Stitching History: The Timeless Threads of Toda Embroidery
Perched on the highest peaks of the Nilgiris Hills, the Toda community lives a life steeped in tradition and natural beauty. Known for their ancient pastoral ways, the Toda’s inhabit the rugged landscape of southern India’s Nilgiris plateau, crafting their unique world in hamlets called munds. With barrel-vaulted roofs and sacred dairy temples, these dwellings are set against montane grasslands and Shola forests.
Yet, among the many facets of their culture, the most visually captivating is the intricate embroidery that defines Toda craftsmanship. The women of this indigenous tribe are celebrated for their remarkable black -and-red embroidery, an art form passed down through generations. With their nimble fingers and an innate sense of precision, these artisans transform plain cotton fabric into intricate works of art, each stitch a testament to their connection with nature.
There are fewer than 2,000 Toda’s left in the world, residing primarily in the Nilgiris, and a mere handful of them practice this endangered art form. Recognising the need to preserve this unique tradition, Toda embroidery was awarded a Geographical Indicator (GI) in 2013, a mark of its cultural and historical significance.
Toda embroidery is typically executed on coarse cotton fabrics in colors such as white,
beige, or cream. The distinctive black and red threads are used to create nature-inspired motifs, with flowers being a common design. What makes this embroidery truly extraordinary is the geometric precision achieved without the aid of external tools or patterns. The artisans rely solely on their tactile experience and instinct to produce these stunning designs.
One of the most striking features of Toda embroidery is its reversibility. The embroidery is meticulously crafted so that both sides of the fabric are equally beautiful, allowing for versatile use and display. This reversible quality adds to the uniqueness and functionality of the craft.
Among the traditional garments adorned with Toda embroidery is the puthkuzhy (pronounced pooth-kully). This garment showcases the elaborate artistry of the Toda women. Traditionally worn over a cotton waist cloth known as Todorrp, the puthkuzhy is draped around the back and brought to the front over one shoulder, then across the other, allowing the intricate embroidery to be prominently displayed.
In recent years, Toda embroidery has transcended its traditional boundaries. While it remains a symbol of cultural heritage, it has found its way onto a variety of modern items, including cushion covers and garments, home décor, etc. This shift has not only broadened its appeal but has also provided a new source of income for the Toda women. The resurgence of interest in tourism has given the craft a new lease on life, enabling artisans to make a modest living while preserving their ancient traditions.
“From a young age, I have witnessed my mother and grandmother immersed in the delicate art of Toda embroidery. These three colors have woven themselves into the fabric of my life, becoming as integral to my existence as the embroidery itself. Beyond being a source of income, this craft serves as a cherished leisure activity, uniting the women of our village after our daily chores. It is a fulfilling way to practice and uphold our legacy, embodying our responsibility to preserve and pass on our cultural heritage to future generations” says Elayin Sin, 54 years old Toda artisan. In essence, Toda embroidery is more than just a decorative art; it is a vibrant expression of a culture deeply intertwined with nature. As the world moves forward, the preservation of this art form ensures that the timeless threads of the Toda community continue to weave their rich history into the fabric of modernity.