Kim Chishi
A visual feast, “The textiles, Ornaments and Potteries of the Tangkhul Tribe – Cultural significance and similarities with other Naga tribes” by Ningshimyao Angkang Shimray aka Pearl, a craft activist, is a beautifully arranged book that provides nuanced insights on how the attires, ornaments and crafts of the Tangkhuls have evolved with time and are crucial for preserving cultural identity, heritage and community bonds. Furthermore, this book aims to bring about a sense of pride and belonging, promoting cultural diversity and understanding, by briefly comparing with the other Naga tribes also. And at the same time, how these items also helps connect with ancestors and traditions.
The front cover sets out with the mighty headgear/war helmet of a warrior called the “Raikuihon” and ornaments of the Tangkhul men which is believed to be associated with high honour and personal decoration, also having defensive purposes as well. The book has been generously divided into 9 (nine) chapters with an easy narration. Every spread contains photos, which helps illustrate the different items, the on-location images of people in their traditional surroundings as well as the images of jewelleries and potteries, with a few historical images. Given the aim of the author, to bring alive the weaves and crafts of the past and the present, the images laid down in the book gives a real life representation of what these items would like, when in real and therefore, helps to bring it to life.
The author states, “The designs and motifs of Naga clothes draw on oral wisdom, traditions, customs and beliefs”. Traditional designs and motifs often carry symbolic meanings that convey important messages within cultures. They represent social status and roles, marital status, spiritual beliefs and many more. To view all these from a socio-cultural structure of the past, visual characteristics played a very important role. The images throughout the book which visually helps to explain the different types of attires, ornaments and the potteries, it also depicts the natural or geographical attributes of the region inhabited by the Tangkhuls. It gives the book a sense of warmth and familiarity and acts as a window to the culture and society of the Tangkhuls. Through this, one can understand and also learn the layers and intricacies of their society as well as the vibrant and colourful traditional items that are part of their heritage. Textiles with different designs, colours and significance tell stories of our shared culture and history, right from its conception, which cannot be easily removed. The way they are made, the materials used and the entire process, are all embedded into our communities and culture. The author tries to draw imilarities of the same by bringing about the aspect of how the attires of different Naga tribes show their uniqueness but with shared choices in motifs, patterns and colours reflecting a shared and a common ancestry.
The book sheds light on the pot making traditions, which is a craft passed down through generations bearing cultural significance of different regions, especially amongst the Northern Tangkhul men of Longpi village and the Hungpung village of central Tangkhul region. This craft is deeply intertwined with beliefs and spiritual beliefs thereby reflecting communal practices and also the continuation of cultural traditions and practices.
A certain part of a chapter paints a pensive setting, wherein the author asserts that while trying to keep the spirit of tradition alive; there is a risk of losing one’s identity associated with it. Wearing traditional attires and ornaments can be a form of resisting assimilation and asserting self-determination as it is helps in upholding what our attires and ornaments say about us and our culture and how they interact with the society. While Indigenous traditions are continually appropriated leaving the people uncredited for and invisible, one should not forget that the entire process goes back to centuries and that it is the customs and traditions and memories that are woven into clothes and made into ornaments and accessories.
The book also dwells on the traditional kashans (sarong) “Luingamla kashan and Rose kashan” dedicated to 2 (two) young girls, Late. Luingamla of Ngainga village and Late. Rose Ningshen of Kumram village. These sarongswith their specific patterns depicts the brutal event, their cry for justice and serves as a tangible link to the past whilst honouring their memory and preserving their legacy within the community.
The book sets a very readable and understandable tone as the basic premise and also encourages the readers to look beyond the surface of the traditional items and enforces a sense of inclusivity. Nevertheless, images of traditional textiles juxtaposed with the images of the innovative, modern textiles brings about a compelling and a poignant exploration into the complex relationship between the textiles, crafts, culture and society of the past, memories associated and the hopes for the future. I believe there is much, much more to learn and to organize such books into logical and practical chapters can be a challenge. I cannot fathom how challenging it will be to tackle the voice of such a dynamic shift that can still retain the culture, connecting individuals to their roots and history but I suppose this book is a resolutely honest way to start with.
