Love At First Stitch – One Woman’s Journey Preserving The Art Of Ralli

They say some of the best things happen by chance. And for Dr. Patricia Ormsby Stoddard, a serendipitous trip to a handicrafts shop in Islamabad, Pakistan, would lead to a journey in helping preserve one of South Asia’s most colorful crafts – ralli.

From its unique patterns, eye-catching color combinations and lovely add-ons (mirror work, beads and tassles), the textile enthusiast felt a strong connection to the craft of ralli. She felt both awe-struck and inspired to research an art form that largely remained undocumented.

Thus began her passion for understanding the intricacies of ralli quilt-making. What were the different kinds of stitches that it entailed? What did the patterns symbolize and what variations of the craft existed in different regions? The deeper Stoddard delved into ralli, the more dismayed she felt.

“I was afraid it would disappear without the world knowing about this beautiful tradition,” she stated during the course of this interview. This prompted Dr. Stoddard to write Ralli Quilts: Traditional Textiles from Pakistan and India, one of the best go-to books on the craft, published in 2003.

In conversation with Forbes Life, Stoddard speaks about her travels during her research, the origins of ralli and the future of this age-old, beautiful craft.

SR: What do you think many of us overlook when it comes to the craft of ralli?

PS: At first glance, many people do not understand what they are seeing with rallis. For people who are accustomed to evaluating quilts by the number of fine stiches per inch and the evenness of size, they may not find that. Instead, they see a textile creation made without a table, a sewing machine, a paper pattern or any of the other conveniences that western quilters use. Rallis are made with only a needle, thread, scissors, and a reed mat on the ground to lay it out. Patterns come from the memories of the quilters. Secondly, decorations on the rallis are made through the pattern of the fabric, embroidery embellishments, and other surprises such as sequins, beads, mirrors or tassels. Thirdly, the rallis use color combinations that are not often seen in western quilts. They often use complementary colors such as red and green together or orange and blue. They intentionally and traditionally use color combinations that pop.

In the hot desert regions where rallis are made, families often sleep outside on their charpoys (wooden beds). As the moon and stars light the night, the fabric and tiny mirrors will provide a magical glow to the ralli design.

SR: Does ralli-making have a cultural connotation other than its usage as a quilt?

PS: There are deep cultural meanings to ralli-making. First, there are the social meanings behind quilts. Women make quilts for the use of their families and as gifts, particularly at weddings. Women and girls make enough quilts that every family member has at least two rallis to sleep between every night. Secondly, there are abstract depictions of their environment, particularly flowers, plants, camel tracks and other symbols. Thirdly, there is community identity with the patterning and specific color schemes of the rallis. The rallis are very valuable to the people who own them. Often in the pictures of the terrible flooding of Sindh in 2010-11 and in 2022 (amongst other years), one will notice people fleeing to safety with a few possessions, some of which include their family rallis.

SR: You’ve showcased South Asian ralli pieces in many countries over the years. What was the feedback like during the exhibitions?

PS: When I first started exhibits of rallis in the early 2000s, I felt that rallis were totally unknown to the people who saw them in the United States. Many tried to compare them to the quilts they were familiar with. However, many were also mesmerized by the patterns, shapes, colors and workmanship that were new to them. Visitors had glowing comments to make about the craft. They were very inspired by the by the craftswomen who made them.

SR: A majority of these age-old crafts, particularly needlework, remain undocumented. Primarily their history. In your opinion, how far back can the craft of ralli be traced?

PS: This is a fascinating question. Since the beginning of recorded history, there are reports of cotton production and dyed fabrics from the Sindh and Gujarat areas. There are ship records from Portuguese trading ships (dating to the 1500s) that brought back bedcovers to Europe from Gujarat, India (close to Sindh). They specifically mention pieces with a top cloth, cotton batting and a bottom fabric. Going back further, the patterning on many patchwork rallis can also be found on dozens of pottery pieces from an archaeological dig at Pirak in Baluchistan, Pakistan. Dating back to 1,800-800 BC, many of the geometric patterns, designs and borders match current ralli designs. These designs could have been passed down over so many centuries.

SR: Tell me a little about your travels in Pakistan, meeting the communities and the craftswomen of ralli…

PS: Once I started on my ralli ‘quest’ I tried to take every opportunity to learn more about the craft and the women behind them. I went to craft fairs and met the women who came there. I went to the Lok Virsa Museum in Islamabad and examined their entire ralli collection and interviewed craft experts and academics.

I also travelled to Sindh with a friend, in September 1997, to meet craftswomen. We were impressed that these immensely creative women had piles of embroidered clothing, bags and many quilts showcasing a life of handiwork. Many had not left their villages during their lifetimes and only spoke their local dialect. We felt they liked having their work appreciated by other women, even though they had not heard of America.

SR: What can one do to sustain ralli?

PS: Firstly, I think awareness is a key to the survival of rallis. There are a few challenges though. One is natural disasters, particularly flooding. Older quilts have been lost as communities have been destroyed and patterning on those quilts may be forgotten. Secondly, in past centuries, mothers taught their daughters how to quilt and the tradition was highly prized. Now with the prevalence of cell phones or other distractions, some girls are not taking the time to learn the skills necessary for quilt-making.

Lastly, fabric manufacturers have started making printed fabric, the size of a single bed quilt, with ralli patterns pre-printed on it. A woman can buy them for not much money, and complete the quilt by just sewing straight lines instead of creating a pieced pattern. The pre-printed fabric is synthetic and the patterns printed on it are compilations of designs and colors from different regions, losing distinct community identities. Despite these challenges, I think the ralli tradition can survive. There are collectors of rallis. The largest publicly held collection in the world, as far as I know, is at the International Quilt Museum in Lincoln, Nebraska. The have hundreds of quilts in their collection, including rallis.

SR: What currently keeps you busy Dr. Stoddard? Are you working on any ongoing ralli projects?

PS: I continue to be involved in promoting rallis in various ways. I give lectures, primarily to quilting groups. Quilters are always a great audience as they know what it takes to make a quilt! I also work as a volunteer with community organizations, international humanitarian groups and researching family history. I especially enjoy spending time with my husband, children and grandchildren. I will always be grateful to have come into contact with rallis when we lived in Pakistan. Not only did it prove to be a fascinating research quest, but it opened doors for me to meet many wonderful and creative women and men around the world who appreciate and care about preserving amazing cultural traditions.