study of India's nomadic tribe "Rabari" and a study of their costumes and textiles. a small overview of the book published as a part of the craft cluster on the same topic.

1. IMMORTAL
INHERITANCE
The Evolution Of The Time
Honored Rabari Bharat

2. THE MYTHS AND TALES
Numerous tales suggesting their origin
have been passed on since generations.
Some are backed up by theories and
some by their beliefs.
Their captivating costumes, their kith and
kin with the color black, their reasons to
migrate, each practice had an
interesting back story to it.
The oral narrations of these stories varied
from person to person, place to place
and community to community
''Up until this day we don't even consume the water of Jaisalmer'' (Nathiben
Khambaliya, Paddhar,2015)

3. RELIGIOUS BELIEFS
Just like any other community, they
have their own set of beliefs which
they follow in their daily lives and
certain deities who they worship.
They are devout hindus. According
to Neeruben Rabari, Bhujodi, the
gods and deities they believe in
are Sikotar mataji, Goga maharaj,
Pabhu dada and Asha pura mata.
Lord Krishna was found in various in-
house temples as well.
One of the temples they visit is the
Gadva Dada, it’s a deri which is
located in the mountains.
Neeruben Rabari, Bhujodi
An in house temple with lord Krishna’s idol,
Paddhar

4. LIVELIHOOD AND LIFESTYLE
There was a time when their foremost livelihood was camel breeding and migration was a big
part of their lifestyle.
The women disbursed their time by embroidering their clothes as well as various accessories.
Embroidery was the most treasured inheritance for the women and were taught how to do it in
their childhood.
As they started settling, they acquired exposure to the city life and occupations with fixed
working hours, daily wages, for example; Tata Power Plant , in village Tunda provides the local
people with job opportunities and also supports them in improving their standard of living.
Bhanubhai Rabari,
Migration route: Vagadh-Anand
Devalben Rabari handstiching an abhla,
Paddhar
Contrastin site of a bhunga and the Tata
Power Plant, Vandh

5. AMENITIES
Most of the villages have all the conveniences like
schools, clinics, temples, shops, tailors, parlors well
within their reach.
They also now realize the importance of education
which promises a better future for their younger
generation. Hence, they now have schools which
provide primary and secondary education to both
boys and girls.
Lakhi and his brother posing for us after a long day at school, Tunda
The local school in Bhujodi

6. ATTIRE OF THE FOLK
The Rabaris are subdivided into three groups namely
Kachhi, Dhebariya and Vagadhiya. These three
distinctly differ in their attires, jewelry, beliefs and
livelihood.
All Rabari women wear a three piece costume- a
kanchli (an open-backed blouse) a ghaghra (a
gathered long skirt) and a ludi (veil).
Although, for each subgroup, distinctive details can
tell them apart. Even within a subgroup distinctions
on the basis of age, marital status etc. are denoted
in their clothing and accessories.
A Dhebariya woman showcasing her beautiful attire, Kotay

7. ON BASIS OF
MARITAL STATUS
Unmarried girls of different ages shows
the different garments worn by them,
Chandroda
Married Kachi Rabari women in their
traditional attire, Vandh
A widow clad in all black, Paddhar

8. KANCHLI
A Kachchi Kanchli
A Dhebariya Kanchli
A Vagadhiya Kanchli

9. JEWELRY
Nagla and gokh , kachchi Rabari,
Tunda
A Kada, Kachchi Rabari,
Tunda
Vedhlas, Vagadhiya Rabari,
Amaliyara
Baloyu, Vaadhiya Rabari, Amaliyara

10. MEN
The costume of all Rabari men includes a paagdi (turban), bandi (undershirt),
pachedi (a draped lower garment) and a kediyu (jacket).
Their jewelry include Sali, gokh and kadla

11. CRAFT AND DESIGN
All Rabari women dress
predominantly in black owing
to their time-honored
tradition. What renders
richness to their attire is the
embroidery which is popularly
referred to as bharat, which
has highly elaborate stitches
and astonishing color
combinations.
A elaborately embroidered Ludi, Vandh

12. RAW MATERIALS
The inclination towards synthetic textiles
like polyester and cotton blends, is quite
evident in the works of the local folks. But
the traditional fabrics like cotton, wool,
mashru, brocades are also seen
embroidered with equal zeal. The
Embroidery is done using cotton polyester
blend, silk, zari (metallic threads) and
crewel yarns (wool like acrylic). Thin,
single ply threads are also used for the
minute work.
Various shapes of abhla Silk yarns, cotton yarns and abhla
Base fabric

13. PROCESS
From left: The step by step procedure of
how a motif is embroidered can vary but
the very basic one has the mirror
attached after a border of sankdi (Chain
stich) is embroidered, next a border of
khaap is done, then it is surrounded by
kamal phool na matha (Romanian
stitch), and then small motif of bawariya
(interlaced stitch) is placed in the four
corners.

14. MOTIFS
Sudo Haathi Mor

15. SYMBOLIC MOTIF
Cycle motif drawn and embroidered

16. CHANGES OVER TIME : PANIYARI MOTIF
Laachuben Rabari
Vandh, 2015.
Stitches-chain stitch, running stitch, lazy daisy stitch, buttonhole stitch
The curvilinear outline of the traditional paniyaari motif displays the flexibility of the design whereas the
newer ones have a geometric structure. The updated versions show the background or the surroundings
as well. Stylized trees and wells are some of the elements which are embroidered with the paniyaari.

17. PRODUCTS
Toran, Vandh

18. COMMERCIALIZATION
Further, most commercialized craft aims for
quick, standardized and low cost replication.
This matches the factory model. The strength
of hand craft, the personal, handmade
quality, is forgotten. The net result is that even
when artisans can earn a living by producing
contemporary versions, most do not wish their
children to be artisans. Surely, design input is
needed for new markets.
A choli with machine embroidery and a hint of Rabari bharat, Anjar Market

19. ROLE OF ORGANIZATIONS
The aim of these organizations is to preserve the
traditional craft while uplifting the artisans. The
artisan can still live without the craft, but for the
craft’s survival artisan is necessary. Thus, not only the
embroidery but the artisans are also given utmost
respect and opportunities. The women are now
given the opportunity to learn and earn through
something in which they have immense practice
and were doing it for free inside the four walls. They
have a chance to showcase their talent, their
identity, and their thoughts through embroidery.
Kala raksha and Somaiya trust have established
schools and organizations for the betterment of the
craft and artisans in Kachch.
Kala Raksha Shopping Gallery, Sumrasar

20. CONTEMPORARY PRODUCTS
Sling bag Stuffed Toy Mobile cover

21. EDUCATION INITIATIVES
Carmina Fernandes teaching student about color wheel at Kala
Raksha Vidyala, Tunda
A display of students work