Shepherds to Weavers: The Story of Tangaliya

Legend tells us that, centuries ago, in the stark landscape of Saurashtra, a shepherd man married a woman from the weaver community amidst great opposition from both sides. He went to live among the weavers. Here he continued to graze his sheep but also learnt the art of weaving. Thus, wool began to be woven in the area and the craft of Tangaliya weaving was born. The marriage influenced the rich tapestry of Indian craft forever. Children born to them were known as Dangasia, born of shepherds and weavers, and they continue to remain the sole practitioners of Tangaliya weaving till date.

It is 700 years old hand weaving technique, which derives its name from Tang, meaning leg. The textile is a part of the traditional costume of the Bharwad (the shepherd community) of Gujarat. Women of the Bharwad community are often seen wearing dotted wrapped skirts in black with contrasting woven dotted forms as embellishments. This unique form of weaving with its dotted splendor is practiced in Surendranagar district of Gujarat.

Tangaliya is a labor-intensive and painstaking craft. Gheta (native sheep) wool forms the raw material for weaving the base fabric, on which a special technique called beadwork or dana-work is created. A dana is formed on the weft yarn through the process of tying together a minimum of three warp threads by wrapping a contrasting coloured fine cotton thread around them. To achieve this unique warp-binding technique with additional weft threads, the weavers’ fingers skillfully sense the exact number of warp threads and twist the extra weft around them.

Through this, motifs are woven into the fabric while it is still on the loom. This results in a glorious geometric pattern, tiny white dots lighting up rich, dark fabrics giving the effect of fine embroidery to it. Traditionally, Tangaliya used black sheep or camel wool to create shawls and blankets (Dhablas) for the shepherds, but now they weave magic with cotton and silk also for the contemporary market.

History reveals that they also used fibers of trees before they started growing and using cotton. With time they improvised their weaving technique and adopted Amar Charkha introduced by, Gandhi ji, to weave fine cotton. They strived for different techniques & introduced a pit loom. A pit is dug and wooden loom is installed on it. Pit is usually for the weaver to sit in for the loom to reach the height of his lap. The frame of the loom consisted of  six horizontal wooden logs & ten vertical logs. Such loom could be installed anywhere. The fabric woven on a pit loom is usually 2 feet in width and made 20 feet long. Two pieces each of 10 feet obtained by cutting the length into half are stitched together. The intricate method of twisting the extra weft while weaving creates beautiful linear patterns.

The GI (Geographical Indication) status for the artisans of Tangaliya from Surendranagar was obtained in 2008 to protect and promote the interests of the craft community. With the increasing use of cotton, the reach of Tangaliya has expanded into urban markets, and today artisans are exploring a new range of products such as sarees, stoles, and more.
Today, artisans rely more on cotton-based products rather than wool, but the charm of woolen Tangaliya still remains unmatched.

Today, Tangaliya weaving faces several challenges, especially the declining number of skilled weavers. Many young artisans are moving towards alternative occupations such as agriculture and other forms of employment that offer better and more stable income, gradually distancing themselves from their traditional craft. Although Tangaliya has a unique visual and cultural appeal, many people still misunderstand the technique, often assuming that the bead-like patterns are added later through needlework rather than being woven directly into the fabric. Greater awareness about the complexity and beauty of this craft can help increase its value and appreciation among wider audiences. Encouragingly, many designers, organizations, and artisan groups are now experimenting with Tangaliya in contemporary forms, creating new possibilities for the craft while keeping its traditional essence alive.