The Evolution of Toda Embroidery: A Timeless Tribal Art Form

Table of Content

Historical Context
Techniques and Materials
Motifs of Toda Embroidery
External Influences and its Impact
Adaptation of Toda Embroidery in Modern Fashion
Sustainability and revival efforts

In the isolated regions of the Nilgiris Hills in South India lives a small tribal community known as the Toda. This community currently lives in small hamlets in the Nilgiris Biosphere Reserve. The Toda people share a close relationship with their natural world, this can be seen in everything, including their embroidery - the Toda Embroidery. This embroidery was initially limited to their own community, but due to increasing contact with the outside world, it has gained popularity.

Historical Context

Historically, the Toda community coexisted with other local communities such as Kota and Kuruba. It was a pastoral community that was mostly dependent on its land. After the British colonisation, the community lost its pastoral land and shifted to agriculture. British colonisation introduced them to the technology, but Toda remains an important link to Southern India's indigenous groups. The Toda tribe is known for its intricate embroidery, which represents their cultural identity and heritage. The embroidery is locally known as “Pukhoor” and is traditionally done by women, with black and red colour on a white cotton background. This craft has evolved from being a ceremonial shawl to becoming an important cultural symbol, representing the Toda culture and heritage. Due to its unique pattern and design, Toda embroidery is now appreciated in contemporary fashion and designs as well.

Techniques and Materials

Traditionally, Toda women practised this craft of shawls known as “Poothkuly”, draped by both men and women. Unlike modern Toda embroidery, it was done in precise geometric patterns without using scale and what is interesting is that the reverse side of the embroidery is equally beautiful without any extra or hanging threads. The bright red and black thread on the white cloth used in this craft symbolises purity, artisans use two plywood and a needle to create intricate geometric patterns, inspired by their nature and mythological stories. For instance, motifs like buffalo horns, sun, flowers and mountains symbolise their cultural beliefs. Similarly, designs like zigzag, heart (Kinask), diamond (Poth Puhur) and cross (Kose Puhur) patterns symbolise harmony and are traditionally draped during wedding and ritual ceremonies.

Patterns of Toda embroidery

Motifs of Toda Embroidery

Being a biodiversity hotspot, the Nilgiris houses numerous birds, insects and animals that inspire the embroidery of the Toda community. Meetoofykonn Pukhoor and Pat Pukhoor are inspired by birds. Kopaan Pukhoor and Kwudrkorr Pukhoor are inspired from insects while Modhehry Pukhoor is inspired from plants. The numerous flower inspired motifs include Kinazhk, Poddwa(r)shk and Awrrmonipoof Pukhoors. The animal inspired motifs include Peshk, Ehr Kwehhdr and Awkhofeihh(r)shy Pukhoors. Other elements inspired by nature include Pee(r)sh or the Sun, Tehgehll or the Moon, and Twehhdr Pukhoor. Other common motifs are the Thill(zh)yfukawttyt, Pett(zh)k, Kaddoryem, Wehdrykht, Ehpothill(zh)ykhm, Ocvett, Tagaarsh, Pemilodh, Arybettvoy Pukhoors.

External Influences and its Impact

Under external influences, Toda embroidery has undergone several changes, mainly because of British colonialism and tourism. During British rule, mill-spun materials became fashionable, and coarse, handwoven Toda cotton was replaced by industrially produced cloth. This changed not only the texture but also the very base material of the garment, which was now easier to obtain and, therefore, diffused further. Similarly, modern-day tourism helped the craftsmanship of Toda but also transformed it into a business-oriented market. Commercialization changed the sizes, patterns and even the scaling of the embroidery. New items such as cloaks and loin clothes have emerged because of this development. Some researchers such as Tarun Chabra, Piljen-Wiedemann and scholars like Carolin Baby and Padmini Balaram have expressed their concerns about the effect of modernization and tourism on the Toda Embroidery (The Toda Women’s Embroidery Enterprise: The Commercialization of a Traditional Craft in South India, 2022). They have noticed a shift or change in the traditional craftsmanship of Toda embroidery. However, all these external influences also helped to preserve the craft by creating a huge market for them.

Adaptation of Toda Embroidery in Modern Fashion

With the commercialisation and large-scale production, Toda embroidery is now integrated into mainstream fashion and even in home décor. The Toda artisans are also creating small batches of contemporary items such as mobile phone covers, cushion covers and table runners, this matches up with the current market demand. Even in contemporary fashion, we find many adaptations of Toda embroidery patterns in fashion designs. However, such adaptation provides visibility but also poses some challenges, economic return for local artisans is comparatively quite low when compared to the middle-men. Due to this, artisans are facing financial challenges and looking for more lucrative professions rather than continuing this cultural craft.

Toda Embroidery in Modern Fashion

Sustainability and revival efforts

Toda embroidery is an important heritage of the tribe and has been supported for its survival and sustainability. Since the craft received the Geographical Indications (GI) tag in 2013, which gives it a certification from all respects of origin and quality, it has become more marketable and can thus be easily protected and promoted. It was a combination of initiatives by the Tamil Nadu Government and an array of NGOs that assisted it to survive in the first place, as it could find spaces for Toda products in handicraft emporiums and exhibitions. Modern upgrading has come to Toda embroidery, under the AHVY scheme sponsored by the Ministry of Textiles. Diversification of products using the traditional motif includes shoulder bags, notebooks, and picture frames. The Nilgiri Adivasi Welfare Association works actively to promote such products, motivating the women of Toda to embroider and bring about economic development in their lives.

Conclusion

Toda embroidery is a beautiful craft practised by the indigenous people of Nigiri hills, in South India. It is known for its precise geometric patterns of bright red, black and white. The patterns and designs are deeply rooted in their ancient traditions and heritage. It is inspired by their nature and mythological stories. Over time, Toda embroidery has evolved from being practised by local artisans, especially Toda women, to being commercialised in the business market. Garments with Toda embroidery were initially worn by men and women but are now seen in the big fashion world. After the British colonisation and post-independence tourism, we can find several changes in the production and material but it has also given it a widespread visibility. To preserve the craft, the Indian government and NGOs are taking initiatives, and creating global awareness for this craft that it deserves.

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