Director Nitesh Tiwari’s newly released Bollywood film Ramayana: Part I, reportedly the most expensive production in the history of Indian cinema, continues to generate global buzz. Audiences in India and abroad have shown immense enthusiasm for the film. Within just four days of its release, the big-budget production has made a strong impact at the box office. Released across India and several international markets, the film has reportedly set new collection records, becoming the fastest to cross the Rs 200 crore mark domestically, while its worldwide earnings have surpassed Rs 500 crore.
Adding to Assam’s pride, the state’s very own Surabhi Das features in this ambitious project. After moving to Mumbai and navigating numerous challenges through regular auditions, securing a role in a major production like Ramayana has been a dream come true for her. She appears on screen as Shrutakirti, the youngest sister of Goddess Sita and the wife of Prince Shatrughan.
However, Assam’s contribution to what is described as the most expensive film in Indian cinema history extends beyond acting. The state’s traditional craftsmanship has also found a place on the big screen. The film’s costume designer, Ajay Kumar, incorporated Assam’s distinctive bamboo and cane craft into the creation of specialised armour, costumes and props.
Over a period of three-and-a-half years, a team of 10 to 12 artisans from Jania Banglipara village in Barpeta district played an important role in crafting costumes and accessories for Ramayana. Led by master craftsman Jaynal Abdin, who has practised bamboo and cane craftsmanship for more than three decades, the team handcrafted around 30 to 35 specialised pieces of armour and props. These included the attire worn by Ranbir Kapoor as Lord Rama and by the actor portraying Lakshman. The artisans also produced footwear, bows, arrows, quivers and armlets.
Abdin secured this landmark opportunity, marking his first foray into the film industry, after costume designer Ajay Kumar and his team approached him with design sketches and measurements. Kumar and members of the film’s costume department visited Barpeta several times to work directly with the artisans, inspect their progress and refine the designs.
Using traditional weaving techniques, Abdin and his fellow craftsmen constructed the structural frames of the armour. The initial prototypes were made entirely from Sarpat cane (bet), jute (morapaat) and dried leaves. However, the designs were later modified to incorporate wood and rubber components to improve comfort and allow the actors greater ease of movement. The specialised armour thus combined traditional craftsmanship with modern materials and techniques.
According to Kumar, the process was particularly challenging and required considerable precision. He remained closely involved throughout, from conceptualisation to execution, and credited the collective dedication of his team for helping overcome production challenges.
To meet tight shooting schedules in Mumbai and Hyderabad, the artisans frequently worked day and night. They often completed tasks that would normally take 18 to 20 days in just five to six days. Finished pieces were regularly transported from Barpeta to Guwahati Airport for urgent dispatch. Throughout the production process, the team worked under strict confidentiality and was not told which film the pieces were being made for.
Recalling the collaboration, Abdin said, “They took away several pieces of armour, one or two at a time, and each time the designs came back modified. A member of their team personally sat down with us to oversee the work.”
He added, “It feels wonderful. We have received so much support, and our craft has been given the dignity of true art.”
Being associated with a major production like Ramayana has brought immense pride to Abdin, his fellow artisans and their families.