ShodhKosh: Journal of Visual and Performing ArtsISSN (Online): 2582-7472
Ingenious Nomadic Expressions: Decoding the Semiotics of Lambani Embroidery Beena Santosh Modathi
1 1 Ph.
D. Scholar, Department of Clothing and Textiles, Faculty of Family and
Community Sciences, The Maharaja Sayajirao University of Baroda, Vadodara,
India 2 Department
of Clothing and Textiles, Faculty of Family and Community Sciences, The
Maharaja Sayajirao University of Baroda, Vadodara, India
1. INTRODUCTION Textiles and clothes are arguably the most indispensable indicators of human life. Fabrics have been created on a large scale since the Neolithic period, when human society changed from being nomadic to settled and developed ever-complicated economic, administrative, and religious hierarchies. Naturally, textiles have played a significant role in these systems, serving as both material goods with monetary value and symbolic meaning. Sokoly (n.d.) Historically it can be derived that textiles have by and
large impacted human life. Right from being a source of personal expression to
exploited human labor to an expression of artistry-
textiles and clothing have played a predominant role in human lives. Textiles
denote ideological values, human conditions, political affiliations, gender,
culture and ethnicity or social status. Hence textiles and clothing are closely
interlinked in human existence. Clothing can help one to identify groups and
stratify social classes. Hawley
(2012) Apart from clothing the traditional textiles of a community are their identity markers and carry with them a legacy of beautiful motifs, patterns, stiches, and embellishments. The lexicon of embroidered motifs, stiches, colours, fabric has many connotations to ethnicity, age, and marital status. Hawley (2012) Nina Sabnani (2012) has expressed that historically, embroidery was not valued commercially. It was made as a token of social exchange, as well as gifts for the fiancé's family, children, and in-laws. Embroidery frequently arrived before the bride was even there, so it served as an introduction and evaluation of the bride, showcasing her originality, wit, and devotion, There are many embroideries which have enjoyed royal patronage, there are many which are just a fragment of the embroiderer’s imagination, there are many which have received huge recognition and there are also some embroideries which have lost in ambiguity. Kuper (1973) 2. Lambanis: History Pan India there are more than 500 tribal groups comprising 8.6% approximately of the total population of the country. One such tribe is the Gor Banjara which is identified ethnically by isolation, language, culture and traditions, festivals, cuisine, dance, and music. Naik and Dhananjay (2020) This indigenous and nomadic ethnic tribe is also known as "Gor," "GorBanjara," "Lambani," "Lambadi," "Laman," "Sugali," " Labhan," " Gavaria," "Baldiya," " Shikhlijar," " Vanjar," " Baazigar," and "Gouriya." These names are used in different parts of the nation. They are mainly spread in Maharashtra, Karnataka, Telangana, Andhra Pradesh, Tamil Nadu, Gujarat, Madhya Pradesh, Odisha, and West Bengal. Gor Banjaras have their own unique language, which is referred to as "Gorboli." This language is also referred to as "Lamni" or "Lambadi" or "Gormati" or "Banjari." They have their own oral literature and customs, but because there is no script for their language, they lack any sort of written literature. It has grown increasingly difficult for historians and social scientists to document their past due to the fact that their history and culture are not preserved in written form. Naik and Dhananjay (2020) The beginnings and histories of lambadas and Lambanis are not very clear or well documented at all. Several ethnographers and anthropologists have been left with questions about the aborigines of this community as a result of the fact that this community is home to a number of legends and stories that have never been told or written down. Rathod (n.d.). These hazy explanations have further muddled the comprehension of their historical transition, which is already confounded by the fact that there are numerous ideas and conclusions regarding their beginnings and evolution. In spite of this, one might make the case that this community has been going through a tough patch during the entirety of the concurrent processes of migration and transformation. The Banjara community has maintained its power over the course of several centuries, helping to shape and modify the trajectory of India's political history. Nagaveni (2015) The Lambanis are one of the nomadic tribes of India, and they still wear some of the most ornate clothing. Nearly all of these communities arrived in Rajasthan, Gujarat, or the South of India via Afghanistan or Kashmir, and they have all modified their dress to make it easier to blend in with more diverse cultures. Samiti (n.d.) They marched into the southern region in great part with the army of Muhammad Tughluk. And in order to provide his army with food grains, Aurangzeb utilized a sizable Banjara horde that worked for him. Beginning in the mid-18th century, the Lambanis gradually gave up their nomadic way of life, became a sort of seminomadic lifestyle, and started settling down on banjar land, which was in part wasteland in the proximity of the corresponding villages as well as forest tracts wherever it was available. This transition took place over the course of several centuries. They moved seasonally since they were always on the lookout for better opportunities and higher paying jobs. Outside of the city limits, they established themselves in a collection of little hamlets known as Tandas. Rathod (n.d.) The East India Company was the one that initiated the
construction of railways in British India in the year 1853. As a result of the
British colonialism, they were stigmatized as criminal tribes, which caused
them to be uprooted from their itinerant trade, culture, and social life. The
hazy explanations provided by the community archaeologists have further
compounded what was already a difficult task of getting a clear-cut
understanding of the course of historical transformation. Naik
and Dhananjay (2020) 3. The Lambani Embroidery Many objects exhibit the influence of heritage. The Lambanis have inherited a vibrant folk needlework tradition. They are the inheritors of a unique set of stitches and patterns that are unmistakably their own and unrelated to the work of any other group. These embroidered design ideas, with their bold presentation and use of symmetry and play, readily fit into a current design ethos. Thus, using color, pattern, stitch, and ornamentation as a semiotic system of communication, embroidery serves as a language. Kwon and McLaughlin (2016) The primary goal of embroidery was to adorn and beautify textiles that had previously been developed to suit the fundamental requirements of man, and the purpose of such embellishment was founded in the old beliefs and superstitions of the time. Shrikant (2009) The women of the Lambani people have developed a distinctive form of needlework that features geometric patterns made up of squares, diamonds, and triangles. On top of brightly colored fabric, a variety of colorful stitches, including mirrorwork, beads, and shells, give them the appearance of being luxurious and festive. Naik and Dhananjay (2020) 3.1. Understanding the stitch vocabulary of Lambani Embroidery and regional variations Samples were collected from Sandur (Karnataka), Bijapur,
Yellamma Tanda (Telangana) and Buriya (Tamil
Nadu). It was found that the artisan have started
increasing the vocabulary of the
stitches in most of the places. The researcher also tried to study the other
embellishments used for embroidery like mirrors, shells, beads, coins, buttons,
and tassels. It was found that there are regional variations in the Lambani
embroidery in terms of stitches, nomenclature, and use of other embellishments
such as beads and size of mirrors. Table 1
Over a period the stitch vocabulary in the embroidery has increased with the introduction of many variations. Yet in spite of all these differences a Lambani embroidered piece is easily recognizable due to the various common stitches. There are very few instances of figurative motifs, such as flowers, animals, or human shapes, appearing in banjara embroidery. The Khandesh region of Maharashtra is the one and only exception to this rule. In this part of the state, zoomorphic imagery was occasionally reproduced in brick and cross stitch. This approach works well with coarse weaves, but when applied to finer textiles, it can take on the appearance of weaving. When considering images of cross stitch, one should note the prevalence of checkerboard patterning and the abundant application of quincunx. Kwon and McLaughlin (2016) The running stitch is yet another essential stitch that can be employed. Basic ways to vary this work include changing the location or color of the running thread itself, or utilizing a gridwork pattern made up of these stitches to provide interlacing. Kwon and McLaughlin (2016) which is colloquially known as Vegro or Vegarno. Based on the number of rows of running stitches it is know as 3-dora, 5-dora, 7-dora, 9-dora, 11-dora and 13-dora 3.2. Surface embellishments: Relevance and Significance In India, adornment plays an important part in a variety of ways, including to entice gods, for the purpose of community protection, to define ethnicity, to reveal the daily lives of a community and its history, and to disclose these aspects of the community's past. Even those who are disadvantaged or belong to lower castes can attain a sense of dignity and a valuable position in the social hierarchy through the use of adornment. The structure of rural India is permeated with adornment and ornamentation to a significant degree. Fisher (2006) The parts of the garments that touch the breast and cover
the reproductive organs are commonly embellished with embroidery, beadwork,
mirrors, and metal elements. Because the dazzling surfaces deter the gaze of
the malevolent eye and protect the wearer's fertility, these embellishments are
common. The Lambanis use myriad embellishments to complement their embroidery which enhances the visual appearance and also adds to the density. Furthermore, there is significant relevance of these embellishments as there are various reasons for the use of these along with the embroidery. 3.2.1. Mirrors One can observe extensive use of mirrors in the Lambani embroidery. It is one of the key elements used in this embroidery. It is unknown when mirrors were first used in embroidery, but their use is widespread today. However, the protective qualities that they possess, when combined with the ancient talismanic connotations that are associated with embroidery, form a formidable alliance. Due to the fact that mirrors shine and reflect the sunlight, there are also strong connections to practices associated with solar worship and fertility. It is important to take note that the mirror embroidery is frequently positioned on dresses over the breasts and the reproductive organs in order to generate barriers that prevent nefarious forces from penetrating the body. Rivers (1999) The small mirrors have a purpose in addition to their ornamental aspect; they shield the wearer from the ill effects of an evil eye and ward off evil spirits. When looking at older pieces, one will see that the mirrors have a small concave shape to them. In the past, these mirrors were produced by blowing glass into the shape of spheres, coating the interior of the spheres with a reflective substance, and then shattering the spheres. Round regions that are completely embroidered in a co-centric pattern can be found rather frequently. The same function is served by these other regions as by the mirrors. Beste (2017) Because of the power that the mirrors possess, it is very important that they be positioned appropriately on the embroidery. Mirrors are frequently positioned in the middle of designs. They are also arranged in a quincunx pattern by the Lambanis. Kwon and McLaughlin (2016) In Lambani
embroidery, mirrors are used to strategically place within a geometric design
or to create a focal point that is highlighted by the surrounding stitches.
Either way, they serve to subdivide a pattern into areas and provide a point of
interest.
3.2.2. Coins Because people have traditionally held the firm belief that coins possess the power to cure illness and ward off evil, coins are frequently pierced when being used to make jewellery or when being sewn onto garments in conjunction with embroidery. This practice stems from the fact that people have always believed that coins possess this supernatural ability. The tradition of a woman donning her dowry wealth as jewelry has led to coins being frequently incorporated with embroidery on the fronts of dresses. This is a result of the fact that women traditionally wear their dowries. Paine (2008) In the Lambani embroidery coins
especially feature in the head dress: Chantiya, the skirt:
Phetiya and the blouse: Kanchali
3.2.3. Shells/ Cowries It was commonly believed that shells had the power to ward off evil, aid in the control of the forces of nature, treat illness, and increase fertility. As a result, many sorcerers, healers, and priests utilized shells in their practices. Shells have played a significant role in the development of many different cultures. They were essential to the values of the economy, society, and the political system, and they frequently contributed to the religious and symbolic significance. Rivers (1999) Cowries are used extensively in embroidery, particularly for headdresses and animal trappings, and are particularly popular in the accessory industry. In most cases, they are mass stitches or lines of stitches, but they form a symbolic design, such as can be found in the textiles used in the Lambanis' rituals. Paine (2008) Cowries are not only valuable as a form of currency, but they are also regarded as fortunate and are frequently used to appease Laxmi, the Hindu goddess of wealth, particularly during the Diwali holiday. Kwon and McLaughlin (2016)
3.2.4. Beads Beads and dangles made of lead are frequently incorporated into the embroidered textiles produced by the Lambani people. It is possible that the ritual songs that are sung to instruct the bride on appropriate behavior are related to the use of lead embellishments in dowry textiles, as lead is considered sacred by the Lambani people. According to the lyrics of the song, she will be "soft as lead" and will obey the older people. Rivers (1999) Glass beads and tiny metal balls are also popular and can often be found lining the edge of the relatively small, embroidered bags. Lead beads are also stitched onto cloth brackets and anklets. Kwon and McLaughlin (2016)
4. Results and Disussion Field visits executed through snowball technique by the researcher to understand the traditional craft of embroidery which is the distinct feature of the textiles of the Lambanis. The simple yet elaborate embroidered embroidery of the Lambanis have always been very fascinating to the researcher and thus began the journey filled with anticipation and exploration. The researcher contacted Sandur Kushala Kala Kendra (SKKK), an NGO at Sandur, Bellary District Karnataka and scheduled a visit to SKKK followed by visits to Sabala Handicrafts, Bijapur, Karntaka. The researcher also visited Harappani, Beed, Maharashtra and also collected samples from Karnataka, Telangana and Tamil Nadu. The informal interviews with the artisans helped the researcher to explore the various facets of the Lambani embroidery and also to understand and interpret the reasons behind the use of various element used in the embroidery. It also helped in regional construal of the embroidery and the embellishments. The observations can be summarized as follows: 1) Embroidery: The basic stitches used in the embroidery is are till date intact and it defines the semiotics of the Lambani embroidery in terms of its identification. Yet regional variations could be found in the stitches especially with the used of brick stitch and cross stitch in the embroidery to form various structures as lozenges, zigzags, and diagonals in Maharasthra. The basic stitches are used in different ways to create new designs with a combination of stitches. Few examples from the samples collected from the various regions visited are as below.
Hence, it is evident from the samples collected that in-spite of the regional variations due to migrations there has been a few minor changes in the stitch vocabulary whilst retaining the essence of the embroidery. There are permutations and combinations of the common stitches based on the region. Overall, the embroidery is more dense in Maharashtra and as one moves southwards there is less dense embroidery found currently. 2) Mirrorwork: The mirrors are used by the Lambani to ward of evil and it is considered auspicious. Regional variations can be seen as there is more used of circular mirrors in Maharashtra and Karnataka compared to Telangana where there is extensive use of rectangular mirrors.
3) Cowries/ Shells: The cowries or shells play an inherent role in defining the Lambani embroidery and textiles and are elaborately used by them in the various textiles. 4) Beads: Lead beads are used extensively
in Maharashtra whereas there is a vast use of white beads to fill empty spaces
Telangana. The white beads are also sparsely used in Karnataka. It was observed
that lead beads are also used in Telangana. 5. Conclusion The Lambani embroidery, categorized as a languishing craft has not enjoyed much patronage due to lack of documentation and regional dispersion. The twists and turns of history and the rolling of the tides of time have not been able to strip this craft of its beguiling ethnicity. Women in the community would traditionally embroider garments, accessories (such as storage bags, covers, and pouches), and textiles that were intended for use in rituals as well as day-to-day life. The embellishments are filled with a rainbow of different colored threads, mirrors, cowries, and a variety of stitches. The lovely art of embroidery practiced by the Lambani people, which is an essential component of their clothing and textiles, has withstood the test of time, transitions in the form of migrations, and social stigma connected to the fact that they stand out from the crowd due to the costumes they wear. The saddest part is that the younger generation is drifting away from the heritage and customs of its community. This is happening because young generations find it uncomfortable to work in the heavy traditional dress, and as a result, they have adapted to wearing casual dress, which is slowly dissociating them from their customs and heritage. Furthermore, the Lambani embroidered art is not a sustainable source of revenue for them, so they go to work as laborers for agricultural and building construction. Because of this, there is a great need for the reintroduction and rebirth of this captivating craft.
CONFLICT OF INTERESTS None. ACKNOWLEDGMENTS · Dr. Sriram Pawar: Beed, Maharashtra · Mr. Ravi Kiran, Karnataka · Mr. Babu Naik, Tamil Nadu · Ms Laxmi Khetwat, Telangana REFERENCES Beste, M. (2017). The Banjara and their Embroideries. Baden : Michael Beste. Fisher, N. (2006). Mud, Mirror and Thread : Folk Traditions of Rural India. Ahmedabad : Mapin Publishing Gp Pty Ltd. Hawley, J. M. (2012). Textiles, Clothing and Human Element. The Research Journal of the Costume Culture, 286-293. https://doi.org/10.7741/rjcc.2012.20.2.286 Kuper, H. (1973). Costume and Identity. Comparitive Studies in Society and History, 15(3), 348-367. Kwon, C., and McLaughlin, T. (2016). Textiles of the Banjara : Cloth and Culture of a Wandering Tribe. New York : Thames and Hudson. Leslie, C. A. (2007). Needlework through History : An Encyclopedia. London : Greenwood Press. Nagaveni, T. (2015). A Historical Transition of Banjara Community in India with Special Reference to South India. Research Journal of Recent Sciences, 4, 11-15. Naik, M. D., and Dhananjay, S. (2020). Gor Banjara: An Enduring Tribe. Secunderabad : Rainbow Print Pack. Nina Sabnani, J. F. (2012). Art as Identity : Social Mobility through Traditional Textiles in Kutch. Paine, S. (2008). Embroidered Textiles : A World Guide to Traditional Patterns. New York : Thames and Hudson. Rathod, T. (n.d.). Banjaras, The Forgotten Children of India. Rivers, V. (1999). The Shining Cloth : Dress and Adornment that Glitters. Thames and Hudson : New York. Rivers, V. (2004). Layers of Meaning Embellished Cloth for Body and Soul. In J. Dhamija, Asian Embroidery. New Delhi : Abhinav Publishers, Craft Council of India, 60. Samiti, D. H. (n.d.). The Vibrant Lambani Embroidery Art. Google Arts and Culture. Shrikant, U. (2009). Ethnic Embroidery of India Part II. Usha Shrikant.
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