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In parts of Bihar, Odisha, and Uttar Pradesh, the golden-hued bena grass (Vetiveria zizanioides) is both a symbol of tradition and sustainable futures. It is used by women to weave a range of utilitarian, decorative, and ritual objects used by communities across the region. Once relegated to obscurity with the proliferation of plastic products, these sustainable and biodegradable golden grass objects — known as sikki — are currently undergoing a slow revival, spearheaded by over 200 tribal women artisans in Bihar.
Bena or golden grass — named for the golden lustre of the dried straw — is a flowering plant that grows in marshes and reaches heights of five to six feet. It is generally gathered from the wild, although some artisans also grow it on a small scale to support their sikki craft production. The grass is harvested by cutting at the base, with the flowering parts removed. After harvesting, women split the stalks along their length with their teeth into two strands, then leave them to dry. The dried straw is the only material used for the craft and is dyed in green, red, and magenta, depending on the design of the planned product. Once integral to village life, the craft all but disappeared in the late 20th century as plastics and mass-produced goods flooded rural markets.
The decline of sikki craft followed a familiar trajectory. What had once been a household skill, primarily practiced by women and tied to domestic rituals, could not compete with cheap factory alternatives. By the 1980s and 1990s, the craft was no longer economically viable. Artisans abandoned weaving, and the knowledge that had been passed down from mother to daughter for generations risked fading away entirely.
Efforts to revive sikki began in the early 2000s, when government programs and cultural organisations started identifying endangered crafts for preservation. Sikki, with its distinctive golden finish and lightweight texture, stood out as both environmentally sustainable and versatile. Development clusters were established in districts such as Madhubani and Darbhanga in Bihar, providing training in design adaptation, quality control, and collective marketing.
The revival also comes with a strong socio-economic benefit. In many villages, sikki weaving is taken up by women as supplementary income alongside agricultural labour. Organised into cooperatives and self-help groups, women artisans have gained access to resources and buyers that were previously out of reach. Their work is often carried out from home, making it compatible with household responsibilities and allowing for participation in income generation without needing to migrate to big cities.
Environmental concerns have also contributed to the momentum behind this revival. Sikki, unlike synthetic alternatives, is fully biodegradable and harvested locally. Its low ecological footprint also appeals to buyers seeking ethical and sustainable products. This positioning has helped sikki craft stand out in exhibitions, design fairs, and online marketplaces, where consumers increasingly link cultural heritage with conscious living.
Still, challenges remain. Artisans often struggle with inconsistent market demand and limited visibility beyond government-led craft fairs. Supply chains for raw materials is also often disrupted by seasonal changes in wetlands where the golden grass grows. Yet, the future looks promising for sikki artisans. Sikki craft embodies both continuity and change — retaining its role as a cultural marker in Bihar while aligning with contemporary concerns about environment, livelihood, and identity.
