Nina Sabnani’s animated documentary The Stitches Speak (Tanko Bole Che, 2010) is a convergence of fabric embroidery art, indigenous craft, and moving images. This documentary short has animated embroideries, resulting in a blend of indigenous craft and animation. Sabnani uses overlapping temporal lines, using the indigenous craft of the Maru Meghwal community, based in Gujarat, India. The film, made with insights from Sabnani’s and Judy Frater’s research on Maru Meghwal’s craft as well as from the artists from the community, takes us on a historical journey of this community who migrated to Jurra camp, a settlement camp in the Indian state of Gujarat, after the India-Pakistan war of 1971, and later to a new town, Sumrasar in Gujarat. In the aftermath of 1947 migration as a result of partition of India as it gained Independence from the British Empire and the major earthquake of 1956, the Maru Meghwal community struggled to preserve their culture and “carved their identity as a community of crafts persons who specialized in Suf embroidery” (Sabnani and Frater 2012, 1). After another devastating earthquake in 2001, the artisans were approached by two independent filmmakers to depict their experience of the earthquake in their embroidered work (Sabnani and Frater 2012, 4). The short film combines on a sensorial level narration by artists from the community with folk music, sounds of earthquake and their surroundings. The sound design contrasts with the landscape and the haptic experience of characters created with textile textures, patterns, stitches, and patchwork. The chapter explores how the documentary form and highly experimental imagery made with indigenous art result in affective intermediality.