Textiles in Tangkhul Community

Beyond their utilitarian function, garments transcend mere protection, embodying intricate designs and symbolic values that convey and communicate identity, both individual and communal. Clothing serves as a marker of tribal affiliation and signifies the occasions of rites, ritual ceremonies, and seasonal changes. In Tangkhul culture, the art of weaving is traditionally practiced by every woman, with no restrictions confining the creation of specific textiles to particular lineages or geographic areas. This communal engagement in weaving underscores its significance as a cultural and social practice, reflecting the shared heritage and collective identity of the Tangkhul community.

The following information is credited to Dr. Sinalei Khayi (former Convenor of the Shanvai-Chonvai Committee) from her 1997 thesis, Arts and Crafts of the Tangkhuls: A Study in Their Cultural Significance, and to Ngalangzar Rimai from Documentation of Kabvongram Traditional Attires.

Kashan

Traditionally, women’s wrap skirts, known as kashans, were knee-length to enhance mobility and fulfill the practical requirements of daily life. However, with the advent of Christianity and the associated emphasis on modesty, the length and usage of these sarongs underwent significant changes, particularly in rituals related to death and festivals. Today, kashans continue to evolve in both form and function.

Seichang Kashan

Seichang is a highly esteemed kashan, worn by the wives and daughters of noble lineage who held the titles of Achon Kharar (Elder Sister). The motifs woven into these kashans signify wealth, pride, and royalty, distinguishing them from those worn by commoners.

Phangyai Kashan

Named after the goddess of wealth, Phunghui, Phangyai kashan is characterized by a red and thin black pattern running parallel with a white band in the middle, adorned with intricate woven designs.

Kamo Kashan

Kamo Kashan originate from the southern and eastern Tangkhul region. The uniqueness of this Kashan is that the motifs on the white mid-band vary, reflecting the characteristics of each village in the region.

Zingtai Kashan

Zingtai Kashan is one of the many cloths created by Mansingla of Zingtai Village in Tangkhul Khaorui area. It is believed that the fairy, Ayi Leimava taught Mansingla the art of weaving and the different motifs and patterns.

Luingamla Kashan

The “Luingamla Kashan” is a sarong dedicated to Luingamla, a young girl from Ngainga village who was tragically killed on January 24, 1986. She was shot by the Indian army inside her home during a combing operation on the eve of India’s Republic Day after raising an alarm to stop an attempted rape. The design of this sarong is inspired by and rearranged from traditional Tangkhul patterns. It represents an act of brutality, the vibrant spirit of the young girl, and a call for justice. The pattern is geometric, semi-abstract, and predominantly red.

Rose kashan

Rose kashan is a sarong designed in remembrance of Rose Ningshen, a 19-year-old girl from Kumram village. On March 4, 1974, during a military operation in Grihang and Kumram villages, she was raped by members of the Indian army. Devastated by the trauma and humiliation, Rose took her own life on March 6, 1974. This sarong features a prominent design of Uri-Ura Makha (Ura Ngakha) and rashim, along with patches of chamva phor, symbolizing her story. The signature of the rose Kashan is the long twisted thread hanging down. It was to symbolise how Rose’s died.

Kachon

The Kachon, a traditional shawl worn by both women and men, serves as a versatile garment that transcends its practical use for various activities. For women, it often complemented ceremonial attire, while men used it for both casual and formal occasions. Over time, the Kachon has maintained its cultural significance, adapting to modern influences while still retaining its original purpose in rituals and festivals. Today, it is valued for its ability to blend tradition with contemporary style, making it a symbol of identity and heritage.

Chonkhom

The name is derived from the word, chon – cloth and khom – collection of all flora and fauna observed in the local ecosystem. Chonkhom is a meritorious shawl traditionally worn by men, particularly designed for the youth.

Raivat

The Raivat shawl is significantly an exclusive attire for the warriors. Embroidered with motifs of elephants, horses, and celestial bodies, the Raivat symbolizes the prestigious social status of the wearer. Today, it is often incorporated into the bridal march to the in-laws’ house.

Haorā

The Haorā shawl is a significant garment for men and heads of families. The name means the loom of the Hao people (tangkhul).

Luirim

The Luirim shawl is one of the oldest known shawls of the Tangkhul people. It comes in three design – a seven panel Luirim, a five panel Luirim and three panel luirim. Each cloth gives different meanings and significance to the wearer.

Accessories

Traditional accessories hold deep cultural significance, complementing attire and expressing identity. For women, items like woven belts and beaded necklaces symbolize status and connection to rituals. Men’s accessories, such as headbands or arm bands, often signify roles or achievements. Though designs have evolved, these adornments continue to honor customs and cultural heritage.

zaokui

Kongsang

This neckpiece is worn by both men and women, though it is primarily worn by women. It holds great value among Tangkhul women and is considered one of their most cherished possessions. The piece is draped around the neck, covering the chest area. The Tangkhuls incorporate numerous beads into their neckpieces to provide full coverage of the bosom.

Khom Masim

Huishon

Haar

This is an armlet crafted from a combination of heavy silver and lead, featuring coiled wire rings designed to be worn around the forearm.

Zeithing

This is a steel walking staff used by women for various purposes. It serves not only as part of bridal accessories but also doubles as a weapon for self-defense against unexpected attacks.

Mayong Pasi

The Mayong Pasi is a significant headgear worn by men for various occasions, ranging from weddings to funerals. Made from bamboo and dyed red with a creeper plant called mayong, its creation takes three days. During this time, men are traditionally required to abstain from sexual activity, as it is believed that otherwise, the red dye will not properly stain the bamboo. Skilled craftsmanship turns the bamboo into fine strips, which are woven together with a yellow strip from an orchid stem, creating a striking contrast between the colors.