DIMAPUR — The narrative that Naga traditional
arts and crafts are ‘dying’ has persisted for decades and is often accompanied
by calls for revival.
At the Weavers’ Dialogue, held as part of the 10th Naga
Loinloom Festival, artisans and crafters from across Nagaland shared their
personal journeys and insights, revealing that the real challenge lies in
visibility—both in their work and its value to the community.
Jemule Kath, an experienced weaver and president of the
Exotic Echo Society (EES), wondered if crafts are often undervalued because
many who take them up as a livelihood are perceived as “uneducated.”
As someone who learnt by observing her mother and sisters,
all of whom were weavers, she also noted that children these days, even if they
are interested, have too much on their plate with school and other
extracurricular activities.
Kath urged young parents to instill curiosity about
traditional crafts in their children, even if it meant something as simple as
visiting local artisans. She also emphasised that while not everyone needs to
become a weaver, preserving the practice is essential for cultural continuity.
“Even if we have documentation of the crafts, if there are
no artisans left, then the crafts are as good as dead,” she said.
Further, she shared about how EES is working with the
younger generation through its Children’s Weaving Club. “Our children can
bridge the gap because they will receive both formal education and education
about our culture. They will be better equipped to tell the world about it and
chart a way forward.”
The dialogue showcased stories of artisans who have not only
preserved their crafts but also used them to achieve financial independence.
Aliele, a 50-year-old weaver from Tening in Peren district,
picked up weaving as an adolescent, practicing by tying scraps of thread
together for her loom. She would use those threads to weave backstraps for
older weavers.
For her, weaving has been a good source of income that has
enabled her to provide for her family and educate her children, many of whom
are now weaving too.
A similar story was shared by Tokpon Khiamniungan, a weaver
from Choklangan in Noklak district, who learnt to weave as a child, using
scraps of ‘eloinui’ from her grandmother, who wove exclusively with this
material. Eloinui is a natural fibre obtained from the bark of the Debregeasia
longifolia plant.
Since 2021, Tokpon and a group of weavers have taught
weaving to school dropouts, many of whom now weave professionally.
The festival also highlighted artisans like Puniom Lam from
Noklak, who has spent 25 years crafting bamboo and wood products. Trained in
Tuensang and Medziphema, he now trains others in his craft, using materials
sourced from the forests.
For artisans like Ghutoli Chishi from Niuland district,
weaving is proof that sustainable livelihoods can be built outside of
government service.
“Government service is not everything. We can make
sustainable livelihoods through weaving,” she said, dismissing the common
notion that artisans need external ‘backing’ to succeed. “It is your work and
its quality that will slowly build your backing,” she asserted.
Among the participants was K Paone, a 40-year-old weaver
from Senapati district, who drew attention to the cultural and historical
significance of cotton in Naga life. She recounted how cotton was once part of
the daily lives of Naga people, with families growing their own cotton and
using it to make clothing. Inspired by her mother’s weaving, she learnt the
craft as a child, but like many, she drifted away from it as she pursued higher
education.
It wasn’t until 2015 that she returned to weaving, motivated
by a personal experience that underscored the cultural loss associated with the
decline of cotton growing. Since then, Paone has dedicated herself to reviving
this practice, working with the Ashu Handloom Weavers Cooperative Society to
spread awareness about the importance of cotton at festivals like this one.
“Nagas, we write all our stories, our history, on our
textile, with cotton as the medium. We wear our stories and history,” she
explained.
“If the very material we use to write our stories, if our
histories are written on something that we do not own, how do we call ourselves
‘independent’ people?” she asked the audience, stressing the importance of
preserving not only the craft of weaving but also the cultivation of cotton
itself, which she described as intrinsic to Naga heritage.
In addition, she called on parents and adults to lead by
example in preserving Naga culture.
Summing up the dialogue, moderator and secretary of EES,
Vitono Haralu, emphasised that visibility and respect for artisans and their
crafts are crucial to ensuring their survival. She urged artisans to step out
of their comfort zones and take the lead in sharing their stories.
“Artisans and makers should be the ones expressing
themselves, going out to speak their lived experiences so that we can move
forward,” she said, underscoring the need for their voices to shape the future
of Naga crafts and culture.
