Preserving and Promoting The Sindhi Ralli Quilts: A Case Study of Pakistan's Artistry

Journal of Design and Textiles (JDT)
Volume 2 Issue 2, Fall 2023

ISSN(P): 2959-0868 ISSN(E): 2959-0876
Homepage: https://journals.umt.edu.pk/index.php/jdt/index
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Preserving and Promoting the Sindhi Ralli Quilts: A Case Study of

Title:
Pakistan’s Artistry
Author (s): Anum Rauf1, Asma Kamal2
Affiliation (s):
1
Lahore College for Women University, Lahore, Pakistan
2
Hazrat Ayesha Siddiqa Degree and Commerce College, Lahore, Pakistan
DOI: https://doi.org/10.32350/jdt.22.05
Received: August 27, 2023, Revised: September 19, 2023, Accepted: November 01, 2023,
History: Published: December 5, 2023
A. Rauf and A. Kamal, “Preserving and promoting the Sindhi Ralli quilts: A case
Citation:
study of Pakistan’s Artistry,” J. Des. Text., vol. 2, no. 2, pp. 88–113, Dec. 2023,
doi: https://doi.org/10.32350/jdt.22.05
Copyright: © The Authors

Licensing: This article is open access and is distributed under the terms of
Creative Commons Attribution 4.0 International License
Conflict of
Interest: Author(s) declared no conflict of interest
A publication of
School of Design and Textiles
University of Management and Technology, Lahore, Pakistan
Preserving and Promoting the Sindhi Ralli Quilts: A Case Study of
Pakistan’s Artistry
Anum Rauf1*, and Asma Kamal2
1
Institute of Design and Visual Arts, Lahore College for Women University,
Lahore, Pakistan
2
Hazrat Ayesha Siddiqa Degree and Commerce College, Lahore, Pakistan
ABSTRACT Sindh, the southern province of Pakistan, covers the lower
Indus Valley that has a rich heritage of cultural crafts and traditions, proved
by the excavations of Amri, Mehrgarh, Kot Diji, Mohenjo Daro, Chanhun-
jo-daro, Kahu-jo-Daro, Brahmanabad, and Bhambore. This reflects
centuries of occupation, migration, trade, and political influence among
others. Artisans belonging to this area have been practicing these crafts
generationally, due to which these crafts became a reason for the living
Sindhi cultural heritage Among these many crafts, Ralli Work, which is
unique because of its technique, patterns, and colors and is famous for its
intricate artistry and work. Sindhi Ralli has its recognition when it is
compared with other regions of the world because of its color combinations
and geometrical design. Therefore, this research aims to highlight the fact
that this age-old tradition should not only be preserved as part of our
heritage but must be promoted wisely that can change the economic
condition of the rural population. Although after 2003, many exhibitions
and quilt festivals were organized by Western scholars in their own
countries and within Pakistan but soon the promotions ended. For this
purpose, Sindh has been selected and visited to explore the various Rallis
and their making process in Pakistan. Besides this Sindh Museum, craft
companies have been visited to check the current status of Ralli’s promotion
in Pakistan. This study suggested that the government plays an active role
in the proper patronization of this craft at the national and international
levels and allocate funds and grants for the upcoming scholars and textile
crafts researchers for the future excellence and to promote Ralli industry.
INDEX TERMS cultural crafts, geometrical designs, heritage, Ralli,
Sindhi quilt
*
Corresponding Author: [email protected]
School of Design and Textiles 89
Volume 2 Issue 1 Spring 2023
Preserving and Promoting the Sindhi Ralli Quilts…
I. INTRODUCTION
Pakistan is among the few countries, which has a culture that began some
7000 years ago. A part of this rich culture it has diversified range of crafts
that are its biggest hallmarks for many generations. The journey of these
crafts began with the foundation of settlements that are mostly spread
around the river Indus, which cover the Himalayas, moving downwards first
to the plains of Punjab and then passing through Sindh, before finally
flowing into the Arabian Sea. Moreover, Sindh has been a cradle of arts and
crafts due to the coming of both traders and invaders since ancient times
showing glimpses of Western culture that had further enriched this culture.
These are some of the various crafts produced in different regions of Sindh,
such as Block Printing, Tie, and Die, Pottery, Ajrak, Sindhi Topi, Glass
Bangles, Hala Pottery (Blue Pottery), Handwoven Utensils, Ceramics,
Articles Made of Date Leaves, Farassi Rugs, Jandi, Khes, Musical
Instruments, Leatherwork, Carpets, Crucia Work, Embroideries, Kashi,
Ralli, Furniture, Thari carpets, and woodcarving.
This paper aims to discuss Ralli, an old-age traditional and distinctive
handmade craft of Sindh, due to its unique geometrical patterns and unique
color combinations. The most common colors in Rallis are white, black,
red, yellow, orange, green, dark blue, and purple, as shown in Figure 1.
Geometric patterns can be seen in every art and craft of Sindh because
Sindhi culture has a strong impact on Islamic culture due to immigrants,
saints, religious missionaries, and scholars who came from Baghdad,
Arabia, Iran, and Central Asia [1]. The craft of Ralli is produced in some of
the most remote areas of Sindh, moreover, it is produced by rural and poor
people. The nature of the craft is purely manual and hence, demands high
skill and handwork unfortunately, it could not entail fame as its worth is
underestimated due to the nonexistence of documentation.
Journal of Design and Textiles

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Rauf and Kamal
FIGURE 1. Ralli quilts seller, Sukkur-Pakistan, Nadeem Khawar /

Contributor, GETTY IMAGES
Ralli is taken from the local word Ralana, which means to mix or link that
provides a convenient form of reusing cloth by joining them together. Ralli
comes up with different pronunciations like “Ralli”, “Ralee” and “Rehli”
depending upon the various languages of various regions. The two most
commonly made Ralli are Applique as tukwari and Patchwork as
chutkinwari or kata Ralli [2].
The traditional way of making Rallis putting together old and unused textile
materials, which can either be Ajrak (another traditional cloth of Sindh), or
any other cloth material. In other words, it was an art to recycle the pieces
of wasted or unused clothes. The conventional method of Ralli is the
layering of old fabric material, which is first stitched together, and then
colorful patches of fabric are added to hide the defective and worn-out areas
of the background fabric. Today several other embellishments are added
according to the type of occasion and upon the creativity of the maker and
the amount of effort [3].
Special Rallis made for weddings or gifts often have a variety of
embellishments, including mirrors, tassels, shells, and embroidery. Ralli is
considered a precious textile piece in the dowry collection for women. A
bride who has more Ralli items in her wedding present more respect and
admiration in Sindhi society [3].

The three basic styles of Rallis are, namely patchwork made from pieces of
cloth torn into squares and triangles and then stitched together, appliqué
made from intricate and cut-out patterns in a variety of shapes, and
embroidered quilts where the embroidery stitches form patterns on solid
colored fabric. A distinguishing feature of Ralli patterning in patchwork and
appliqué quilts is the diagonal placement of similar blocks. Special Rallis
made for weddings or gifts often have a variety of embellishments,
including mirrors, tassels, shells, and embroidery. There is much individual
expression and spontaneity in color within the traditional patterns resulting
in a seemingly endless variety in Rallis [4].
A. SINDH VISIT
The author visited Interior Sindh, Province of Pakistan to explore the Ralli
crafts and their promotion in museums galleries, and craft companies. When
one enters Sindh, Ralli can be found everywhere as Ralli is considered their
commonly used textile item as shown in Figure 2. Therefore, Hyderabad,
the second biggest city in Sindh had been selected for exploration. First of
all, the Sindh Museum was visited where an appropriate section was
allocated to display various Ralli works, such as Jogi Ralli, kata Rallis, and
Mehar group Rallis. Glimpse from Sindh Museum which shows the heritage
of Sindh shown in Figure 3.
FIGURE 2. PSO petrol pump Hyderabad showing Ralli as bedspread,

2021, Picture Courtesy: Author

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Rauf and Kamal
FIGURE 3. A view inside SINDH museum Hyderabad, showing Ralli

Culture, Picture Courtesy: Author
FIGURE 4. SITCO, SINDH museum Hyderabad, Picture Courtesy: Author

A company visited by the author inside the Sindh Museum, (SITCO) Sindh
Indigenous Traditional Crafts Company, which was initiated by an
independent board of directors and professional management, registered in
2010 to serve and promote the indigenous crafts of Sindh. The author had a
brief discussion with the director of SITCO, Mr. Shakeel Abro about Ralli’s
craft. The basic purpose of SITCO is to benefit the artisans of Sindh through
various projects and activities, such as the revival of traditional crafts,
design development, capacity building training, embroidery centers cultural
production, exhibitions, financial assistance for tools and raw material
support, linkages development, encouraging craft cooperatives and
marketing, etc. Mr. Abro said that our main purpose is to improve the
quality of crafts with the help of skilled artisans and promote them at the
national level. For this purpose, they arranged several exhibitions at the
institute and museums of Sindh.
He further said that SITCO is financing artisans of Sindh by providing them
with raw materials and tools so they make quality crafts. Because most of
the Ralli women makers don’t know that, some companies or organizations
can help so, most of the artisans get exploited by the middlemen or
entrepreneurs in terms of wages.
He said that there are a lot of small villages near Hyderabad where women
make a lot of Rallis. Some made Ralli just for home, some made for selling
purposes by roaming in the streets, and some were not allowed to go
anywhere as their men wouldn’t allow them to do such things. He further
added that we have a team of middlemen who traced out the artisans from
the villages and brought them to the company. A person named Mr. Majeed
(SITCO Employee) accompanied the author to his village.
The author also visited the Goth Zahir Barich near Hatri, Hyderabad, the
village of Mr. Majeed (SITCO Employee), to interview the Ralli artisans.
Rallis were made and sold in every home in their village. Mr. Majeed's
residence was the first stop, and the family greeted the researcher warmly.
His household items were surrounded with colorful Rallis, such as bed
sheets, dresses, cushions, and others. Most of the family members were still
making the Rallis when the author entered the house.
Everyone was ecstatic and wanted to show off the ideas that they were
working on at the time in response to questions about the Ralli by the
researcher. Some of the designs were so intricate that they got them in their

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Rauf and Kamal
dowry and some were reserved as gifts for their daughters at their weddings.
They said that producing Ralli is a way for us to pass the time, while also
earning good money for financial stability. They further stated that “We
began making Ralli whenever we were free from home duties”. They said
they make good income by selling Ralli for Rs. 5000PKR for one Ralli. It
also extends to 10000PKR when the length and design vary. One of the
Ralli, they presented was about 40-year-old as shown in the figure below.
FIGURE 5. 40-year-old applique Ralli from Mr. Majeed’s House, Picture

Courtesy: Author
FIGURE 6. Guest room of Mr. Majeed house Picture Courtesy: Author

It was amazing to see that their every household item was covered with Ralli
and they said they were making Rallis for centuries. There were about 10-
12 women in the house, aged from 10-70 years, and all were very skilled in
making Rallis.
FIGURE 7. Ralli showing by family of Mr. Majeed, Picture Courtesy:

Author
The current study recorded the Chutkinwari/Kata/Applique Ralli-making
process from Mr. Majeed’s family.
1. First of all, a plane fabric of any color is cut by using a stenciling method
and shaped out the design as shown in Figure 8.
2. Once the design is ready, lay it down on another contrasting fabric as
shown in Figure 6 (white on red). After that select some colored fabric
swatches which will be placed underneath the design shown in Figure
9.
3. When the placement of colored fabrics is done underneath the fabric
sample, it is then sewn with hand stitches as shown in the figure. The
same process is repeated with other fabric samples in various designs
and color schemes. Then they all stitch together to make any product
like a bedspread, blanket, shawl, etc. shown in Figure 10.

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Rauf and Kamal
FIGURE 8. Process of Ralli making Step 1, Picture Courtesy: Author


The working on the Ralli quilts becomes celebratory, when it is desired to
be given in marriage. Hence, the stitching and sewing are escorted with
stories and singing, according to some, legends and folk songs were
conceived during the making of this craft [4]. The women Ralli makers have
a vast range of patterns memorized in their minds through observation,
which are mainly used on the quilts. Sometimes they express them
traditionally as “old patterns” or “new patterns”. Another interesting aspect
is that the designs found on ancient pottery, which was made by the women
have continued as Ralli patterns too.
Ralli technique can be seen in Maharaja Ranjit Singh’s Textile collection at
Fakir Khana Museum, Lahore. According to the director of Fakir Khana
Museum, Mr. Faqir Saifuddin, about Maharaja Ranjit Singh’s (1780- 1839)
Textiles collection, mentioned that Maharaja’s personal blank was
intricately made with small fabric probably resembles Ralli technique of
joining fabrics shown in Figure 11 [5].

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Rauf and Kamal
FIGURE 11. Fakir Khana museum Lahore, Maharaja Ranjit Singh blanket,
Picture Courtesy: Author
As we know through reliable sources and few ancient records, Ralli quilting
is an old norm in the region. Therefore, there is a possibility that women
have transferred the conventional cultural patterns from mother to daughter
for several thousand years and these are still in use in the form of Ralli
patterns on quilts.
B. REGION-WISE RALLI’S
Different regions of Sindh have different types of Rallis according to their
design, pattern, and technique but almost all have the same flavor. A crowd
of the central plains in the area of Hyderabad, Hala, Nawabshah, and Matiari
gives priority to the use of check design of squares or sections having
intricate floral designs in appliqué technique with a framed border that
resembles the chain stencil as shown in Figure 12 [6].

FIGURE 12. Ralli from Sanghar Vicholo, Picture Source: Askari, N. and
Crill, R. (1997). Colours of the Indus. London: Merrell Holberton in
association with the Victoria and Albert museum, pp.46-50
It is also analyzed that, most of Sindhi’s art and crafts are inspired by
geometrical shapes. For instance, it was said that Ralli motifs and designs
were taken from chaukandi tombs, as most of the crafts of Sindh are based
on geometrical motifs even if it’s a tomb, or a Ralli fabric, or a piece of
jewelry. Curators and Sindh residents agree that every Sindhi art and craft,
whether it's a historical structure or a piece of Jewelry, is geometrically
based. See Figures 13 and 14.
FIGURE 13. Chaukandi tombs motifs captured by author, Picture

Courtesy: Author
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Rauf and Kamal
FIGURE 14. Kata Ralli and Chaukandi tombs, Picture Source:

https://www.atlasobscura.com/places/chaukhandi-tombs
The Rallis that is practiced in the Nara Valley, particularly in the areas
ranging from Samaro, Umarkot, and Sanghar are famous for the assortment
of complex designs in appliqué work and the use of vivacious color
combinations in patchwork. From the west, the Balochi group and the
Mahars from Northern Sindh that is near Ghotki, Sukkur, and Mirpur
Mathelo are well-known for using elegant and stylish patterns and
arrangements for appliqué and patches work shown in Figure 15 [6].
FIGURE 15. Ralli from Mahar Group, Picture Source: Askari, N. and Crill,
R. (1997). Colours of the Indus. London: Merrell Holberton in association
with the Victoria and Albert museum, pp.46-50

The tradition of Ralli craft extends to the north side, along the Cholistan
Desert towards southern Punjab covering Bahawalpur. In several areas of
Badin (area of Tharparker desert) the Ralli work was exclusively done in
patches of colored squares and bands by using kanbiri anchor stitch, the
concentric polyhedron shapes are employed at the back, which creates a
persuasive illusion of shape and line shown in Figure 16. It is a tradition to
present kanbiri Ralli to spiritual guides from their follower. For making
bags and purses the same techniques and ways of adornment are in practice.
Jogi Ralli is another version of kanibri Ralli that is usually used for
wrapping and spreading by snake charmers [6].
FIGURE 16. Ralli swaddle and Ralli bag, Picture Source: Askari, N. and
Crill, R. (1997). Colours of the Indus. London: Merrell Holberton in
association with the Victoria and Albert museum, pp.46-50
Tukwari Ralli is made with white or colored cut pieces of fabric and sewn
on the base fabric, which is often stylized with ornamental needle on the
boarders of the fabric like embroidery, mirrors, tassels, beads, cowrie shells,
and sequins. In the case of Chutkinwari, cut pieces of fabric are sewn
together according to their geometrical shapes and then made into an overall
fabric as shown in Figures 17 & 18. Ralli may be used for carrying clothes,

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Rauf and Kamal
dowry bags, cradles, coverlets, saddle cloth, and rooftop string beds
(charpai) [6].
FIGURE 17. Ralli patch work and applique, Picture Source:

http://www.indus-crafts.com/Ralli-art-introduction.html
FIGURE 18. Embroided Ralli, Picture Source: http://www.indus-

crafts.com/types-of-Ralli.html
FIGURE 19. Cholistani Ralli, Picture Source: http://www.quiltindex.org/

basicdisplay.php?kid=1E-3D-233C
Some scholars and historians have critiqued on the colorful craft of Ralli, in
the book Art of Sindh by Dr. Ghulam Ali Allana. They stated “The Sindhi
people may extract colors from their surroundings, such as green from fresh
fields, purple and blue from hills, yellow from ripened corn, and crimson of
sunset [7]. In another book, A Visual Guide to Traditional Techniques-
World Textile by John Gillow and Bryan Sentance, Sindhi Ralli was
mentioned as a distinguished Ralli for their assortment of colors, patterns,
methods, and complex designing when compared with other Ralli of the
world [8], [9]. The point of discussion of this Ralli craft was that Pakistani
Ralli craft is mostly acknowledged by foreign scholars through their
international exhibitions rather than Pakistani Scholars and artists.
II. CURRENT STATUS OF PROMOTION OF RALLI AT
NATIONAL AND INTERNATIONAL LEVEL
The first Sindh Ralli exhibition and competition were organized by the
Culture, Tourism, and Antiquities Department of Sindh on 29 April 2017 at
Mohatta Palace, Karachi. Various artisans from different regions, such as
Badin, Umerkot, Sanghar, Nawabshah, Khairpur, and Mithi participated in
this exhibition and showcased their work through stalls with varying price

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Rauf and Kamal
ranges according to skills, hard work, and the material used as shown in
Figure 21.
FIGURE 20. Ralli Stalls at Karachi exhibition, Picture source:

https://www.dawn.com/news/1330236
The cheapest Ralli was available for a price of Rs. 5000 and the most
expensive was available for Rs. 3Million. Upon asking a question from one
of the Ralli Makers, who was selling his Ralli for Rs 2Million, he said, “he
used pure silk yarn to create Ralli fabric and it took his wife 9 years to
complete the whole process. The exhibition continued for 3 three days till
1st May” [3].
According to the available data, the reason of this exhibition was to give
honor to the distinctive craftswomen of Ralli makings by connecting it with
the “Labor Day” activities [10]. One must ponder why the cultural, most
distinctive, and unique craft of Ralli also got international recognition on
various platforms was connected to the Labor Day in Pakistan. The results
indicated that it is how local people are appreciating the national and
cultural heritage of arts and crafts of Sindh by promoting it nationally and
internationally on various distinct platforms.

FIGURE 21. Sindh Ralli competition advertisement, 2017

Art and craft have always been the neglected industry when government
does not give them proper patronage, such as decline of Mughal miniature
painting in Aurangzeb Period, who was the son of emperor Shahjahan,
reigned from 1658-1707. He was known as the man of amazing aptitude
towards administration and discipline. Moreover, he was a diligent and
hardworking ruler who honestly dedicated himself for the state and its
affairs, and was a practicing religious emperor. Despite all these
extraordinary individual characteristics, Aurangzeb faced a failure as a
ruler. Just for the reason that he repealed against the policies of Emperor
Akbar and bunged the patronization of art and artisans of the court.
Consequently, the artisans moved to other courts for their skill, and to
continue their artistic activities for satisfaction and to fulfill their financial

106
Rauf and Kamal
needs. Shifting of the craftsmen was one of the reasons that concealed the
strength of the emperor [11].
Patricia Ormsby Stoddard [4], author of Book Ralli Quilts: Traditional
Textiles from Pakistan and India (2003) organized many Ralli exhibitions
showing the Ralli craft of Sindh. The first one was organized in Islamabad,
Pakistan in 1998, which was followed by the International Quilt Festival in
Houstan in 2003 and many other, such as the University of Nebraska at
Lincoln, the European Patchwork Meeting France in 2011. The purpose of
her exhibition was to wander the world by introducing the new Ralli work
from Pakistan.
She further, while appreciating the skills of Sindhi women stated,
I am totally in awe of the women that make these quilts. It teaches
me that if women of the West, have certain skill sets, we learn
certain things. They have pattern memory and I have never seen a
written description. Somebody had one on a camel that went by.
They grew up in a village and this was the pattern. Most of the
intricate patchwork patterns have no mistakes. There’s an integrity
to them. They have no cutting boards, no tables, no quilt frames, no
rotary cutters. It’s a needle and thread and fabric that they make
these out of. It’s just amazing, [4].
Two of her exhibitions are briefly discussed in this research, which were
organized in 2014, the first one was held in Pacific Asia Museum named
Ralli Quilts: Contemporary Textiles from Pakistan continued from
November 2013-March 2014. In this exhibition, exquisite Ralli crafts
from Pakistan and West India were displayed in the exhibition. One of
Ralli’s artisans Naina from Pakistan, visited Pacific Asia Museum in July
2013 and demonstrated the making of Ralli’s work. She belonged to a
small village and has worked as a Ralli artist for several decades in Lila
Handicrafts (A Pakistani Cooperative of Women) situated in Thar Desert
Pakistan, Tehsil Diplo. Some of the Ralli quilts made by Naina were on
sale in this museum [12].
Another exhibition by Dr. Patricia Fabric of Belonging: Exotic Quilts from
Pakistan & India held in BYU (Brigham Young University) Museum of art,
continued from June 27 – November 29, 2014. The purpose of this
exhibition was same as the previous exhibition that was to introduce the
new form of Ralli to the world. This also shows that “How historical

traditions contribute to the deep sense of belonging that Ralli quilts provide
for people living in the areas of Sindh, Pakistan, and West India. For their
owners, Ralli quilts are a personal form of identification that connects them
with their region and their heritage.” [13], [14]
More than 50 Ralli pieces were displayed in these exhibitions. Some of
them were from the BYU Museum of art, which not only showed the Ralli
craft but also the culture of Sindh, Pakistan through art installation as
shown in Figures 22, 23, 24, and 25.
FIGURE 22. "Fabric of Belonging" is on exhibit at the BYU Museum of

Art, Picture Source: https://www.deseretnews.com/article/
865609282/BYU-exhibit-Fabric-of-Belonging.html

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Rauf and Kamal
FIGURE 23. Ralli quilts as camel blankets., Picture Source:

https://www.deseretnews.com/article/865609282/BYU-exhibit-Fabric-
of-Belonging.html
FIGURE 24. Examples of colorful quilts on display in the BYU exhibition

"Fabrics of Belonging." Picture Source: https://www.
deseretnews.com/article/865609282/BYU-exhibit-Fabric-of-
Belonging.html
FIGURE 25. Ralli quilts and household items, Picture Source:

https://www.deseretnews.com/article/865609282/BYU-exhibit-Fabric-
of-Belonging.html
In Pakistan, one of the Ralli exhibition was organized by ‘Bichhuana’, a
nonprofit collaborative organization, which came into existence after the
destructive floods in 2010. This organization helped several families by
encouraging their Ralli craft and supported 35 Ralli families in a small
village Khamiso Kholoro near Dadu in the rural Sindh. These Rallis were
displayed in an exhibition that was organized in Islamabad and the money
of sold-out Rallis were given to these families, which not only helped them
financially but also promoted their exceptional craft and talent [15].
The other nonprofit company of Pakistan Aik Hunar Aik Nagar (AHAN)
since 2007, is registered under Section 42 of the Companies Ordinance
1984, and is a subsidiary of Pakistan Industrial Development Corporation
(PIDC). One of the exhibitions organized by AHAN was “Handmade
Pakistan Exhibition” held in London, with the product range of Pakistani
craft that includes Ralli, Ajrak, Lacquer Art, leather and Silver Jewelry. Mr.
Maroof Afzal, CEO AHAN said that, “it is the first time that AHAN is
displaying rural craft of Pakistan in UK which can open further avenues for
export of such products overseas benefitting poor rural artisans and craft
person of the country”. In that exhibition all the craft, such as Sindhi Ajrak

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Rauf and Kamal
and Ralli, Balochi truck-art cushions, beaded jewelry from KPK, and
lacquer work from Silllanwali were much appreciated [16], [17].
The next exhibition by AHAN with the same name “Handmade in Pakistan”
exhibition was held in October on 21-23, 2016 at Heritage Museum, Mall
Road, Lahore. Various artisan products from all over the Pakistan displayed
their crafts like hand embroidered cushions, Block Print, Jewelry, Organic
Food, Clutch purses, Truck art, Elegant Ajrak Silk, Apparels, Naqashi,
Camel Bone, Embroidery nationally, Basketry, Onex, Salt Lamps, Metal
Crafts, Charsadda Chappal, Balochi Chappal, Khaddar, Ralli, Beautiful
wall hangings, Intricate wood carving & lacquer work. This exhibition
generated a heavy output for artisans, which was approximately PKR 3.5
million.
III. CONCLUSION
The study concludes that Ralli, a unique craft of Pakistani Sindhi culture, is
integral to the Sindhi identity with historical roots. Despite contributions
from scholars and art lovers through books and exhibitions, a concern arises
as most involved are foreigners. The lack of a systematic government
approach for craft propagation is evident, though some private
organizations support artisans. However, many artisans lack recognition,
hindering their awareness of the craft's value in international markets. While
Pakistani Ralli's visibility is growing nationally, it lacks a clear international
profile. Gaps persist in understanding its global significance, despite its
uniqueness acknowledged by scholars and visitors. Promoting Pakistani
artisans not only presents a positive image globally but also benefits the
country's economy. Organizations like AHAN and THAAP work on craft
promotion, empowering underprivileged women. Conversely, some online
businesses exploit craftsmen with low wages. The study emphasizes that
Sindh residents, supported by museums and government organizations,
practice and promote Ralli. While some profit from their craft, others face
obstacles like exploitation by middlemen or family limitations. Despite
Ralli being widespread in Sindh for home textiles, it lacks international
recognition due to government neglect, insufficient funding for scholars,
and a lack of new craft industries. Consequently, the original essence of
Ralli crafts is deteriorating, giving way to unsustainable contemporary
methods.

A. RECOMMENDATION
This study suggested that the government should not only intervene but
should take complete responsibility to promote these crafts, which are an
asset to the nation and could better serve a crucial role for the stabilization
of the economy.
Furthermore, the current study also suggested that the government should
allocate proper section of funds to crafts sector so that new scholars can
exhibit and document traditional craft of Ralli at the international level. It
is also suggested that Government should work on the opening of textile
museums in which all textiles’ craft of Pakistan including Ralli, Susi,
Phulkari, would be displayed as currently not a single museum is based on
specially textile crafts. This will not only help the artisans but will preserve
the Sindhi Ralli in a best possible way.
REFERENCES
[1] G. A. Allana, “Sindhi society and culture,” Int. Res. J. Arts Human., vol.
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Journal of Design and Textiles (JDT)

Volume 2 Issue 2, Fall 2023

Preserving and Promoting the Sindhi Ralli Quilts: A Case Study of

Copyright: © The Authors

Journal of Design and Textiles

FIGURE 1. Ralli quilts seller, Sukkur-Pakistan, Nadeem Khawar /

School of Design and Textiles 91

FIGURE 2. PSO petrol pump Hyderabad showing Ralli as bedspread,

Journal of Design and Textiles

FIGURE 3. A view inside SINDH museum Hyderabad, showing Ralli

FIGURE 4. SITCO, SINDH museum Hyderabad, Picture Courtesy: Author

Journal of Design and Textiles

FIGURE 5. 40-year-old applique Ralli from Mr. Majeed’s House, Picture

FIGURE 6. Guest room of Mr. Majeed house Picture Courtesy: Author

FIGURE 7. Ralli showing by family of Mr. Majeed, Picture Courtesy:

Journal of Design and Textiles

FIGURE 8. Process of Ralli making Step 1, Picture Courtesy: Author

FIGURE 9. Process of Ralli making Step 2, Picture Courtesy: Author

FIGURE 10. Process of Ralli making Step 2, Picture Courtesy: Author

Journal of Design and Textiles

School of Design and Textiles 99

FIGURE 13. Chaukandi tombs motifs captured by author, Picture

FIGURE 14. Kata Ralli and Chaukandi tombs, Picture Source:

School of Design and Textiles 101

Journal of Design and Textiles

FIGURE 17. Ralli patch work and applique, Picture Source:

FIGURE 18. Embroided Ralli, Picture Source: http://www.indus-

FIGURE 19. Cholistani Ralli, Picture Source: http://www.quiltindex.org/

Journal of Design and Textiles

FIGURE 20. Ralli Stalls at Karachi exhibition, Picture source:

School of Design and Textiles 105

FIGURE 21. Sindh Ralli competition advertisement, 2017

Journal of Design and Textiles

School of Design and Textiles 107

FIGURE 22. "Fabric of Belonging" is on exhibit at the BYU Museum of

Journal of Design and Textiles

FIGURE 23. Ralli quilts as camel blankets., Picture Source:

FIGURE 24. Examples of colorful quilts on display in the BYU exhibition

FIGURE 25. Ralli quilts and household items, Picture Source:

Journal of Design and Textiles

School of Design and Textiles 111

Journal of Design and Textiles

[10] M. Yousuf. “1st Sindh ralli (quilt) exhibition and competition.”

School of Design and Textiles 113

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