by
Judy Frater
This paper begins with the present scenario of traditional embroidery of Kutch, in the context of inflation, need for two incomes/family, and the increasing consciousness of the value of time. Among the pastoral nomadic Rabaris, whose traditions are still vital, Kachhi women have addressed the need to satisfy increasing demands on their limited time by employing time saving devices such as machine embroidery and ready made trims. Dhebaria women, who had their traditional work banned in 1990 by the elders, satisfy their need to decorate with elaborate application of allowed ready made trims. In both cases, women now can focus on the design rather than labor aspect of their art. Assessing this evolution of traditional art, Kala Raksha Trust has sought solutions for making embroidery economically and culturally viable, in order to preserve the traditions and enable artisans to earn a living through their art. The Trust focuses on the importance of the perceived value of craft to insure sustainability. Understanding the creative capacity of the artisan rather than viewing her as laborer, Kala Raksha has guided women to utilize documented collections to consciously innovate in surface design. Women also price their own work, according to what they perceive as market value. However, the recent experience of providing matching grants to artisans after the earthquake has proved that wage is the critical factor. The challenge is to enable artisans to fairly evaluate their work so that the effort factor is addressed and the product still sells in the market.
Judy Frater is Project Coordinator for Kala Raksha Trust in Bhuj, Kutch, India. In this role she oversees a comprehensive development project, including a museum and resource center. Her M.A. degrees were received from the University of Washington in anthropology and museology and from the University of Minnesota in South Asian studies and Marathi language. Frater’s Threads of Identity: Embroidery and Adornment of the Nomadic Rabaris won the Costume Society of America’s Millia Davenport Award in 1997. She has served as Associate Curator for Eastern Hemisphere Collections at the Textile Museum in Washington, DC and curated numerous exhibitions in India, Scotland, and the U.S. showcasing the textiles of India.