Sabai Grass

Mayurbhanj

Introduction

Sabai grass (botanical name: Eulaliopsis binata) is a durable and resilient grass found in abundance in the forest regions of Eastern India, particularly in Mayurbhanj district, Odisha. Over the years, Sabai grass has evolved from being a raw material for rope-making into the foundation of a vibrant and sustainable handicraft tradition involving basketry, mats, and home décor items.

Mayurbhanj is a tribal-dominated district with over 58% of its population belonging to Scheduled Tribes, including communities such as Santhal, Ho, Munda, Bhumija, and Bhunjia (Census 2011). Women from these communities are the primary bearers of Sabai craft traditions, forming Self Help Groups (SHGs) and cooperatives across villages such as Bangriposi, Jashipur, and Kaptipada. According to ORMAS and District Industry Centre reports (2022), over 15,000 women in Mayurbhanj are engaged in various aspects of Sabai craft production, including rope-making, basketry, and finishing work.

The shift toward Sabai craft as a viable livelihood emerged due to seasonal unemployment in agriculture and forest-based livelihoods. For many households, especially women-headed ones, Sabai craft provides supplementary income that contributes significantly to household sustenance. Women earn between INR 4,000 to 8,000 per month based on volume and product complexity (TRIFED 2021).

While Sabai craft is the dominant non-farm livelihood in the region, women are also engaged in embroidery, leaf plate making, lac jewelry, and minor forest produce collection, though these provide limited seasonal income. With rising interest in design-led interventions, embroidery and textile embellishment are emerging as potential avenues for economic diversification, especially for younger artisans.

Historical Background and Origins

The origin of Sabai grass craft in Mayurbhanj can be traced back several centuries, with oral traditions and local folklore attributing its earliest usage to the Santhal and Ho communities, who are believed to have used the grass for rope-making, thatching, and weaving ritual baskets.

The earliest recorded mention of Sabai grass cultivation dates to the late 19th century during the British colonial period. The British identified Eulaliopsis binata for its strength and began promoting its plantation for industrial use, particularly rope-making for ship rigging, railway carriage tie-ups, and jute mill substitutes. Sabai rope from Odisha was routed via Kolkata for export, marking the beginning of historical trade linkages (Census of India, 1901).

One popular legend speaks of a tribal queen who devised a method of drying and binding Sabai grass to create durable vessels for carrying grain and water, a practice that gradually evolved into the contemporary craft.

The craft saw support from local rulers like the Bhanja kings of Mayurbhanj, who were patrons of rural livelihoods and sustainable forestry. Under their rule, forest produce like Sabai was documented and regulated, allowing certain tribal communities to collect and process it under community rules (Mayurbhanj State Archives).

The evolution of Sabai craft tools—from hand-twisting to mechanical rollers—mirrors the broader industrial transitions in India. Initially, rudimentary hand tools like wooden hammers and stone weights were used. Over time, NGOs and government departments introduced rope-making machines, metal molds, and dyeing vats, especially during the 1980s and 1990s under schemes by the Handicrafts Development Commissioner and KVIC.

Changes in raw materials have also marked the transition. Traditionally, only natural-colored Sabai grass was used, but post-1990s, artisans began experimenting with natural dyes (like turmeric and indigo) and later, synthetic AZO-free dyes to meet market demand (ORMAS Report, 2015).

Design motifs too have evolved—from simple functional shapes to complex geometric patterns and fusion designs inspired by tribal art and urban minimalism. This shift has helped reposition Sabai craft from rural utility items to urban decor and fashion markets.

<- Sabai's religious and cultural significance is notable—baskets woven from the grass are often used during tribal harvest festivals like Sohrai and Maghe Parab, symbolizing prosperity and the Earth goddess. These baskets also serve ritualistic functions in marriages and community feasts ->

Functionally, Sabai products have transitioned from storage and agricultural use to lifestyle-oriented items—bags, tableware, lighting, and even small furniture. This functional expansion has been driven by collaborations with designers and exposure to contemporary consumer trends (TRIFED Artisan Stories, 2020).

The impact of colonization was twofold - it industrialized raw material extraction while also marginalizing indigenous design innovation. However, the post-independence era saw the emergence of revival movements. Government interventions through ORMAS, DIC, and KVIC, as well as NGO-led initiatives like Gram Vikas and Ekta Foundation, introduced training, cluster development, and direct market linkages.

The documentation of Sabai craft remains limited but is growing. Notable contributions include Utkal University's rural craft surveys (2008–2015) and KIIT's research on tribal entrepreneurship. Traditional guru-shishya transmission methods are slowly giving way to structured vocational training under skill development programs (DDU-GKY, PMKVY), allowing wider access but also risking loss of oral histories and contextual knowledge.

Overall, the historical trajectory of Sabai craft reflects a dynamic interplay between tradition and innovation, resilience and reinvention—anchored in community knowledge yet responsive to socio-economic change.

Regions of Practice

Sabai grass craft is deeply rooted in the core production areas of Mayurbhanj district, Odisha, with dense artisan populations and established SHGs in villages like Bangriposi, Jashipur, Kaptipada, Suliapada, Khunta, and Thakurmunda. These clusters specialize in every stage of the craft—from harvesting and processing to final weaving and marketing. Baripada and Rairangpur, being larger towns, serve as regional marketing and aggregation hubs where traders, cooperative societies, and NGOs operate (ORMAS Cluster Report, 2019).

Peripheral support comes from neighboring areas of Keonjhar, Balasore, and parts of Similipal Biosphere, which supply raw materials and seasonal labor. The craft has organically expanded to border districts in Jharkhand (e.g., East Singhbhum) and West Bengal (e.g., Jhargram), where mobile artisan groups have carried their knowledge and practices over time, fostering new artisan collectives (TRIFED, 2020).

Urban centers such as Bhubaneswar, Kolkata, and Ranchi are important market destinations, while craft fairs and exhibitions like Surajkund Mela (Haryana), Bali Yatra (Cuttack), and India International Trade Fair (Delhi) have enabled national visibility. In recent years, e-commerce partnerships and state-sponsored buyer-seller meets have facilitated exports to Germany, Japan, and the USA (Ministry of MSME Export Report, 2022).

Sabai grass is predominantly sourced from forest areas within Mayurbhanj, especially around the Similipal range. Artisans collect the grass post-monsoon, with additional procurement through forest cooperatives in Keonjhar and Balasore. Processing centers and rope-twisting units are found in hubs like Jashipur and Bangriposi.

Each region brings its own stylistic identity—Rairangpur artisans are known for intricate basket weaving, Kaptipada for colorful dye work, and Bangriposi for coiled rope-based planters and trays. Government-designated craft clusters such as the Bangriposi Sabai Cluster and Jashipur Livelihood Cluster under ORMAS have institutionalized production and training facilities with accessible transport infrastructure (State Livelihood Mission, 2021).

Migration patterns also influence craft transmission—youth who migrate to urban areas often return seasonally to assist in peak production cycles. Conversely, urban youth are now taking an interest in the craft through design schools and incubation programs.

Accessibility has been enhanced through improved road connectivity via NH-18 and NH-49, and railway stations at Baripada and Jashipur. This has eased the supply chain and delivery timelines, especially for bulk orders during festive and exhibition seasons.

Overall, Sabai craft today spans rural and urban domains, maintaining strong cultural roots while embracing national and international platforms through structured interventions and organic community networks.

Communities

Sabai grass craft is predominantly practiced by tribal communities, notably the Santhal, Ho, Munda, Bhumija, Kolha, and Bhunjia tribes. These groups are largely concentrated in the forested and hilly regions of Mayurbhanj, Odisha, with extensions into parts of Jharkhand and West Bengal.

Demographically, these communities have high youth populations, with women making up over 60% of the Sabai workforce (ORMAS, 2022). Women are the primary artisans, handling every stage of the craft process, while men occasionally assist with harvesting, rope-twisting machinery, and logistics. Traditional knowledge is transmitted orally through guru-shishya parampara (master-apprentice systems), although this is shifting towards collective learning in SHG workshops.

The Santhals, Odisha's largest tribal community, are found mainly in Kaptipada, Jashipur, and Bangriposi. Ho and Munda populations are concentrated in Khunta and Rairangpur, while the Kolha, Bhunjia, and Bhumija are scattered across peripheral forest areas (Census of India, 2011).

Craft roles are often linked to community hierarchies—senior women artisans lead clusters, make design decisions, and handle pricing negotiations. Most artisans are part-time, balancing craft work with agriculture and forest produce collection. However, in clusters like Bangriposi, an increasing number are becoming full-time craftswomen due to consistent orders and NGO support (TRIFED Artisan Profile, 2021).

Migration and urbanization have affected craft continuity. Younger generations, particularly educated youth, often migrate for better-paying jobs, although some return seasonally or engage through digital marketing. Urban-based tribal youth are also re-engaging with the craft through formal training programs and entrepreneurship schemes (PMKVY, 2023).

There are growing instances of inter-community collaborations, especially between Santhal and Munda groups in co-owned cooperatives. These collaborations have fostered stylistic exchanges and joint ventures for national-level exhibitions.

Cultural Significance

Sabai grass craft holds deep cultural and spiritual relevance beyond its economic importance. The motifs and patterns woven into baskets often carry symbolic meanings—spirals denote cycles of life, diamonds reflect fertility, and zigzags signify rivers or pathways, all drawing from tribal cosmology and oral traditions (Utkal University Craft Survey, 2014).

These items are integrally associated with major festivals such as Sohrai, Baa Parab, and Makar Sankranti, during which Sabai baskets are gifted and used in ritual offerings. In marriage ceremonies, special baskets are used to carry gifts, grains, or sacred items, while in birth ceremonies, a Sabai cradle or mat is used for the newborn (Field Interviews, 2023).

Colors also hold significance—red denotes vitality and blessings, yellow reflects sunlight and growth, while green symbolizes forest life. Specific designs are passed down through generations, often sung about in folk songs and stories narrated during evening gatherings, reinforcing collective memory and identity.

In some areas, certain motifs or practices are taboo for unmarried women, while others are reserved for elders or shamans. Such cultural codes govern the transmission of design knowledge, maintaining ritual sanctity and heritage boundaries.

Over time, while the spiritual role of Sabai baskets has diminished in urban and market contexts, their symbolism remains a core identity marker for tribal women artisans. Today, many artisans consciously preserve traditional designs alongside experimenting with new aesthetics for contemporary markets, ensuring the dual purpose of economic resilience and cultural continuity.

Tools and Equipment

The practice of Sabai grass craft relies on a blend of traditional and modern tools, many of which have evolved alongside the craft's journey from subsistence to commercial production. Tools are selected based on the production scale, specialization, and artisan preferences. According to the ORMAS Cluster Development Report (2021), the following tools and equipment are commonly used -

Sickle

Used for manually harvesting mature Sabai grass from forest and community land, particularly during post-monsoon months.

Wooden Mallets and Stone Weights

Traditionally used to soften dried grass fibers and break internal rigidity without damaging the outer layers. These tools help in maintaining pliability required for coiling and weaving (Utkal University Craft Survey, 2015).

Dyeing Pots and Vats

Iron and aluminum pots are used to boil grass in natural or synthetic dyes. Recently, stainless steel vats have been introduced for improved heat conduction and color consistency.

Drying Racks

Bamboo or metal racks allow even drying of dyed or washed grass, especially in community processing centers like those in Bangriposi and Kaptipada.

Measuring Tapes and Moulds

Plastic and wooden molds assist in shaping uniform products like baskets, trays, and mats. Tape measures ensure standardization, particularly important for bulk orders and exports.

Sewing Needles, Synthetic Twine, and Cotton Thread

Artisans use large-eye blunt needles and eco-safe twine to stitch coiled forms securely. Some high-end products also use cotton or jute threads for a refined finish (TRIFED Artisan Toolkit Manual, 2020).

Hand-operated and Motorized Rolling Machines

Rope-making machines are a major intervention by NGOs like Gram Vikas. These machines are used to twist Sabai strands into ropes and significantly enhance productivity.

Protective Gear

Gloves and aprons are being introduced in some SHG-led clusters to ensure artisan safety, especially during dyeing and cutting processes (State Livelihood Mission Report, 2022).

Process of Production

The production process of Sabai grass products is both labor-intensive and intricate, combining indigenous knowledge with adapted modern methods. Based on field studies and reports by ORMAS and TRIFED (2021), the typical stages involved are as follows:

Harvesting - The process begins with the collection of Sabai grass, predominantly during the post-monsoon months (September to November) when the grass is fully mature and retains optimal fiber strength. Communities typically harvest from designated forest areas near Similipal Biosphere, adhering to sustainable practices encouraged by forest cooperatives (State Livelihood Mission Report, 2022).

Drying and Cleaning - After harvesting, the grass is sun-dried for 2–3 days to reduce moisture content. This is followed by manual cleaning using hand-beating methods or by combing to remove dust, sheaths, and coarse parts. Proper drying is essential to avoid fungal growth and ensure longevity of the fiber (Utkal University Craft Study, 2015).

Sorting and Grading - Grass strands are sorted based on length, thickness, and pliability. Premium grades are reserved for intricate basketry and export products, while medium or coarser grass is used for utility items or rope-making.

Dyeing - While traditionally used in its natural golden hue, Sabai grass is now dyed using both natural (e.g., turmeric, indigo, mahua bark) and synthetic AZO-free dyes, depending on the market segment. Dyeing is done in large vats or steel containers over wood-fired stoves, with boiling times varying based on desired color depth (ORMAS Craft Cluster Manual, 2019).

Twisting - The dried (and dyed) Sabai strands are twisted into ropes manually or using hand-operated rolling machines introduced by NGOs like Gram Vikas. These ropes form the core structural element of most coiled products. Twisting ensures tensile strength and consistency in diameter for coiling.

Weaving and Coiling - Artisans employ one of three major techniques—coiling, twining, or weaving—depending on the design. Coiled items are made by spirally stitching Sabai rope in circular or oval forms using cotton or jute thread. More contemporary products use metal or bamboo molds for uniformity (TRIFED Artisan Profiles, 2020).

Stitching and Finishing - After shaping, products undergo final stitching to secure loose ends, followed by trimming excess threads and shaping handles or accessories. Some items are further embellished with embroidery, block printing, or applique work for added value in urban and export markets.

Quality Control and Packaging - Larger SHGs and cooperatives conduct in-house inspections for quality, including symmetry, colorfastness, and stitching integrity. Products are then sun-dried again, neatly packed in kraft paper or cloth bags for local sale or in corrugated boxes for export.

Categories of Basketry and Techniques

Sabai craft encompasses an evolving repertoire of product categories shaped by indigenous technique, design innovations, and market adaptation. According to ORMAS Cluster Development Report (2021) and TRIFED Artisan Stories (2020), Sabai basketry and allied crafts fall into the following types -

A. Basketry Types

Coiled Basketry - This traditional technique involves spirally coiling Sabai grass rope and stitching it with cotton or jute thread to form baskets, mats, and containers. Coiling provides strength and is ideal for round or oval containers.
Twined Basketry - Practiced especially in Jashipur and Suliapada clusters, it uses warp (vertical) and weft (horizontal) strands twisted together, resulting in tight, fine-meshed products suited for smaller baskets and jewelry holders.
Wickerwork - This method uses a rigid frame, typically bamboo or cane, over which Sabai strands are interlaced. It is used for furniture items like stools and laundry hampers. It is gaining popularity in urban markets for its structural robustness.

Regional variations exist in the finesse and finish of these techniques—Rairangpur artisans favor finer twining, while Bangriposi is known for bold coiled patterns.

B. Other Product Types

Home Decor - Includes wall hangings with dyed geometric patterns, woven planters, and eco-friendly lampshades, designed in collaboration with urban designers (Utkal University Craft Studies, 2015).
Utility Products - Boxes with lids, file holders, storage trays, and laundry baskets. These are often ordered by institutions and boutique stores.
Fashion Accessories - Handcrafted bags, sling purses, belts, and earrings. Some products are combined with leather or khadi fabric for a hybrid contemporary look.
Furniture - Lightweight stools, nesting tables, table mats, and floor coverings. Some clusters like Khunta have experimented with foldable Sabai furniture frames for easy shipping (TRIFED Innovation Showcase, 2022).

Contemporary Developments and Market Linkages

In recent years, Sabai grass craft has witnessed significant transformation owing to institutional support, technological integration, and increased market connectivity. NGOs such as Gram Vikas, Ekta Foundation, and government bodies like ORMAS (Odisha Rural Development and Marketing Society) and TRIFED (Tribal Cooperative Marketing Development Federation of India) have played pivotal roles in capacity building, skill development, and direct market linkage facilitation. These initiatives have enabled artisans to improve product quality, scale production, and diversify their designs (ORMAS Annual Report, 2022).

E-commerce integration through platforms like Amazon Karigar, Flipkart Samarth, and Tribes India has further extended market reach, especially during and after the COVID-19 pandemic, allowing artisans to bypass traditional middlemen and receive direct payment (TRIFED Digital Initiatives Report, 2021). Sabai craft now appears in curated lifestyle stores, sustainable product platforms, and urban exhibitions, aligning with growing eco-conscious consumer trends.

Numerous national and international exhibitions such as Surajkund Mela, India International Trade Fair (IITF), and Ambiente (Germany) have showcased Sabai products. Artisan groups from Mayurbhanj have represented Odisha in multiple state and national-level craft fairs, often returning with bulk orders and retail contracts (Ministry of MSME Export Records, 2022).

The design intervention movement has added momentum to Sabai’s revival. Collaborations with organizations like the National Institute of Design (NID) and designers from craft incubators have introduced urban aesthetics into traditional coiling and weaving. Products such as Sabai laptop bags, home organizers, and hybrid furniture pieces are a result of such partnerships (KIIT Rural Innovation Studies, 2020).

These developments reflect a conscious shift from subsidy-driven models to entrepreneurial ecosystems involving digital literacy, branding, and sustainable packaging. The transformation is sustained through workshops on digital marketing, bookkeeping, and market analytics organized by CSR initiatives and state entrepreneurship missions. As a result, Sabai grass craft is no longer restricted to rural Odisha but is gradually becoming a globally recognized symbol of ethical and sustainable craftsmanship.

Challenges and Opportunities

Challenges

Inconsistent Raw Material Supply - Climate change and deforestation have affected the availability and quality of Sabai grass, especially in the Similipal region. This leads to seasonal scarcity, increasing costs and disrupting production schedules (State Livelihood Mission Report, 2022).
Limited Access to Modern Tools - Remote clusters often lack access to rope-making machines, dye vats, and other mechanized tools introduced by NGOs and government schemes. Many artisans rely on traditional methods due to lack of affordability or transport infrastructure (ORMAS, 2021).
Inadequate Design and Innovation Support - Most artisans are skilled in traditional techniques but face difficulty adapting to modern design trends without structured design mentorship or collaboration. This limits their competitiveness in urban and export markets (KIIT Rural Innovation Study, 2020).
Poor Marketing and Branding - Many artisan clusters depend on intermediaries and lack branding skills, digital literacy, and marketing networks. Inconsistent pricing, poor packaging, and limited product storytelling reduce appeal among conscious consumers (TRIFED, 2020).

Opportunities

Government and CSR Support - Various government programs like ORMAS cluster initiatives, DDU-GKY, and PMKVY are offering skilling, toolkits, and financial assistance. CSR projects by banks and corporates have started supporting artisan training and infrastructure development (ORMAS Annual Report, 2022).
Eco-Conscious Market Trends - Rising demand for sustainable and handmade products provides an opportunity for Sabai crafts to access global niche markets. Urban consumers increasingly prefer biodegradable, aesthetic home décor items, offering potential for value-added product development.
Youth Engagement and Skill Development - Design students, rural youth, and returnee migrants are showing interest in craft-based entrepreneurship. Digital platforms, startup incubators, and SHG federations are now nurturing a new generation of tech-savvy artisan-entrepreneurs (TRIFED Digital Initiatives Report, 2021).

Page updated

Google Sites

Report abuse