Unexplored Tribal Sarees

The traditional sari is a thing of wonder. It showcases the skills of handloom workers -- its weave and fabric indicating its geographic region. There is no such thing as the Indian sari: it is a collection of beautiful fabrics and textiles across different Indian states, each of which have their unique way of draping the six yard.

In the North-East, Assam is a major sari-producing centre. But the Assamese sari, though it's called a sari, is actually a two-piece garment," said Shilpa Sharma, co-founder of jaypore.com, a website that features artisanal craftswork all across India, and specialises in saris. "Punjab and Haryana don't have much of a sari-wearing history (their staple outfit is kurta with a salwar and dupatta, and a top with a long skirt respectively), but the former state has now started producing phulkari saris," she added, also revealing that Kashmir has now started reviving pashmina saris.

Karnataka Bhootheyara

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  Worn by: Nomadic ceremonial performer Area: Bidar and Gulbarga districtLength: 8 yd/ 7.36 m How to drape: Divide sari into half and take around waist. Knot tightly at centre front waist. Take both loose end between the legs front to back, and tuck in at centre back at least 10-12 inch. Bring both loose ends back to front. Hold both ends with either hand. Knot them together at centre of front waist. Bring left loose end around waist anti-clockwise. Tie knot at right waist with both ends. Separate drape may be taken over left shoulder and tucked in at right waist.
• Goa Dhangad
  
  
  
  Worn by: Shepherd Community Area: North Goa Length: 9 yd/ 8.30 m How to drape: Take inner end-piece and double-fold it to arm’s length. Wrap double-folded piece around waist clockwise. Tie at right of waist. Take outer end-piece over left shoulder up to thigh length. Hold loose portion of sari in front. Make a single fold. Pleat folded portion from left to right. Continue pleating. Hold gathered pleats in front and tuck into centre waist. Lift pleats with right hand and hold loose end in left hand. Similarly, right pleats with left hand and pick up loose end over right leg. Hold them with both hands. Tuck into centre front waist. Collect centre pleats with both hands. Bring gathered pleats to back between legs. Tuck into centre back at least 10-12 inches, spreading borders o either side to form a perfect ‘v’ shape. Lift outer end-piece from back. Throw over left shoulder. Bring outer end-piece around waist anticlockwise to tuck in at left waist.
• Gujarat Parsi
  
  
  
  Worn by: Urban mercantile community Area: Saurashtra, Gujarat Length: 5.7 yd/ 5.30 m How to drape: Take inner end of sari, wrap it around waist anticlockwise, and tuck into petticoat at right waist. Bring outer end-piece around waist anticlockwise and hold with right hand. Throw outer inner-piece over right shoulder from back leaving right end forming a ‘v’ below knee. Make pleats of remaining loose portion of sari. Tuck into centre front waist leaving some portions free at left waist. Hold outer end-piece in place with brooch on right shoulder.
• Madhya Pradesh Balaghat
  
  
  
  Worn by: Mara community Area: South Madhya Pradesh Length: 9 yd/ 8.36 mHow to drape: Take inner end-piece and fold over into triangle at waist. Take free ends of triangle at either side of waist. Tie knot over triangle at centre front waist. Bring outer end-piece over head left to right. Tuck left corner of outer end-piece at left back waist. Make pleats from right to left. Leaving two to three pleats free in left, tuck gathered pleats at centre front waist. Pick up centre point of loose pleats. Take it back between legs. Spread borders on right side of hip and tuck in. Gathered both draped border ends from back lower-end. Catch firmly and bring to front. Bring lower borders under front pleats. Fold over front pleats in triangle. Pick up front lower border. Tuck in at left and right waist, preferably one leg more visible than the other.
• Central Chhattisgarh Style
  
  
  
  Worn by: Entire community Area: Central Chhattisgarh Length: 7 yd/ 6.5 m How to drape: Wrap inner end-piece around waist clockwise and tie/tuck in at right waist. Tuck in free end-piece at left waist and fold in front in ‘v’ shape. Bring left side of folded ‘v’ to back waist and tuck in. Bring free end-piece over left shoulder to right shoulder and drape in front. Pull left corner of outer end-piece to left waist. Bring left pulled corner around waist anticlockwise. Tuck pulled portion into front left waist.
• Uttar Pradesh Seedha Pallu
  
  
  
  Worn by: Middle class, Urban and Rural Area: Central and Eastern U.P. Length:5.8 yd/ 5.3 m How to drape:Wrap inner end-piece around waist and tie knot at right waist. Bring outer end-piece over right shoulder till thigh-length back to front anticlockwise, and make pleats of remaining sari. Tuck the gathered pleats in at centre front waist.
• Bihar Purnia
  
  
  
  Worn by: Rural community Area: Northeast Bihar Length: 5 yd/ 4.55 m How to drape: Wrap inner end-piece around waist anticlockwise and tie/tuck in at left waist. Bring free end-piece to right waist and tuck in. Bring outer end-piece under left arm, over head, and across right shoulder back to front. Bring outer end-piece around waist anticlockwise. Tuck in outer end-piece at front left waist.
• Jharkhand Santhal Pargana
  
  
  
  Worn by: Majhi, kurmi and other tribes Area: Northeast Jharkhand Length: 5 yd/ 4.6 m How to drape: Wrap inner end-piece around waist clockwise. Tie knot at right waist and bring free end to left and tuck in. Bring outer end-piece, over right shoulder from back to front anticlockwise. Bring both edges of outer end-piece to centre back waist from either side and tuck in.
• West Bengal Nadia
  
  
  
  Worn by: Women during special occasions -- marriages and pujas (the more modern form of sari styling has replaced this in recent years). Area: Central region of West Bengal Length: 5.7 yd/ 5.3 m How to drape: Bring inner end-piece around waist clockwise and tie knot at right waist. Bring free end-piece to left waist and tuck in. Bring free end-piece to right waist and tuck in. Throw free end of sari over right shoulder. Adjust free end-piece over head and bring to front waist under right arm. Throw over left shoulder again.
• Orissa Kotapad
  
  
  
  Worn by: Tribal rural community Area: South Orissa Length: 5.7 yd/ 5.3 m How to drape: Wrap inner end of sari around waist clockwise and tie knot at right waist. Hold free end portion with left hand. Throw free end over left shoulder. Bring free end to front under right arm. Take outer end-piece around chest anticlockwise and tie knot with front upper border at right shoulder.
• Andhra Pradesh Boggili Posi
  
  
  
  Worn by: Golla (shepherd community); Gudati Kapulu (agriculturist) Area:Narasannapalle, Cuddapah district, Rayalseema region, South Andhra PradeshLength: 9 yd/ 8.26 m How to drape: Bring inner end-piece around waist clockwise and tie knot at front. Bring outer end-piece around waist anticlockwise and throw over right shoulder till thigh-length. Make pleats of remaining loose portion facing right. Roll pleats outward and secure by wrapping over with innermost layer. Pick up lower borders at two extremes. Pick up lower borders at two extremes. Bring to centre back waist from either sides and tuck in.
• Tamil Nadi Madisaru
  
  
  
  Worn by: Iyengar Brahmin Area: Central Tamil Nadu Length: 9 yd/ 8.3 m How to drape: Wrap inner end of sari around waist clockwise and tie knot at right waist. Lift lower border of inner end-piece and tuck in at left waist. Make five to six pleats from right free end of sari. Spread out pleats across front and tuck in. Bring free end of sari around waist anticlockwise under right arm. Gather two to three diagonal pleats from free end of sari and tuck into left waist. Take free end of sari front to back between legs. Tuck in at centre back waist up to 12 inches. Bring free end of sari around waist anticlockwise and throw over left shoulder.
• Maharashtra Nau Vari
  
  
  
  Worn by: Popularly by Lavani performers, but also by other women Area: Central Maharashtra Length: 9 yd/ 8.30 m How to drape: Take inner end of sari clockwise around waist and tie knot at right waist. Holder outer end-piece and bring towards right side from back. Bring outer end-piece over left shoulder, overhead till knee length and make pleats of remaining free portion. Reverse pleats from left to right and take out inner two to three pleats. Wrap freed pleats around gathered pleats to bind them and tuck in at left waist. Roll pleats outward to desired length of sari into banana like form. Pull inner most layer of sari and turn outward over banana form, securing it firmly. Take lower border of back drape to center front waist. Bring it over banana-like form to reverse. Pick up centre point of left front pleats. Rollover and hold towards centre between legs. Pick up lower hemline with both hands. Bring them together to centre front. Hold both borders with left hand and stretch out to centre point. Pull centre point to back between legs. Tuck into centre back waist at least 9-12 inches and both border fall parallel at the back. Take loose end of lower border at back of legs. Wrap it inward to form a tight drape around leg up to calf. Wrapping must go completely around leg from outer to inner side. Tie cord holding ‘v’ formation of border above heel. Lavani performers usually wear at least ten rows of ankle bells over cord.
• Kerala Tribal Style
  
  
  
  Worn by: Tribal community Area: North East Kerala, especially Wayanad and Palakad Length of upper drape: 3yd/ 2.6m Lower drape: 4.5 yd/ 4 m How to drape: Wrap inner end-piece around waist clockwise and tie knot at centre. Bring free end piece around waist anticlockwise to right front waist, leaving loose portion to left waist. Bring free end-piece across breast right to left and wrap it twice. Bring free end-piece over right shoulder back to front.

Why women from all religion covered their head in sacred places

All over the world their are different dress codes and etiquette for different occasion. One would dress in a formal outfit for a wedding, but wear comfortable and casual clotting for shopping, travelling or attending a sporting event.

All culture have specific rules and  regulations for people visiting religious places and participating in religious ceremonies. On most civilizations, covering the head is considered to be sign of respect, modesty and humanity.

In Christianity, a tradition that has faded in the horizons of the post-Vatican II era is the practice of women covering their heads in church. Both men and women of the Old Convent covered their heads in temple; the custom that only women should cover their heads was preached by the Apostle of the Gentiles. Thus this custom, rooted in scripture, became a tradition practiced by Catholic women from the earliest days of the church.

In Islam, both men and women are expected to dress appropriate before visiting mosque. For women, all skin ahs to be covered; ankle-length skirts or pants or required; sleeves should reach to each wrist and hair should be covered by headscarf. The head cover for Muslim women is specifically mentioned in Kuran (24:31). Men have to wear long pants and plain shirts without  message or slogans.

Sikhism, too, has a protocol for both men and women. When entering the Gurudwara one is expected to remove shoes and cover the head as sign of respect towards the sovereignty of the GURU Granth Sahib. Physiologically as explained in Sikhism, the greater part of the body's energy escape through the head. The top centre of head, the crown chakra, is a focal point of energy. Strong and sacred vibrations are received by being in the Gurudwara and in the presence of Guru Granth Sahib. To help retain that energy, heads are covered.

Visiting Hindu Temples

Visiting and worshipers to Hindu temples are required to remove shoes and other footwear before entering. Additionally, it may be customary,  particularly at south Indian temples, for men to remove shirts and to cover  pants and shorts with traditional cloth known as a Vasthiram.

Most rituals in North Indian temples are very simple in stark contrast to south Indian temples, which have elaborate practices. For example, a strict dress code exist for a people who enter the Guruvayur Temple. Men are to wear Mundu around waist, without any dress covering their chest. Girls and  women's are not allowed to wear any trouser-like dresses or short skirts. They are allowed to wear a sari and girls are to wear long skirts and blouses. Presently the dress code for women's been relaxed, and salwar kameezes or churidar pyjamas are being allowed.

North Indian temples often tend to be less orthodox. Like all other temples in India, footwear is strictly prohibited. Unlike in northern India, in Kerala and other southern Indian states, Hindu women do not cover their heads in temples. In traditional north Indian homes, women still cover their heads in front of in-laws and elders as a sign of appreciation and respect. Thus, covering the hair in temples is mostly a north Indian custom and is not mandatory. It is an outward sign of displaying feelings of deep respect, humanity and gratitude towards the divine.  

Incredible Colours of India

The Colours of India campaign emphasized India’s diverse cultural spectrum. Featuring breathtaking images and colour-based headlines such as Coffee Brown and Red Hot, the campaign was launched globally in 71 leading newspapers and magazines.

Red Hot

Hundreds of spices. Thousands of curries. Millions of colours. Billions of people. Incredible India. Food for thought.

Pure White

It took 20,000 workers, 1,000 elephants and 17 years to build the Taj Mahal. World heritage site. Ultimate symbol of love

Mustard Yellow

100% recyclable. 100% biodegradable. 100% eco-friendly. 100% self-sufficient. 100% rural tourism.

Water Colours

232 lakes. 273 rivers. 7,517 km of coastline. 350,000 picture postcards. Incredible India. Choose your colour

Revolutionary Green

Economists say this is the world's fastest growing region. With 130,000 species of flora and fauna and nearly 70 million hectares of forests, environmentalists would agree.

Mystic Maroon

Born 563 BC. Enlightened in 528 BC. Great passing in 483 BC. Still lives in millions of hearts. Buddha, The Enlightened One.

 

Deep Purple

Mountaineering. Ice skating. Trekking. Rock climbing. Paragliding. Snow skiing. Heli-skiing. Rock concerts. Welcome to the world's highest playground.

Charcoal Grey

Have a thirty-six course banquet cooked for you. Shop for over sixty kinds of tulips. Access e-mail round the clock. All without ever setting foot on land.

Tea Green

The world's largest crop, hand-picked from 1641 estates. Get to the source of your daily cup of tea and you'll find a truly refreshing vacation.

Flaming Orange

With over 147 dance forms, the world's longest epics and more festivals than there are days in a year, the last thing you watch here is cable.

Coffee Brown

29 states. 22 languages. 1652 dialects. 340 days of sunlight. A very warm welcome.

Pure Gold

476 forts and palaces. Three of the world's top five hotels. And a palace on wheels. The emperors are long gone, but their lifestyle remains.

Multi-Colour

15,641 religious monuments. 300 architectural styles. 117 world heritage sites. Work, that's worthy of worship.

Honey Brown

In a culture as steeped in hospitality as ours, the guest has pride of place. That would probably explain why we have three of the world's top five hotels.

Camouflage

60% of the world's tiger population. Spread across 60 national parks and 400 wildlife sanctuaries. Amazing holiday pictures, if you can keep your hands from shaking.

Golden Yellow

476 forts and palaces. Three of the world's top five hotels. And a palace on wheels to whisk you through the dunes. Whoever said life was hard in the desert.

Technicolour

For centuries Indian spices were traded and smuggled over dangerous waters and routes. Now easily available in 50g, 100g and 500g packets.

Ultramarine

With three oceans lapping against our shores and 4,761 square miles of coastline, the picture above keeps reproducing itself.

Oil Paint

Way, way before spa treatments and natural care was popular, Indians were getting the best of both. Discover 5,000 years of Ayurveda.

Sun Tan

Shown here is the Sukasana. Cross your leg. Keep your spine straight. Breathe in. Breathe out. Repeat for relaxation and better posture. What's not shown above are the remaining 1,300 yoga positions.

Different Types of Bangles Worn by Indian Married Women

Bridal  Bangles of India

1. Punjabi, Haryanvi, Dogri, Himachali, Garhwali, Kumauni - Red & White Chooda

2. Kannadigas - Green or Black Glass Bangles

3. Bengali, Odia, Maithili, Sathali - Red and white Shaka Pola

3. Kutchi, Gujarati & Rajasthani - Red and white Lac Bangles

4. Tamilians, Malayali's, Nepali, Manipuri, Assamese, Bodo, Dimsa, Karbi, Nagamese, Kokabarak, Mizo, Khasi, Garo, Jhaintia - Pure Gold Bangles

5. Kodava & Tulu  - Black and Red Glass Bangles

6.  Bundeli, Bhageli - Red & Green lac or Glass Bangles.

7. Konkani & Marathi  - Green Glass Bangles.

8. Bhojpuri, Magahi, Chhattisgarhi, Awadhi, Brajwasi,  - Red Glass Bangles

The tradition of wearing bangles in India is obsolete, might be since Hindu religion had come into existence. Bangles are the symbol of a married woman in India.  Since India has diverse culture with its different states, the wedding customs and rituals are also diverse to be obvious.

Even in Indian mythology, bangles have been strongly mentioned emphasizing on the fact how important bangles are for a married woman. One of the oldest artifacts which was discovered in India is a bronze figurine of a dancing girl, wearing bangles on her left arm. This figurine was discovered from Mohenjodaro.

Other classic examples of bangles in India are the copper bangles excavated from Mahurjhari; the ornate bangles dating back to Mauryan Empire and the gold banglefrom the historic site of Taxila.

Even every goddess idol that has been so far discovered are seen wearing bangles. Research on ancient fragments show that bangles were used to be made from copper, bronze, shell, terra cotta, silver, gold, lac, glass and anything that could be used in craftsmanship.

From simple rings made of metals to the pieces adorned with exquisite handicrafts and minute detailing showing the masterly work of the artisans. While royal families had the privilege of wearing bangle studded with precious gems and stones.

IMPORTANCE OF BANGLES FOR MARRIED WOMAN

Wearing bangles, especially lac, glass and shell are a must for married woman. However, the material and color varies from region to region. While in north India mostly Punjab, Jammu & Kashmir and Rajasthan, the ivory bangles (chuda) are compulsory; in states like Odisha and West Bengal, bangles made of lac (pola) and shell (Shankha) are mandatory for married ladies.

Bangle is the symbol of marriage. In some parts of India, while changing bangles, women never allow their arms to be completely bar, instead they will wrap their pola around their arms while wearing the new set. Bangles are not for widows in Hindu customs. They can however wear gold bangles, but glass bangles are a strict no-no for them.

BANGLES WORN BY BENGALI AND ODIYA MARRIED WOMAN

The accessories which symbolize marriage are the most powerful expressions in Indian Hindu culture. The symbols like shankha, pola, sindoor and toe rings imbibe those region’s age-old traditions. Although culture is never stagnant, such traditions can never fade as long as Hindu religion is prevalent.

Shankha are white bangles made up of conch-shell and pola are red bangles made up of red corals. The opulent ladies used to wear shankhas made up of elephant teeth.  Apart from these bangles, sindoor and toe rings are other mandatory accessories worn by a married woman not only in Odisha and West Bengal but in north and north-eastern states as well.

BANGLES WORN BY MARRIED PUNJABI WOMEN

Ivory bangles, popularly known as chuda are worn by Punjabi brides. They are given these slender ivory bangles in white and red decorated with stones in multiples of four by their mothers during the time of marriage.

The brides are supposed to wear them for a year and in some communities like the Mohyal communities for 15 months. The chuda wearing ceremony is significant in Punjabi marriages. This ritual is held on the morning of the wedding.

The pandit performs a puja and the bride’s maternal uncles give her a set of chudas (21 bangles in red and white ivory) after washing them in milk. As per tradition, she should not remove for one year. These bangles are usually worn in larger size as the newly married girls are going to wear them  in every season till one year.

Another interesting ritual associated with the chuda ceremony is putting the ‘kalire‘ or tinkling bells. These dome shaped streamers with tinkling silver and gold bells are considered auspicious for the bride. These bells are tied to the chuda by bride’s cousins and friends.

They are like blessings for the bride for her new life and also to remind her of her old friends. It is said that the bride has as many friends as there are leaves in the kalire. So the more leaves the merrier!

When the bride bids adieu, she is supposed to hit her unmarried friends and cousins with the kalire and the tinkling bells falls on the girl’s head is considered to get married next, just same as like the Christian wedding; where the bride tosses her bouquet and the girl who catches it is purported to be the next in line to marry.

The dreams and desires of an Indian contemporary woman may vary, but it always adheres something special to define her persona and reflect the woman that she is. Following the dictates of a poignant past and these tiny symbols of marriage can indeed make her feel so married and so much like a woman.

BANGLES WORN BY MARRIED WOMEN IN GUJARAT AND RAJASTHAN

In Gujarat and Rajasthan, the bride’s mother gifts her a pair of ivory bangles. Only after  wearing these ivory bangles that the bridal couple can perform the ‘saptapati’ ritual or saat phere. The saptapati ritual is of seven steps that are taken around the fire, without which no Hindu marriage is considered complete.

THE CHANGING MILIEU

With families having double-income and duty groups, where both husband and wives are working to be economically independent for a better future.. Initially, the newly-married brides do not want to hurt the sentiments of their in-laws, so to respect the culture of their husbands’ families, they put on everything that is required for a married woman.

The age-old cultural pressure makes them believe that the image of the bride is complete only with these accessories and in way they enhance the beauty. They mostly wear to make the society aware that they are no more available and they also celebrate their new-found status in the society.

The identification marks on the Hindu married women, such as the bangles, chuda, sindoor, toe rings etc. indicate that they have to observe the societal norms after marriage. However, no other social relations, like being a daughter, sister, mother etc. demand such symbols.

A woman continues to play other important roles simultaneously, still the role of wife has always come up with the highest responsibility in a woman’s life.

The traditional Indian attire, across history, has boasted of accessories and ornaments truly unique to the culture. Be it the maang-tika that adorns a woman’s forehead or the payal that tunes her step – every ornament has a historical and cultural significance. One ornament that barely ever goes amiss on the arms of many Indian woman is the bangle.