Craft stories

As my craft research documentation in college, i chose to study the beautiful craft of Kantha embroidery. This study was undertaken by visiting the Bhirbum district of West Bengal, India, specifically Bolpur, Nanoor, and Mahidapur, and spending time with the craftswomen to understand their craft and the stories behind it. Additionally, a second part of the study was conducted in Kolkata, which involved interviewing Kantha and Bengali culture revivalists, people working in gov

Kantha’s etymological roots lie in the sanskrit word, “Kontha,” which translates to rags. Being one of the oldest crafts of india, Kantha originated in rural Bengal as a means of upcycling worn out cotton sarees and dhotis that could not be worn anymore, to create quilts, wraps, and swaddles to keep warm in the cold weather. As it became more ornate, it evolved into a means for women to create a symbol of their love and warmth for their partner, or children to keep with them

Sadulram ji is a craftsperson practicing ply split braiding in Dhova village, slightly outside Khuri, which lies approximately 50 km outside Jaisalmer, Rajasthan. Their family was extremely warm and welcoming to us, eager to help and share their lifestyle. Sadulram ji works at his farm from 9 am till evening, only in the monsoon though which lasts approximately 3 months. Agricultural stability around the year is not possible due to the Thar region’s water table comprising of

As one shifts to study the more recent history of ply split braiding and tangs, it is impossible to overlook the decline and growing sparcity of the craft. Peter Collingwood talks about two main reasons for its limited distribution. One being its late arrival in the academic landscape, and the second being its limited practicality. The technique and material of ply split braiding usually produce thick, narrow, heavy fabrics, unsuitable for fine uses. Additionally, its slow pr

Ply split braiding’s history reminds one of Tim Ingold’s “Textility of making” wherein he challenges Aristotle’s idea of hylomorphism, which suggests that creation is form imposed on material. He suggests that materials are an active part of the process of creation. They help the maker determine the technique, requiring improvisation based on their qualities. For instance, goat hair, camel hair, hand-spun cotton and locally available dyes don’t merely “sit there” waiting to b

In the heart of Rajasthan’s arid landscapes, camels are more than just beasts of burden. They carry stories, traditions, and social signals through the way they are adorned. The practice of decorating camels is a rich cultural expression that blends craft, animal care, and identity. How a camel is dressed speaks volumes about its owner’s social standing and pride. This post explores the deep meaning behind camel ornamentation, focusing on traditional elements like the gorband

When we look at Ply split braiding's history, the camel's involvement is unmistakable. The Camel belt, or "Tang" ( तंग) was the k ey use of this craft across the pastoral communities Rajasthan and Gujarat. Its so interesting, and heart-warming to see an entire craft centered around the bond between the human and their camel; something made purely out of love for the animal. This implies the existence of a deep emotional bond, as one would have with their family member, as o