ARUNACHAL PRADESH SIKKIM
ASSAM NAGALAND MEGHALAYA
MANIPUR
TRIPURA
MIZORAM
North East India comprises of eight states - Arunachal Pradesh, Assam, Manipur, Meghalaya, Mizoram, Nagaland and Tripura. From times immemorial, India’s North East has been the meeting point of many communities, faiths and cultures. A place renowned for its magical beauty and bewildering diversity, North East India is the home for more than 166 separate tribes speaking a wide range of languages. Some groups have migrated over the centuries from places as far as South East Asia; they retain their cultural traditions and values but are beginning to adapt to contemporary lifestyles. Its jungles are dense, its rivers powerful and rain, and thunderstorms sweep across the hills, valleys and plains during the annual monsoons. The festivals and celebrations in the North- eastern states of India are a colourful reflection of the people and their lives. Throughout the year, different people celebrate festivals with lot of fanfare in different ways, most of them centering around their modes of living and livelihood.
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DIBANG VALLEY
CHINA UPPER SIANG WEST SIANG
LEGEND International Bdy District Boundary State Boundary State Capital
TAWANG
BHUTAN
WEST KAMENG
LOWER DIBANG VALLEY
UPPER SUBANSIRI EAST SIANG
KURUNG KUMEY EAST KAMENG
ITANAGAR
ANJAW
LOHIT
CHANGLANG
LOWER SUBANSIRI PAPUM PARE
CHINA
ASSAM
MYANMAR TIRAP
Arunachal Pradesh, the 24th state of the Indian Union, is bounded by Bhutan to the west, Myanmar to the east, China to the north and north-east and the plains of Assam to the south. Arunachal Pradesh is acknowledged to be one of the most splendid, variegated and multilingual tribal areas of the world. There are 26 major tribes and a number of sub tribes living in the state. Most of these communities are ethically similar having derived from an original common stock but their geographical isolation from each other has brought amongst them certain distinctive characteristics in language, dress and customs.
Left: Edu Mishmi gale from Roing
TEXTILES OF ARUNACHAL PRADESH The colour and design of the tribal textiles of Arunachal Pradesh, have their symbolic meaning. The use of certain kinds of clothes and ornaments is often associated with a family’s social position and achievements in the fields of hospitality and war. Though there has not been much external influence on the designs of the fabrics in Arunachal Pradesh there has been some borrowing of motifs from the neighbouring areas. The motifs, designs and patterns, however are quite complex and their symbolic meaning and usages are rather significant. The elaborate processes of spinning, dying and finally weaving remind us of the rich discoveries of the women, who were supposed to weave respective clothes for their families. The Procedure The work of seed cleaning is a tedious process which is done either by the old women or by a cotton ginning machine consisting of two wooden rollers geared to revolve in opposite directions and turn by the crack with the right hand. The clean cotton is gently rolled with the help of round stick over a flat stone or plank into saucessages. This cotton is ready to be spun into thread with the help of a primitive spindle. It consists of a pin of bamboo sticks tapering into fine point at the top and about the thickness of a pencil near the bottom. Once the threads are ready into yarn, the dying process takes place after the yarn is transferred into skeins. Dying of clothes or threads is exclusively performed by women and during this period they are refrained from sexual inter courses and eating beaf, dog flesh, goat’s flesh, dried fish and other food with strong smell. Left: Edu Mishmi men’s jacket being woven on the loin loom
TRIBES There are about 26 major tribes with a number of Sub-Tribes in Arunachal Pradesh Adi, Apatani, Bugun, Hrusso, Singpho, Khamba, Memba, Mishmi, Monpa, Nyishi, Sherdukpen, Tagun, Khamti, Wancho, Nocte and Yobin, to name a few. The Apatanis, the most well known of the lot, are settled agriculturists inhabiting the valley around Zirothe headquarters of Lower Subansiri district. The older men-folk tie the hair in top-knots and tattoo the faces. Wearing of circular nose plugs and tattooing of faces is the most characteristic aspect of ornamentation of older Apatani women. This tradition was introduced to curb the harassment of men from neighbouring states towards the beautiful Apatani women. However, new generation of Apatani men and women have stopped this practice of tying hair knot, nose plugs and face tattooing since early 1970s.
Left: Old Apatani woman adorned with the traditional tatoo and nose plugs
Apatani ceremonial woven gale, Ziro
Apatani intricately woven patch
Woven bag pattern details Edu Mishmi woolen shawl, Roing
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CHINA DHEMAJI
ARUNACHAL PRADESH
TINSUKIA DIBRUGARH
BHUTAN LAKHIMPUR
BAKSA
CHIRANG KOKRAJHAR
UDALGURI
SONITPUR
SIBSAGAR
JORHAT GOLAGHAT
DARRANG MARIGAON
BONGAIGAON NALBARI KARBI DISPUR KAMRUP BARPETA DHUBURI ANGLONG METROPOLITAN GOALPARA NAGAON KAMRUP KARBI ANGLONG
MEGHALAYA
DIMA HASAO
NAGALAND
MYANMAR
CACHAR
BANGLADESH
KARIMGANJ HAILAKANDI
MANIPUR
LEGEND International Bdy District Boundary State Boundary
TRIPURA
MIZORAM
State Capital
Assam (Asom, Axom) is a beautiful and diverse state with an incredible range of cultures and landscapes located in the northeast of India. It shares it’s borders in the North and East with the Kingdom of Bhutan and Arunachal Pradesh. Assam (Asom, Axom) straddles the fertile Brahmaputra valley, making it the most accessible core of India’s northeast. The archetypal Assamese landscape offers mesmerising autumnal vistas over seemingly endless gold-green rice fields patched with palm and bamboo groves and distantly hemmed with hazy blue mountain horizons. In between are equally endless, equally gorgeous manicured tea estates.
Left: Woven Assamese bridal chador
TEXTILES OF ASSAM In Assam, there is no dearth of raw materials. Indigenous manufacturers consist of thread and fabrics, cotton textiles and jewellery amongst others. Every family in Assam usually has looms to meet the requirement of the household. The looms were in the past, the center of domestic economy, Weaving is done with handlooms. Assam, in the earlier days was known for advanced looms that were suitable for the production of fine quality fabrics of all kinds. The Assamese fabrics are characterised by ornamentation, either knitted on the fabrics after weaving or worked along with the weaving. Embroidery is done chiefly on muga silk or gold and silver wire (guna) by artisans called Gunaakatas. The Assamese women are proficient in the use of needle for ornamentation of various design and patterns from early times. They are also adept in the art of mixed raw materials; cotton mixed with silk. Endi or eri is woven with cotton. Rarely cotton is combined with pat silk, but often with muga; churi and riha of such materials are usually manufactured.
MUGA
ERI
PAT
SERIICULTURE Assam’s handloom industry is basically silk oriented. The salubrious climate of Assam is suitable for sericigenous flora and fauna. Four varieties of silk worms and their host-plants, mulberry, Eri, Muga and Oak Tassar are popular and important for economic and commercial purposes. Sericulture is an important cottage industry of Assam. Eri and Muga have been producing silk traditionally since long back. Muga is the pride of the Assamese ladies. Oak tassar was introduced in Assam only in 1972. Nearly 90% of the silk produced is from the mulberry sector only.
Assamese cotton gamosa
Eri silk scarf
Traditional woven patterns moulded into a cushion cover Eri silk scarf Muga and Pat silk sarees
N ARUNACHAL PRADESH MON
LONGLENG
ASSAM MOKOKCHUNG
TUENSANG WOKHA
ZUNHEBOTO KOHIMA DIMAPUR
KIPHIRE
MYANMAR KOHIMA
PHEK
PEREN
MANIPUR
LEGEND International Bdy State Boundary District Boundary State Capital
Nagaland is a vibrant hill state, located in the extreme North Eastern End of India, bounded by Myanmar in the East; Assam in the West; Arunachal Pradesh and a part of Assam in the North with Manipur in the south.It offers rich incomparable traditional and cultural heritage. The Distinctive character and identify of each tribe in terms of tradition, custom, language and dresses is clearly discernible to the visitors. Historically, the Nagas have always been brave warriors. Colourful life and culture are an integral part of the 16 officially recognized Naga tribes of Nagaland. These 16 tribes are different and unique in their customs and traditions. These customs and traditions are further translated into festivals which revolve around their agricultural cycle. Songs and dances form the soul of these festivals through which their oral history has been passed down the generations.
Loin Loom weaving in Diezephe village, Nagaland
TEXTILES OF NAGALAND The cotton industry in Nagaland is flourishing due to the abundance of cotton and skilled workers. Though the process of spinning and weaving cotton are simple, yet the motifs and patterns that are woven on to the cloth have intricate designs. The loin-looms are used by women for traditional shawl-weaving while the narrow fly shuttle is used to weave other fabrics. Each Naga tribe uses bold distinctive patterns with simple geometric designs and motifs for shawls and sarongs. Black and white are the predominant colours, while red and green motifs are introduced for an extra weft. The dress adorned by a person reveals his/her standing in the tribal hierarchy. Even within each tribe, the classes can be distinguished on the basis of the shawls they wear. Elaborately designed shawls are used by the warrior classes or the rich segments within the tribe. The most important part of the Naga dress is the shawl which is woven with cotton and staple fibre, though some wool is also used. Shawls are generally woven in three pieces and then stitched together with the central strip having more ornamentation than the borders,
Cotton pods
Naga shawl pattern, early 20th century
LOIN LOOM WEAVING
The loin loom, common to hill tribes of the northeast, also refered to as backstrap or body tension loom, is one of the oldest devices for weaving cloth. The weaver`s body is integral to the loom and weaving is done without mechanical parts. The loom consists of a continuous warp stretched between two parallel bamboos, one end tied to a post or door and the other end held by a strap worn around the weaver`s lower back to regulate the tension with her body. The loin loom is skillfully used by women to weave cloth; the process entails two steps, winding a warp according to the intended design, and weaving. Warps are made on a warping frame using vertical lease sticks that keep each thread in sequence. It is then transferred to the weaver who seperates it into two layers with a bamboo shed pole, leald stick, lease stick, and wooden rods, each serving different functions. Fabrics are woven in two parts and later stitched in the middle. Weaving is strenous and labour intensive as the loom and has to be rebuilt each time. Patterning is done in extra warp and extra weft techniques.
The Nagas
Naga shawl stitched into a garment
Nettle fibre scarf woven by the Chakhesang tribe
Naga warrior’s shoulder cloth / blanket
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ASSAM
MANIPUR KOLASIB
TRIPURA
AIZAWL MAMIT
AIZAWL CHAMPHAI
SERCHHIP
LUNGEI
BANGLADESH
MYANMAR
LAWNGTLAI LEGEND International Bdy State Boundary District Boundary State Capital
SAIHA
Mizoram lies in the southernmost outpost of North Eastern India, the land of the Blue Mountains. Manipur, Assam and Tripura bind the northern end of this little island of tranquility with neighboring countries Myanmar and Bangladesh nestling most of the state between them. Evergreen ranges of Mizoram hills with blooms of exotic flora and dense bamboo jungles rise sharply from the plains of Assam in a north south direction. These hills and plunging gorges are cris-crossed by gushing rivers and sparkling waterfalls. Highest among its several peaks is the Phawngpui The Blue Mountain. In sharp contrast to the dense jungles and steep hills is a rugged quilt of lush paddy fields all the way from the center of the state towards the Myanmar border.
TEXTILES OF MIZORAM There are a number of craftsman and skilled artisans among the Mizos. Weaving is an internal part of the Mizo culture and the women learn how to weave at an early age. Puans in numerous designs are produced by them on traditional loin looms. These are somewhat like lungis, usually about 45” to 48” in width and about 36” in length, worn by the women, and are their native dress. Puans are noted for their beautiful design and intricate embroidery which is invariably worked out along with the weave. Mizos have a wealth of motifs. The patterns of traditional puans are now being adopted with many fresh combinations. Mizo women also turn out shawl and their shoulder bags, which are quite attractive, and not too expensive considering their quality. There is a combination of the Loin Loom and the fly shuttle loom in the development of the handloom industry of Mizoram.
Mizo puan. Traditional puans and their variations are produced on frame looms and zo (looms of Burmese origin) multi-treadle looms. The weavers use the extra weft technique to produce patterns in relief
Old Mizo ceremonial puan woven on a discontinuous supplemental warp design
N NAGALAND
SENAPATI
ASSAM
UKHRUL IMPHAL EAST
TAMENGLONG
IMPHAL
IMPHAL WEST IMPHAL EAST
THOUBAL BISHNUPUR
MYANMAR CHURACHANDPUR CHANDEL LEGEND International Bdy State Boundary District Boundary State Capital
Manipur literally meaning “A jeweled land” nestled deep within a lush green corner of North East India. It seems much like an exquisite work of art executed by superb hands of Nature and is indeed a state of exquisite natural beauty and splendors, the beauty of which once inspired Mrs. St. Clair Grimwood described it as ” A Pretty Place more beautiful than many show places of the world”. Late Pandit Jawaharlal Nehru paid a fitting tribute by describing it as “Jewel of India”. Surrounded by blue hills with an oval shaped valley at the centre, rich in art and tradition and surcharged with nature’s pristine glory. Manipur lies on a melting pot of culture. This is the place where Rajashree Bhagyachandra created the famous Ras Lila, the classical dance of Manipur, out of his enchanting dream by the grace of Lord Krishna. Her folk dances reveal the mythological concept of creation of Manipur.
Manipuri jamdani woven motifs and patterns
HANDLOOM OF MANIPUR Manipur enjoys a distinct place amongst the handloom zones in India. Handloom industry is the largest cottage industry in the State. This industry has been flourishing since time immemorial. One of the special features of the industry is that women are the only weavers. It is believed that Chitnu Tamitnu, a goddess, discovered the cotton and she also produced the yarn. When the threads are ready for weaving she arranged the required equipments and constructed the ‘Sinnaishang’ (work shed). It is also believed that the goddess Panthoibee once saw a spider producing fine threads and making cobwebs and from it she found the idea of weaving and thus started weaving. Most of the weavers who are famous for their skill and intricate designing are from Wangkhei, Bamon Kampu, Kongba, Khongman, Utlou and so on, with respect to fine silk items. The rest of the villages of the State produce all varieties of fabrics. Tribal shawls with exotic designs and motifs are the products of five hill districts of the State. Fabrics and Shawls of Manipur are in great demand in the national and international market.
RAS LEELA The Ras lila, the epitome of Manipuri classical dance is interwoven through the celestial and eternal love of Radha and Krishna as has been described in the Hindu scriptures and reveals the sublime and transcendental love of Krishna and Radha and the Gopies’ devotion to the Lord. It is generally performed in an enclosure in front of the temple throughout the night and watched with a deep sense of devotion. Ras performances are seasonal and varied and performed at the temple of Shree Shree Govindajee in Imphal on the nights of Basanta Purnima, Sarada Purnima and Kartik Purnima and at local temples later. As to the composition, the performance is a combination of solo, duet and group dances. The richness of the costumes gives lustre to the beauty of the art.
N
ASSAM
RIBHOI WEST GARO HILLS
EAST GARO HILLS
SHILLONG SOUTH GARO HILLS
SOUTH GARO HILLS
BANGLADESH LEGEND International Bdy State Boundary District Boundary State Capital
EAST KHASI HILLS
JAINTIA HILLS
‘Meghalaya’ means ‘The Abode of Clouds’, in Sanskrit. The British called this state the Scotland of the East. Inhabited by Khasi, Jaintia and Garo tribes, Meghalaya is known for its woodcarving which is practiced in the Garo Hills. It is also famous for its unique way of producing handicrafts and articles from pineapple fibers.
Left: Umiam Lake, Meghalaya
Handloom weaving
TEXTILES OF MEGHALAYA Although a small state, Meghalaya is the homeland of three ancient hill communities, the Khasi, Jaintias and Garos, and is a land of considerable natural beauty. The important crafts are cane and bamboo works, artistic weaving and woodcarving. Weaving is the traditional occupation of Garo women and is currently pursued by almost every family. The production of cotton textile items is restricted by and large, to dakmanda. The Garos also weave shirting, bedcovers, bed sheets, and tablecloths. The endi silk produced in Meghalaya is famous for its texture and durability. The important center for weaving endi silk is Sonidan, a village of about hundred bamboo huts. Besides Sonidan, women in some other villages carry out endi silk weaving. Moreover, the production of jainsen (typical Meghalaya women’s wear) with local mulberry silk has also been introduced. Silk weaving has generally encouraged through training of local weavers in a number of places, production on commercial lines.
PEOPLE CULTURE AND RELIGION Meghalaya’s main ethnic communities, each having its own distinctive customs and cultural traditions are the Khasis (of Mon-Khmer ancestry), the Garos (of Tibeto-Burman origin) and the Jaintias said to be from South East Asia. The common trait binding all three communities is its matrilineal system in which the family linage is taken from the mother’s side. The people of Meghalaya are known to be hospitable, cheerful and friendly. Many members of the Khasi, Jaintia and Garo communities have converted to Christianity and one can see a number of churches as well as temples, mosques, gurudwaras and monasteries in Meghalaya.
Extreme Left: Shad Suk Mynsiem Dance Left: Garo woman
N ASSAM
BANGLADESH
NORTH TRIPURA
WEST TRIPURA
DHALAI
AGARTALA MIZORAM
SOUTH TRIPURA
BANGLADESH
LEGEND International Bdy District Boundary State Boundary State Capital
Quietly nestled in the lush greenery of hills, verdant valleys and transparent waterscape, Tripura is a land of plentiful myths and legends. This state, home to nineteen indigenous tribal groups, Bengali speaking non-tribals and a diversity of culture, resembles a tiny dot on the peninsular India’s map dangling between Northeast India and Bangladesh. The wealth of Tripura is in it’s traditional art, culture, history and archaeology, flora and fauna, biodiversity and flushing meadows. Their traditional music, diversity of cultural streams and faiths, co-exist down the annals of history in pristine peace. In Tripura one can trace the state’s glorious history in its archaeological remains, cultural heritage, exquisite sculpture and architecture spread across its landscape and return, richer by a finer aesthetic sense and sensibility.
Left: Riha breast cover
Traditional patterns being woven on the loin loom
HANDLOOM OF TRIPURA The art of weaving occupies a very sacred place in the traditional life of Tripura. In fact in our tribal society no right or ritual is sanctioned unless it is preceded by an worship of ‘Riha’ the hand-woven breast cover of the family elders. The Tribal fabrics of Tripura are well known for their elegant design, bold color combination and lasting texture. The Tribal motifs skillfully depicted through stylized decorative designs are really in great demand. Modern made-up in tribal fabrics is very attractive indeed. The Manipuri community of Tripura specializes in certain traditional items of distinct heritage. Today, they represent a synthesized tradition quite distinct from the handloom of Manipur. They produce colorful bedspread Lysingphee and elegant furnishing fabrics with Typical Manipuri designs.
Woven intricate geometric Tripuri cloths
Right: Reang women and child
N CHINA
NORTH DISTRICT
NEPAL
WEST DISTRICT
CHINA
GANGTOK SOUTH DISTRICT
EAST DISTRICT
WEST BENGAL
BHUTAN LEGEND International Bdy State Boundary District Boundary State Capital
Sikkim has been given many names. The Lepchas, original inhabitants of the land called it Nye-mae-el `paradise’. The Limbus named it Su Khim or `new house’ while to the Bhutias it was Beymul Demazong `the hidden valley of rice’. Sikkim shares its border with Nepal in the west and Bhutan in the east, with the Tibetan plateau rising from its northern border. It was once a Himalayan monarchy and part of the fabled Silk Route to China. Its merger with India in 1975 has offered a window to the world to discover the treasures of this hidden land. The crowning glory of Sikkim is Mt. Khangchendzonga, the third highest mountain in the world. With magnificent snow and ice scenery it is often regarded as the undisputed monarch among the peaks of the world. But for the Sikkimese Khangchendzonga is much more than a mountain and is revered as the abode of their guardian deity Dzo-nga. Even today the mountain god is invoked and prayed to during Pang Lhabsol, a major Sikkimese festival, which also commemorates the blood brotherhood sworn between the Lepchas and the Bhutias at Kabi in the fifteenth century. The sacred mountain can be viewed from every corner of Sikkim and remains an intrinsic part of the consciousness of the people. From left: Kangchengyao peak; Bhotia-Female,-Trans-Himalayan c1860’s; Singhik man; Enchey Monastery,Sikkim
Woman weaving in Lachung, Sikkim. May 1971
HANDLOOM OF SIKKIM The handloom tradition in Sikkim is very old and Lepchas women play a predominant role in handloom weaving, they begin to learn the art from a very young age and gain exceptional craftsmanship in weaving intricately colorful fabrics from cotton yarn. For weaving, first of all, the cotton yarn is sent for winding in wooden frames according to the specified length and breadth requirement. The wound cotton yarn is then fitted in the vertical frame loom and weaving begins. The handloom products range from plain to intricate patterns. The mostly used colures are white, red, black, yellow and green. From the woven fabric variety of items, such as Lepcha traditional dresses, shoulder bags cushion cover, napkins and table mats and so on are made. Apart from weaving they also specialize in blanket and carpet weaving, Thanka paintings, wood carving, wooden mask making, and bamboo and cane craft
PEOPLE AND CULTURE The People of Sikkim consist of three ethnic groups, that is, Lepcha, Bhutia and Nepali. Communities of different hues intermingle freely in Sikkim to constitute a homogenous blend. Hindu Temples coexist with Buddhist Monasteries, Churches, Mosque and Gurudwara. The predominant Communities are Lepchas, Bhutias and Nepalese. These myriad Cultures has produced a quintessential Sikkimese Culture that encompasses all ways and walk of life, but has also managed to preserve their own identity. These can also be seen in the various places of Worship, Festivals and Cultural dances that are celebrated through the year.
2013 Document