BANJARA EMBROIDERY

INDEX

Chapter Title Page No.

ACKNOWLEDGEMENTS i

INDEX iii

LIST OF PLATES iv

I INTRODUCTION 1

II REVIEW OF LITERATURE 4

III SIGNIFICANCE 8

IV METHODOLOGY 10

V RESULTS AND DISCUSSION 22

VI CONCLUSION 31

BIBLIOGRAPHY 34

APPENDIX 35

List of Plates

Serial No Plate Name Page No.

1.1 Map of Andhra Pradesh 1

1.2 Lady dressed in traditional banjara clothes 3

2.1 Pulia and Gala 4

2.2 Embroidered spices bag 5

2.3 Lady dressed in typical banjara clothes and jewellery 6

2.4 Banjara women with their embroidered veil 7

3.1 Traditional Lehnga and Choli 8

3.2 Yellamma Tanda 9

4.1 Lady doing embroidery (step 1) 10

4.2 Lady doing embroidery (step 2) 11

4.3 Lady doing embroidery (step 3) 11

4.4 Traditionally embroidered bag 12

4.5 Tapestry 12

4.6 Vele 13

4.7 Dorannaki 13

4.8 Kalchi 13

4.9 Chakkaler Muggu 14

4.10 Alli 14

4.11 Nakra 14

4.12 Champa 15

4.13 Chaddar 15

4.14 Muggu 15

4.15 Maali Kanth 16

4.16 Rela 16

4.17 Gaddar 16

4.18 Muggu Phool 17

4.19 Training by Crafts Council 19

4.20 Training by Crafts Council 19

4.21 Embroidered patches 20

4.22 Colourful Patch 21

5.1 Commonly made tea coasters 22

5.2 Award winning table runner 24

I. INTRODUCTION

Andhra Pradesh is a state situated on the eastern coast of India. It is India’s fourth largest state by area and fifth largest by population. Its capital and largest city is Hyderabad. The state has the second largest coastline (972 km) among all the states in India. The official language of Andhra Pradesh is Telugu, while other languages spoken here are Urdu, English, Tamil and Hindi.

Andhra Pradesh is bordered by Maharashtra, Chattisgarh and Orissa in the north, the Bay of Bengal in the East, Tamil Nadu to the south and Karnataka to the west. It is historically called the “Rice Bowl of India”. More than 77% of its crop is rice. Two major rivers, the Godavari and the Krishna run across the state.

Andhra Pradesh is divided into three major regions namely Coastal Andhra, Rayalaseema and Telangana. The state has 23 districts. The official language of the state is Telugu which is spoken by 88.5 percent population of the state.

Hyderabad is the capital and, along with the adjoining twin city Secunderabad, is the largest city in the state. Visakhapatnam, AndhraPradesh's main seaport, is the second largest cityof the state and is home to the Indian Navy's Eastern Naval Command. Vijayawada due to its location and proximity to major rail and road routes is a major trading center and the third largest city. Other important cities are Machilipatnam, Tenali, Nizambad, Eluru, Tirupati, Nellore.

Historically, Hyderabad has been the city where distinct cultural and linguistic traditions of North India and South India meet. Hyderabadis, as residents of the city are known, have developed a distinctive culture which is a mixture of Hindu and Muslim traditions.

There is no dearth of exuberant culture and traditions in Andhra Pradesh. The range of handicrafts is absolutely fantastic. They hold a special place in the culture and tradition of the state.

Plate No. 1.1 Map of Andhra Pradesh

Ikat Weaving Handlooms This is a skill that requires a lot of intricacy. It is a style of weaving, where the yarn is randomly dyed in natural zigzag or geometric patterns. The Ikat weaving originated in Nalgonda district of Andhra Pradesh. This internationally acclaimed weaving form is now practiced mainly in Puttapaka, Pochampalli and Chautuppal.

Kalamkari FabricsThe Kalamkari is a fabric famous all over the world for its beautiful vegetable colors used on the clothes. These fabrics include a range of special mythological designs for Hindus, prayer carpets for Mohammadans, tent lining cloth, chintz, table clothes and curtain clothes printed in attractive colors. This art form is found at Machilipatnam.

Bidri CraftThis craft belongs to the city of Hyderabad in Andhra Pradesh. It basically involves silver inlay on metal, which is very exquisite. There are many legends related to its entry and exit into the country and then to Andhra Pradesh. 

Bronze CastingsThe famous bronze idols were based on the verses from the Shilpashastra. These verses were called dhyana. These verses instruct the craftsmen about the physical measurements, proportions, description of the deity, characteristics, symbolism and above all, aesthetics. 

Kondapalli ToysThe famous Kondapalli toys are made of softwood, known as Tella Poniki. These toys are also made up of sawdust, tamarind seed powder, enamel gums and watercolors. After the toy is carved on the wood, a paste made of tamarind, wood and sawdust is applied for giving further shapes and attaching limbs etc., to the toy. This art form belongs to the Kondapalli district.

Lacquer WareThe Lacquer craft is widely found in Etikoppaka in Andhra Pradesh. This place is one of the major centers of this craft. The Lacquer craft involves the application of lacquer on wood in pleasing shades to create a distinguishing appeal. 

Dharmavaram SarisThe Dharmavaram in Andhra Pradesh is famous for silk saris all over the world. These saris are specially worn on functions. They have simple, plain borders without much contrast. The borders of these saris are commonly broad having brocaded gold patterns. The borders also have butta and the pallus of the saris have exclusive designs.

Eluru CarpetsThe Eluru in Andhra Pradesh is famous for its woolen pile carpet industry. This art from was brought to India by the Persians who migrated to Andhra Pradesh during the Muhammaddin regime. Later, they developed the carpet industry here. 

Introduction to Banjara Embroidery

This marvelous art form emanated from one of the most colourful and vibrant tribes of the country - The Banjara tribes of Andhra Pradesh. Major features of Banjara tribal embroidery are the vivacious colours, ornate patterns and delicate mirror work.

The nomadic tribes or the Banjaras were wandering groups. They did not limit themselves with the boundaries and binds of the urban life. This spirit of roaming from places to places reflected a sense of liberty. They are also described by the same as hardworking, ingenious, powerful, self-assured and honourable. It was this limitlessness and freedom that is reflected through the Banjara embroidery designs. The traditional craft has been handed from generation to generation and Banjara communities strive to preserve the artwork that they have inherited from their forefathers. Despite their gradual absorption into the mainstream of life, the Banjaras still continue to keep in touch with their age-old customs, traditions and beliefs. An off-shoot of Banjara needlework is the fantastic range of artistic pieces like bags, belts, purses, skirts, blouses, bed spreads, sofa backs, cushion covers and many more utility objects that meet the changing tastes and requirements of present day connoisseurs.

Plate no. 1.2 Lady dressed in traditional banjara clothes

II. REVIEW OF LITERATURE

The Banjara tribe can be traced to the nomads who migrated from Central Asia. In the prehistoric time, it is likely that they were ironsmiths who were attached to large scale migrations which took place. They continued to service the agricultural communities by manufacturing and repairing agricultural implements. They also worked as ferries, the makers of the horse shoes and thus came into contact with the armies on the move and became a part of their transportation team. A large number of them did have a fixed habitat in their peripatetic life, where they would return for ceremonies. The Banjaras/ Vanjaras/ Gaudolia Lohars/ Lambadas/ Vagaries have a common linked tradition. It is these groups which migrated to Central Asia, blended in with the Koilies, Koochis of that area and migrated all over the world and became known as Romani or Gypsies. The Banjaras and Vagaries became transporters of armies and of traders and thus traveled and settled all over India.

Settling originally, centuries ago in the Jodhpur and Jaisalmer desert areas of Rajasthan, the Banjaras were bullock transport carriers and builders of great monuments, who ranged throughout the subcontinent negotiating and maintaining expensive contracts to supply goods to important customers as the Moghal armies and the British. For centuries, they efficiently moved their enormous caravans through vast roadless tracts of all India, guarantying safe conduct for grain, salt and messages. Doing so they spread from Kashmir to Tamil Nadu, from Orissa to Gujarat, spilling over into Sind, Pakistan, Iran and further west. Since they wore all their wealth, they were famed for their colorful dress and spectacular jewelry, and known for their lyricism, for song, poetry and dance, and for the maintenance of a unique aesthetic in their embroidery.

Plate no. 2.1 Pulia and Gala are the traditionally embroidered articles used to carry water on the heads

They retained their carefree, colourful and their distinctive traditions as they refrained from mingling with other communities. In many parts of India their main occupation was cattle trading and transportation of agricultural goods. With the advent of the mechanical transport system their flourishing trade declined and they were forced to change their modes of earning.

They became woodcutters, coolies, agriculturalists and cattle rearers. At all times, they kept their own language, religion and ethical code. Their independent spirit, love of open spaces and unwillingness to be subordinated to the village hierarchy also separated them from the other communities. This mysterious duality and intriguing separateness was the most integral part of their being. It is also what made them frighteningly different to urban Indians and had earned them the categorization as a “criminal” tribe by the British and accusations of all manners of atrocities: thievery, kidnapping, murder and witchcraft; that they may not have committed. But they were also driven to the fringe of society.

The Lambadas, as the Banjaras are called in Andhra, fragmented into several small groups and they lived in a cluster of huts, called a Tanda. Many of them migrated to smaller towns and cities especially if they had no agricultural holdings. They spread over several states of India and each of these states provided them with beneficial aid to alleviate their socio-economic conditions. The dialect spoken by them is very similar to that of Western Rajasthan with a mixture of all languages assimilated along their nomadic route, and that of the region that they finally settled in. There are also non-governmental organizations that provide assistance. The Crafts Council of Andhra Pradesh which was formed in February 1987 and began work on traditional crafts of the region, identified Banjara embroidery as one of the crafts to be developed. Initially, it was not easy to locate skilled needlewomen. Many groups of Lambadas settled into urban life, working mainly as casual labour. The mode of life and clothing changed drastically to suit their new environment. They were therefore unwilling to work at embroidery, which they imagined as not only unaesthetic but also non-remunerative. The Crafts Council identified Yellamma Tanda, near Hyderabad to develop their programme for the Lambada women. The Tanda dwellers here still maintained some of their traditions and were eager to supplement their earnings. A group of fourteen women was formed and a training programme was conducted for a year (1990 to 1991). After the training period the Crafts Council started looking into the designing and marketing of products. The instructor worked now as supervisor of production activity, producing a range of embroidered objects.

Plate no. 2.2 Embroidered spices bag

Plate no. 2.3 Lady dressed in typical banjara clothes and jewellery

About the Banjara tribe

These tribes are called Lambada as well as Banjara. All the people in the Yellamma tanda belong to the Lambada tribe, though nowadays only 5% to 10% of the ladies are dressed in the typical banjara costume. Only the elderly only have retained the traditional costumes. The rest have given it up in exchange of the saree.

The village consists of 2000 people. Around 120 ladies here are engaged in Banjara embroidery. All men of the village are basically farmers. Some of them

however do engage in basic business activities along with agriculture – i.e. selling wood, food grains, selling supplies from towns in the village.

They have a tradition of decorating the cow with embroidered chandiya and singdi on which the newly wed bride first enters her new home. They also have a tradition in which the newly wed bride takes hot water from her maternal house, carries the pot on her head with the help of pulia gala which is richly embroidered and gives it to her mother-in-law to bathe.

Plate no 2.4 Banjara women with their embroidered veil, ghunghat, which is elaborately worked with mirrors.

III. SIGNIFICANCE

India is the only country in the world with an unbroken, living vibrant tradition of crafts. While agriculture employs the largest number of people in India, the crafts sector is next and sustains over 20 million practitioners. The wide geographic spread embraces all of India and covers a huge gamut of widely differing work structure and cultures. Crafts communities, using similar materials that range from clay to precious metals, work with widely differing techniques and technologies to create a rich variety of forms.

Exotic specimens of artistry, aesthetics and creativity, arts and crafts are revered treasures that need to preserved and popularized. They also serve the main source of income for the rural folks in the country. Special trade fairs are held to promote and sustain market for the arts and crafts of India. Arts and crafts trade fairs, trade events, conferences, exhibitions and e-commerce are the newly evolved ways of reviving the arts and crafts sector and creating a stable market for the industry. With these associations, the arts and crafts products are being familiarized to every part of the world.

Banjara embroidery is a bright and colourful form of embroidery produced due to the wanderlust of the Lambada tribes. Since they had no permanent homes their aesthetic sense was apparent in their clothes, mode of transport and few personal belongings. It is one of the craft which is on the way to extinction due to the modernization of other forms of embroidery and also due to the time consuming methods of this art. The trade fairs can serve as a good platform fornational as well as internationalbusiness of this embroidery. Plate No 3.1 Traditional Lehnga and Choli

Objectives

To acquire in depth information about Banjara embroidery – the craft and the process which goes into creating it.

To recognize causes of extinction. To encourage and persuade the artisans and build their ability to face the challenges of

the market competition. To empower the artisans on technology in current market. To initiate changes in the types and intricacy of the stitches and motifs to make the craft

more durable, sustainable and attractive. To use the traditional techniques and modify them to make them commercially viable. To create awareness about the dying craft of Banjara embroidery. To develop products which use the craft effectively thereby generating a demand for it. To tailor the craft as per target market.

Plate no 3.2 Yellamma Tanda – only village practicing Banjara embroidery

IV. METHODOLOGY

Banjara embroidery has a distinctive embroidery style that is a sublime mix of many cultures.

On Banjara textiles most patterns are represented in either square or rectangular form. Human forms are rarely created which is another unique similarity with other textile societies either of Islamic origin and others as well.

The difference between Kutchi and Banjara embroidery is that the garments are different. The choli, ghagra and dupatta are completely filled with Banjara embroidery whereas in Kutchi embroidery only certain design is embroidered on the entire attire. The stitches are also different. The intricacy is more in Banjara embroidery as compared to Kutchi embroidery.

The agile fingers of the Banjara womenfolk move delicately tracing the intricate threadwork. The embroidery method is to stitch from the bottom of a piece, gradually working up to the top, as if working from the earth to the sky, and so representing the whole universe in their embroidery.

Numerous embroidery techniques can be observed in Banjara embroideries. Often up to 2 or 3 techniques can be seen on a single small tapestry. These techniques include, but are not limited to, chain stitch, cross-stitch, stem stitch, couching, appliqué, mirrors, kashida and quit stitch.

Most of their embroidered pieces are adorned with cowry shells which are loaded with symbolism of wealth, which is seen as an ancient coinage and/or fertility. Banjaras are said to have spread the use of such shells in the whole of India through their nomadic wanderings, which probably explains why they are used in abundance by tribal peoples as far as the Nagas in the East and theTodas in the South.

The Banjara were master weavers and created vibrant natural dyes from plants and minerals gathered from the lands through which they passed. Part of the spontaneity in colour and design seen in these nomadic textiles was due to the fact that the artists were constantly moving and did not plan the designs also they had no regular supply of the same dyes. The textiles were fresh and honest creations, always revealing a part of the artist who wove them. This random creativity is one of the reasons that these weavings are becoming so collectable.

Plate no. 4.1 Lady doing embroidery (step 1)

Plate no. 4.2 Lady doing embroidery (step 2) Plate no. 4.3 Lady doing embroidery (step 3)

Time and Income

The wages to the women are paid on a monthly basis depending upon the amount of work that they have done. Approximately, a woman is paid 30rs per day as wages.

On an average, they spend around 4 to 5 hours per day in embroidery. However they do not work in the night. They work throughout the year doing Banjara embroidery to create items of sale. But during the 4 months of monsoons they concentrate more on agriculture and give only 2 hours per day to embroider.

They have made drafts for various garment pieces. They trace the draft and the design before starting the embroidery on it. They require around 18 to 20 hours to make a blouse piece i.e. 5 to 6 days. If the garment to be embroidered is longer, then 2 to 3 women many sit and embroider it simultaneously. They sell blouses pieces ranging from Rs 300 to Rs 500, depending upon the amount of embroidery.

Materials and Colours

The materials used were all hand-spun, hand-woven and then hand-embroidered with a needle. The materials used were mostly cotton but also goat hair and occasionally silk. A base of multiple layers of hand-loomed cotton was sewn into a dense mass. The embroidery was then created on this base.

Red, green, yellow, black and blue are the oldest and the most widely used colours. They also outline all their motifs with a different colour. Besides shells, mirrors and coins, they also use other new materials as per their popularity and availability in the market.

They buy all the materials from the cities of Hyderabad and Secundrabad. The quality of embroidery threads is better in Secundrabad. They purchase fabrics at discounted rates from Hyderabad. They mostly prefer to use Mangalgiri cotton (market price – Rs 150/m and the discounted price – Rs. 100/m) and Anchor threads. Sometimes they use a little zari thread for filling up motifs. But they prefer to use only 1 to 3 strands of cotton threads. They also avoid using silk threads because it does not provide the intricacy.

Bags are usually made of loose weave linen like fabric, dyed with madder or indigo. Interlaced patterns on a running stitch base, embellished with tassels, mirrors,and cowrie shells is a famous design.

Tapestries are decorated with cowry shells, cotton and woolen tassels, coins, buttons, lead and glass beads and mirrors. This is often seen on other nomadic textiles as well. The purpose is to reflect the evil eye and make noise to frighten off evil spirits. These attachments also serve as storage of wealth and a demarcation of tribal affiliation or identities.

Stitches

Plate no 4.4 Traditional embroidered bag

Plate no 4.5 Tapestry

There are around 30 to 40 different types of stitches and their variations. They use thin and long needles. They use a different needle for stitching beads.

Appliqué work is used in large size fabrics as it is easier for more women to work on a single piece thus completing it quickly.

Stitches used in Banjara Embroidery and their colloquial names

Vele: Vele is the name for chain stitch. Parallel lines of chain stitch are done to fill spaces and completely cover the base cloth.

Plate no 4.6 Vele

Doranaaki: Doranaaki running stitch which is evenly spaced to look like an elongated dot.

Plate no 4.7 Doranaaki

Kalchi: Doranaaki is first done. Then a thread is intertwined in the dots to form horizontal patterns. The pattern depends on the number of parallel lines made with the dots.

Plate no 4.8 Kalchi

Chukkaler Muggu: Doranaaki is done with a limited number of required dots. Then motifs of geometric flower patterns are interwoven which are very similar to the rangoli or floor decorations made by the upper caste women in front of their home.

Plate no 4.9 Chakkaler Muggu

Alli: Doranaaki is made with the required number of dots and a diamond shaped motif is formed.

Plate no. 4.10 Alli

Nakra: A small diamond is formed using four straight lines called kannta. Sometimes diagonals divide the nakra into four sections. Otherwise it is filled with a thread of alternate colour. A series nakras form various designs to make a line, a flower or any other motif.

Plate no 4.11 Nakra

Maaki: This is a narrow vertical loop that looks like a single line. It forms an extension to another stitch like lines of maaki sometimes surrounded a nakra; or a rela border has little vertical extensions of maaki, evenly spaced.

Champa: Madee along the edge of a garment with a narrow strip of material folded into a series of triangles.

Plate no 4.12 Champa

Chaddar: A series of nakras form a line. A line in couching stitch called dora kencharo divides two or more consecutive lines of nakras. Sometimes, a flower or nakra is placed intermittently above the border.

Plate no 4.13 Chaddar

Muggu: In all Indian homes decorative motifs are drawn in front of the threshold. For auspicious occasions they are of elaborate design and otherwise simple. The Lambadas use these motifs in their embroidery. Dots are evenly spaced and a line is sewed around them in vele.

Plate no 4.14 Muggu

Maali Kanth: This is what is generally called herringbone stitch. It is done in single or multiple lines.

Plate no 4.15 Malli Kanth

Rela: A series of vertical loops are closely interlocked so that the intricacy of the stitch is barely visible.

Plate no 4.16 Rela

Kaliya: Two or more bands of rela worked vertically to look like horizontal bands.

Gaddar: Small rectangular blocks of satin stitch done in one or two colours to form triangular patterns.

Plate no 4.17 Gaddar

Saadri Gaddar: Rectangular blocks of gaddar are made alternating with blank spaces and generally made in single colour.

Sassia Danth: This literally means rabbit’s teeth. It is made of small stitches to form a triangular edge to the line.

Teka: Small stitches which cross each other at the end of each stitch.

Bakhiya: This is the name for back stitch. It is done to form dividing lines between patterns.

Kodiya Potte: Chain stitch is done in two undulating, intersecting lines to form a link-chain. The centre of each link is filled with a different coloured thread.

Kalani: Made like the nakra but smaller and done in a series to form a border. Most often filled with a different colour.

Jhinijhini: Vele done to form triangles and a base line.

Jaalir Bati: Forms close arches to give the appearance of a net.

Khilad: This is the buttonhole stitch. It is used for edging whenever necessary.

Poso Teko: Running stitch done to form several lines and geometric patterns.

Mugga Phool: A flower of eight petals outlined with vele and filled sometimes in alternate colours.

Plate no 4.18 Muggu Phool

About Crafts Council of Andhra Pradesh

Crafts Council of Andhra Pradesh is a member of the Crafts Council of India which in turn is affiliated to the World Crafts Council located in Amsterdam. The doyen of handicrafts, late Mrs. Kamala Devi Chattopadhyaya, brought into being the CCI in 1965 with the idea of improving the lot of craftsmen.

The exquisite quality of our crafts through the length and breadth of this vast and beautiful country has been kept alive by thousands of rural craftsmen who have struck to their craft/art even in the face of great adversity, who have had to sacrifice a great deal in order to continue their craft.

Crafts Council of Andhra Pradesh is a people to people programme. In 1987 when CCAP was born out of necessity – there was a need for awareness among the educated urban class about the wealth of our heritage, especially those pertaining to our own state of Andhra Pradesh. This voluntary, non-profit organization works to fulfill its aims and objectives for the upliftment of crafts and craftsperson.

A training scheme with 15 Banjara tribal women was successfully conducted for a year. Their noteworthy achievements have been giving marketing and design help to craftsmen. Encouraging results have prompted other govt. agencies to request CCAP to conduct similar programmes, this time, with 150 women. Most of CCAP’s projects have been partially or completely financed by the Govt. of India’s funding programmes.

Training by Crafts Council

Laxmi was a teacher in a school when an educational officer saw her in a Banjara embroidered kurta. He liked it a lot and informed Crafts Council about this art. Even before Crafts Council identified this village’s talent, the ladies here used to embroider products for their local use. Crafts Council came and inspected the village – its facilities and its talent. They then decided to train these ladies further so as to enhance their art.

In 1990, Crafts Council had conducted a workshop for a year to train the ladies in Yellamma Tanda and the neighboring villages and commercialize the art a bit. They employed a lady named Mehrulisa who acted as a coordinator between the village ladies and Crafts Council. This helped commercialize it as she taught them new stitches, easier methods and also connected with the people by speaking the local dialect. Now, only the women in Yellamma Tanda have continued this embroidery art.

Now, however, Laxmi is the leader of the group and acts as their coordinator. She is the only woman who speaks Hindi comfortably. She is also the one who allocates the work to the other ladies, instructs them about the design and divides the remuneration received from Crafts Council as per their work.

By working with Crafts Council, they go to Mumbai, Delhi, Kolkata, Chennai and Hyderabad to sell their products. They have even gone abroad i.e. USA with the help of Crafts Council.

Banjara items sell more in Delhi and Kolkata. Delhi people give orders for large metres of fabric to be embroidered.

Since past 20 years they have been working through and with the help of Crafts Council. Just recently they have also formed a group of their own named Yellamma Tanda Jiyo Group. So as of now, they supply to Craft Council as per their orders. But now they go for exhibitions on their own as well to Delhi, Ahmedabad if they get invitations for showcasing their work there.

Plate no 4.19 Training by Crafts Council

Plate no 4.20 Training by Crafts Council

LIMITATIONS

Banjara embroidery has been a difficult art to keep alive as there are limitations faced at every level.

The most important element needed for the survival of this craft is the artisans as they play a very crucial role. The artisan ladies are not provided enough wages for the intricacy of their work. So they are forced to take up other jobs to support their income. Their primary income now comes from agriculture. They have also recently started earning income by helping the Government dig mountains and construct dams. Only 120 ladies now are engaged in Banjara embroidery as supplementary income and the number is continuously decreasing.

The women here know this art since childhood as this art of embroidery has been passed down from generations. However, though they have passed the art to their daughters as well, they encourage their daughters to study rather than embroider.

Their grandmothers were very creative. They used to design and embroider a wide variety of motifs without sketching beforehand. Nowadays, these ladies trace those motifs but they have simplified the work. Also their work is now less intricate from that of their grandmothers, but it is still more intricate than Kutchi embroidery.

Though they trace the designs out before embroidering, they do not use embroidery frames which increases the time required to embroider. Also, their motifs continue to be in the form of geometric shapes. This shows the stagnation in this craft. The use of large amounts of mirrors in each article also reduces the commercial viability of the article.

The fabric that is mostly used for this embroidery is mostly cotton, especially Mangalgiri cotton. Though they have tried other fabrics as well, they continue to stitch on cottons alone as they are used to it.

Another problem that we noticed was that Banjara articles were heavily embroidered. The colour schemes used by the Banjaran ladies were very traditional and loud. The ghagra - choli – dupatta set that they had made, had a wide variety of stitches with no connecting link between the stitches used in the ghagra, choli and dupatta. The cost of the articles that they had embroidered was also high. This was mainly due to the heavy embroidery work on them.

Plate no 4.21 Embroidered patches

A developing nation is constantly changing and this has certainly affected the craft. With modernization, the demands have changed. The age of machine embroidery have left little hope for hand embroidery. Though the Government has taught them machine embroidery, the hand embroidery skilled artisans refuse to perfect and use this technique.

The local consumers do not appreciate the darker tones of Banjara embroidered articles. Moreover, zarzodi attracts more consumers due to the bling.

Another major problem is that this embroidery is similar to Kutch embroidery. Due to the popularity of kutchi embroidery and the comparatively low prices of those articles, Banjara embroidery is on its way to extinction.

Plate no 4.22 Colourful patch

V. RESULTS AND DISCUSSIONS

From the very first step we took in our research of Banjara embroidery, we found out that the government and other organizations have put in a lot of time and money to facilitate the revival of this craft.

This trip has been a very inspiring experience for all of us. We were all humbled by the skills possessed by the artisan ladies who not only mananged the house but also palyed a role in contributing to the family income. A little hesitant at first, they welcomed and shared knowledge about their craft with us once we informed them that we were there to promote their craft. All our queries were answered with all thoroughness. They were receptive towards our suggestions and were willing to experiment with different mediums of thread and different materials.

We on the other hand, were introduced to whole wide range of stitches that were traditional to them but not popular with this craft. Learning these stitches opened up new avenues for our creativity. This knowledge helped us while we were making samples for commercializing the craft.

Plate no. 5.1 Commonly made tea coasters

There were a lot of artisan ladies we meet in Hyderabad who used to do Banjara embroidery but have switched to zarzodi due to the low income coming from Banjara embroidery. the main reasons for this were the time consuming nature of Banjara embroidery and also the low wages that they received due to the middlemen involved. Language barrier was also a reason for the artisan ladies not being able to sell their work directly.

At the end of our documentation we realized that its important to recognize Indian handicrafts such as Banjara embroidery which are on the brink of extinction. The reason these crafts aren’t given importance is because they are not seen as designs which can be successfully used in contemporary fashion.

We developed a line of products using Banjara embroidery which were designed to cater to the needs of the urban class. Unlike the traditional methods, we used this embroidery as a patch or trim or in a small portion. Also the bright and loud colours were replaced by a combination of bright and light shades in varying proportions.

Support from Crafts Council and Government

The sub-committee of the Crafts Council of Andhra Pradesh working in tandem with the women at Yellamma Tanda has been producing a combination of traditional and utility items. The designing is done maintaining the authenticity of their embroidery and transferring it onto items of market viability. When orders were placed by individuals there was a possibility of doing more elaborate work. Beautifully and intricately worked lehngas, sarees, cushion and bed covers have been made. Of course, these very items had been executed with simpler and less expensive embroidery also. Blouses were the most popular. A variety of designs were created using all stitches. Kurtas and dupattas were worked on accentuating their styles. New products like pachees, small topes, spectacle cases, jewellery bags, kalchis and pouches of several sizes were embellished with Banjara stitches and were well received. Beads have always been used predominantly to make accessories. Now, however, innovative and new deigns have widened the spectrum of products.

Over the past ten years the Banjara Needlacraft Centre has grown. An experienced and proficient craftswoman among them can earn up to Rs. 1,000 per month depending on their work input. Of course there are those lazy ones who do not make an effort to improve the quality of their work. These earn far less.

Andhra Pradesh used to earn a large chunk of its revenue from this local industry of the Banjara embroidery. The tourists were attracted by the beautiful designs of mirrors on the cotton and silk pieces of cloth. The exquisite patterns of mirrors on the dresses called for a great deal of patience on the part of the artistry. The exclusive and rare products of Banjara embroidery had a great demand during marriage seasons. The attractive bridal collections of Banjara embroidery imparted a pristine look to the bride and the bridegroom.

The government of Andhra Pradesh has framed several significant policies to save this lucrative traditional industry from its imminent natural death. The state Government has extended a helping hand to the stalwarts of this traditional art and craft by organizing “Self help” groups that will cater to the urgent needs of the industry. They have conducted training workshops of Banjara embroidery not only in the villages but also in the lower income earning population of Hyderabad and Securandrabad cities so as to help them earn alternate supplementary income.

Plate no 5.2 Award Winning Table Runner

VI. CONCLUSION

Crafts are unique expressions that represent a culture, tradition and the heritage of a country. The arts and crafts play a significant role for the economic development in India and provide ample opportunities for employment. Hand-embroidered articles are a result of the Indian tradition and culture, and bring out the cultural diversity of each state.

The need of the hour is assisting the craftsmen to improve their techniques, provide easy accessibility of good raw material, enough wages for their existence and direct marketing channels.

Recommendations to the government

There is a large scope for the development and promotion of this craft. But it would require a lot of effort and dedication from a determined group of individuals on whom the artisan ladies are willing to trust.

The process of betterment is a slow process which requires a lot of patience from both the artisans. The artisan ladies should make most of the help and support provided to them by the government and organizations.

The government should also help in the promotion of this craft. They should keep the Banjaran ladies informed about the upcoming trade fairs and exhibitions so that the ladies can make appropriate articles for sale. The government can also encourage this craft at international platform by sponsoring the artisans to attend such art conventions.

The government should also initiate an interaction of the artisan ladies with interior designers, product and fashion designers and architects so that the craft can be exploited at a greater scale.

The most important assistance that the government can provide the Banjaran ladies, is to provide education to them at an economical rate. Once the ladies overcome the language barrier, they will be able to not only understand the market needs and demands but also modify their articles accordingly. This will also help them to market their products better.

Recommendations to the artisans

One of the major problems faced by the Banjaran ladies is that the articles made are too colourful and loud for the urban taste. We suggested that they use pastel shades as well instead of the traditional red, blue, black and green. They can use a combination of bright colours and pastel shades which can make them more attractive. With the pictorial help, we explained to them the needs of the urban class.

We also informed them that lightly embroidered articles with a sober colour scheme were the preference of the majority of the population in major cities. Also the dark coloured base fabric should be replaced with lighter colours.

Moreover, the lightly embroidered pieces would reduce the cost price of the articles and thus would enable higher sales. We explained the benefits that they would get if they made lightly embroidered pieces – less time required, more articles can be made in the same time, more sales, higher income.

We encouraged them to use different types of stitches rather than just to stick to the mirror work. Again, the threads that are used are only cotton and they were unwilling to try out silk or zari threads for embroidery. We also suggested that they should learn to embroider using machines as it would save time, be less tedious and also lower their costs. But they refused to try it.

We had carried different types of fabrics i.e. georgette, denim, silk, linen, khadi. We gifted them these fabrics so that they could try out the stitches on these as well and produce remarkable results. Again, they were a little reluctant to try on different fabrics as they were so used to cotton, they did not like the feel, fall and hand of some of them.

To reach out to these artisan ladies is a little difficult as they stay in remote villages. Though they take orders for making articles, to deliver or courier them is a problem for them. This forces them to take only large orders. They should set up a middleman or an outlet through which they can be reached easily. This will also enable them to take smaller orders.

We are going to continue to remain in touch with the artisan ladies and keep them informed about different art exhibitions where they can showcase their art, thus reviving it as well as profiting from it. They are looking forward to participate in Paramparik.

Recommendations to the art students

Such hand-embroidered crafts are rare in the world and we are lucky to have such a wide variety to choose from. The importance of most of the arts and crafts is diminishing as the younger generation opts for higher paying desk jobs. What we have to realize is that once these arts slip into oblivion it will be that much harder to revive it in the future, if revival is possible at all.

Art students should find out ways in which handicrafts can be made to look contemporary and at the same time retain their authencity. As creative students, it is essential to develop products keeping these traditional arts in mind.

We must work towards making the craft more commercial to give the artist and their future enough incentive to continue their legacy.

Using this craft of embroidery with a fresher perspective will lend the products an exceptional quality that is difficult to imitate.

We should all try to search for more art and craft form, spend time in understanding them and spend time in their revival.

It is necessary to be patient with the artisan ladies and to understand the art and craft and to follow the artisan’s direction and only to make suggestions. If they are hesitant, gently persuade them as most artisans are not ready to compromise on authencity.

Learning such craft forms is very beneficial as it introduces new mediums, techniques, motifs and a wealth of knowledge concerning textiles and dyes. Learned with patience and respect, it will add to our design philosophy and aesthetic sense.

BIBLIOGRAPHY

1. All the information received from Laxmi.

2. All the information received from Minakshi ma’am and Crafts Council of Andhra Pradesh.

3. Asian Embroidery – Jasleen Dhamija Banjara Embroidery – Nivedita Krishna Rao

Pages 159 – 172

4. Drishya – Crafts Council of Andhra Pradesh catalogue

WEBLIOGRAPHY

http://textiles.indianetzone.com/1/andhra_pradesh.htm

http://www.mapsofindia.com/andhra-pradesh/tourism/banjara-mirror-work.html

http://www.google.co.in/imgres?imgurl=http://antiquarius.photoflex.net/images/TXBA-002_dtl.jpg&imgrefurl=http://www.antiquariusimports.com/lectures-banjara-textiles.php&usg=__Nmk9jQdyT8NpZMw3DHDKMhqNkPE=&h=243&w=250&sz=18&hl=en&start=13&um=1&itbs=1&tbnid=h2UgrMEEE6x0YM:&tbnh=108&tbnw=111&prev=/images%3Fq%3Dbanjara%2Bembroidery%26um%3D1%26hl%3Den%26sa%3DX%26rlz%3D1R2ADFA_enIN360%26tbs%3Disch:1

http://www.adikala.com/main/main.asp?page=about&ga=Banjara

http://textiles.indianetzone.com/1/andhra_pradesh.htm

http://www.creativetrendz.in/ie_banjara.html

http://sourcing.indiamart.com/apparel/apparel-industry/embroidery-market/banjara-embroidery/

http://tiggyrawling.blogspot.com/2010/03/banjara-embroidery.html

http://www.fibre2fashion.com/industry-article/14/1376/fashionable-indian-embroidery-styles1.asp

http://www.suryasgarden.org/History.html

http://www.kosmix.com/topic/banjara

http://sansdollhousediaries.blogspot.com/2010/05/day-154-selecting-banjara-tapestry.html

APPENDIX

From when are you doing this art? Who taught it to you?

Does your whole family do it? (only male/female members)

Do you do it as a full time job or as a supplementary job?

Do you migrate like your ancestors or are settled?

From where are your ancestors originated?

Do you buy the materials or make them or pick them up from somewhere or source it?

What fabrics, threads, motifs, colours do you use?

Which stitches are used for this embroidery?

Which decorative material do you use? Why these particular decoration?

In what percentage do you use the embroidery on the fabric?

Is there a particular tradition or superstition restricting the use of certain colours, fabrics, motifs and stitches?

What articles do you generally make?

How many hours/days does it take to make one article?

Is there a particular season when it is in demand?

What is the average cost of each article?

What is the selling price? What is your profit margin?

Do you sell it on your own or do you have a middleman?

How did you get in touch with Craft Council?

Do you make pieces on order or for retail?

Has the Government been helpful in reviving this art?

Since when has the demand for this craft declined? Why has it happened?

This analysis was carried out while conversing with Laxmi and Minakshi Ma’am of Crafts Council of Andhra Pradesh.