For an individual who has been displaced, home transcends geographical boundaries and encompasses the memories, culture, and traditions they carry within themselves. It represents a place of safety, comfort, and identity that they have been uprooted from. Forced out of their familiar surroundings, these individuals yearn to recreate a semblance of home in their new environments. Handicrafts serve as a powerful means of expression and connection to their Afghan roots.

Afghan handicrafts have developed for centuries taking their natural course as a manifestation of a great historical heritage. Craftsmen in various parts of Afghanistan in their work reflect local life, colours, and socio-economic conditions. For instance, since most of the people in northern Afghanistan raise livestock, handicrafts are made of wool, or in Ghazni where locals experience five months of severe cold, fur coats are made from sheep skins. Women have always had the upper hand in the promotion of handicrafts and trying to meet their families’ requirements through this occupation. They have passed on the skilful art from generation to generation to preserve it. Women have used their skills to set up their own enterprises promoting handicrafts and showcasing them worldwide.

Afghan women have demonstrated incredible resilience and creativity in preserving their cultural heritage through handicrafts, even in the face of displacement and adversity. Forced to leave their homes due to conflict or persecution, these women have carried their traditions and skills with them, finding solace and empowerment in the artistry of their craft.

The products of their labour, such as intricately woven rugs, embroidered textiles, and handcrafted accessories, not only showcase their exquisite craftsmanship but also tell stories of resilience, hope, and perseverance. These tangible pieces serve as a connection to their homeland, embodying the rich cultural heritage of Afghanistan and offering a glimpse into the traditions and artistry of its people.

Afghan embroidery marks an important expression of the pride Afghans have for their country and culture, which stands strong in the decades of violence. It helps them preserve their identity anywhere they go. Each piece embeds the memories associated with its homeland and keeps them close to home.

Embroidery is popular throughout Afghanistan and is traditionally done by women and girls. The various types of embroidery are known as  Tarshumar[1], Chirma Dozi[2], Zanjeera Dozi[3], Pukhta Dozi[4], Khamak dozi[5], Gulatlaz[6], which adorn shirts vests, table cloth, tray covers curtains skirts and fur coats.

As Tahra* recalls she and her cousins would merrily roam around their villages wearing traditional Afghan handloom outfits, especially Chirma Dozi during Nowroz celebrations and would enjoy the henna ceremonies during weddings.

To weave their lives in a new country, families displaced in New Delhi are using their skills in Afghan embroidery. For Sadat* the weave of a fabric holds both joyful and melancholic memories.  From a tender age, the weight of responsibility for both her elderly parents rested on her young shoulders. She began her journey with carpets before venturing into the realms of tailoring, stitching, and even exploring the transformative artistry of makeup. Through the ebb and flow of time, she returned to the needle and thread, embracing the familiar rhythm of weaving, stitching, and tailoring that has become a part of her being. Sadat commenced her craft with a mere 120 Afghan Rupees. Delicately weaving the intricate edges of scarves, she sourced fabrics and threads known as "sond" to breathe life into her creations. Once completed, she presented these laborious works of art to shopkeepers, though the rewards were modest and did not reflect the effort invested. Nevertheless, she persisted, knowing that each humble step paved the way for her continued pursuit.

Tahra has watched her sister making her clothes since she was a child. She was always in awe of how her sister made her own beautifully embroidered scarves and tunics for herself and her family members.  This inspired Tahra to learn to stitch. She joined a learning centre at the age of 14 in India and since then she has not stopped and has been working hard to refine her skills. She started experimenting with different fabrics, threads, and styles of embroidery, but Chirma Dozi is one of her favourites. Her first Chirma Dozi piece is a jacket, which she keeps close to her heart. Her skills were well appreciated by her friends and family and she has been practising the Chirma Dozi style of embroidery since then.

As someone who has experienced the immense challenges and hardships of handicrafts first-hand, Sadat holds a heartfelt desire for the future generation to pursue paths beyond this realm. The laborious process of crafting intricate pieces, and dedicating countless hours to embroidering demands unwavering commitment and perseverance. While these crafts hold a certain beauty and significance, Sadat yearns for young girls to explore other avenues that resonate with their passions and aspirations. Sadat believes her journey into handicrafts was borne out of necessity, driven by the adversities and hardships of life that left her with no choice but to engage in these endeavours to alleviate hunger and secure sustenance. She wishes for future generations to forge their paths, unburdened by the struggles that led her down this road of craftsmanship.

Afghanistan has been in a volatile situation for years now, this has affected the market of Afghan handloom. Further constant displacement makes it difficult for the Afghans to preserve their cultural identity. Tahra aspires to pursue fashion design and bring Chirma Dozi to mainstream fashion. She wants to introduce the world to this hidden treasure so that it can be preserved for generations to go on.

Sadat is of the belief that the Afghan heritage is deeply ingrained in her identity and is passed down through generations. She proudly continues these traditions, cherishing items like the white scarves that they adorn here in India with weaving along the edges, reminiscent of the clothing women wore in Afghanistan. These pieces she says hold sentimental value and provide a sense of comfort. In particular, white trousers featuring intricate embroidery and weaving on the lower part have become a staple in Afghan weddings, often worn during the henna ceremony. In India, Sadat often receives requests from Afghan women who seek to incorporate embroidery and weaving into their wedding attire and other fabrics. Sadat expressed that she is honoured to carry this rich tradition with her, preserving it not only in India but wherever she goes.

[1]worked in silk thread on a cotton base, using a brick stitch or short satin stitches, with dividing lines worked in black and white, or even gold.

[2]  known for the unique kind of metallic thread and braid used to create patterns

[3] includes geometric and floral patterns which are delicately embroidered by silk and cotton thread.

* Pseudonyms have been employed as a means to safeguard the identities of individuals.

[4] uses a type of satin stitch to produce huge embroideries

[5] an intricate embroidery consisting complex natural and geometric designs in repetitive or multiple patterns incorporating a combination of stitch patterns

[6] small shaped are embroidered with bright threads to create a geometric pattern which are often lined by black thread.