Gollabhama Saree Weaving- Siddipet

Introduction:

Usage:

The lightness of the fabric, combined with its colorful hand-embroidered or woven Gollabhama (refers to the women of the pastoral Golla or Yadava community, who traditionally keep cattle and produce milk) motifs, made it perfect for everyday wear in Telangana’s hot and dry climate, while still giving the wearer a graceful and festive look.

In its early days, the Gollabhama saree was seen as a garment of dignified simplicity. Worn by middle and lower-middle caste women, especially in agrarian and pastoral communities, it served as an affordable but beautiful expression of feminine identity. The sarees would often be paired with modest jewelry and were prized for how easily they could transition from temple visits to market days, to seasonal festivals like Bathukamma.

Over time, as the fame of the intricate Gollabhama motifs grew, these sarees began to acquire a special place in more formal occasions as well. Women would choose Gollabhama sarees for rituals like naming ceremonies, puberty rites, and weddings, especially for informal pre-wedding events where heavy Kanchipuram or Banarasi silks would be impractical. The saree became a symbol of everyday grace — less ostentatious than heavy bridal wear, but full of quiet cultural pride.

In the contemporary era, Siddipet Gollabhama sarees have moved beyond rural Telangana into urban markets. Young professionals, politicians, and members of the diaspora increasingly choose these sarees to showcase their regional roots and promote handloom pride. Today, you might spot a Gollabhama saree on an MLA attending Telangana Formation Day celebrations, or on a student performing a folk dance abroad. Designers have adapted Gollabhama motifs onto salwar suits, dupattas, skirts, and fusion garments, expanding their versatility.

Despite these modern shifts, many women in Siddipet and nearby towns continue to wear Gollabhama sarees in ways that honor the traditional modes of use. Simple cotton sarees with carefully woven Gollabhama borders remain an essential item in wardrobes, particularly for older women who regard them as emblems of cultural continuity.

At the same time, efforts to popularize these sarees nationally have led to new ways of using and styling them — sometimes draped in unconventional styles, combined with crop tops or jackets, or used in capsule collections for handloom-themed fashion shows. Yet even in these new contexts, the original spirit of the Gollabhama saree — its celebration of Telangana’s pastoral, agrarian womanhood — continues to breathe through every weave and motif.

Apart from traditional saree weaving in Siddipet, some societies and weavers are also engaged in making simple cotton towels using 2/70 yarn count. These societies primarily provide earning opportunities to weavers who may not possess advanced skills or whose age limits their ability to do fine weaving.

Significance:

The Siddipet Gollabhama Saree is a potent symbol of Telangana’s cultural identity, artisan resilience, and women’s artistry. Its significance flows through meaning — social, economic, spiritual, and aesthetic. Another association can be established with the Telugu Golla caste. It is stated that the Gollas traditionally kept sheep and sold milk and ghī (clarified butter). Possibly due to their occupation, the iconography—or perhaps even the term Gollabhama itself—may have originated from the women of this community who were engaged in the same line of work.

The Gollabhama saree stands for celebration of rural womanhood. The central motif—the graceful figure of a Gollabhama or cowherd girl—evokes the pastoral life that has been the backbone of Telangana’s economy and culture. Through every woven or embroidered figure, these sarees pay homage to the labor, endurance, and beauty of the women who historically sustained villages through cattle-rearing, agriculture, and domestic craft.

Culturally, wearing a Gollabhama saree asserts a connection to Telangana’s regional pride. After the formation of the new state in 2014, there was a conscious effort to uplift symbols that represented native traditions rather than imported or pan-Indian aesthetics. The Gollabhama saree, along with Bathukamma festival (image2) and Bonalu rituals, became icons of self-representation — small but powerful ways through which Telangana’s identity was visually and socially affirmed.

The saree also carries significance in rites of passage. Though not typically bridal wear, it is often given as a blessing gift during important ceremonies — a puberty function (Ritu Kala Samskara) (image3), a housewarming, or the naming of a newborn. The light, durable fabric and cheerful motifs make it an everyday auspicious garment rather than a rare, ornamental one.

Economically, the saree represents both survival and continuity for artisan families in Siddipet. It is the source of livelihood for many weaver households, especially women who specialize in the hand embroidery versions. Each saree that reaches the market carries within it not just thread and motif but also the economic aspirations of a struggling, yet proud community.

They become tools of soft resistance—against homogenized fashion, against the erasure of rural crafts—and affirm the power of rootedness in a fast-globalizing world.

Myths & Legends:

Like many great craft traditions, the Siddipet Gollabhama Saree is woven not only with threads but also with stories. While formal historical records are sparse, local oral traditions imbue the saree with mythic origins that connect it to divine inspiration and communal memory.

One popular local belief traces the beginnings of Gollabhama motifs to a divine dream experienced by an early weaver, where a goddess instructed him to immortalize the everyday woman—the Gollabhama—as a sacred figure on cloth. According to the tale, the goddess emphasized that everyday rural women, who cared for cattle, managed households, and sang to their fields, were no less divine than temple deities. This vision prompted weavers to begin stylizing the cowherd girl into the charming, elegant figures that dance across the sarees even today.

In another version, it is said that a weaver’s daughter, who spent her days tending to cattle in the nearby fields, inspired the first Gollabhama motif. Wanting to capture her spirit and movements, the father wove her form into the body of a saree, a gesture that transformed personal affection into communal tradition.

Folktales also associate the Gollabhama saree with the broader mythos of pastoral divinity, where cowherd girls (gopikas) are revered in Hindu mythology as embodiments of devotion and grace, particularly in Vaishnavite traditions. Though Siddipet’s Gollabhama is secular and localized rather than explicitly religious, echoes of these divine-pastoral archetypes subtly weave themselves into the storytelling fabric.

In one of the older documents, Mr. Stuart writes about the Gollas, describing them as the great pastoral caste of the Telugu people. According to the caste’s traditions, they trace their descent from the god Krishna, whose playful interactions with the milkmaids feature prominently in Hindu mythology. The name Golla is generally believed to be a shortened form of the Sanskrit Gōpāla (protector of cows).

The Gollas also refer to themselves as Kōnānulu or Kōnarlu, and like the Tamil Idaiyans, sometimes adopt the title Kōnar. Other titles commonly used within the community include Anna, Ayya, and occasionally Nayudu.

Their hereditary occupation involves tending sheep and cattle, and selling milk. However, over time, many Gollas have acquired land and taken up farming, while others have entered government service. Mr. Stuart describes them as quiet, inoffensive, and comparatively honest.

The Manual of the Kurnool District also notes that the Gollas “keep sheep, and sell milk and ghī (clarified butter).

These myths sacralize the everyday, elevate the laboring rural woman into a timeless icon, and imbue the community’s practice with a sense of sacred duty and artistic honor.

History:

The history of the Siddipet Gollabhama Saree is entwined with the broader socio-economic and cultural history of Telangana’s rural heartlands. Siddipet, located northeast of Hyderabad, has long been an important agrarian and weaving center, owing to its position along traditional trade routes and its access to cotton-producing fields.

It is believed that organized weaving in Siddipet flourished under the support of local landlords and temple authorities during the late 19th and early 20th centuries. Unlike coastal Andhra, where weaving often catered to wealthy zamindars and urban elites, Siddipet’s textile culture remained deeply rooted in the needs of common people—especially agrarian and artisan castes. It was in this context that the Gollabhama saree took shape: simple, sturdy, beautiful, and reflective of the village life it served. Local elders say that the town was once famous for its silk sarees, but over time, the industry shifted to cotton sarees, giving the town a unique identity of its own. They also added that, to the best of their knowledge, the weaving tradition is around 200–300 years old. Earlier, there were about 3,000 active looms, but today, only around 600 remain.

The period of British colonial rule disrupted many indigenous economies, but Siddipet’s focus on durable, everyday fabrics helped it survive better than more luxury-driven centers. After independence, and particularly post the Telangana Peasant Rebellion in the mid-20th century, Siddipet’s handloom sector went through cycles of decline and revival. Mechanization, the rise of cheap mill-made textiles, and socio-political neglect took their toll, but grassroots cooperatives and artisan movements kept the craft alive.

The resurgence of Telangana pride in the 21st century gave a second life to the Gollabhama saree. Recognition through Geographical Indication (GI) tagging and inclusion in state-sponsored handloom festivals have helped re-anchor the saree in the public imagination as a vital cultural heritage of Siddipet and Telangana at large.

Design:

The design of the saree features a very simple layout. It has a broad, plain border, and the base of the saree and pallu is divided by lines or a series of motifs. The pallu typically includes a large, repeated design—around 12 to 14 inches in height. The same motif may also appear on the body or the border of the saree, but in a smaller size.

The design language of the Siddipet Gollabhama Saree is at once playful, detailed, and deeply symbolic. What immediately sets these sarees apart are the charming, miniature Gollabhama figures that appear to walk, dance, or carry pots along the pallu and border. Each Gollabhama is depicted in stylized form, usually in bright colors like red, green, blue, and yellow, standing out vividly against the muted backgrounds of white, off-white, or pastel fields.

Traditionally, these motifs were hand-embroidered onto the saree after weaving, using simple running stitches, satin stitches, or intricate knotting techniques. Later, with advancements in loom technology, many weavers incorporated the figures directly into the weave using extra weft insertion, particularly on pit looms.

Besides the iconic Gollabhama, the saree often features floral vines, peacocks, and temple gopurams, linking everyday village life with larger cosmic and spiritual landscapes. The borders, while simpler compared to other luxury sarees, are carefully proportioned to frame the saree without overwhelming the motif work.

Color plays an important role in the emotional resonance of the saree. Earthy backgrounds symbolize rural rootedness, while the colorful Gollabhama figures celebrate life, labor, and joy. Some contemporary versions play with dual-toned fields, gradient effects, or metallic zari borders, without losing the integrity of the original designs.

The design philosophy of the Gollabhama saree can be summed up in one phrase: “Grace in Simplicity.” It honors the village women who inspired them, and offers the wearer a garment that carries the stories of generations.

Challenges:

One of the most pressing challenges is the declining interest among younger generations in pursuing handloom weaving as a livelihood. The labor-intensive nature of the craft, combined with low financial returns and lack of social recognition, deters the youth from inheriting their family’s looms. With the growing allure of urban employment, many young people from weaving families migrate to Hyderabad or other cities, leaving behind looms that once echoed with ancestral rhythms.

About 30 to 40 years ago, Siddipet had more than 2000 active looms, buzzing across households and cooperative societies. However, the number has now dwindled to approximately 600 looms, due to a combination of declining interest among younger generations, rising costs of production, and lack of consistent demand. This reduction in operational looms is not just a statistic—it reflects a shrinking ecosystem of practice, memory, and tradition.

The introduction of powerlooms and machine-made imitations has created stiff competition for the original handwoven Gollabhama sarees. These mass-produced lookalikes are cheaper, faster to produce, and often mistaken for authentic weaves by uninformed consumers. As a result, many handloom weavers struggle to find a stable market, even though their products carry a superior finish and deeper cultural value.

Economically, the artisans are caught in an exploitative supply chain. Middlemen often absorb a significant portion of the profits, leaving the weaver with minimal earnings despite days or weeks of labor. While some cooperative societies exist to offer collective bargaining and government support, their reach remains limited, and bureaucracy often delays timely payment or raw material access.

Another under-addressed challenge is the gendered invisibility within the production chain. While women play a crucial role in embroidery, detailing, and pre-loom processes, their labor is rarely recorded or fairly compensated. This not only affects household income but also perpetuates a cultural undervaluation of women’s contributions to textile heritage.

The loss of traditional knowledge is another growing concern. As market preferences shift toward modern silhouettes and minimalistic styles, the classic Gollabhama motif and its accompanying folklore risk fading into obscurity. The symbolic resonance of the cowherd girl—once widely understood—is not always communicated to newer audiences. Without conscious efforts at cultural education and design preservation, the saree could lose its soul even before it loses its form.

Yet, amidst all this, hope remains. Designers, NGOs, handloom activists, and storytelling platforms are beginning to spotlight Gollabhama sarees again. With conscious consumer support, fair trade models, and educational outreach, there is still a path for this tradition to not only survive but flourish—carrying the stories of Siddipet’s women and weavers into new generations.

Introduction Process:

The making of a Siddipet Gollabhama saree is a careful and heartfelt journey—one that begins in the weaver’s home and moves slowly through each stage, guided by memory, skill, and love for the craft. Unlike machine-made cloth, every Gollabhama saree is created by hand, with attention to detail and a deep understanding of tradition.

Each saree takes days of work, and what emerges is not just clothing, but a piece of living heritage—one that carries the beauty and grace of rural Telangana with it.

Raw Materials:

• Cotton Yarn:
  • Used for the main body of the saree.
  • Usually fine-count cotton, ideal for Siddipet’s hot and dry climate.
  • Sourced from local markets or nearby towns like Warangal and Guntur.
    
• Zari Threads:
  • Shiny, decorative threads used for borders and accents.
  • Made of metallic or synthetic fiber.
  • Purchased from suppliers in Surat or Hyderabad.
    
• Dyes:
  • Both natural and synthetic dyes are used.
  • Bright colors are a hallmark—red, green, yellow, blue.
    
• Embroidery Thread (for traditional versions):
  • Colored cotton or silk thread is used to hand-embroide the Gollabhama figures.
  • Used especially before woven motifs became more common.

The sarees today are made entirely of cotton yarn, as the use of silk has gradually declined and is no longer in practice. The warp uses a 2 by 120 count cotton, while the weft uses a 2 by 60 count cotton, creating a balanced structure suited for both durability and comfort. Yarn procurement is largely facilitated by the National Handloom Development Corporation (NHDC), which supplies quality cotton yarn to local weavers at subsidized rates.

Tools & Tech:

• Pit Looms (Maggam):
  • Traditional handlooms set into the ground for better tension and control.
  • Used to weave the body of the saree.
• Frame Looms (Maggam): Upright looms used in some homes and workshops for faster production.
  
• Needles and Embroidery Hoops: Used by women artisans to hand-embroider Gollabhama motifs in older styles.
  
• Shuttle (Nada): The shuttle moves between the warp yarns, carrying the weft yarn during the weaving process.
• Jacquard: for motif and border
• Warping Drum and Creels: Used to stretch and align yarns before weaving begins.
• Charkha (Ratnam): The charkha is used for winding yarn onto the spindle. The spindle is placed inside the shuttle and used for weaving.
• Utensils: Different types of utensils are used for dyeing the yarn. Cement tanks can also be seen being used for this purpose. Additionally, thick wooden rods and PVC pipes are used to dip the yarn into the tanks.

Rituals:

• Loom Blessing:
  • New looms are often blessed with turmeric, kumkum, and flowers.
  • Weaving often begins with a prayer to Lord Vishwakarma (god of craftsmanship).
    
• First Motif Tradition:
  • The first Gollabhama figure woven or embroidered is done with extra care, considered auspicious.
  • Sometimes, a coconut is broken and incense burned before beginning a new batch.

process:

These sarees are traditionally woven on both pit looms and frame looms, using the extra weft technique to create intricate patterns. Characteristic motifs such as the Gollabhama (a stylized figure of a woman from the Golla community) and various geometric designs are skillfully incorporated into the border, body, and pallu of the saree.

The traditional jala (harness) technique is employed to produce these detailed motifs with precision, showcasing the weavers’ expertise and craftsmanship. For preparing the yarn, the hank sizing method is used, this involves treating single-ply cotton yarn to strengthen it before weaving, ensuring durability and a smooth finish in the final fabric.

1. Warping:

Warping is done using a warping machine, and typically, around 3,400 threads are used to prepare the warp. A standard warp measures up to 150 meters in length, from which approximately 14 sarees can be produced.

The selection of warp color depends on the color scheme of the sarees being woven. One society in-charge mentioned that they usually prepare the warp in three main colors—white, black, and red—and then experiment with different colors in the weft yarn to create variation in the sarees. Yarns are arranged lengthwise across the loom. This forms the base over which weaving happens.

2. Weft Insertion (Weaving the Body):

According to the color scheme of the saree, a charkha is used to wind the yarn onto a bobbin, which is locally known as Girkal. This Girkal is then placed inside the shuttle, locally referred to as Donga. The weaver passes horizontal threads (weft) through the warp using a shuttle. This creates the basic fabric of the saree.

3. Motif Addition (Two Methods):

• Hand Embroidery: Earlier sarees had Gollabhama motifs embroidered by women using colorful threads.
• Extra Weft Technique: Newer versions use a weaving method where motifs are inserted during the loom process itself. This saves time and creates a stronger finish. Nowadays, Jacquard mechanisms are commonly used for creating intricate motifs in saree weaving. Based on the design, different sets of punch cards are prepared specifically for the Jacquard system. These punch cards guide the loom in lifting selected warp threads in a predetermined sequence, enabling the formation of complex patterns and motifs.
• During the weaving process, the Jacquard mechanism controls the lifting of the warp yarns as per the punch card design. The weaver then carefully passes the weft yarn through the shed created by the lifted warp threads, skillfully forming the intended motifs with precision. This combination of traditional weaving techniques and mechanized control allows for greater consistency and complexity in design while maintaining the handcrafted essence of the saree.

4. Finishing:

• The saree is cut from the loom, excess threads trimmed.
• Ironed, folded, and sometimes lightly starched.
• Final product is quality-checked and packed.

Waste:

• Yarn Waste:
  • Small bits of leftover yarn from cutting, dyeing, and trimming.
  • Some are reused for testing designs or making tassels.
    
• Rejected Motifs:
  • If a motif is embroidered incorrectly or appears flawed, that portion is removed and redone—leading to minor thread waste.
    
• Dye Water:
  • Dyeing with synthetic colors can produce waste water.
  • Some artisans are shifting to natural dyeing to reduce chemical runoff.
    
• Upcycling:
  • Leftover fabric or imperfect sarees are sometimes repurposed into blouses, cushion covers, or handbags, especially in urban craft markets.

Cluster Name: Siddipet

Introduction:

Siddipet is a lively town located in the heart of Telangana. Known for its rich culture and community spirit, it is surrounded by fields, lakes, and small hills that give the landscape a gentle, earthy charm. The town is a mix of old and new, where traditional markets, temples, and handloom homes sit alongside schools, hospitals, and growing urban spaces.

More than anything, Siddipet is known for its people, their hard work, creativity, and deep connection to the land. It is the birthplace of the beautiful Gollabhama sarees, a craft that carries stories, identity, and pride. In Siddipet, tradition is not just remembered, it is lived every day.

History:

Siddipet, now a thriving district in the northern region of Telangana, holds a layered history that stretches across dynastic rule, agrarian revolutions, spiritual traditions, and craft innovations. Historically part of the larger Medak region during the Nizam era and later restructured as its own administrative district, Siddipet has long served as a cultural and trade crossroads in the Deccan plateau.

The area finds mentions in early medieval Telugu records and inscriptions, particularly under the Kakatiya dynasty (12th–14th centuries), known for their support of temple construction, irrigation networks, and the arts. This was followed by the rule of the Bahmani Sultanate, the Qutb Shahis, and the Asaf Jahis (Nizams of Hyderabad), under whose reign Siddipet flourished as an agricultural hinterland and ritual center. During these transitions, Siddipet’s temples, tanks, and craft traditions were shaped by a blend of Hindu, Islamic, and vernacular Deccan influences.

While not a royal seat like Warangal or Hyderabad, Siddipet’s historical role as a producer’s region—rich in cotton, grains, and skilled artisanal labor—enabled it to develop and sustain a variety of folk arts, textile forms, and religious practices. Its strategic location on overland routes that connected it to Bidar, Karimnagar, and Hyderabad made it a natural site for markets, festivals, and artisan mobility.

During the colonial period, Siddipet remained largely agrarian but was deeply impacted by the revenue systems and administrative restructuring of the Nizam state under British suzerainty. The region's artisan and agrarian communities bore the brunt of these changes, yet continued to innovate within the domestic economy. It is in this context that the Gollabhama saree, along with other Siddipet handlooms, began to evolve—not as luxury court garments, but as expressions of rural womanhood and cultural continuity, accessible to everyday people.

In the post-independence period, Siddipet became known for its grassroots political leadership, agrarian reform movements, and cultural resilience. The Telangana movement for statehood gave a renewed push to local identity and pride, placing Siddipet not just on the political map but also in the spotlight as a symbol of Telangana’s native traditions—with the Gollabhama saree as one of its most visually celebrated ambassadors.

Thus, the history of Siddipet is of resilient self-definition, where land, labor, and localized art forms come together. The region’s past shapes its present as a fertile ground for indigenous crafts that emerge from a deep well of memory, ritual, and rural aesthetics.

Geography:

Siddipet is located in the north-central part of Telangana, forming part of the Deccan plateau with a gently undulating landscape that is both agrarian and semi-arid. The region sits between the Godavari and Krishna river basins, though it lacks a major perennial river of its own. Instead, its geography is shaped by a network of seasonal streams, tanks (cheruvulu), and irrigation projects such as the Kaleshwaram Lift Irrigation Scheme, which has transformed parts of the district’s agricultural landscape in recent years.

The black cotton soils and red loamy tracts across Siddipet have historically supported the cultivation of crops like cotton, maize, millets, and pulses—creating an ecological base for the rise of domestic cotton spinning and weaving traditions. Its central location places it within easy reach of Hyderabad, Karimnagar, and Warangal, making it a nodal zone for trade and mobility. The natural openness of its geography—neither too forested nor too dry—has allowed for the emergence of vibrant, mobile artisanal communities whose crafts reflect the land’s mixture of endurance and simplicity.

Environment:

Siddipet's environment is defined by hot summers, moderate monsoons, and mild winters, typical of the Telangana interior. Average rainfall is moderate but unreliable, which historically led to a dependence on tank-based irrigation and rain-fed agriculture. This climate has deeply influenced the region’s material culture. Cotton weaving traditions, including the Gollabhama sarees, emerged as environmentally responsive practices—light, breathable fabrics suitable for the heat and adaptable for rural labor and daily rituals.

Environmental cycles also dictate the timing of cultural and religious festivals, which in turn shape weaving demand. For instance, sarees are often woven in anticipation of Bathukamma (the floral festival) or Bonalu, when women prefer traditional attire. Despite recent gains in irrigation infrastructure, the district still grapples with climate variability, water scarcity, and growing concerns around sustainable dyeing and waste management within textile production.

Infrastructure:

Siddipet’s infrastructure has evolved significantly over the past few decades. The region was once known for its rural isolation, but the formation of Telangana in 2014 and its designation as a district headquarters has brought about considerable improvement. Today, Siddipet is connected by highways, regular bus services, and is part of a larger corridor linking it to Hyderabad, Warangal, and Karimnagar.

Artisan infrastructure, however, remains uneven. While some areas have access to upgraded looms, raw material hubs, and cooperative centers, many weavers still work from semi-domestic settings with minimal technical support. Government schemes such as the Telangana Handloom Weavers’ Co-operative Societies and Chenetha Mithra have attempted to bridge this gap, offering subsidies, skill training, and digital marketing support.

Siddipet is also a reasonably well-developed urban settlement, with access to essential infrastructure such as government and private schools, colleges, primary healthcare centers, and a district hospital. In recent years, road connectivity has improved significantly, linking Siddipet to Hyderabad via a national highway, which in turn has allowed for better transport of goods and yarn. The town has functioning markets, banking facilities, and basic public services, making it conducive for sustaining both domestic life and artisanal activity.

Power supply, water availability for dyeing, and access to modern workspace facilities are improving but not universal. Market infrastructure is still largely mediated by middlemen, though urban exhibitions and online platforms have begun to offer direct sale avenues for artisans.

Architecture:

The architecture of Siddipet reflects a practical, modest vernacular aesthetic rooted in agrarian life. Village homes are often one-story, with tiled or asbestos roofs, open verandas, and inner courtyards that serve as both domestic and workspaces. For weaver families, looms are often built into the floors of homes, with warp threads running across living spaces—demonstrating how craft is integrated into the architectural rhythm of everyday life.

In town centers and older neighborhoods, one finds heritage structures from the Nizam era—old mansions, grain godowns, and temples with simple but ornate carvings that speak to the town’s quiet prosperity. Temples in Siddipet, such as the Sri Mallikarjuna Swamy Temple, often serve as cultural anchors around which festivals, trade fairs, and ritual markets take place. These spaces offer context for the sarees’ ceremonial uses and the visual motifs seen in their designs.

Modern development has brought in apartment complexes and commercial buildings, especially since Siddipet’s administrative elevation, but the juxtaposition of craft-centered homes and state-run handloom showrooms still defines much of its built landscape.

Culture:

Siddipet’s cultural life is richly shaped by its agrarian roots, spiritual traditions, and folk creativity. Festivals such as Bathukamma, Bonalu, and Sankranti serve as vital points of collective identity and are often the occasions for wearing and gifting sarees like the Gollabhama. Women’s participation in these festivals—through floral arrangements, group dances, and ritual performances—emphasizes the centrality of feminine labor and visual culture in shaping regional identity.

The region is also known for its oral traditions, folk songs, and storytelling practices, many of which reference everyday village life, cattle-keeping, and seasonal rhythms—themes echoed in Gollabhama saree motifs. Handloom culture is not seen in isolation but is deeply entangled with local rituals, gender norms, and ideas of beauty and honor.

Craft is viewed not just as a profession but as a form of cultural preservation. Whether through embroidered patterns, shared weaving songs, or ancestral stories about loom-making, Siddipet’s artisans carry forward a living tradition that is inseparable from their social and spiritual identities.

People:

The people of Siddipet represent a diverse mix of agrarian, artisan, and trading communities, with a growing number of urban professionals as the town modernizes. The weaving population is largely drawn from the Padmashali caste, a historically significant community of weavers in Telangana. Within families, weaving is often a multi-generational skill, taught orally and through observation, with women playing crucial roles in pre-loom processes and embroidery.

Beyond the Padmasalis, Siddipet is also home to potters, agriculturalists, metal workers, and temple musicians—making it a multi-craft region where various artisanal practices coexist. The Gollabhama saree, though the most famous textile form, exists alongside other craft expressions such as hand-embroidered blouses, natural dye block printing, and folk costume elements.

In addition to the skilled weavers who specialize in the Gollabhama saree, there are less skilled artisans and families in the town's peripheries who work on cotton towels (2 by 17 count). This segment provides livelihood to those who may not have mastered the intricate skills of jacquard weaving but still participate in the textile economy. The cotton used for these towels is primarily sourced from Andhra Pradesh and Tamil Nadu, indicating the regional interconnectedness of the cotton supply chain.

The people of Siddipet today are increasingly involved in heritage preservation, forming NGOs, joining cooperatives, and advocating for the recognition of their traditional arts. Despite economic challenges, there is a strong sense of pride and a desire to pass on both the skills and the stories that define their identity.

Famous For:

Siddipet is most famously associated with the Gollabhama sarees, whose distinctive cowherd girl motifs have become visual symbols of Telangana handloom heritage. These sarees are celebrated for their blend of simplicity and elegance, offering a uniquely regional aesthetic that distinguishes them from other South Indian textiles.

Beyond sarees, Siddipet is also known for its agricultural produce, particularly cotton and pulses, which historically supported its textile traditions. It has gained fame for its Bathukamma celebrations, which draw visitors and cultural researchers from across the state. The town has also emerged as a political hub, producing notable leaders during both the Telangana movement and post-statehood era.

With an expanding cultural identity that merges craft, agriculture, folk ritual, and political agency, Siddipet stands as a living archive of Telangana’s soul. Its fame lies not in grand monuments, but in the daily beauty of its handmade traditions, community resilience, and the artistry of its people.

Gallery

Craftsmen

List of craftsmen.

Documentation by:

Team Gaatha

Process Reference:

Cluster Reference: