Discover how a modest textile initiative curtailed migration among Lambani women in rural Karnataka.

The workshop belongs to the non-profit social enterprise Banjara Kasuti, which provides employment to rural women from the Banjara or Lambani community, often referred to as the Indian gypsies. Historically, during the Mughal era, they were itinerant traders who dealt in grains and spices across various regions. Some historical accounts suggest they relocated to southern India due to an assignment from Mughal ruler Aurangzeb.

As their traditional trade lost its significance over time, these individuals had to migrate to different regions of the country for six to eight months each year, engaging in activities such as sugarcane cutting, grape harvesting, and even laboring in road construction. The intricate craft of the women, characterized by their embroidery skills used to adorn their vibrant ghagra cholis with up to 23 stitches, was gradually fading away. Compelled to accompany their husbands to demanding jobs, they faced challenging living conditions and left their children in the care of elderly relatives. Working under such circumstances, adorning heavy attire like ghagras, cholis, and dupattas adorned with metal coins and various types of stitching, became quite challenging. Asha Patil, a philanthropist from Vijaypura, and Seema Kishore, a homemaker, joined forces to establish Banjara Kasuti. Their goal was to offer these women dignified, permanent employment opportunities that would eliminate the need for seasonal migration, allowing them time to nurture their craft and care for their children. Patil, who grew up in Vijaypura, was always fascinated by the Lambanis’ vibrant attire and skilled embroidery. Observing the decline of their rich craft saddened her deeply. The Lambani artisans do not sketch patterns on their fabric before embroidering; instead, the patterns emerge organically. Often, multiple women collaborate on a single skirt or blouse, resulting in unique designs. Some of their stitches are quite distinct, like the Jod Muhiya, which appears as a series of two intersecting squares and straight stitches alternating on top and bottom rows. The Chale Chundri resembles a three-triangle leaf, the Tacha features diamond-shaped dots on each corner, and the Teka resembles a finely woven braid. Their craft’s motifs are deeply rooted in nature, likely reflecting the community’s historical forest-dwelling lifestyle. Designs include millipedes, flowers, leaves, corn, fish, and the iconic round nose pin worn by women. These bright and reflective designs served as protective measures for a community accustomed to living in the wilderness. In 2017, Patil and Kishore enlisted the talents of 32 women to embroider fabric swatches and assess their skills. Although their work was finely crafted, the finishing touches needed refinement. Kishore led the effort to train them in creating uniform stitches, straight lines, and finesse. She also encouraged them to work year-round, breaking away from the part-time work pattern they were accustomed to. Once the women experienced the benefits of full-time employment in a clean and comfortable setting, as opposed to labor-intensive tasks, their commitment grew stronger.