banjara-embroidery-hyderabad

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
4.4 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, Andhra
Pradesh's main seaport, is the second largest city
of 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 Fabrics
The 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 Craft
This 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 Castings
The 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 Toys
The 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 Ware
The 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 Saris
The 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 Carpets
The 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 for
national as well as international
business 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. 4.1 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.
Plate no 4.4 Traditional
embroidered bag
Plate no 4.5 Tapestry

Stitches
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%3D1R2AD
FA_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.

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