When we say that India is abound with diverse landscapes and its people are ingenious at making use of the local produce for sustenance and survival, the sabai grass story epitomises the saying. This is the story of resilience and of innovation.
Known scientifically as Eulaliopsis binata and by various names such as Chinese Alpine Rush, “bhabhar” in India, and “Babiyo” in Nepal, sabai grass is a perennial plant from the Poaceae family. It thrives across many Southeast Asian countries like India, Nepal, China, and Pakistan, playing a crucial role in the local economies of these regions.
In India, the name “Sabai” finds origin in the local dialects of Odisha and West Bengal, where this versatile grass is extensively cultivated. Renowned for its thin, long leaves that contain high-quality fibres, Sabai grass serves as a major driver of handicraft economy in east Indian circles.
History of Sabai Grass in India
The history of sabai grass in India is intertwined with the legacy of the royals of Mayurbhanj. This robust grass was brought from Madagascar to the tribal district of Mayurbhanj in Odisha. Eventually, Maharaja Sri Ram Chandra Bhanj Deo of Mayurbhanj promoted its cultivation, recognizing its potential as a cash crop.
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Cultivation of Sabai Grass
Sabai grass has been used in India for paper making since 1870. The grass thrives in Odisha’s Mayurbhanj district, benefiting from its abundant geographical resources and strong market demand. It grows year-round, yielding fibre for 10-12 years, with minimal maintenance.
The handicrafts industry centred around sabai grass in India has evolved over the years. It found its roots in paper and rope making during the pre-independence times and now, it has diversified into manufacturing different items of everyday use, adapting to global demands and production requirements. The artisanal techniques used are deeply rooted in indigenous traditions, imparting each product with a unique character; thus symbolising passage of cultural heritage through generations.
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Sabai Grass and the rope making
Sabai grass found the patronage of the British Army during World War II. The ropes made from this grass emerged as a revolutionary alternative for Allied soldiers participating in the Asian war zone due to its high durability and tensile strength.
Locally produced in Southeast Asia, sabai grass was a low-maintenance and high-yielding fiber, abundantly available in the vicinity. It proved to be superior to the traditionally used coconut and jute ropes in the army. Thus the increased demand laid the foundation for a thriving rope-making industry around Calcutta, which in turn spread to other areas of eastern India, bolstering local economies and traditional craftsmanship.Known for their strength and durability due to high silicon dioxide content, sabai grass ropes, even today, are in demand nationwide.
An image of an ongoing manual rope-making process
The flexible nature of the rope-making activity allows it to be done indoors or outdoors, providing supplemental income without disrupting primary activities of the community.
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Commercialisation of Craft affecting the Tribal Communities
While product demand is growing, socioeconomic obstacles, inadequate investment, and commercialization challenges have impeded its full potential. Tribal communities face barriers to innovation and entrepreneurship due to limited market exposure, training opportunities, and modern crafting practices. Their marginalized socioeconomic status complicates entrepreneurial efforts, while the traditional production practices focus on subsistence rather than commercial gain.
Practical restraints slow the industry’s growth. To top it all, amidst the rapid industrialization and mass production dominating the global market, local artisans have been facing challenges. Often the large craft corporations overshadow their rightful recognition and compensation. Hence, there is an exigent fear of ensuring that the traditional skills and knowledge are not lost to modernization.
The traditional cultivation methods are the prime differentiator of the products from other similar alternatives available in the market. Thus, it becomes imperative to ensure that a balance is maintained between catering to the demands of the market and effective utilisation of the traditional craftsmanship.
Various initiatives, by both the government and private players, aim to provide craftspeople more autonomy in their craft while ensuring economic viability.
To meet market demand, stylish and decorative products like handbags and table mats are being offered.
Securing a GI tag for sabai products is also underway, which could enhance their marketability by highlighting sustainable farming practices and cultural significance.
Training programs for local craftswomen in Odisha
Since 2010, the handicraft sector has undergone significant evolution, expanding its product range to include everyday items like baskets, mats, jewellery boxes, and even furniture. Led predominantly by women artisans, the transition from traditional rope-making to crafting bags and accessories integrates vintage local designs once favoured by the royals of Mayurbhanj.
Artisans have been participating in training programs to enhance their skills and connect with local and international markets, collaborating with NGOs and Self-Help Groups (SHGs). Institutions like NIFT Bhubaneswar and NIT Ahmedabad have also contributed innovative designs, broadening the appeal of sabai grass artefacts globally.
The impact of these programs was felt during the COVID-19 pandemic when sabai grass artisans demonstrated remarkable tenacity and creativity by producing items like Rakhi for Raksha Bandhan, showcasing the sector’s resilience and dynamic growth potential.
This transformation has created a new social ecosystem with sustainable livelihood opportunities, especially for women. State government initiatives, such as comprehensive training programs and the establishment of robust value chains, have empowered women artisans to earn Rs. 200-300 per day, boosting their self-confidence and economic status within their families and communities.
This holistic approach has not only fostered economic independence but has also empowered women with decision-making roles in their families and communities.
Increased participation in village Panchayat meetings, facilitated by SHGs promoting access to microcredit and encouraging savings, has underscored their growing influence.
This integrated approach has demonstrated an improvement in the socio-economic conditions of village communities, reducing rural-urban migration, and promoted sustainable development.
The Belgadia Palace x BEADS Residency Program
Various organisations are actively revitalising traditional crafts, with the Belgadia Palace x BEADS Residency program at the forefront. Since 2013, this collaboration between The Belgadia Palace, The Mayurbhanj Foundation, and Bhubaneswar’s BEADS has provided contemporary artists an opportunity to delve into Odisha’s cultural heritage and contribute towards its revival.
The Belgadia Palace and BEADS Residency Program in action
The Mayurbhanj Foundation’s commitment to conserving Belgadia Palace’s heritage complements BEADS’ focus on eco-friendly and ethnic designs. The residency reimagines traditional craft-making techniques to explore new creative possibilities and interact with geographical, regional, and historical contexts. By immersing themselves in these traditional art forms, artists spark collaborative opportunities where art, craft, design, and research intersect.
Belgadia Palace, a former royal residence, offers a rich historical and cultural setting for artistic exploration. Artists benefit from state-of-the-art facilities and interactions with a diverse community of artists and local artisans. Guided by mentors, they receive valuable insights that refine their artistic pursuits. The program nurtures craftsmanship and fosters cross-cultural collaborations by engaging with local communities and traditions. Artists also gain exposure through platforms connecting them with art enthusiasts and galleries to advance their careers. The residency culminates with BEADS, hosting a unique ten-day creative collaboration.
Despite challenges like water scarcity and the recent pandemic, these efforts have revitalized the sabai grass industry, elevating the economic status of local communities in Mayurbhanj and beyond. Initiatives such as the sabai grass rakhi, now exported to Delhi and other regions, highlight its growing popularity and economic impact. As efforts continue to expand market access and enhance product quality, Sabai grass remains a beacon of sustainable craftsmanship, embodying India’s rich cultural heritage and economic resilience.
With increasing local, national, and global demand, these products are gaining popularity for their environmental sustainability and minimal carbon footprint, serving as viable alternatives to plastic.
Sabai grass continues to be a cornerstone of livelihoods for numerous tribal communities in the region.
References (from research papers)
Hathy, Priti Ranjan, Upendra Nath Sahu, and Asit Ranjan Satpathy. “Marketing of Sabai Grass in Socio-Economic Development of Tribals in Mayurbhanj District, Orissa (India).” International Journal of Business and Management 5.2 (2010): 149-158.
Satpathy, Asit Ranjan, and Upendra Nath Sahu. “Sabai Grass Marketing: The Prime Need for Rural Innovation and Economic Development of Tribal Communities in the Mayurbhanj District of Orissa State.” (2011).
Kumar, Naresh, et al. “A novel Himachal’s Bagar (Sabai) grass fiber used as a brake friction material in brake polymer composite and compared to standard brake friction material.” Polymer Composites 43.1 (2022): 215-224.
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Words by Rageshree Ranade, born in 1993, is a visual artist and writer based between New Delhi and Jabalpur. She holds an M.F.A. from Shiv Nadar University (2019) and a B.V.A. from Maharaja Sayajirao University (2016). Rageshree has exhibited at prestigious venues like the Kiran Nadar Museum of Art, Art Konsult, and Shiv Nadar University, and has contributed to respected publications such as Art & Deal and MASH. Her leadership roles include Editor-in-Chief, Editorial Consultant, Content Strategist and Content Officer at organizations like MASH, Utsha, Mezink, and TEDx. She has directed projects at the various organisations like India Art Fair and Palette Art Gallery. A dedicated advocate for art & culture writing, Rageshree has served as a guest lecturer at Raja Mansingh Tomar University and Dr. Hari Singh Gour Vishwavidyalaya, and is currently invited to share her journey at SEMS Welfare Foundation.
