BANJARA

EMBROIDERY

Shivani Kumar

Sheetansh Sayal

Purvasha Singh
 INTRODUCTION
Tribes from Rajasthan migrated long ago to the hilly region in Hyderabad. The
local banjaras still make their living by weaving colorful embroidery work by
using mirrors and beads embroidered artistically on clothes. The Banjaras are
also known as Lambadi. The tribal wear dresses of bright color, combinations of
red, green, yellow and black with mirrors knitted on cloth in intricate patterns.
The stitching of cloth with cut mirrors has become a source of income for many
Banjara families in Andhra Pradesh, particularly in Hyderabad, Khammam,
Nalgonda and Warangal.
 WHAT IS BANJARA?

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 as hardworking, ingenious, powerful, self-assured and honorable. 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.
 WHAT IS BANJARA
EMBROIDERY?
Lambani or Banjara embroidery is a combination of colorful threads, design
patters, mirror work, stitching patterns appliqué or patch work. Embroidery is
done on thirteen different colors of base fabric among which dark blue or red
are commonly used. Base fabric used is basically hand loomed but now they
also use readymade available fabric. The cloth is made of cotton khadi dyed
with chemical or vegetable dyes made from Rathanjot, Kattha, Chawal Kudi,
Pomegranate peel, etc.
 STITCHES

There are 14 types of stitches used in Banjara embroidery. They are Kilan, Vele,
Bakkya, Maki, Suryakanti Maki, Kans, Tera Dora, Kaudi, Relo, Gadri, Bhuriya,
Pote, Jollya, Nakra.
 STITCHES
Chain Stitch: Used to fill the various shapes contained in central squares. Also
used to create zigzags, to outline shapes and fill borders.
Brick Stitch: Each stitch is identical and placement is regular as the weave of
the ground fabric. A pattern is made by alternating colours in a regular way
similar to woven designs.
Cross Stitch: Extremely regular. Separate back and forth running stripes; back
side with an intermitted and an overlapping stitched row.
Cretan Stitch: The first border element around a square motif is usually filled
with Cretan stitch. A second border, separated by lines of chain stitch, may be
added.
Raised Satin Stitch: The second border element around a square motif is often
filled with a densely worked raised satin stitch. The rows create bands of
colour.
Buttonhole Filling Stitch: The Stitch is also used to create bands of colour in
border areas. It is much quicker and uses less thread than previous two.
 STITCHES
Running Stitch: a used to quilt together layers of fabric for the construction of
bags, resulting in a durable cloth.
Running Stitch Variations: A pattern created by changing the colour of threads
used for running stitch, or varying their placement.
Interlacing: The even placement of running stitches provides an excellent grid
to anchor additional threads. The interlacing forms distinctive patterns that
may be used as borders, lines, or larger patterns.
Maaki Stitch: Pattern formed by interlacing is sometimes called maaki. A
triangle with a twisted tail, reproduced by this stitch.
Herringbone: Closed herringbone and herringbone with couching on the
crosses.
Buttonhole Stitch: It is used as a linear element to finish the edges of a piece or
when used in a circle, as a substitute for a mirror.
PATTERNS/MOTIFS USED:
 PRESENT SCENARIO

• The traditional embroidery was entirely done in plain hand dyed cotton cloth of
limited natural colours like maroon, red, mustard, yellow, blue, green, magenta,
white and black. Now women use mill-made cottons, polyesters, nylons and rayon
often with printed or woven designs.

• The appliqué and patchwork of the costumes which was originally hand worked,
was later accomplished by machine sewing. Present day dress is dominated by
large appliqué motifs which are embellished with a few mirrors. The embroidery
still retains its traditional style and colorful character on the costume of the
Banjara women
 BIBLIOGRAPHY

• m-beste.com/the-banjara-and-their-embroideries – Lang-Meyer, Marlene and

Nabholz-Kartaschoff, Marie-Louise
• Book: Textiles of Banjara by Charlotte Keon and Tim McLaughlin
• medium.com/directcreate.com/banjara-embroidery
• D’source.idc.iitb.ac.in – content by Professor Bibhudutta Baral, Ms. Aruna Kumari.
(NID Bengaluru)
• Krishikosh.egranth.ac.in – Professor Jayashankar Telangana state Agricultural
University, Hyderabad