One of the main tribes in the Northeastern state of Manipur, the Tangkhul Naga tribe is renowned for its elaborate textile customs and rich cultural history. The colourful, symbolic motifs-filled Tangkhul Naga folk textiles are used for both everyday clothing and cultural expression. The tribe uses its weaving craft as a way to pass down history, status, and values from generation to generation in addition to being an economic endeavour.
The Tangkhul Nagas' intricate ties to tradition and environment are embodied in their textiles. Stories about the tribe's interactions with their surroundings, including the nearby flora and fauna, are woven into each design. For the Tangkhul people, textiles are a form of expression that interweaves social hierarchies, folklore, and traditional beliefs, in addition to serving as practical clothing. With each thread representing a link to their cultural past, their colourful motifs provide insight into their world.
In Tangkhul Naga society, weaving is an age-old craft with deep folkloric roots. Legend has it that Zingtai Mansingla, a fairy, taught the women of the Tangkhul tribe how to weave before any other fairy ever introduced the craft. Weaving was once thought to be a necessary skill for Tangkhul women, particularly those ready for marriage. The complex craft of weaving, passed down through the generations, attested to the weaver's social and cultural status in addition to their skill level.
The tribe has historically woven its textiles using handlooms, notably the loin loom. Their daily lives revolved around this loom setup, which not only provided clothes but also acted as a gathering place for women to exchange customs, tales, and folklore. The textiles produced had symbolic meanings that represented the wearer's age, gender, and social standing in addition to the occasion they were worn for.
Traditional methods are used to weave Tangkhul Naga textiles, mostly on loin looms. The three complex steps in the weaving process are spinning cotton threads, dying them, and then weaving on a loom. The natural sources of colour utilised in the textiles highlight the tribe's strong ties to their environment. For example, bright yellow dye comes from the stem of an orchid called "Harthawon," while red dye comes from the roots of a local creeper called "Mayong."
Every pattern incorporated into the cloth has a cultural significance. Typical patterns feature geometric shapes, animals, and plants, each of which represents a distinct facet of Tangkhul culture. For instance, the colour red is frequently used in textiles to symbolise bravery and honour by representing the blood of opponents in battle. Natural fibres like cotton, which the women frequently grow themselves, are also used in the craft.
Tangkhul textiles have changed over the ages, adopting fresh patterns and production methods while holding onto the fundamental elements of their cultural heritage. In the past, the textiles were only worn for weddings, festivals, and other significant cultural occasions. But as modernity and outside influences have grown, Tangkhul textiles have changed to meet the needs of larger commercial markets. These days, people appreciate these textiles for their artistic appeal, fine craftsmanship, and cultural significance.
The traditional weaving motifs and techniques have mostly not changed in spite of these changes. In order to preserve the cultural knowledge ingrained in these textiles, younger generations continue to learn the craft from their elders. Even now, the textiles are extremely valuable cultural artefacts, especially at important life events like weddings and funerals, when they are used as status and identity markers in the community.
Deep cultural significance is reflected in the motifs woven into Tangkhul Naga textiles, which represent their ties to nature, spirituality, and folklore. One of the most prominent motifs is the Uri-Urā Makha, also known as the hoolock's chin motif, which represents the relationship between the Tangkhul and the local primate, the hoolock gibbon. This motif symbolises the harmony between nature and humans as well as the tribe's respect for their surroundings.
The Khaifa Kashan, or frog's waist motif, is another noteworthy motif. It depicts the heartbreaking tale of two lovers whose tragic separation was captured in this pattern. The pattern, which resembles a frog's waist, represents unwavering love and demonstrates the depth of emotion that these textiles are capable of expressing.
The Chonkap motif represents the fortified walls that shielded Tangkhul villages during wartime, while other motifs, like the Chamva Phor (cicada motif), stand for love and courtship. More than just ornamental elements, each of these motifs tells a visual story that preserves the history, morals, and beliefs of the Tangkhul Naga tribe.
Shawls, wraparounds, and loincloths are some of the most well-known textiles made by the Tangkhul Naga people; each has a distinct cultural and social significance. For example, the Luirim Kachon is a shawl worn by royalty or people who have achieved recognition in the community. In addition to being a garment, the shawl is a sign of respect and dignity that is used to wrap the deceased during formal ceremonies such as funerals.
The Seichang Kashan, a wraparound worn by the village chief's eldest daughter, is another noteworthy textile. This outfit serves as a distinguishing symbol, emphasising the wearer's higher social standing. On the other hand, women only wear the Shonglakhom Kachon shawl during harvest seasons. With its patterns representing the planting and harvesting cycles, this shawl represents the relationship between the Tangkhul people and the land they cultivate.
Furthermore, the Phingu Kachon is only worn at funerals and times of mourning, whereas the Phangui Kachon is a harvest shawl worn during harvest festivals. These textiles demonstrate how intricately woven the craft of weaving is into the daily and ceremonial lives of the Tangkhul people, each with its own unique uses and meanings.
Tangkhul Naga folk textile production is heavily reliant on sustainability. The community's long-standing custom of using locally accessible plants to source natural dyes and fibres demonstrates their profound regard for the environment. Using organic materials, such as cotton, indigo, and plant-based dyes, for example, not only reduces environmental impact but also promotes sustainable farming methods. Handweaving on loin looms promotes environmentally friendly practices, lowers energy consumption, and eliminates the need for mechanised production. Furthermore, Tangkhul Naga textiles' slow fashion, which prioritises longevity and quality over mass production, is in line with international movements for sustainable fashion.
The Tangkhul Naga people are a prime example of how environmental responsibility and cultural heritage can coexist peacefully because they have preserved their traditional weaving methods and strong ties to the land. By using a sustainable approach, we can make sure that the textile weaving tradition continues to be viable for future generations in terms of both ecology and culture.