Partner Spotlight: Kala Raksha
Kutch is a landscape like no other – rich in diversity and defined by its contrasts: from dry, arid desert to the vast, uninhabited salt marshes of Great Rann, to coastal creeks with rare marine life. This abundance is mirrored in the region’s vibrant heritage and craft traditions too. Yet, the harsh climate presents its challenges. Kutch lies in an active seismic zone, with the most recent earthquake tremor only one year ago.
Across the region, the bhunga – a traditional circular mud home – stands as a quiet symbol of resilience. Known for their ability to withstand earthquakes and harsh weather, these humble structures are rooted in the identity of Kutch.
In Sumraser, a small village 25 kilometers north of Bhuj, from a circle of such bhungas, a centre of craft revolution is making its mark, stitch by stitch. The Kala Raksha Trust was founded in 1993 as a not-for-profit initiative, under the guidance of American social entrepreneur Judy Frater and artisan Parakash Bhanani. They shared a mutual interest to preserve the rich, traditional crafts of Kutch, which were being undervalued and at risk of slipping away from society.
“Kala Raksha began as a collaborative initiative between artisans and professionals to bridge the gap combining design, dignity, and development,” says Vimal Bhanani, current manager of the trust.
From the beginning their key mission has been to ensure artisans – particularly women – were given recognition, a fair income and a respected platform to develop and showcase their skills.
Inspired by the iconic bhunga, the architectural design of the Kala Raksha Centre is divided into hubs, with each bhunga serving a different purpose: a museum, a community resource center, office, and guest accommodations. Organically arranged around a central courtyard, just like a traditional village layout, creating a fluid, inclusive environment that fosters learning, creativity, and community.
“They are more than just shelter; they’re a symbol of resilience, community, and harmony with nature,” says Vimal . Kala Raskha embraces the beauty of the bhunga beyond its functional purpose.
The trust places importance on using only locally sourced, natural materials to construct their bhungas: mud, wood, and cow dung. This approach supports environmental conservation and aligns with traditional Kutch methods – a principle that extends to the artisan crafts they practice too.
True to their philosophy, the bunghas represent modest craftsmanship that has withstood the test of turbulent times, preserving villages and livelihood. Kala Raskha in essence, does for Kutch’s craft what the bhunga does for its people – protects, preserves, and sustains.
Kala Raksha translates to “Art Preservation”. At the heart of their mission is to preserve craft and their embroidery traditions. The trust works from seven distinct communities, each with their individual embroidery style: Suf, Khaarek, Paako, Rabari, Jat, Mutava, as well as patchwork and applique, and ethnic styles.
“Kutch embroidery is more than decoration it’s identity, history, and cultural resilience, expressed through the hands of women artisans,” adds Vimal.
Passed down from one generation to the next, each community’s motifs and patterns are reflective of the community’s histories, mythologies, and social customs. Styles vary widely: Khaarek is known for its geometric grid structure, Ahir for flowing floral vines, and Rabari for bold mirror work.
“A Suf artisan displays virtuosity in detailing, filling symmetrical patterns with tiny triangles, and accent stitches,” says Vimal. An intricate technique based on a triangular stitch pattern, called a suf. “Motifs are never drawn. Each artisan imagines her design, then counts it out, in reverse,” adds Vimal.
Rabari embroidery is unique to the nomadic Rabaris, essential to their style is the use of mirrors and chain stitch patterns. Rabaris also use decorative back stitching, called bakhiya, to decorate the seams of women’s blouses and men’s kediya jackets. “The style, like Rabaris, is ever evolving, and in abstract motifs Rabari women depict their changing world,” says Vimal.
The Mutavas are a small Muslim herding community who inhabit the desert grassland of Banni in northern Kutch. The Mutava style combines elements of other local styles such as elongated hooked forms and the fine back stitch outlining also found in Paako designs, and the all-over grid from Haramji. Mutava embroidery reinterprets motifs in a fine and geometric style.
Kala Raksha has not only ensured a deep commitment to preserve, revive and honour each community’s identity through their embroidery, but to simultaneously educate the wider world on their distinctions and significance through Kala Raksha Museum, which opened in 2005 and houses a collection of heirloom Kutch textiles.
In 2010, the collection was made public and freely accessible to a global audience. Through their online archive, visitors can learn about the textile techniques and traditional dress customs of Kutch – such as traditional Rabari garments like the Kanchali, a backless blouse worn by Rabari women at festivals and weddings, or the Kapadu, a traditional Khaarek garment for married women designed with short sleeves to accommodate their eclectic bangles.
Whilst the digital archive is a rich source of knowledge, nothing can replace the physical experience of seeing the threads in real life, feeling the cloth against your skin, admiring the glistening mirror work as it catches the light. It is only through visiting the Kala Raksha Museum in person, you can understand the skill of the artisans. “Appreciating the scale, detail, and depth of each piece is something that flat digital images can never truly capture.” says Vimal.
Kala Raksha offers workshops for visitors from India and abroad, allowing artisans to teach their skills and interact with craft enthusiasts, an exchange which provides cultural exposure for both artisans and participants.
To further strengthen its mission, Kala Raksha established the Kala Raksha Vidyalaya in 2005 – India’s first design school for traditional artisans. The trust later launched the Kala Raksha Producer Company Ltd. (KRPCL), a for-profit, artisan-owned business that handles production, marketing, and sales. Through their outreach, artisans gain access to national and international markets.
“Kala Rasha is like a second home,” says Rabari artisan Hansuben Mohan. “Through my art, the trust has given me a chance to connect with new communities and the workshops allow me to build cultural connections with visitors beyond India.”
Rabari artisan Hansuben Mohan and one of her embroidered works.
Today, the Trust serves as the knowledge and support base, while KRPCL is an artisan-owned company that handles production, marketing, and sales. “This dual structure empowers artisans not only as creators but also as entrepreneurs,” explains Vimal. Beyond preserving craft, Kala Raksha supports their artisan families through skill development, training programs, and educational opportunities, empowering the next generation.
Inclusivity is at the heart of the trust’s ethos. Kala Raksha has also provided a platform for older artisans to continue to earn a living through their craft, for those whose eyesight may no longer support fine embroidery work. By embroidering in applique styles, these women can continue contributing their knowledge of patterns and composition to their textile work.
In Sumraser, communities of artisans continue to carry the spirit of Kutch’s craft heritage and through the proactive platform of Kala Raksha, the threads are respected by a global audience.
