IMMORTAL INHERITANCE

The Evolution Of The Time

Honored Rabari Bharat

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'' (NathibenKhambaliya, Paddhar,2015)

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

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

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

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

ON BASIS OFMARITAL 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

KANCHLI

A Kachchi Kanchli

A Dhebariya Kanchli

A Vagadhiya Kanchli

JEWELRY

Nagla and gokh , kachchi Rabari, Tunda

A Kada, Kachchi Rabari, Tunda

Vedhlas, Vagadhiya Rabari, Amaliyara

Baloyu, Vaadhiya Rabari, Amaliyara

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

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

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

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.

MOTIFS

Sudo Haathi Mor

SYMBOLIC MOTIF

Cycle motif drawn and embroidered

CHANGES OVER TIME : PANIYARI MOTIF

Laachuben RabariVandh, 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.

PRODUCTS

Toran, Vandh

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

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

CONTEMPORARY PRODUCTS

Sling bag Stuffed Toy Mobile cover

EDUCATION INITIATIVES

Carmina Fernandes teaching student about color wheel at Kala Raksha Vidyala, Tunda

A display of students work

Bhujodi, Kutch