.com/mint-lounge/features/threads-that-
bind-1552031501087.html

116 117
 Appendix
Briefing and orientation sessions with the faculty of NIFT, New Delhi
Documentary screening about the crafts of Kutch, Gujarat and Jaipur, Rajasthan
Discussion on research process, photo editing, layout etc.

Interaction sessions with experts in the field of handicrafts

With Mr Debi Prasad Chhual Singh - About the Craft Documentation and Design Process
With Ms Aparna Patel - About Insights on Kutch Handicrafts and Handlooms
With Ms Anindita Sardar from Taneira - Insights on Commercial Value of Hand crafted and
Hand Woven Products
With Dr Toolika Gupta - About the Sustainable Approach for Designers in Craft Cluster

Interaction with experts in the field of Kutch Embroidery; discussion on the lives and
livelihood of the artisans, their communities, their craft and skill etc.
With Amiben Shroff, Managing Trustee at Shrujan
With Mr Raviveer Chaudhary from the office of the Development Commission (Handicrafts) at
Bhuj, Kutch

Interaction with craftspeople of Kutch

Bhujoudi weaving - with Mr Siju Arjan Bhai
Ajrakh Block Printing - with Mr Abbas Ibrahim Khatri
Pakko Embroidery - with Ms Lachhoben Wankar; also interacted with her husband, Ms
Kankoben Wankar, Ms Maru Ashwini
Rabari Embroidery - Ms Pabiben Rabari
Kharekh Embroidery - with Mr Mukesh Bhanani from the Kala Raksha Museum
Mutwa Embroidery - with Mr Rabbu Ali Bhai, brother of Ms Mutwa Salimat Rasul
Suf Embroidery - with Ms Kanchanben Rathod
Bandhani - with Ms Tarannum Fayaz Khatri
Ahir Embroidery - Ms Manjulaben Ahir

118 119
120 121
122 123