Traditional method of making clothes of the Zeliangrong
- Part 4 -

Budha Kamei *

State level Gaan-Ngai 2014 at Keikhu, Kabui Village :: January 13, 2014 :: Pix - Ashok Ningthoujam

Types of weave:

There are three basic weaves namely, plain weave, twill weave and satin weave.

(i). Plain weave: The plain weave is also known as calico, tabby, taffeta, or homespun weaves. It is the simplest and most common type of weave. In the odd numbered rows of this weave, a weft thread passes under the first warp thread, over the second and so on. In the even numbered rows, the weft passes over the first warp under the second and so on. This close weave produces a strong, flat textured cloth that wears well.

(ii).Twill weave: Twill weave produces sturdy cloth that has raised diagonal lines. Each weft thread crosses two, three or four warp thread at a time, creating extra width. This added width makes a decorative fabric that holds its shape despite repeated wear. Each row of weft thread follows the same pattern. But each row's patterns begin slightly to the right or left of the pattern in the previous row. This technique puts a series of diagonal lines in the fabrics. The weaver may create unusual patterns by changing the direction of the weave and adding various colored thread.

(iii). Satin weave: Satin weaves are made by passing the filling yarn over or under one warp yarn and then under over four or more warp yarns. On each successive line weaving, the interlacing is made to move more than one step over to avoid forming a diagonal design.

Of the above cited weaves, the Zeliangrong and other Naga tribes practice the first type, the plain weave. The twill weave is more often used in basketry and rarely in cloth making. This is due to the available fibers.

First phase of weaving (Phei Rhanmei):

Phei Rhanmei means the preparation of the warp or warping is the first step of weaving. In this process, two persons are demanded, the first person sits before the tension rod while the second person taking the bobbin of yarn and stretches it from the tension rod to the front rod. The warping starts from the tension rod. First the sitting person takes the end the yarn from a bobbin of warp yarn in the hand of the standing person.

The seated person ties the yarn to the tension rod. Then the standing person lets off the yarn from the bobbin in her hand. The seated person takes a strong twine of Nhu and ties it to the harness rod and makes a loop round the warp yarn and again another loop is made round the harness rod by the same Nhu. The warp yarn then passes under the Tamnukbung and passes under the lease rod.

It passes from the front rod and round below it, and it is brought back to the seated person. The yarn passes from below the tension rod and round it. Then, the yarn passes under the harness rod and above the Tamnukbung; this time the warp yarn is not looped by the head twine. The warp yarn makes a turn round the lease rod and then passes from above the front rod round it and then below it and comes back to the seated person. This alternate stretching of yarn does continue until the required width is achieved.

Proper phase of weaving:

When the preparation of warp is completed, the weaver sits on the mat and keeps warp tight by the leather strap against which she leans and keeps her feet pressed against the foot rest. Then, she winds the weft thread from around a spool called bobbin. The bobbin acts as a needle that draws the weft thread over and under the warp.

The weaving process starts when the weaver lifts the harness that holds the odd numbered thread. This is done by bending towards the loom, folding back her knees to loosen the warp. This act creates a space called the shed through which the shuttle and weft pass. After lifting the harness, she straightens her legs adding tension to the warp and jerk with the beating sword. When the weaving goes upward, increasing the woven cloth, the weaver used a stretcher to prevent the textile from being squeezed inside or to prevent from over extending.

Finally the weaver lowers the first harness and pushes the newly woven row into place with the beater. The beater is in a frame located in front parallel to the harness. It has a sharp end to beat each the next row, the weaver raises the second harness and passed the beater through the warp. The next shedding is done with the help of the circular bamboo rod pressing against the harness, which opens up passage by pressing the odd number below. The weaving of each row involves the same process.

The pair of tension rod placing the warp in between is folded twice and fastened at the grooved by cords of the back strap and holds the warp in tension. The adjustment of the warp is done in the tension rod and the lease rod. As the finished cloth being rolled back in the tension rod, the thread in the lease rod is rolled forward upward to the end.

Different kinds of design are woven with the help of the small bamboo sword, depicting the required number of thread, and moves towards the lease rod by adding harness. Having been put into place all the required rods, the woman places her left palm towards the lease rod and her thumb hooking the bamboo rod then she leans forward, pressing the other rods and lifting the harness to form the shed. The same manner is used even in putting designs.

Loin loom is the oldest and simplest type of loom, one which is still widely used throughout the tribal world. It is so called, because the pressure of the body is used to keep the warp thread taut. This is made possible by means of using leather back strap attached by rope to the breast beam. This attachment passes around the back of the weaver's waist when she is seated on the ground before the loom, with her feet outstretched. It is through her body movement of forward and backward that the warp yarns are controlled. The weavers usually sit on a wooden low seat or mat with basket full of different spun yarns and spools of thread, a wax brush her loom and a knife to trim stray pieces of yarn.

In connection with the weaving of Zeliangrong, T.C. Hodson writes, "The girl or woman who weaves the cloth sits on a low stool a little way from the back bar and keeps the warp tight by means of a leather strap against which she leans, the ends of the strap being fastened to the back bar of the loom. The shuttle containing the thread is passed over and under the warp and the woof is pushed into its place by a flat, crescent-shaped piece of wood slightly larger and wider than the warp. It is hardly necessary to say that this process is slow and laborious." The weaver does take about a week or more times to finish the work, and thus after along process of hard work, the kind of cloth so woven is availed of.

The choice of color is a matter aesthetic consideration. Red is the symbol of valour and strength; white is the symbol of simplicity, humility and gravity; yellow signifies the innocence and the freshness of youth, and black is the symbol of darkness and cruelty.

Hiu Pheingauh for men, and Langhiu Pheisoi and Bungkam for women are the most decorative and highly prized clothes of the Zeliangrong people. The other clothes with extra weft designs comprise
(i) decorative extra weft of different kinds and sizes e.g. Hiu, Piauh, Chiat-piban etc.
(ii) embroidery works added on woven fabrics e.g. Paa-baan
(iii) needle works to join two pieces into one cloth and artistic way of stitching at both ends of the cloth e.g. Thangzui etc.

In addition, there are other clothes like Mareipan, Langjinphei, Khimphei etc. Sir Lawrence cowing made a mention of the art embroidery having introduced in 16th century where well to-do school girls were taught. However, this art was practiced by the hill women long ago as early as their weaving history. Next to weaving, embroidery is an important handcraft.

It is done by the Zeliangrong weavers in their textile with the help of needle and colored threads. It is believed that the needle was introduced in Manipur from Burma. The Zeliangrong women produce beautiful embroidery works such as the pattern of the Talam (butterfly motif) and the Bamphimik (Pigeon's eye motif) as in the Langhiu Pheisoi and the Thangphei respectively. They have great pride in their works.

Concluded..