Kacha tanka embroidery is a vibrant and intricate craft that combines traditional techniques with cultural symbolism, resulting in visually captivating designs that reflect the rich heritage of Dera Ghazi Khan. The study of kacha tanka craft of D. G. khan comprise documentation and study of continuity and revival of this art. For this purpose mixed research methods i.e. qualitative methods (in depth interviews, field visits etc.) and qualitative method (statistical analysis) for study of continuity and revival were considered. Purposive and snowball sampling techniques were employed. The study is grounded in craft theory, particularly drawing from Glenn Adamson’s perspectives on the material, cultural, and social meanings of craft. Additionally, concepts from visual culture studies and design theory were applied to interpret the motifs, composition, and techniques using elements and principles of design. The second part of study was related to continuity and revival of art. Hypothesis was developed “the greater the cultural significance attached to the kacha tanka craft, the higher the likelihood of its continuity”. To test the hypothesis a survey questionnaire was given to same 12 participants and it is found that there is a strong positive relationship between the cultural significance of Kacha Tanka and its continuity (measured by the number of artisans practicing the craft). The correlation coefficient (r = 0.85) and regression analysis (slope = 0.6) indicate that higher cultural significance is linked with greater numbers of artisans continuing the craft. The data strongly suggests that cultural significance plays a key role in the continuity of the Kacha Tanka craft, supporting the hypothesis that a higher perceived cultural value is linked to greater sustainability and practice of the craft. The revival and modernization of kacha tanka embroidery require a concerted effort from design educators, cultural policymakers, and the fashion industry.
Aimen et al. (Thu,) studied this question.