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Column #58

Ralli Quilts

Alta Profitt's Laurel (Indiana) Elementary Preschool class and their quilt.
Ralli quilts on display at the International Museum of Folk Art in Santa Fe, New Mexico. Photo by Alex Labry

On a recent visit to the wonderful International Museum of Folk Art in Santa Fe, New Mexico, I was delighted to see a small exhibit of quilts made by women from the Sindh province of Pakistan. This region of the Indian subcontinent has a rich and ancient tradition of arts and crafts, and it is particularly known for its various kinds of textiles, including the intricate appliqué, embroidered, and patchwork quilts known as rallis. Both Muslim and Hindu women make ralli quilts, and they have been doing so for hundreds of years.

Ralli-making skills are passed down from mother to daughter, and according to the foremost Western authority on ralli quilts, Patricia Stoddard—who wrote the only book on the subject, Ralli Quilts: Traditional Textiles from Pakistan and India (2003)—girls start making rallis when they are about 12 years old.

Stoddard states, “The sewing on the top of the quilt is usually the work of one woman and, traditionally, the sewing of the layers is done by a group of three or four women. (This is very similar to the American tradition of a ‘quilting bee.’) The fabric used for the back of the quilt is often an old head shawl or pieces of several old outfits dyed to be the same color. Special quilts may have a complete fabric on the back. The quilting is especially festive when the quilt is for a marriage, and the sewing is accompanied by singing and stories. There are also legends, folk songs and sayings about rallis.” Rallis are quilted on the ground, not in a frame.

Ralli quilts are integral to the culture of the area and are typically made by rural, poor, traditional women, some of whom are nomadic. Rallis are made primarily for bed coverings and floor coverings, or are sewn into sacks for holding various items. When they start to wear out from their initial use, they are then employed as padding for camel saddles, pack animals’ loads, or other utilitarian uses.

The number of ralli quilts which a family owns is sometimes considered an indicator of personal wealth, and they are an important part of a girl’s dowry. Rallis are also made as gifts for special occasions or special people such as holy men. In these cases, they may be embellished with shells, tiny mirrors, sequins, beads, extra embroidery or tassels.

More recently, ralli quilts have started to be made to sell as a source of income. The exhibit I saw at the Folk Art Museum featured such pieces. Extreme monsoon rains in 2010 caused one-fifth of Pakistan to be submerged under floodwaters for months, and caused 10 million people to lose their homes and incomes, forcing them into temporary relief camps.

According to the exhibit brochure, The Arts of Survival, “As days in the camps became months, the women—many from the famous quiltmaking region of Sindh province—turned their master needlework skills into a source of income, as well as comfort and warmth. With the help of their ever-present needle and thread, they transformed the extra clothes and materials sent by relief organizations into…rallis for sale in nearby stores and markets.”

Anyone who loves quilts knows of their many uses, their deep traditions, and their healing power. Ralli quilts from the Indian subcontinent are proof that such characteristics hold true in every corner of the globe.

The exhibit, The Arts of Survival, will be on display at the Museum of International Folk Art in Santa Fe, New Mexico until May 6, 2012.


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Archived blogs:

Column 145: Suzy on Carolyn Mazloomi's Groundbreaking Quilt Exhibit
Column 144: Texas Community Marks Juneteenth Sesquicentennial with History Quilts
Column 143: Maya Embroidered Patchwork
Column 142: Huipil Patchwork Quilts
Column 141: Tom Korn’s Military Medal Quilts
Column 140: The Return of Double Knits!
Column 139: Passage Quilts
Column 138: Home of the Brave Quilts
Column 137: The Story of Fabric Yo-Yos
Column 136: Christmas in July
Column 135: Trifles
Column 134: Deaf Initiatives—Communicating Through Quilts
Column 133: My Betty Boop Quilt
Column 132: Maura Grace Ambrose
Column 131: All You Need Is Love
Column 130: Chicken Linens
Column 129: The Quilted Chuppah
Column 128: Patchwork Around the World: Yoruba Dance Costumes
Column 127: The Bowers Co-Op Quilts
Column 126: Fon Appliqué and Haitian Voodoo Flags
Column 125: The Quilt Garden at The North Carolina Arboretum
Column 124: Harriet Powers and Handful’s Mauma
Column 123: Quilters de Mexico
Column 122: An Appliquéd Surprise
Column 121: Matisse’s Fabric Stash
Column 120: Soogan—The Cowboy’s Quilt
Column 119: The Ron Swanson Quilt
Column 118: HClarkdale, Georgia—A Thread of History
Column 117: How WWI Changed the Color of Quilts in the United States
Column 116: Wagga—The Bushman’s Quilt
Column 115: All in the Family
Column 114: The Alabama State Quilt
Column 113: Balloon Quilts of Albuquerque
Column 112: The Family That Quilts Together, Stays Together
Column 111: Two Rivers, Three Sisters
Column 110: Quilters Helping Quilters
Column 109: Community Cookbooks and Fundraiser Quilts—Parallel Histories
Column 108: Quilting to Freedom
Column 107: National Quilting Day
Column 106: The Airing of the Quilts
Column 105: A Call for a National Juneteenth Commemorative Quilt
Column 104: Dominoes
Column 103: 1936 Texas Centennial Bluebonnet Quilt
Column 102: Helen Blackstone, A Texas Quilter
Column 101: Montana CattleWomen Anniversary Brand Quilt
Column 100: 100th Suzy's Fancy Column!
Column 99: Montana Stockgrowers Anniversary Brand Quilt
Column 98: The Tobacco Sack Connection
Column 97: Meet the Sisters Who Are State Fair Quilting Queens
Column 96: The connection between fairs and quilts.
Column 95: Her Mother Pieced Quilts
Column 94: Rebecca Barker’s Quiltscapes
Column 93: The Thread and Thimble Club Mystery

See other archived columns here

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