Culture and clothing traditions of Rengma Nagas by Rituparna Sarkar

CULTURE AND CLOTHING TRADITIONS OF RENGMA NAGAS A craft documention Rituparna Sarkar Apparel Design 2012 PGPD

Guide - Amit Sinha

Digital publication of student documentation for private circulation only. PGDPD Apparel Design National Institute of Design, India

Text- Rituparna Sarkar National Institute of design Photographs- Rituparna Sarkar Source: Mentioned under photographs unless otherwise stated.

All rights reserved under international copyright convention. No part of this document may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. KMC No. Field study - Rituparna Sarkar Edited by - Rituparna Sarkar Designed by - Rituparna Sarkar Processed at National Institute of Design Digitally printed at -

To my parents and the warm people of Nagaland.

ACKNOWLEDGMENT I am grateful to National Institute of Design for giving me this opportunity and insight to delve into the traditions and culture of an aboriginal tribe through the module of craft documentation.I would like to thank my mentor, Mr. Amit Sinha for introducing this subject and inspiring me to accomplish this project through a process which otherwise would be a labyrinth for me. In spite of several prenominations, I was determined to visit Nagaland, because the beauty of their art and craft and also because very little is known about the fading aboriginal traditions. When I started the project I had no contacts and was clueless on how to start , but on reaching Nagaland, I found the people in general were more than happy to help. Among several others the ones who have helped me immensely with data and information, are Pastor Nungsung Jamir, Mr.Peihau Nsargbe ,Mr. Sniku Tetso , Mr. Shingato and Mr. Lanukaba Imchen. I am indebted to Mr. and Mrs. Wachulo Jemu , who made me feel at home and assisted me in every possible way to pursue my research. In the village of Tesophenyu, which is the heartland of the Rengma Nagas, the family of MvĂźthony Jemu, his wife Sila and son Hanchulo acquainted me with the long lost traditions and the remains and reminiscent of their culture. I would also like to thank the villagers for their whole hearted cooperation and acceptance. Last but not the least, I am thankful to my mother for moral support and taking are of the logistics and to my father for accompanying me to Nagaland and assisting me in every step.

CONTENTS 1.

ABOUT THE PROJECT

ABOUT NAGALAND

ABOUT RENGMA TRIBE

SOCIAL STRUCTURE

- Preface - Objective - Scope of present study - Methodology

- Introduction - Historical background - General information - How to reach - Tourism - Tsophenyu village

- History and origin - Clans of Rengmas - Appearance

- - - -

Law and order Family Structure Inheritance Laws Marriage Laws

5. CULTURE

- Community life- ‘morung ‘/ dormitories - Head hunting traditions - Religion - Festivals

6. - - - -

LIFESTYLE

House and its Conents Source Of Income Recreational Activities Food Habits

7. CRAFTS - Basketry - Woodcraft Metalcraft - Pottery - Weaving

CLOTHING TRADITIONS

Clothing culture Rites of passage - Traditional Mens clothing Traditional womenâ&#x20AC;&#x2122;s clothing Methord of wearing Scale - Adornments - Making of the craft - Visual language of the craft

9. CONCLUSION - - -

Present condition Cooperatives A time of change

10. BIBLIOGRAPHY

PREFACE Craft sector in India is a vast one with its own rich tradition, values and culture, which is evident in the forms, color, texture and techniques. Craft sector achieved appreciaÂŹtion and identification over a long period through its distinct style and techniques of production in particular region along with their function and utility. But this sector of India is languishing, perhaps dying. People are unaware of their own cultural heritage by way of different crafts and their origin. There is a need for people to know about the different crafts of India, because they directly talk about India and its culture, and also because they are a repository of our traditions and way of life. Traditionally , socially and in all occasions, dresses and attires play a vital role in ascertaining the importance of the persons involved and the occasion that is observed or celebrated. This is prevalent among the Naga tribes and in all other societies and races around the world. I have studied the clothing traditions of Rengma tribes of Tsophenyu, Nagaland in context of their current lifestyle. The Rengma tribe has varieties of costumes to be worn during different occasions. Certain costumes can be worn by only those men or women who have earned them years of hard work through different stages of performing rites accompanied by community feasts every time such a rite is performed. These costumes are the symbols of the wearerâ&#x20AC;&#x2122;s status in the society which can be identified by the costumes he wears. However in present day society slight modifications here and there have taken place keeping in view to retain the original style , design and

the purpose of the costumes intact. This study has been produced to enlighten that traditional costumes are a part of identity and culture. Efforts have been made to project correct information as far as possible based on the available material.

OBJECTIVE

METHODOLOGY

To study in depth the clothing traditions of the Rengma tribes of Tsophenyu, that has been preserved. Tsophenyu is the largest of Rengma villages which has undergone the massive changes in environment over the generations.

• Complete observation – In the initial period, I assumed the role of a complete observer to the environment in which they live. Being in Nagaland for the first time, it was necessary for me to observe without interfering into the space to understand the area , the physical spaces maintained in conversations , the body language , verbal behavior , interactions and temperament. • Participant observation• Interviewing • Long interviews • Questionnaires • Projective techniques • Data entry After reaching Dimapur airport I was apprehensive of the warnings from various sources of the impending adverse environment that I might be facing. After all one needs a in land permit to travel in Nagaland, which is unique of its kind in the entire nation. It was sheer chance that I happened to meet one of few Nagas that I had previously known. His willingness to help me reach the city from the distant airport was impressive. My apprehension was further shaken when I met the research assistant at the Directorate of Art And Culture ,Kohima who along with the director , the curator and the archivist in short the whole office extended their whole hearted coorperation in my purpose.

SCOPE • To understand about the origins of the cultural influences of the Rengma tribe of Tsophenyu while adapting them to contemporary times • To preserve the indigenous knowledge of the Rengma tribe. • To understand the purer forms of culture, To understand indigenous design sensibility and applications and their perception of forms and aesthetics • To understand the Socio economic aspectsaspects division of work, role of gender, family, social structure., religion, beliefs and rituals etc. •To understand the material culture, method and process involved in producing a craft. • To study how costumes play an important role in their collective wisdom. • Understanding of the way of life and the community • It will bring forward the different aspects of India’s rich cultural milieu and their traditions.

ABOUT NAGALAND Among the mystery of the mountains and the confinement of a nature a civilization came out from the heart of the history in the east. That is what we call Nagaland. Nagaland , the sixteenth state of the Indian union, is bounded by Assam in the north, Myanmar in the west , Arunchal Pradesh in the east and Manipur in the south and runs more or less parallel to the left bank of the Brahmaputra. The state consists of 11 administrative districts inhabited by 16 major tribes with other sub tribes. Each tribe has its own custom language and attire. Legends, folk lores and oral traditions characterizes the cultural and social history of Nagas. Feasts , festivals and music are inextricably linked to the Naga way of life. The topography is very severe and full of hill ranges, which breaks out into a wide chaos of spurs and ridges. Most of the thousand odd villages stand at one or two thousand metres high as Nagas have traditionally built their villages on tops and higher elevations. The Nagas are inherently skilled people and their handicrafts and handloom products are well known for the beauty and intricacy of work. Their authenticity prevails in almost all objects of everyday usage. Different tribes of Nagaland are distinguished by the colourful and intricately designed costumes, jewellery and beads that they adorn. The traditional ceremonial attire of each tribe is an awe inspiring sight. The multi coloured spears and daos decorated with dyed goat hair; headgear made of finely woven bamboo interlaced with orchid stem and colourful body clothes woven is an absolute delight to the eyes. The art of craving wood is as old as the history of the Nagas, it is associated with the religious beliefs and the practices. The best

wood cravings are to be seen on the village gate, in the ‘Morung ‘ and infront of the house of a rich man or warrior. They use simple instruments like dao ,chisel , axe and adze. The figures generally craved are mithun head, hornbill, human figure, elephant, tiger etc. the log drums or xylophones which are laboriously hollowed out of the trunk of a big tree are excellent specimens of the Nagas’s skill in wood work. The drum has generally a craved prow showing a mithun, buffalo or tiger’s head. Cane and bamboo grow abundantly in the forests and hills of the state. With the ready availability of raw material,

source : http://www.wallpaperhere.com/

On the way to Tesophenyu village, 2013.

Nagas became expert basket makers. Basketry is carried out in almost every village of the state and the designs and shapes of the basket often distinguish the village of its origin as well as the tribe of the weaver. Besides basketry, artisans of the state have also started making furniture and a wide variety of decorative items. Naga women are inherently skilled at spinning and weaving. They weave clothes with intricate designs and motif that are distinctive of each tribe. Weaving is commonly done on traditional blackstrap loom. In addition to the traditional designs and the cotton yarn used earlier , the new generation of weavers make use of different kinds of yarns to weave new patterns or old patterns with new colour palette that are fashioned to suit the latest trends in clothing , accessories

and furnishings. By producing the fabrics that blend ancestral motifs with the present , the Nagas weavers play a major role in keeping the traditions alive while at the same time they add colour and enrich it with their continuous creativity and innovations.

GENERAL INFORMATION

Location : Approximately lies between 25 .6 and 27. 4 lattitude. North of equator and between the longitudinal lines 93.20 E and 95.15 ‘ E. Area: 16,527 Sq. Km Population: 19,80,602 (according to 2011 census) Capital: Kohima ( 1,444,12 metres above sea level) Districts: Dimapur, Kiphire, kohima, Longleng, Mokochung, Mon, Peren, Phek, Tuensang, Wokkha and Zunheboto. Tribes: Angami, Ao, Chakeshang, Chang, Khiamniungan, Kachari, Kuki, Lotha, Phom, Pochury, Rengma, Sangtam, Sumi, Yimchunger and Zeliang. Literary rate: 67.11% Density of population: 120 persons per sq. km Climate: Summer (June – September)- mean maximum- 31 degree Celsius; mean minimum – 16 degree Celsius Winter (October- February)- mean maximum24 degree Celsius; mean minimum- 4 degree Celsius Best season to visit : October to May. Average rainfall: 2000mm to 2500mm Main rivers: Dhansari , Doyang, Dikhu, Milak, Tizu and Zungki. Highest peak: Saramati (3,841 metres above sea level)

Language spoken: English, Hindi, Nagamese and local languages Religions : Christianity, Hinduism and Islam

How to reach: Before embarking on a journey to Nagaland, acquiring the entry permit is a must. Domestic tourists should obtain the Inner Line permit issued by the authorities mentioned below. AIR DIMAPUR has the only Airport in Nagaland at the moment. Direct flights connect the airport to Guwahati and Kolkota and connections can be made from all other airports in India RAIL Dimapur has a railway station on the main line of the North east Frontier Railway. It is well connected to Guwahati, with a number of trains that shuttle between the two stations every day. Guwahati, on the other hand, has direct train lines with most major Indian cities.

source : www.tripadvisor.in

ROAD A number of taxis ply from Dimapur to Kohima. Night buses connect Dimapur and Kohima to Guwahati and Shillong (Meghalaya). A very convenient way for reaching Kohima is to take the train or flight to Dimapur and then rent a taxi to Kohima. The Dimapur taxi stand is adjacent to the Railway Station. Yellow taxis can be hired with other passengers (shared taxi) or exclusive (full taxi). A full taxi could cost anything between USD $14 to USD $18 for a one way trip to Kohima.

A traveler can also opt to rent a car from Guwahati (through tour operators) and drive all the way to Kohima. This is a very pleasant drive, lasting about 6-7 hours and taking the tourist past beautiful stretches of forests, greenery and hills; but one should try to start and end the journey before nightfall.

TOURISM Though by virtue of her natural beauty, the whole of Nagaland is a tourist hotspot, yet certain exceptionally charming places have been identified and developed by the Government to promote tourism in the state, some of which are highlighted in the website. This focused approach helps in providing easy access to travelers of all categories-tourists, researchers, backpackers, ecologists etc. Since this little explored state is still developing and many more places remain ‘un-marked’making them even more exclusive and fascinating to explore Organised by the State Government, An annual Tourism promotional event to showcase Nagaland Traditional and cultural Heritage in all its ethnicity, diversity and grandeur. It is the coming together of all the elements that make up the total Nagaland. The Hornbill festival is a collaborative celebration of all Naga tribes at one venue and has been coined as “Festival of Festivals”. The Festival is a tribute to the great “Hornbill” which is the most admired and revered bird for the Nagas, for its qualities of alertness and grandeur. The Majestic bird is closely identified with the social and cultural life of the Nagas, as reflected in various tribal folklores, dances and songs. The awe and admiration for the bird is symbolically displayed on almost all tribal traditional headgears worn during the festival and is indicative of the commonness of the Nagas.

Source : http://www.demotix.com/

The Hornbill Festival of Nagaland is a cultural extravaganza to revive, protect and preserve the richness and uniqueness of the Naga heritage, while for the visitors to this event, its is a means for comprehensive understanding of the Naga People, their land and culture. Over the years, this event has gained in stature and vision. It has now become a unique platform for the tourists to witness the cultural diversity not only for the Nagas but the Seven other sister states of North East India in all its wonder and glory. Since 2007, International cultural troupes have been taking part in it and it is slowly turning out to be an international event. With the increasing popularity garnered by the festival over the years, Nagaland government has extended the Hornbill festival to a 10 day event starting 2013. Hornbill Festival showcases a mélange of cultural displays under one roof. This festival usually takes place between the 1st and the 7th of December every year.

For visitors it means a closer understanding of the people and culture of Nagaland, and an opportunity to experience the food, songs, dances and customs of Nagaland. Festival highlights include the Traditional Naga Morungs Exhibition and sale of Arts and Crafts, Food Stalls, Herbal Medicine Stalls, Flower shows and sales, Cultural Medley songs and dances, Fashion shows, Beauty Contest, Traditional Archery, Naga wrestling, Indigenous Games, and Musical concert.[1] The Hornbill Festival provides a colourful mixture of dances, performances, crafts, parades, games, sports, food fairs and religious ceremonies. The festival both exposes the culture and tradition of tribal peoples, and reinforces Nagalandâ&#x20AC;&#x2122;s identity as a unique state in Indiaâ&#x20AC;&#x2122;s federal union.

Source : jim zubemo photos

Source : www.indiatimes.com

HISTORY AND ORIGINS Historical background: Nagaland , the 16th and one of the youngest states of India was inaugurated by the president of India, Dr. S.Radhakrishnan on 1st of December 1963. In the month of August 1957, the first Naga people’s convention was held in Kohima, which was unique for its representative character in the history of Nagaland. In this convention Nagas declared their opposition to violence and to adopt constitutional means to achieve satisfactory political settlement within India and the creation of Naga HillsTuensang Area as a separate administrative unit under external affairs ministry. The Rengma Nagas are divided into two sections , the eastern and the western Rengmas . the eastern Rengmas have disintegrated , they been away from the main chunk and now have become parts of other tribes . For my study ,I have considered the western Rengmas of . they inhabit the spurs of the long ridge running north east from Nidzukru hill through Therugu to Wokha hill and are bounded on the south by Angamis

, on the east by Semas and on the north and west by Lhotas. The western Rengmas are in turn divided into a northern and a southern section, speaking entirely different languages and differing considerably in custom. The northern section call themselves ‘Ntenyi’ , inhabit the villages of Kotsenyu , Kotsenishinyu, Kitaga and half Tesophenyu. The southern section , who call themselves ‘Nzong’ , inhabit the other half of Tesophenyu, Tseminyu, Phesinyu, Sentenyu, Choshinyu, Tsokonkonyu, Therugunyu, Thegwepedenyu and Nishinyu. The first European to see Rengmas was Lieutenant Grange in 1839, before that the Rengmas were not accessible by the outsiders . Both the Lhotas and the Rengmas agree that until comparatively recently they were one tribe , but splitting, reuniting and re splitting of various sections of the Rengmas have made the details of the later migrations most intricate and difficult to disentangle. According to the Rengma tradition the first recorded settlement of the undivided body of migrants was present near Angami village of khonoma, but neither the name nor the exact site is known.

As per the beliefs at Therugunyu there were born, of a man named Rententsu , three brothers , Khasa, Thongsu and Senteng. These three split the village up into three bodies, which went off into different directions. The first settlement of Khasa and his men were led to a site by a deer which fled infront of them as they hunted it and thus Tseminyu was founded. When the time for the ceremony of founding the village came , the heads of the clans all brought cocks and decode that the

village should be founded in the name of the man whose cock crowned first. A man called Tsemi of Tsobinyu clan was so poor that he could only bring an egg. His egg however miraculously crowned before any of the cocks , and the village was called Tseminyu after him. From Tseminyu a party later went north and founded the lower section Tesophenyu, the biggest of the western Regnma villages. At present there are about 700 families in this village and above 5000 inhabitants.

A man wearing obsolete helmet . Source ; The rengma nagas , JP Mills , 1937

TESOPHENYU

A view of Tsophenyu village, as on October 2013

THE VILLAGE The largest Rengma village is Tesophenyu, which is located in the Kohima district of Nagaland state,India. The latitude 25.9700025 and longitude 94.2115526 are the geocoordinate of the Tesophenyu. .The other nearest state capital from Tesophenyu is Imphal and its distance is 134.0 KM. The other surrouning state capitals are Imphal 134.0 KM., Itanagar 143.2 KM., Dispur 238.4 KM., Shillong 238.7 KM., The nearest railway station to Tesophenyu is Naojan which is located in and around 40.5 kilometer distance. esophenyuâ&#x20AC;&#x2DC;s nearest airport is Dimapur Airport situated at 44.9 KM distance.

Source ; The rengma nagas , JP Mills , A view of Tsophenyu village, probably before 1937

Map of Nagaland Source: The Nagas, Julian Jacobs

Two essentials required for the site of a village are- it had to be easily defensible , and it had to have on it a tree suitable for the use as a head-tree. An ideal site for a village is a flat topped spur from which the ground falls away steeply at the sides. No villages are now fortified , but in the old days a stranger approaching along the ridge would have to pass under tall trees in which were little houses. They were occupied by sentries , who kept large stocks of heavy stones to throw down on attackers . beyond the trees there was a deep ditch , full of “ panjis “ and crossed by a single plank quickly removed in times of danger. Beyond that there wre the heavy wooden gate ornamented wih craved human heads and flanked by stone walls. Along the village the stone walls were

steep , were grown dense hedges of a thorny creeper , and everywhere the ground was covered with “panjis”. Throughout the tribe every village is usually divided into “khels” (‘kasung ‘ A ; ‘aiyengshi’ B ; ‘aphru’ C) of which the boundaries are unknown . often the ‘khels’ are called after clans or natural objects . the word ‘khel’ is an Assamese administrative term for a body of men, who has come to be used for a division of a village .

CLANS

APPEARANCE

In understanding and discussing the Rengma clans , it is necessary to consider those of the eastern and western Regnmas separately , the two groups that parted so long ago that there is no connection between them. The migrations of the Western Rengmas and the return from the Lhotas of a considerable portion of the tribe after what must have been a long separation from the parent body makes unraveling of the caln system most difficult. According to the previous researchers there are about six major exogamous groups in the Regnmas. One can find differences in these clans in the manner of preference of eating or refraining from meat at the time of the harvest or by how they address their mothers and grandmothers. On questioning my subjects of research i found out that they belonged to the ‘Jemu ‘ clan.

The colour of the skin is light brown turning darker brown on the areas exposed to the sun. the hair in childhood has a brownish tinge which turns black early in life. Usually it is straight but wavy , or even curly hair is not uncommon . the nose is broad and the whole appearance is slightly Mongolian. Traditionally the western Rengmas used to shave their head much farther up , leaving a patch of hair no bigger than a skull cap. Girls as mentioned in history were supposed to keep their heads shaved till they are betrothed , when the hair is allowed to grow long. According to the western Regnma tradition , anyone may shave the head of a little girl , but when she has attained puberty it may only be shaved by a man of her own clan. Under no circumstances may a man cut the hair of a girl , he is going to marry. If he does the food in the house will run short. Tattooing is not practiced . However nowadays none of these traditions are usually followed , the men and women don’t need to follow any restrictions on how they should cut or style their hair. Only during their festivals some men flaunt the traditional haircuts

Source ; The rengma nagas , JP Mills , 1937 A man in Tseminyu, showing the old style of wearing hair

Source ; Personal photo. Hanchulo Jemu Men with old style haircut, at the Hornbill Festival , 2012.

Source ; The rengma nagas , JP Mills , 1937 Youth , western Regnma

Source ; The rengma nagas , JP Mills , 1937 Young married woman, western Regnma

SOCIAL STRUCTURE VILLAGE GOVERNMENT Before the British intervened every western Rengma village had a chief called ‘kokhugu’ or ‘kekho’ong’ with whom were associated other men as advisers from other clans ‘tsononyu ‘ or ‘pa’onga’. The office of the chief was hereditary in the clan but not in the family. It did not necessarily pass from father to son, but to the most suitable man in the leading families of the clan. In cases of gross misrule , public opinion could even deprive the whole clan of the right.

In olden days disobedience to the chief was punished by destruction of the offender’s house. It was a custom for the chiefs of the villages to arrange truces and alliances. British rule had put an end to the power of the chief’s power, to the great loss of a tribe. At present the law and order are governed by the village council and students organizations and only when a case cannot be resolved it is taken to the city courts.

An important man’s house ,with his trophies, now lies abandoned ,Tesophenyu village. October 2013

Tsophenyu village. October 2013

PROPERTY AND INHERITANCE The Rengma Naga’s family is nuclear one and father is the head of the family. They follow patriarchal system. Land , the most important form of property , can be held by the individual , family or clan . No land is held by the ‘morung ‘ and an odd piece of the land is said to be held by the village which doesnot belong to anyone in particular. The principle of the Rengma rule of inheritance is that all the property goes to the male heirs , with the important proviso that a widow is entitled to maintenance from her husband’s property till re-marriage or death. Each son marries and builds a new house for him and his bride . on the death of his father the widow retains the house and the site till her death or remarriage but she may not sell it. Similarly she may use all the rice, cash and moveable property in the house, but may not sell anything, if she is unduly wasteful the male heirs may restrain her. On the death the youngest son inherits the house site , house

and all the contents, except the pounding table which goes to the eldest son. Cattle is another form of valuable property. Thoughout the tribe they normally pass to the male heirs , but infact remain in possession of the window. She, however can sell an animal if she can prove to the male heirs that it is essential for her maintenance to realize its price to a share of which they are entitled . similarly a male heir can only sell with consent of the widow and must give the part she is entitled to. Weapons and male ornaments are shared among the heirs. if the sons are married they share them equally. Women ornaments of which the most precious are the waist beads will go from mother to daughter or failing a daughter to a son who will give them to his wife in due time. if a married woman dies without children the ornaments will go to her husband or his heirs if he is dead. Ornaments left by an unmarried girl will go back to the father or his heirs.

EXOGAMY AND RELATIONSHIP A man must marry a women who is neither of his clan nor of a clan linked with his in the same exogamous group. Unless physically imbecile , every Naga marries. No man can set up his own house without a wife , however poor. The bride price is somewhat peculiar in this tribe. The groom has to serve one year in the farms of the would be parents-in-laws. In the marriage ceremony a feast is served by the bride’s family to the bridegroom’s party and to his own village. Even if they follow monogamy, there is no bar to polygamy. Divorces are very rare. Widow marriage is permissible. Cross cousin marriage is absent. Descent is in the male line , but very special privileges due to a mother’s brother may point to matrilineal influences . a mother’s brother

may on no account be addressed by name ; the proper relationship term ‘ami’ must always be used. It’s the most awful sin to quarrel with the mother’s brother. The group term for relations is much more than an old custom. They convey their users a definite functional meaning. For example men who address each other as “ brothers” stand socially to each other in that relationship. They feel themselves to be closely knit body of contemporaries with a common male ancestry, potential sharers of clan property and always ready to act together in clan matters. Similarly the word ‘ami’ conveys to the speakers mind a man of a different clan. One sisters children , on other hand , are on a entirely different footing , they belong to a different clan.

Source ; The rengma nagas , JP Mills , 1937 Young married couple, western Regnma

Married couple and their children . The Jemu family. October 2013.

LIFESTYLE AND CULTURE MORUNG The community life of a Rengma Naga was deeply connected to the system of ‘morungs’. The earlier scholars mentioned that by the state of the ‘morung’ one could understand the state of the village. Decaying ‘morungs’ mean a decaying village and a well maintained ‘morung’ meant a vigorous community. It is in the ‘morung’ that the old men used to tell the great deeds of the past and the coming generation is taught to carry on the old traditions in the future. Boys used to go to the ‘morung’ when he felt ashamed to sleep in the same room with his parents. It is where he was taught his duties in life and hammered into shape. The ‘morungs; used to be the most ornate buildings in the village. In the western Rengmas villages they usually were built with a low , round roof and carried forward in the front porch , which itself is often supported on posts. The center post in the

front and sometimes the two side posts are elaborately craved . at the bottom of the center post there is a mithan’s head in high relief , and above it carvings of human heads and conventionalized ‘ tails’. Behind this porch is a single room used as a dormitory and a sitting place , with bamboo benches down the sides. An average size for a building would be 50 feet long by 12 feet broad. The warriors invariably kept their shields , spears and ‘daos’ in the ‘morung’ . a ‘morung ‘ is also a sanctuary , no criminal can be touched in there. The girls on reaching the age of six or seven till they were married used to live in separate ‘morung’ built for girls. However at present, the Morung culture has almost dissapeared , one can find only the building in the village of Tsophenyu, but is long out of use.

Source ; The rengma nagas , JP Mills , 1937 The front of a Morung., western Rengma village

Morung . Tesophenyu village. October 2013.

Far left corner, the sacred ‘head tree’ of Tesophenyu village. October 2013

WARFARE AND HEAD HUNTING The western Rengmas say that men first learnt to make war by watching ants raid each others ‘s nests and believe its lucky for a raiding party to pass a battle of ants on their path. As a small scattered tribe , the Regnmas have never been strong enough to wage wars of aggression on the neighbours . Their fighting has always been in defence or retaliation. The head tree (‘repe bing’ or ‘ayi kutugha tung’ ) is a conspicuous object in the western Rengma villages that a kitagha being a particularly fine specimen. Its always a ficus , and under it are buried the sacred stones of the village . in the old days the long bamboos from which enemies heads were placed against its branches. So sacred is it that no case has ever been known of

anyone deliberately damaging it, and what punishment men or spirits would inflict for the sacrilege is therefore unknown. Should a rotten branch fall, the village must abstain from all work in the fields for a day and the women from spinning and weaving. If its not observed then , the men would fail to kill game and would become effeminate and weak. At present none of the above is in practice but the history carries a huge significance on shaping their lifestyle and culture.

RELIGION Originally the Rengma Nagas were animist. They believed in various god and goddess. The Rengma Nagas do not have any priest among them. All the socio-religious festivals are observed under the oldest member of the clan. Spirits are believed to be present everywhere . offerings are made to them and to the souls of the ancestors, but they are rarely asked actively to intervene for the offererâ&#x20AC;&#x2122;s good. The religion of the tribe is more negative than

positive. Like in any other tribal society , the Rengma Nagas are full of folklores and myths which formed a integral part in shaping the way of life in the past and finds relevance even today. At present almost 95% of the population is Christian, from the time of British Missionary intervention, and hence has undergone a major cultural shift from traditional times.

A representation of the head tree; Kohima museum of Art and culture. October 2013

The village church of Tesophenyu village. October 2013

FESTIVALS Ngada is not just a festival. It is the greatest Rengma festival of all other festivals. It is a post harvesting festival celebrated at the end of November or beginning of December depending on the position of the moon. It begins with a declaration made by the village high priest (Phensegü) who announces the beginning of the festival. Every citizen awaits eagerly for this declaration. By then, the last grain collected from the fields must reach home. It is taboo to bring home any more grain after the pronouncement. It is also known as a thanksgiving festival. It marks the end of the agricultural year and the dawning of a new year. Ngada derives its meaning from Rengma. ‘Nga’ means festival and ‘da’ means big. It literally means the biggest festival of all. Ngada represents the totality of life that embraced the yearlong hard labour blessed with overflow of wealth. In the past, Ngada was celebrated for eight days. Each day has its own significance and specific task to be performed as follows: The first day starts with preparation of rice bear. Everyone in the family will stay home and prepare rice beer together. The second day is assigned for collection of banana leaves in the jungles. The third day is for cleaning of graves by the womenfolk and placing of the rice beer wrapped in the banana leaf on the graves of the dead. This is a symbolic practice of sharing the rice beer with them. The day is set aside for drinking of the rice beer by the eldest member of the family, followed by other members.

The whole village is cleansed on this day. The fourth day is reserved for dancing, eating, drinking rice beer, and visiting khels, Morungs dressed in full traditional attire. Women do not participate in the Morung feast. The fifth day is for dancing, singing, eating, and sports like kicking, jumping, and making camp fire by male folk. The male members visit the houses on this day and each house offers something to show their appreciation. The sixth day is a day meant for freely visiting house to house, khel to khel and clan to clan. Community feast is served with special rice beer. The seventh day is allotted for collection of firewood, banana leaves, and vegetables for the grand feast on the next day. The eighth day is the final day of the grand feast. The whole village population participates in the grand feast. The grand feast signals the departure of the souls/spirits of the dead, who have died the previous year, to go to the land of death. The conclusion of the festival marks three important things: a) agreement with fire to prevent future fire accidents b) agreement with rats to prevent destruction of crops or household goods c) rite to expel evil spirits.

Celebrating Ngada festivalSource:.pinterest.com

NGADA TODAY Ngada has been handed down from time immemorial by our forefathers who were first worshippers of nature and spirits. However, with the advent of Christianity, many traditional practices have undergone transformation. Although the traditional practices are not celebrated in their original form any longer, the Rengma Nagas continue to honour the tradition of their forefathers by celebrating Ngada in November every year. Today, Ngada is celebrated for one day

but with the same respect and honour to their our forefathers. They celebrate their heritage today with great pride and joy . Ngada celebration is testimony to the belief in the past, a practice that continues to reflect in the lives of the Rengma Nagas even in today’s context. Apart from Ngada they celebrate Christmas , Easter , Good Friday and a festival called ‘ Asonketung’.

Celebrating Ngada festival Source: www.pinterest.com

Celebrating Ngada festival Source: Wachulo Jemu’s photo collection

SHELTER AND PERSONAL SPACE In the past the houses in Rengma village are built facing any direction. Everything depends on nature of the site, a man merely builds his house in line with his next door neighbour. Warmth and just sufficient room for himself , hos family and his belongings were all that was required. The only materials used in building the traditional houses were wooden posts, bamboo and thatch. No nails were used, and everything was tied in position with thongs of cane or bamboo. A traditional western Rengma house was about 24 feet long , 20 feet broad in the fornt and 16 in the back. Usually the only door is the front , but some houses have back door , to escape in case of raiders got into the village.the front door opens into an outer room, in which are kept the pounding table, baskets , hoes and odds and ends of every kind. In the main living room there is a fire with a bamboo rack on top on which were put spoons and forks that are continually in demand, salt and chillies that have to be kept dryand other small things that are constantly in use. Below the rack a few bits of meat are usually hanging in the smoke. On the floor there are little wooden seats for the guests. The dishes and spoons hang from pegs stuck into the bamboo walls in which one could also find spindles, combs, bird traps and other small objects. Clothes and baskets hangs from cane loops.spears were stuck in the ground near the main post and the â&#x20AC;&#x2DC;daosâ&#x20AC;&#x2122; lie about or lean against the wall. For the purpose of storing rice grains each household has smaller outhouses , made of thatched roofs and on a raised platform. Usually dogs , pigs , rabbits , hens are found in most of the households . At present some of these most features inside

the house still exists and so does indigenous utensils and ways to cooking. Cemented houses , tin roofs , washing machines , televisions, mobile phones and other appliances have made their way in the Naga households like anywhere else.

Source ; The rengma nagas , JP Mills , 1937 Rich manâ&#x20AC;&#x2122;s house

Houses in Tesophenyu village. October 2013

OCCUPATION Agriculture is the main occupation of the Rengma Nagas. They practices Jhumming. They grow rice, maize, cotton, chillies, ginger etc and very good at horticulture. Women are expert weavers. They dye yarn by collecting materials from forests. Two other cottage industries are blacksmith and manufacturing cane and bamboo goods. Their festivals are associated with agriculture. Nyada is celebrated in early part of December. This is to mark the end of the agricultural years. It

lasts for eight days. At the beginning of the month of January ‘Pi Pe’ is celebrated to get rid of all evils of the preceding year and lasts for three days. ‘Lotsung Nga’ is observed with the clearing of burnt woods from the Jhum lands. The first harvesting of the ripening paddy is celebrated with ‘Khong Kepang Kennyu’.

A group of men during cultivation. Source: JP Mills, 1930

FOOD The staple food for Rengma is rice. ordinarily all the food is eaten with hands. Nowadays ofcourse they have spoons and forks. And the food is eaten from a peculiar looking vessel , which looks like a huge chalice more flattened on the top. The use of hearth fire is still very prevalent in households to cook food, and the traditional earthenware pots are used as it better suits the method. Meat or animal protein is an integral part of any meal for the Rengma. They eat most kinds of animals found in their surrounding environment ranging from chicken, pork, beef, goats,rabbits, deers, birds, fishes and also different kinds of small worms and

snails etc,. Often one can find small animals and birds hanging over the fire to be smoked. The use of pickle from Garlic and the hot Naga Chilli is almost mandatory with any meal. The most common drink is rice- beer, which is a wonderful reviver on a hot long mountain climb. Traditionally they used bamboo vessels. There are other fermented alcoholic drinks made from locally available fruits and grains. They usually prepare two main meals during the day and the lunch is eaten early in the morning and dinner just at the time of sun set.

Jemu household; Grandmother and granddaughter in their kitchen; Tesophenyu village. October 2013

RECREATIONAL ACTIVITY The Rengma Nagas are very fond of music and merriment. Rengma songs are like chants of the simplest description and vary according to the occasion. Some are prescribed for people working in the field , some for men and women carrying the harvest, some for dancers or men walking in procession and so on. For each occasion there are one or more chants that may never be varied. Anything in natute of a solo is unknown. Almost everyone is actively engaged in traditional songs and

Family in winter evening, Tesophenyu, 2013

dances especially during their festivals . Usually the evening are characterized by men and women drinking and talking or playing cards. Hunting forms a very integral part in the life of any Naga. Nowadays due to strict rules and regulations it has lost much of its grandeur . But nevertheless one find groups of young boys or men going to hunt together , and usually the game is cooked and shared with great enthusiasm .

CRAFTS

The Rengma naga have a rich tradition of art and craft rooted in a lifestyle that has always been harmony with the environment they live in. Skilled tribal craftsman and artisans have always been the pillars of a tribal society that had, for many centuries, been selfsufficient. They lent their skills to creating items of utility as well those with ritualistic and aesthetic value. To quote Dr. Verrier Elwin; “they have made their own cloth, their won hats and rain-coats; they have prepared their own medicines, their own cooking-vessels, their own substitutes for crockery …. “ Skilled craftsmen were employees to carve splendid village gates, house posts and Morungs in Naga villages. Fine storage baskets, wicker drinking vessels and containers were woven by craftsmen whose skills had been inherited

from generations of skilled craftsmen. It was these craftsmen, weavers and artisans who foraged the forest in search of wood, barks, dyes and other resources that were utilized to carve out fine works of art and weave colorful clothes that distinguished each tribe. The various crafts and art that were known to the early Rengma naga and are still carried out to this day are; 1) Basketry 2) Weaving 3) Woodcarving 4) Pottery 5) Metal work

BASKETRY Naga storage and carry baskets women from fine strips of cane and bamboo are well known and sought after for their utility as well as aesthetic value. The cane baskets are particularly well known for their intricate weaves.. Headgears and mats are also woven

from fine bamboo and cane strips. In the recent years, entrepreneurs have utilized the skills of these craftsmen to weave beautiful cane furniture that are being marketed in the local as well as outside market.

Amaha, baskets to store grains, rice .

Fu , mat

These are used to store eggs, usually hung in the kitchen

Lakhu, multipurpose small containers

khviisshvii, to carry crops from the feilds

Basket under construction

A man making baskets,

Ayishun, to keep cloths

WEAVING Naga women are excellent weavers and the colorful shawls, bags and jackets woven by them are extremely popular. The â&#x20AC;&#x2DC;backstrapâ&#x20AC;&#x2122; or the loin loom is commonly used for weaving, although, in recent years the fly shuttle loom has become popular with the weavers. Each tribe uses distinguishing colors and motifs that are often based on tribal folklore. Earlier, natural dyes extracted from barks, roots and plants were used for dyeing cotton yarn and woven fabrics. In addition, woven cloth was

embellished with beads, cowrie shells and goats hair to denote the wealth and status of the weaver. Body cloth symbolizing Feastgiving and Head-taking added to the variety of clothes woven on the backstrap loom. The art of weaving is still popular amongst the Naga women, especially in the rural areas and the woven products of Nagaland have found its way into the National as well as International marker.

Weaving in backstrap loom Source : The arts and crafts of Nagaland

A spinning party. Source : J.P. Mills

WOODCARVING Rengma naga are excellent woodcarvers. Making using of simple rudimentary tools and implements such as the local dao, hand drill and chisel, skilled craftsmen produce great works of art that local adorn village gates and house posts as well as objects of utility like the common wooden dish. Woodcraft

has now been commercialized and craftsmen have been able to use their traditional skills to generate income for themselves. The Diezephe Craft village in Dimapur District is a good example of a craft concentrated village where the major sourse of income is from woodcraft.

Men craving wood. Source : Naga culture

POTTERY Pottery was known to the early Rengma naga and was mostly done by the womenfolk. The pots made were generally very simple and importance was given to its functional

Earthen pots for storage

value rather than aesthetics. Tseminyu and Ungma village were well known for pottery by aluminum and steel vessels have long replaced the simple clay pots.

Amviighi, earthen pots for storage

Earthen pots , used for cooking

METAL WORK Iron tin and brass were used to produce weapons as well items of utility and ornaments. The western Rengmas are expert smiths, their spearheads and daos are traded over a very large area. To this day, the local dao, spears, chisels, ornaments and other items of utility are still made by local blacksmith whose skills are highly valued in society. In addition, jewellery and beadwork is also popular with local craftsmen. Naga festivals are a testimony to the fascination and love

Men involved in metalcasting

the Naga tribesmen have for art and craft. The color and beauty of the traditional attires symbolize the wealth and status of the wearer as well as the skill of the maker. The abundance of raw material, the splendid environment and the inherent skills of the people have all played a role in generating a rich history of art and craft in Nagaland. The resurgence of art and craft in recent times has enable the traditional craftsman and artisan to earn as he creates.

CLOTHING

J.P . Mills writes in his book in 1936, â&#x20AC;&#x153; the dress of the Rengma Nagas has changed in comparatively recent years. Probably it is not so long since the men throughout the tribe were entirely naked save for a body cloth.. of the women the string of beads now worn round the waist under the skirt was probably the only garment.â&#x20AC;? In my study I tried to draw a relationship between the research materials available from twentieth century researchers and what the present generations has preserved from their ancestors . I would like to mention that

Rengma men attending Hornbill festival. Novemeber 2012

now if one goes in Tsophenyu or Tsimenyu its highly improbable that one would find the local inhabitants in their traditional clothes as the majority of people wear traditional clothing only during the festivals or special occasions. But some traces can been seen in older generation who still adorn some typical ornaments and sometimes even the skirts and shawls.

CONCEPT OF CLOTHING Like in any other culture, the primary function of clothing among Rengmas to improve the comfort of the wearer by providing protection against the elements. Nagaland’s weather being temperate, the purpose of their clothing is to mainly provide protection from sunburns and lower temperatures in winters. Cotton is the most obvious choice for the Rengma Nagas as it is grown abundantly in the region and properties like good absorbency, comfort, colour retention and strength add to the cause. By studying the clothing of the Rengmas one might have a second thought on protection as the primary purpose of clothing. The social context stands equally relevant. Clothing is use for indentification within the group, between groups and for different collective functions. The traditional clothes are highly stratified to indicate the social status, age and gender of the wearer.They follow very strict rules as to, who is to wear, what. There are very specific clothing that determines a man who

has taken a head during a war, or who has offered ‘feasts of merit’ or who has performed the ‘stone dragging’ ceremony. Similarly for girls, the clothing would be an identity of their age and marital status. Sometimes the Rengma villages would also differ a little, in the manner of motifs or number of stripes or introduction of a particular colour, so it was possible to identity the members of a particular village or ‘khel’. The culture is visually reflected in the colours and motifs. Ornaments also play a very important role to depict the status symbol. There is a strong presence of symbolism used in their designs. They help to make statements about, and to define, the identity of individuals and groups. Indeed, their importance is such that ornaments are a part of the definition of being truly human. It is only in the corpse that the ornaments are removed.

RITES OF PASSAGE The right time for Ginning is in the winter, right after harvesting. The cotton must be kept in sunlight for a couple of days. Icha, the eldest lady of the Jemu family demonstated the process of preapration and making of the craft. She is about eighty years old now. During the time, when she was younger, she used to do everyrthing starting from ginning, spinning, weaving and make all the clothes for the family. While now her daughter-in-law , can only weave the cloth and did not knew how to do ginning or spinning, as they now always purchase the dyed yarns from the market. The traditions related to making of the craft were transmitted orally from the elder female members to the younger ones. The younger ones learn by seeing the older women. The girls often in olden days used to go to a rich man’s house sit in the corridor, and would spin the cotton, and would sing folk songs while doing so. A regnma girl is first clad in nothing and then a string of beads. Sometimes before the first signs of puberty appears she assumes a narrow skirt about eighteen inches deep (‘nya tasingu’ or ‘amenyi akhuki) , the top third of which is grey and the bottom two-thirds dark blue with very narrow red bands. This must be put on for the first time in the morning . at the first sign of puberty she wears an outer skirt (‘nya ‘ or ‘kekhalong’ ) which is lengthened as

she grows older. It is twenty-two to twenty-six inches deep and is tightly bound around the waist. It is dark blue with very thin red lines and a white median band five inches broad in the middle. If the husband of the wearer had done the mithan sacrifice, the edges of the white band are embroidered in red. In the past the women used to wear nothing on the upper part of the body while working in the fields but the staring eyes of the Gurkhalis in the past have caused the women in Tseminyu and Tesophenyu , to wear a square of blue bazaar muslin (‘sudung ‘ or ‘khukhongsha’ ) crossed over the body and tied on each shoulder. n the olden days the men put on ‘lengta’ at the time of marriage. This was a dark blue cloth about 4 inches wide with a thin red stripe, rolled and tied around the waist and hanging down a flap 12 inches long in the front. A man who has killed a tiger is allowed to have 3 circles of cowries ( which symbolizes the tiger’s eyes) on the outer flap. In Tsimenyu and often in Tesophenyu a strip of blue muslin (‘pechenyu nya’-male covering ) is tied to a belt behind and brought between the legs and over it to form a flap in the front. It is considered unlucky for a boy to put on a ‘lengta’ the first time in the evening. His father or elder brother puts it on him for the first time in the morning.

TRADITIONAL CLOTHING OF RENGMA MEN Men’s body cloth (‘pi’ / ‘atsü’) are of various patterns and their differences are important as being indicative of status and prowess of the wearer. In the olden days the men put on ‘lengta’ at the time of marriage. This was a dark blue cloth about 4 inches wide with a thin red stripe, rolled and tied around the waist and hanging down a flap 12 inches long in the front. A man who has killed a tiger is allowed to have 3 circles of cowries ( which symbolizes

the tiger’s eyes) on the outer flap. In Tsimenyu and often in Tesophenyu a strip of blue muslin (‘pechenyu nya’-male covering ) is tied to a belt behind and brought between the legs and over it to form a flap in the front. It is considered unlucky for a boy to put on a ‘lengta’ the first time in the evening. His father or elder brother puts it on him for the first time in the morning. For methord of wearing please refer to page 72.

Western Rengmas in full dress Source: The Rengma Nagas, JP Mills, 1930.

A man wearing the full costume with adornments , 2013

Rhikha/Ahaikha

A view from all sides , man wearing the Rhikha/Ahaikha

The cloth that the man wears who has given no feasts of merit and has never taken a head is called â&#x20AC;&#x2DC;Rhikha/Ahaikha â&#x20AC;&#x2DC;. It is white, with 4 narrow black bands. This is worn by old and young alike, the only difference being that a boy will wear one of 2 or 3 bands, according to his size. If he puts on a cloth with the full number of 4 bands he may never wear one with lesser number.

Draping techniques of Rhikha/Ahaikha

Pi mhüng/ Moyet tsü

A man wearing the Pi mhüng/ Moyet tsü

Another cloth for which no ceremonies are required is called ‘pi mhüng’ or ‘moyet tsü’. This is regarded as essentially a young man’s cloth. It’s a dark blue cloth with a very broad white median band embroidered with a zigzag pattern in red, at the edges. The difference from Rikha is that in the number of stripes and the manner of draping.

Motifs on the border of Pi mhüng/ Moyet tsü

Zonyu pi / Alung tsü’/ Kethi tsü / Jonyuphi

A view from all sides , man wearing the Jonyuphi

Then there are clothes permitted to the givers of feasts of merits. The first is called ‘zonyu pi ‘ or ‘alung tsü’ or ‘kethi tsü’ and is the cloth that an ordinary well to do man wears. Curiously enough the cloth means ‘stone cloth’ it is worn by the men who have not yet attained to the great feasts of merit by the setting up of monoliths. It is dark blue with four narrow red bands at the top and bottom and four white broader median bands. The top median band may or may not be embroidered with a zigzag pattern in red. This cloth can be assumed after ‘kethi’ Feast of Merit.

Motifs and the repeats in Jonyuphi

To perform the very expensive stone dragging ceremony entitles a man of the northen village to wear a cloth called â&#x20AC;&#x2DC;akha haiyaâ&#x20AC;&#x2122; . this is rarely seen , and is exactly like the stone cloth except that the middle median bands are embroidered with a lozenge pattern in red.

Variations of Jonyuphi

These shawls are taboo to worn by ordinary persons wo have not performed the requisites of feasts of merit. Traditionally these weavers should remain holy by abstaining from physical relations with male members.

Phimhun ‘Phimhun’ is a shawl worn only by males of all ages. It is forbidden for females to wear it. while wearing it the white stripe along the middle white portion should be kept on the upper side of the shawl. It is also forbidden to wear the small white stripe bordering the middle white portion in the bottom side. It is said that a boy who wear the shawl upside down will marry a married woman as his wife.

Phimhun Source :Rengma Traditional dresses and attires

Phusenphi ‘Phusenphi’ also called ‘anyithsu’ is worn by a virgin boy. To wear this shawl a boy must keep himself away from having sexual relations.

Phusenphi Source :Rengma Traditional dresses and attires

Phimhun / Pvuzathsü

‘phimhun’ / ‘pvuzathsu’ is a common shawl usually worn by young males.

Phimhun / Pvuzathsü Source :Rengma Traditional dresses and attires

Chonyuphi ‘chonyuphi’ is a shawl worn by males only who have performed series of rites along with the community feast. There are female ‘chonyuphi’ as well for all those who have performed similar rites. Chonyuphi Source :Rengma Traditional dresses and attires

‘südaphi’ is worn by both the sexes , which is a variation of ‘chonyuphi’.

Jvudaphi’

‘südaphi’ Source :Rengma Traditional dresses and attires

‘jvudaphi’ is worn by the wife and husband only who have performed series of rites by performing feast of merit. The last such rites is by pulling the memorial stone in which the entire villagers participate and erect the stone in the village. The wife and husband who have performed up to the rites of pulling stone and erecting it , will have their houses pointed at a 45 degree triangle in front side of their rooftop. By looking at their house the people can understand their social status. They command respect from all. Jvudaphi Source :Rengma Traditional dresses and attires

Arrhi hu pi/ anikezu tsü’ To perform the head taking ceremony entitles a western Rengma to wear a cloth exactly like the young man’s cloth (‘pi mhung ‘ or ‘moyet tsü’ ), save that the white median band is replaced by one, and sometimes two elaborately painted in black. This cloth is called ‘arrhi hu pi’ (enemies teeth cloth) or ‘anikezu tsü’ (sap painted cloth). The pattern on this band is traditional and is regarded as representing decapitated men interspersed with men who have taken their heads. If a man killed a tiger or an elephant similar symbolic pictures were painted on the cloths. J.P.Mills mentions – “ on a cloth I obtained in 1931 the lower band was decorated as follows taking the objects from left to right : a warrior’s tail; tiger’s eyes, a cow elephant, a bull elephant, tiger’s eyes, a tiger , a domestic mithan, a wild mithan, tiger’s eyes , a bear , a sambhur, tiger’s eyes, a warrior’s “ tail “, “a very bad man whose head has been cut off” and underneath , a python swallowing a barking deer. On another cloth I have seen the rescue of a moan from the tiger by the

wearer”. To acquire the honour of wearing a ‘teri phiketsu’ , another Rengma cloth, performance of the head taking ceremony is considered essential. The cloth is exactly like ‘moyet tsü’ except the median white band is replaced by one band elaborately painted in black. This cloth is woven specially for the warriors of distinction who has brought trophies of human head to the village. In order to throw some light on the significance of the shawl, it is felt useful to describe something about the circumstances under which this is woven.

Arrhi hu pi shawl

The pattern on the Arrhi hu pi shawl Source : The arts and crafts of Nagaland, Govt. of Nagaland

Arrhi hu pi shawl

BELIEFS AND TRADITIONS According to the belief, it is held that , when the warrior come home with the trophies he is to stay in Morung for three days. Early morning on the third day he would suspend the trophies on a genna tree with split bamboo by piercing the ears. While doing this he should be careful that no saliva or tear is dropped on the trophy. Also the rope made of split bamboo which suspends the head should not break within fifteen days. While suspending the trophy the whole male population of the village , led by the warriors in order of merit , go to the place yelling war cry. The leader says ‘pfutselu’ meaning ‘like this’ while the crowd responds “hon male”“we will do this way” and thus the trophy is suspended ceremoniously. Soon after the ceremony is over, the crowd disperses. Then thirty baskets of paddy will be contributed by each person from among the group who actually went to the war. If one person fails to contribute his share then other person does it in his behalf (he the defaulter) will become the slave or servant of the man who contributes for him. This contribution of the paddy will then be used for the great feast which is called ‘ruchuven keho’ in which, only pork will be used with salt and without any other condiments or spices. All the heads of the pigs so killed for the great feast shall be given to the man (leader) who performed the ceremony on the ‘gena tree’ (‘rupebin ‘). In the feast, the warrior shall be given the biggest piece of pork measuring the span of the man’s thumb and middle finger stretch. This will continue for fifteen days from the day

of arrival of the warriors. During this period , neither the warriors nor the members of his party shall eat rice or other thing except ‘zunye’ (rice beer) and pork. Any person who doesnot follow this is cound to become very poor or insane. On completion of this ceremony that is after fifteen days, the wife of the warrior starts to weave this cloth while the smartest man in the village is sent to collect sap and other materials necessary for painting the white median band of the cloth. As a matter of fact, the whole history of the war was painted in the cloth. The prominent paintings on the white band symbolize the soldiers. Three or four inconspicuous heads are painted at intervals to distinguish the leaders from the captains from the soldiers. The three lines of black thread about five centimeters long on the either side of the soldiers and leaders indicate the arrows. The figures in the middle of each soldier represent the spoon. A warrior cant eat with his hands, but should use a wooden spoon, so that the blood of the enemy is not washed away. It is believed if he doesn’t do so, then he will become a coward in life thereafter. Just below the representation of the spoon, there is a straight line in each of the painting to denote the bridge which a a warrior uses to come across into the area of the enemy after the gate in shut and how to come out over the same bridge with the trophy. The zigzag painting on the lower side of the median white band is the symbolic representation of the sentry posts on which the soldiers keep guard.

TRADITIONAL CLOTHING OF RENGMA WOMEN The western Rengma women wears a skirt , an underskirt , a body-cloth and sometimes an additional breast cloth. Dr. Brown, writing when in the Rengma country was in the process of being annexed , describes the women of Tseminyu “women are seen to-day in passing through the village of Tseminyu . they are dressed similarly to the Angami Naga women; but scarcely wear their clothes so modestly ; ythe common striped cotton sheet

is used as a skirt from the waist downwards. The usual loose sheet is over the upper part of the body, which they don’t seem to be so careful in covering sa the Angamis , the breast being frequently left quite bare. The hair is parted in the middle, and gathered over the ears behind with a loose knot, resting on the nape of the neck.” For methord of wearing please refer to page 72-73.

A young married western Rengma Source: The Rengma Nagas, JP Mills, 1930.

Rengma Women during festival. October 2011

Nyamhun/ aminitshu konwo’

A young Rengma girl is full traditional attire

‘Nyamhun’/ ‘ aminitshu konwo’ is a common lower garment of females. It can be worn by females of all ages. Forbidden to be worn by males.

A regnma girl is first clad in nothing and then a string of beads. Sometimes before the first signs of puberty appears she assumes a narrow skirt about eighteen inches deep (‘nya tasingu’ or ‘amenyi akhuki) , the top third of which is grey and the bottom two-thirds dark blue with very narrow red bands. This must be put on for the first time in the morning . at the first sign of puberty she wears an outer skirt (‘nya ‘ or ‘kekhalong’ ) which is lengthened as she grows older. It is twenty-two to twenty-six inches deep and is tightly bound around the waist. It is dark blue with very thin red lines and a white median band five inches broad in the middle. If the husband of the wearer had done the mithan sacrifice, the edges of the white band are embroidered in red. In the past the women used to wear nothing on the upper part of the body while working in the fields but the staring eyes of the Gurkhalis in the past have caused the women in Tseminyu and Tesophenyu , to wear a square of blue bazaar muslin (‘sudung ‘ or ‘khukhongsha’ ) crossed over the body and tied on each shoulder.

sudung/ khukhongsha, the blue muslin

Phirhi/ Ananthsü

A girl wearing Phirhi/ Ananthsü , 2013

Phirhi/ Ananthsü is a common female shawl. Worn by females of all ages. Its a cotton shawl, with thin pink borders and black stripes. It comes in two pieces like every other shawl

Khaho / Atemye anyo kezekiew

A young Rengma girl wearing khaho. 2013

The wives and daughters of men who have done the mithan sacrifice in the series of Feasts of Merit wear a cloth edged top and bottom with cowries between them about four inches in diameter , representing tiger’s eyes. There is often a whorl of red dog’s hair in the middle of each circle , and the wing cases of iridescent beetles (‘ chrysochroa bivittata’ ) may ornament the edges of the cloth . this cloth is called ‘khaho’ or ‘ atemye anyo kezekiew’.

A young Rengma girl wearing Khako Source : The Rengma Naga, JP Mills, 1930

Tesu kekha pi’/ Aho ha tsu These cloths are often worn as outer skirts. But on high days and holidays girls and women who can afford to wear dark blue cloth decorated with lines of cowries and cowries sewn in fours to represent stars. These are called “cowriesewn cloths’ (‘tesu kekha pi’ or’ aho ha tsu’)

Tesükekaphi / Shenyu

A exhibit wearing Tesu kekha pi’/ Aho ha tsu Source :Kohima Museum

Tesükekaphi / Shenyu is a black cloth over which are three rows of embroidered beads. Inside the three stripes, the beads are embroidered like stars, three in each row. This shawl is essentially worn by females.

Tesükekaphi / Shenyu Upper part Source :Rengma Traditional dresses and attires

Ginhunya ‘Ginhunya’ is a common lower garment of females which can be worn by females of all ages without any restrictions. It is forbidden by the males to wear it. the upper wear is of a smaller size and has lesser stripes but is of the same colour. ‘Ginhuphi’ is female upper garment normally worn as a set with the ‘ginhunya ‘.

Ginhunya lower part Source :Rengma Traditional dresses and attires

Ginhunya Upper part Source :Rengma Traditional dresses and attires

Phirhephi Phirhephi is the shawl of females, which has three white bands in the centre of the red borders. It can be worn by females of all ages. Normally it is worn as a set with Phirhenya (the lower garment), it has five white bands in the centre of the red borders.

Phirhephi lower part Source :Rengma Traditional dresses and attires

Phirhephi Upper part Source :Rengma Traditional dresses and attires

Nyateri/ Ataqaimini Source :Rengma Traditional dresses and attires

Nyateri/ Ataqaimini Nyateri/ Ataqaimini is a female lower wear. It is primarily for a female child, normally the first clothes that a baby wears. It is half white and half red.

A exhibit of a woman wearing Rikho’ or ‘Hekho’ Source : Kohima Museum

Rikho/ Hekho Over this a body cloth is worn, usually plain dark blue colour or resembling the man’s cloth called ‘rikho’ or ‘hekho’ , save that each black band must have a line of white threads down in the middle, since only men may wear solid bands.

Zembo hyo/ akhushi owa In wet weather all the Rengmas wear rain shields on their backs. The western Rengma often buy theirs from Angami or Lhota neighbours , but the old pattern , which is still largely worn, consists of merely interlaced palm leaves and is called ‘ zembo hyo’ or ‘ akhushi owa’. This is the only pattern permissible at the rain making ceremony. ‘phirhephi’ is a shawl (upper garment ) of females , which has three white bands in the centre of the red borders . it can be worn by females of all ages. Normally it is worn as a set with ‘phirhenya’ (lower garment), which has five white bands centre of the red borders.

An exhibit wearing the Zembo hyo Source: Kohima Museum

Phikezu ‘Chonpophi / asukhuthsu’ is a shawl white in colour worn mostly by the poor people . this shawl is used as a night blanket and the thread is quite rough. Phikezu Source: Rengma Naga Traditional Dresses and Attires

METHORD OF WEARING

The peice of fabric is usually rectangular.

One side is draped from over the left shoulder

The other side is pulled over the right shoulder to allow movement of arm

Steps involved in wearing menâ&#x20AC;&#x2122;s traditional costume

The peice of fabric is usually rectangular and held under the left arm

The second step involves sliding the fabric under left arm

Steps involved in wearing womenâ&#x20AC;&#x2122;s inner upper wear

The ends of the fabric are tied into a knot at the top and bottom

The peice of fabric is usually rectangular.

The left side of the peice is turned towards the body

The right side is folded towards the body and both sides tucked at waist

Steps involved in wearing womenâ&#x20AC;&#x2122;s lower wear

The peice of fabric is usually rectangular.

One side is draped from over the right shoulder

Steps involved in wearing womenâ&#x20AC;&#x2122;s upper wear

The other side is pulled over the left shoulder to allow movement of arm

SCALE

The shawls and skirts do not have any standard size. Depending on the size of the individual wearer, the size and the designs are adjusted. There are always slight differences in the size of every piece of cloth. The length of the warp of cloth is adjusted from an already woven piece. The average length of a man’s shawl is 1.8 metres while that of the breadth measures

a little over 1 metre. In case of the woman’s shawl, the average length is 13 cm shorter and 15cm narrower than that of a man’s shawl. It goes without saying that the children’s shawl is much smaller. Individual variation of the size of the skirt is also very common. The average length and breadth of a skirt measures 1.5 metres and 1.0 metre respectively.

100 cms

150 cms

Approximate measurement of a woman’s skirt

100 cms

180 cms

Approximate measurement of a man’s shawl

85 cms

167 cms

Approximate measurement of a woman’s shawl

ORNAMENTS Traditionally the Rengma would be found wearing a couple of strings of beads and ivory armlets, if he possesses them for everyday use. Nevertheless he had plenty and could put on when full dress can was worn. In a full dress a man who has taken a head may wear on his chest a curious ornament known as “enemy’s teeth” ‘arrhi hÜ’ or ‘ayi ha’. This is a narrow slate of wood with cowries representing the teeth interwoven red cane and yellow orchid shin in the middle representing the open mouth and a tuft of red goat hair at either end representing the blood pouring from the lips. The most popular flower for hair is a wild white scented lily known as ‘toghu tÜghotung’ (crows shell beads) or asha’a (shell beads).

A man wearing Niyeng/ athangyi , 2013

Niyeng/ athangyi

The commonest ear ornaments are small spiral brass from which a red tassel dangles (‘niyeng’ or ‘athangyi’ ) worn in the lobe..A man who has taken a head may wear long scarlet goats hair ear ornaments ‘mpeng gerashu’ or ‘ awungthayi’ .

A man wearing obsolete helmet . Source ; The rengma nagas , JP Mills , 1937

Phirun Source: www.pinterest.com

Among the western Rengmas the bear’s hair wig ‘tegwenvÜ’ ; ‘temÜkhÜ’ used to be worn only by a man who had done the head taking genna. Now, however any man can wear it. It is precisely the same as worn by the other Naga tribes. Only a warrior however can add hornbill feathers to it ‘gÜ nyong’ or ‘aowa anu’. These are always three in number and held in place by bamboo supports loosely inserted into the quill, so that the feathers turn in the wind.

In olden days raw hide helmets (‘ntse’ or ‘akhuhe’) ornamented in the front with a pair of horns cut from hornbill’s beak and fringed with red goat hair and black human hair used to be worn, but they have become completely obsolete in earlier twentieth century.

Adornments for the neck, male and female

Beads vary according to the taste of the wearer. Cylindrical conch shell beads are also popular. To all the shell ornaments certain taboos are attached . There exists a very valuable yellow beads known as ‘ deo moni’ (in Assamese ) or ‘ tÜpung ‘ or ‘mezetsÜ and are not that common . Necklaces made from the seeds of wild banana are sometimes worn by both men and women and the women sometime use this as a waistband into which they tuck their inner skirts.

Teropin/ Akwisa used as bangles

Kontyu/ Asukhon used as wristbands

Khurhun / Asukhu

The human hair tails that are worn are of Sema pattern are often brought from that tribe. The straight tail can be worn by any man ‘ khringrung ‘ or ‘ asÜ khu’ while the long curved tail ‘ gu chete khi’ or ‘achangtha ‘ sÜ khÜ ‘ can be only worn by a man who has done the head taking ‘genna’ or have performed a full series of feasts of merits.

Khurhun / Asukhu

Kerha

The tail of either pattern is suspended from one baldrick ‘ khirha’ or ‘asÜ khuli’ or sometimes from two crossed over the chest. This ornament is one of the very few that the Rengmas have not borrowed from neighbours. It is white about four inches broad, with a zigzag pattern in red embroidered on it. When the wearer had taken a head a fringe of red hair was added to the bottom of the edge.

Nyakeka / Ghazukheghe

Details of embellisments on Nyakeka / Ghazukheghe

Nyakeka / Ghazukheghe are the cowrie aprons are worn with the full dress. A man who has got a first spear at the tiger killing has three small circles of cowries “tiger’s eyes” on the black cloth on the top of his apron.

Tesusenkephin / Keshukekhon, belt.

Phakeju/ Achukekhon

Jenku/ Alichen , used to keep weapon.

Benekeju/ Akwekekhan

Tesusenkephin / Keshukekhon, belt.

THE MAKING OF THE CRAFT

GINNING

SPINNING

Spinning like dyeing and weaving is performed by the women. The usual process of spinning is rather primitive and a few simple tools are used in the whole process. The cotton is cleaned off its deeds ny being rolled on a flat stone with a short stick used like a rolling pin. The cotton is cleaned off its seeds by rolling on a flat stone with a short stick used like a rolling pin. The work of seed cleaning is a tedious process which generally falls to the lot of old women. The cotton having been ginned or cleaned off its seeds , is carded by being flicked with a small sized bow. The clean cotton is generally rolled by hand with help of a round stick over a flat stone or plank into sausages like slivers about 20cms long, after which it is to be spun into threads. The right time to do this is in winter, after harvesting, and the cotton has to be kept in the sun for long.

The spindle consists of a pin of a bamboo stick about 22cms long tapering to a fine point at the top and about the thickness of a pencil at the thickest point near the bottom. Just above the thickest point is fixed a whorl made of black stone. This is made by rubbing the other stones till its flat and round. To make the hole in the middle a man holds it between his hands till the spear goes through. The narrow end of the pin shaped bamboo piece passes through the bore and is fitted at about 5 cm from the thick end. To spin, a woman sits with her skirt pulled up to the top of her thigh and tucked in between her legs. She then wets the spindle with her tongue and places the lower end of the spindle in a container, and spins it clock-wise with a rotating motion with her right hand against her right thigh. The sausage of cotton is held in the left hand and at the end of it laid against the wetted tip of the spindle till it catches and the thread begins to form. When about a yard has been spun or in other words when the left hand is fully stretched it is unwound from the top of the spindle and rewound just above the stone whorl.

The process of ginning , step by step

The process of spinning

Filaments of cotton

The spindle is then worked as before, the cotton being held in left hand and the thread accumulates above the whorl till the spindle becomes full; should the thread break in spinning , a quick twist of broken ends between thumb and finger soon mends it. To make the thigh of the operator slippery and to make the rotation of the spindle easy , white powder is applied on the thigh at the beginning and at intervals. The wound yarn attains a elongated conical cake shape on the spindle, and skeins are made by winding off on a bamboo or wooden frame shaped like double T and another spindle is begun till the T frame is full. To wind the yarns into the skeins, the T shaped tool is held in the right hand by the upright bamboo and by the left hand the yarn is taken on the on the upper and the lower cross bars

of T in crosswise directions making a cross on the both sides of the upright bamboo. The T tool is moved in this process by the right hand to quicken the operation. When it is full or the skein becomes of a convenient size , the two cross bars are pulled out and the skins taken off. For starching the yarn, the skeins are first damped with cold water and pounded vigorously on a wooden board with rice powder or a bamboo with root portion cut level and next it is soaked in hot rice water for about ten to twenty minutes. The skeins are then strung on a rod and dried in the sun, being jerked at intervals to get rid of excessive flour. When the skeins are dried thoroughly , the woman winds the thread into balls ready for weaving.

The process of dyeing

DYEING In case of the yarn to be dyed, the dyeing process takes place after the yarn is transferred into skeins. The indigenous colours are, in recent years , fading away and replaced by chemical colours. Further the availability of the coloured thread in the market does not produce the necessity of producing old indigenous colours. The Nagas use dark blue, red , black and rarely yellow dye. All the threads are dyed while in the skein. The blue used varies from light blue to dark blue to about black according to the strength of the dye used. Blue dye is obtained from the leaves of the ‘strobilanthes flaccidifolius’. This is a universal Naga dye. The leaves growing in dark produce a colour approaching black while those in the open sun produce a lighter blue , both are used in different stages of dyeing. Most common methord among the Rengmas is to thoroughly boil the leaves and a thick layer of them is put at the bottom of the pot. Over them are put the skeins of the white thread with another layer of leaves on the top. Cold water is poured in and left to soak for another three to four days.

It is then dried and again put in cold water with some fresh leaves and brought to boil. When cool, it is taken out and finally dried. During the dyeing of cloth or thread, traditionally the women must refrain from sexual intercourse and must not eat beef, dog’s flesh , goats flesh , dried fish and other food with a strong smell. The indigenous red dye is less used than the blue. The red dye is made from the stem of a creeper called ‘ ghingri’ or ‘ nachakhe’ . The bark is rubbed off and the stem pounded up. To this a leaf called ‘atamui’ is added in order to improve colour . the thread is boiled with the leaf and allowed to dry, and then boiled again. The yellow dye is made from the flowers of a tree called ‘ nikhangi’ or ‘atsonsu’ , which blooms early in spring. The flowers are pounded up and the thread is soaked in water in between layers of them. No boiling is necessary. In the northern villages a root called ‘akhaong’ is mixed to give a deeper colour.

Dyed cotton yarn

WARPING AND WEAVING

Unlike other parts of India , where much of the spinning and weaving is done by men , in Nagaland is the exclusive monopoly of women. Weaving can begin as soon as the first fruits of the new rice has been eaten. The loin loom , is used in widespread. It is one of the oldest loom. These looms are mostly used and found in northeast regions of India and neighbouring countries like China, Bhutan, Burma and also in some south east Asian countries. It is also known as the’ back strap loom’. The loom is very simple and portable in nature as it consist of warp beam attached to two upright posts, a breast beam attached to a back strap, several design sticks, a shed stick, half heddle, a beater in, a temple and shuttle, which are of different dimensions and shapes and uses. These sets of sticks along with the warp, forms the backbone of the loom. The loin loom very intelligently uses only half heddle to lift the alternate warp ends on the warp and the counter shed is induced itself by gravity force due to its inclined position of warp while weaving. The Rengma loom is called ‘ khanü’ or

‘atsükethi’ or ‘atsüketho’. To keep the tension on the warp( düklere or athakheye) the weaver sits with the weaving belt ( ‘düpharhe’ or ‘thaphuni’ or ‘atsükho’) in the small of her back. Each end is then brought round and looped onto the lower rod (‘ tezamvu’ or ‘akennam’ or ‘akenno’ round which the warp lies. The weft ( ‘dükhampha’ or ‘athakhethi’ ) is carried on a simple shuttle (‘düpchüa’ or ‘anongsti’ or ‘atsüto’ ) which the woman shoots backwards and forwards as the heddle( ‘dünyü’ or ‘ala’ or ‘arna’) is raised every alternate pick. After each passing of the shuttle the weft is beaten up with the sword (‘düche’ or ‘athachü’ or ‘athachi’) which is inserted in the next pick and turned on edge to increase the shed. The lease rod is called ‘düpung’ or ‘arphu’ and the shed stick, ‘ khekhingvu’ or ‘ashenno’. A loom is typically a woman’s possession that a man may not step over or touch one. Lengths of woven cloths are cut to the right length with the bamboo knives ( ‘ginüyi’ or ‘ashahi’ or ‘anutsa’) , it being absolutely forbidden to use a ‘dao’ for this purpose. They are sewn together .

A woman warping the yarn

THE PROCESS OF WEAVING To start with the weaving , the weaver grasps the lease rod together with the heald stick and move up and down the warp, the lease rod and the heald stick smoothly workable. For the interlacement of the yarns, the warp has to be divided into two layers forming a shed of healds , this shedding is done by inserting the beating sword along with the lease rod and then along with the heald string , the tension in the warp is loosened by bending forward and when the shed is formed, the loom is once again stretched taunt before throwing the shuttle through the two layers of the warp. At this stage the warp yarns 1, 3, 5 form the upper layer and 2, 4 , 6 form the lower layer. The sword is again turned to its edge and the shuttle is thrown alternately from left to right sides. The sword is first inserted by the shed of the lease-rod and secondly by the lifting of the heald string. The heald string is lifted by lifting the heald stick with the thumb of the left hand. This process continues till about 20cm of the cloth is woven. At this point , after loosening the tension the woven cloth is pulled down towards the weaverâ&#x20AC;&#x2122;s beam by holding the two ends of the sword and thus

the woven cloth moves below the loom. Now the heald stick, lease rod and extra warp beam are adjusted to the original position. At the time of weaving the warps are spread apart at the extra warp beam and thus the uniformity of the breadth of the cloth is maintained. When the whole of the warp is woven leaving about 14cms, it is cut ot from the middle of this unwoven yarn by a bamboo knife. This unwoven yarn later forms the fringes of the cloth. It takes nearly 10 hours for an expert weaver to complete the plain strip or in other words 30 hours are required to weave a complete cloth. Weaving of fabric with more elaborative patterns takes double or more time depending on the design. The designing is mostly using different colours of warp at different stages or by extra weft weaving methord. For extra weft weaving , the warp yarns are lifted by a bamboo stick with fingers of the left hand while by the right hand the thread is passed through the shed so formed as per the design. Often different stripes are woven separately and then stitched together.

Weaving process

TOOLS USED

Tools used for weaving

The back strap for the loom

Tools used for spinning

Cleaned cotton, after ginning

Modifications of the traditional loom

The loom

THE DESIGN LANGUAGE Although external influences are evident in colours and designs , yet the fabric still retain their own unique charm. A majority of design show a very geometric pattern, there are no curvilinear design in their weaving. The designs vary from formal arrangement of lines to elaborate patterns of diamond and lozenge shapes. With the gradual break- up of Naga textile traditions, some of the designs are becoming a little fancy, their simplicity disturbed by addition of other ornamental motifs. The simple and straight forward lines, stripes, squares and bands are the most traditional design motifs, their escape from monotony being effected by varying their size, colour and arrangement. Colours and combinations are chosen expertly and are elegant and bold. Usually one can find, red, blue , black and at times yellow. The horizontal stripes and bands on skirt and

shawls are designed keeping in mind the directional drape on the body. The shawls range from a very simple white cloth which can be worn by anybody without restriction. A plain dark blue cloth is another cloth that is very popular among all old men and women. When the white cloth becomes old and dirty they used to dye it black. Being a warrior tribe, the motif directory of the Rengma Nagas constitute of geometric abstraction of nature ; animals slaying; defeating of enemy, raid; head hunting traditions etc. In recent years a great number of objects have been added to the designs and has also resulted in loss of several authentic motifs. What is truly remarkable is the how the identity of a person was easily depicted, in the way of dressing and the indigenous and impeccable sense of balance in their designs.

Geometric patterns on Shawls

CONCLUSION PRESENT CONDITION & GOVERNMENT INITIATIVES The Naga people are faced today by an unprecedented evolutionary crisis in their history. They have been awakened from their century old slumber. The changes initiated by the government and the people, a new religion that is Christianity, an ordered administration, the second world war, the recent disturbances and the new state government have their varied impact on the vitality of the Naga culture. Its rather unfortunate that , even today , there are a considerable section of people even in India to whom the Nagas mean nothing else than the head-hunting, dense jungle, naked people, feathers and spears and rebellion. Nagaland is changing rapidly like everyone else. Its no longer jungle or naked people. The head hunting traditions have long been obsolete. A visitor can complain about the compassion and kindness being showered, when in Nagaland. â&#x20AC;&#x153;let me hastily assure my old friends, who wanted to keep us as primitive showpieces that we still retain old dances, old customs, picturesque costumes and old folklore. But we do not ignore the new rhythms, new ditties , modern jazz, short-cut costumes, it may lead to nakedness again. The bow is still used, the dao can still be seen, but our skill in using the modern rifles, highly complicated machines cannot be challenged. On our fine developed roads you will find a local youth plying the latest model of vehicals with ease and

dexterity. In the far deep towns of Tuensang , Mokokchung or Kohima the electricity is controlled by the Nagas. At the industrial centres or in agricultural farms , the modern implements are employed to their fullest use by the sons of the soil.â&#x20AC;?- Mr. Hokishe Sema, the finance minister of Nagaland. By the end of the fourth plan , every Naga village will be better equipped. Roads are urging everywhere, even in places which have been so far virtually inaccessible. Bridges are being constructed. The improvement of communications has extended the possibility for new trade. Another important development has been in the field of education. The number of schools and students had significantly risen from the early years of Indian independence. The changes that has been undergoing demand for an extensive psychological adjustments. These changes, again, will effect the code of tribal life, social discipline, the in integrity of the village community , the integrity of the family, the culture and spiritual values, the love of art and aesthetic pleasure. In the long run, the new way of life may lead to the spread of certain social vices which generally accompany urbanization. Studies, therefore, should be taken up to assess the impact of industrialization on the society in order to adjust the welfare programs in consonance and harmony with their way of life.

Improved communications, easy accessibility of markets and free contact with the outside people have led to the import of many manufactured articles. Enamel mugs and plates have replaced the old bamboo and wooden cups and platters which were often skillfully craved. The indigenous earthen pots have been substituted by aluminum pots. Hymns have taken the place of the old songs and dances are being forgotten. The cessation of head-hunting and he gradual disappearance of the various kinds of â&#x20AC;&#x2DC;feasts of meritâ&#x20AC;&#x2122; lead to the decay of Morung Institutions and maintenance of the village gate and for this wooden craving has suffered. The need to weave a particular shawl for a particular class of warrior or rich men is no longer there. As a matter of fact, there are dozens of old shawl designs which are no longer made or woven. Preparation of indigenous dye is no longer needed , because the market is full of cheap colours. In midst of all these changes , it is inevitable that the art of the tribe would naturally decline, but whatever the demands of the changes , the moral and the cultural foundation of the society must be safeguarded, if it is not to be rootless. Otherwise the rich culture of the tribe would be lost, and they would be people with no culture or tradition.

COOPERATIVES The recent years are witnessing a revival of Naga culture. The tradition of weaving is being maintained and more and more designs being discovered. Nearly all Naga women retain their hand-woven dress, there is general appreciation of the original designs of the hand-woven shawls and skirts even among the modern girls. With growing awareness the people are taking a conscious effort in trying to preserve their traditions, by recording their poems, stories, and traditional articles of daily use. There are several household industries, the problem lies in the increasing production and supplying the villagers with necessary tools or raw materials. There are a number of cooperatives and training centers, where carpentry, black smithy, masonry , wood craving along with weaving are being taught and encouraged. I visited Dimapur cooperative, National Handloom and Handicrafts Development Corporation, which was set up in 1979. Their objective is to promote the handloom and handicraft on commercial basis, by enriching the traditional designs to suit contemporary needs. They are the channelizing agent that take the product from the craftsmen, advertise it , find a market and sell it to the customers. Most of the products are outsourced from villages and there are training centers in these villages to help the artisans. This initiative is thus providing jobs to several people in the villages, and helping them to preserve their tradition.

Woman weaving, in Dimapur cooperative.2013.

The products are being sent to their sales emporium (in Kolkata and Delhi ) , expo, several handicrafts fairs across the country and to international trade fairs( Moscow, Germany, UK, Thailand, Singapore, etc) . The popularity of the Hornbill festival has yielded in an increased production. The National Handloom and Handicrafts Development Corporation is trying out new and innovative designs to cater to a wider market, sometimes by changing the material, sometimes by the colour and motifs. Natural materials were originally used, but due to the increased production, they find find it difficult to cope up, hence they are incorporating several synthetic material as well. The commercial wool is sourced from Uttar Pradesh, Haryana, Kashmir and Punjab. While the cotton and silk is locally sourced. For weaving they have several jacquard looms, which are now easily producing a wider and more complicated variety of designs, as compared to the traditional back strap looms.

Woman weaving, in Dimapur cooperative.2013.

Women working in Dimapur cooperative in spinning and stitching. 2013.

ON AN END NOTE It has been seen that among certain tribes wood craving, weaving and personal ornamentation depended largely on headhunting and the giving of the feast of merit. The administration has stopped one, the Christianity in number of places has stopped the other. with that why should they make the splendid hats, decorated spears , shields and certain ornaments which were mainly associated with war, which has ceased already. The people are now earning a good deal of money in road making and building, in portage and by selling their animal and vegetable produce. It is quite natural that they should spend this money on manufactured goods instead on the trouble of making the goods themselves. Plastic ornaments now substitutes for the older ornaments of feathers , bones, seeds etc. Dr.V .Elwin has said about the changes that are taking place inside Nagaland- “and like everyone else the Naga is rapidly changing. This is nothing new; contact with the plains through trade has been continuing for more than hundred years; a new religion; an ordered administration; the two world wars; the recent disturbances has their varied impact, and it does in fact say much about the vitability of the Naga culture that it has not disappeared all together.” New accessibility to the market and improved communications have led to the import of many novelties. Brass or aluminum pots have taken the place of old bamboo vessels for cooking and drinking water, enamel mugs

replace the old bamboo vessels which were decorated with poker work, their wardrobe now mainly consist of western clothes just like any other urban Indian city, the interiors are rapidly changing as well, with the inclusion of electrical appliances at home and for work , the cars and modern vehicles are flooding the roads steadily. But the real changes go much deeper. The fundamental difference has come in shifting the gear of life from war to peace , the cessation of head hunting and the gradual disappearance of the feasts of merit and community life. This has led to unexpected consequences. It is no longer possible to wear some of the finest products of Naga textile art for these depended in success in war or generosity in feasting. Wood craving has suffered for the same reason. Moreover the artisans involved have other demanding occupations to tend to, and no longer can devote enough time to the crafts. The architecture of the houses have changed , for certain features could only be added by families who have earned the right to do so. The maintenance of ‘Morung’ is no longer an urgency now that there is no need to keep a guard as always on duty. Conversion to Christianity has made other changes. The stress on personal salvation has introduced a new individualism in place of the former community spirit. Hymns have taken the place of old songs, many dances that celebrated head hunting raids now stand obsolete.

Children hurdling outside in Tesophenyu, 2013.

Among the newly educated , is as all over the world similar circumstances, a turning away from the land, adopting a western lifestyle, reluctance to work with oneâ&#x20AC;&#x2122;s own hands and the desire for the white collar jobs. In some ways however the last few years have witnessed the revival of Naga culture. People have finally started to realize their loss and are starting to take steps to conserve what is remaining from their tradition. Most of the families retain their hand woven clothes and traditional ornaments. Tourism is playing a big role in this preservation of

Naga culture. With the Hornbill festival , thousands of tourists, researchers, scholars are visiting Nagaland and showing interest in their original culture and traditional way of life, which has evoked a sense of pride in the Nagas about their history and traditions. Their innate sense of beauty , their aesthetic sensibility, their taste , own self reliance will probably maintain their tradition of weaving and other crafts and the old life on the hillside, in the forest or by the mountain stream , which was a good life will continue and the stories will survive but new vigour.

BIBLIOGRAPHY Books: • • • • • •

Naga Institute of Art and Culture, Government of Nagaland, Kohima. The arts and crafts of Nagaland. 1st edition. 2002 Nagaland Handloom and Handicrafts Development Corporation Ltd. The arts of Crafts, a contemporary design collection. 1st edition. 2005. Council of Rengma Baptist Churches, Tseminyu. Rengma Nyu Phi Nyu Lo Ronye Dan ( Rengma Naga traditional dress and attires). 1st edition 2009. James P Mills and A Ao (eds) The Rengma Nagas .4 th edition. 1986. Julian Jacobs, Alan Macfarlane, Sarah Harrison, Anita Herle, published by Thames and Hudson, Hill people of northeast India The Nagas.1 st Edition, 1990. Shanchuila Ramung, Head hunting Nagas published by India Research Press, !st edition, 2011.

Research papers : Archives of Directorate of Art and Culture Archives Branch, Kohima, Nagaland . Newspaper Articles on the Internet: Sawathang Kez-Seb. Saga Of Rengma Nagas Of Assam, http://www.morungexpress.com/people-life-etc/97754.html Rengma Nagas. http://www.indianetzone.com/51/rengma_tribes.htm Internet: Dixit Neha, The warrior tribes of Nagaland. Goodtimes.ndtv.com. http://goodtimes.ndtv.com/ Ndtv-Show-Special.aspx?ID=259 People of nagaland. http://www.webindia123.com/nagaland/PEOPLE/PEOPLES.HTM Rengma Nagas. Wikipedia. http://en.wikipedia.org/wiki/Rengma_Naga Tribes of India. http://tacgc.com/rengmanagaTribe.html Festivals of Rengma Nagas. http://www.nagaland.nic.in/profile/festivals/rengma.htm