International Journal of Humanities and Social Science Invention (IJHSSI) is an international journal intended for professionals and researchers in all fields of Humanities and Social Science. IJHSSI publishes research articles and reviews within the whole field Humanities and Social Science, new teaching methods, assessment, validation and the impact of new technologies and it will continue to provide information on the latest trends and developments in this ever-expanding subject. The publications of papers are selected through double peer reviewed to ensure originality, relevance, and readability. The articles published in our journal can be accessed online.
Phulkari, which literally translates into ‘flower work’, has a history etched in the culture of Punjab. Spun from the charkha this spectacular style of embroidery is patterned on odinis, shawls, kurtis. The main characteristics of this embroidery are the use of darn stitch on the wrong side of cloth with colored silken thread. A face of fashion that finds its first mentions in Punjabi folklore of the romantic protagonists Heer and Ranjha, Phulkari is a dream weaver for every Punjabi girl.
This document provides an overview of Banjara embroidery, including:
- Banjara embroidery originated from the nomadic Banjara tribes of Andhra Pradesh and is characterized by vibrant colors, ornate patterns, and delicate mirror work.
- The Crafts Council of Andhra Pradesh has worked to preserve and develop Banjara embroidery, providing training to women in the Yellamma Tanda village.
- Banjara embroidery faces threats from modernization but trade fairs provide opportunities to market the craft and generate income for artisans.
The Gaddi Tribe : struggling to preserve its identity.ruchi saini
Himachal Pradesh has a vast variety of tribal people living for 100 of years. Out of those tribes Gaddi
is the one that is world famous for its own identity. It has different culture, rituals, traditions, etc.
Being one of the oldest tribes of India, Gaddi has its own intangible cultural heritage. However due to
increasing urbanisation and development, this tribe is losing its identity and is slowly vanishing. This
paper aims to make reader aware about the gaddi tribe and what can be done to preserve their
Identity.
African ritual masks are carved from wood, stone, copper or other materials and decorated. They are used in ceremonies to communicate with ancestors during events like births, deaths, weddings and initiations. Only certain people like elders or leaders can wear masks representing spirits or cultural ideals. Masks use symbolism rather than realism, and their meaning depends on the ceremonial context. Common motifs include ancestors, animals, and ideals of beauty or fertility. Specific masks described are used in initiation rites or dances to teach virtues and connect to the supernatural world. African masks have influenced Western art movements through their symbolic forms.
The document discusses traditional embroideries from five Indian states - Chikankari from Uttar Pradesh, Kashidakari from Jammu and Kashmir, Kantha from West Bengal, Phulkari from Punjab, and Rabari/Kutch embroidery from Gujarat. It provides details on the history, materials used, and stitches involved in each type of embroidery. It also includes photos of products showcasing the different embroidery styles.
Traditional clothing in India varies widely by region and religion, but saris, salwar kameez, and dhoti are commonly worn. Saris are considered the most elegant traditional wear for women, often made of silk. Men traditionally wear kurtas and dhotis. For weddings, grooms often wear a sherwani, which is a long coat with buttons and a Nehru collar, typically in light colors like cream or gold and embroidered. The sherwani is paired with tight-fitting churidar pants.
African masks are used in religious ceremonies and masquerades to communicate with spirits and ancestors. They are carefully carved by skilled artists, often trained as apprentices, who hold respected positions for embodying complex craft and symbolic knowledge passed down through generations. Masks can represent animals to help communication with forest or savanna spirits, indicate ideals of beauty, symbolize duty with power, or be used in war and Caribbean carnivals. Today, the qualities of African masks are becoming more understood and appreciated.
The traditional dress of Jammu and Kashmir is the phiran. The phiran is a long, loose gown made of wool with elaborate embroidery. It has colorful floral motifs and is worn by both men and women in the state. Kashmiri embroidery, found on garments like the phiran as well as other items, is renowned for its beauty and features patterns like chinar leaves, cypress cones, and lotuses.
Phulkari, which literally translates into ‘flower work’, has a history etched in the culture of Punjab. Spun from the charkha this spectacular style of embroidery is patterned on odinis, shawls, kurtis. The main characteristics of this embroidery are the use of darn stitch on the wrong side of cloth with colored silken thread. A face of fashion that finds its first mentions in Punjabi folklore of the romantic protagonists Heer and Ranjha, Phulkari is a dream weaver for every Punjabi girl.
This document provides an overview of Banjara embroidery, including:
- Banjara embroidery originated from the nomadic Banjara tribes of Andhra Pradesh and is characterized by vibrant colors, ornate patterns, and delicate mirror work.
- The Crafts Council of Andhra Pradesh has worked to preserve and develop Banjara embroidery, providing training to women in the Yellamma Tanda village.
- Banjara embroidery faces threats from modernization but trade fairs provide opportunities to market the craft and generate income for artisans.
The Gaddi Tribe : struggling to preserve its identity.ruchi saini
Himachal Pradesh has a vast variety of tribal people living for 100 of years. Out of those tribes Gaddi
is the one that is world famous for its own identity. It has different culture, rituals, traditions, etc.
Being one of the oldest tribes of India, Gaddi has its own intangible cultural heritage. However due to
increasing urbanisation and development, this tribe is losing its identity and is slowly vanishing. This
paper aims to make reader aware about the gaddi tribe and what can be done to preserve their
Identity.
African ritual masks are carved from wood, stone, copper or other materials and decorated. They are used in ceremonies to communicate with ancestors during events like births, deaths, weddings and initiations. Only certain people like elders or leaders can wear masks representing spirits or cultural ideals. Masks use symbolism rather than realism, and their meaning depends on the ceremonial context. Common motifs include ancestors, animals, and ideals of beauty or fertility. Specific masks described are used in initiation rites or dances to teach virtues and connect to the supernatural world. African masks have influenced Western art movements through their symbolic forms.
The document discusses traditional embroideries from five Indian states - Chikankari from Uttar Pradesh, Kashidakari from Jammu and Kashmir, Kantha from West Bengal, Phulkari from Punjab, and Rabari/Kutch embroidery from Gujarat. It provides details on the history, materials used, and stitches involved in each type of embroidery. It also includes photos of products showcasing the different embroidery styles.
Traditional clothing in India varies widely by region and religion, but saris, salwar kameez, and dhoti are commonly worn. Saris are considered the most elegant traditional wear for women, often made of silk. Men traditionally wear kurtas and dhotis. For weddings, grooms often wear a sherwani, which is a long coat with buttons and a Nehru collar, typically in light colors like cream or gold and embroidered. The sherwani is paired with tight-fitting churidar pants.
African masks are used in religious ceremonies and masquerades to communicate with spirits and ancestors. They are carefully carved by skilled artists, often trained as apprentices, who hold respected positions for embodying complex craft and symbolic knowledge passed down through generations. Masks can represent animals to help communication with forest or savanna spirits, indicate ideals of beauty, symbolize duty with power, or be used in war and Caribbean carnivals. Today, the qualities of African masks are becoming more understood and appreciated.
The traditional dress of Jammu and Kashmir is the phiran. The phiran is a long, loose gown made of wool with elaborate embroidery. It has colorful floral motifs and is worn by both men and women in the state. Kashmiri embroidery, found on garments like the phiran as well as other items, is renowned for its beauty and features patterns like chinar leaves, cypress cones, and lotuses.
Traditional garments vary widely between different regions of India, Bhutan, Japan, and Afghanistan. In India, common women's attire includes the sari, salwar kameez, and ghagra choli. Common men's clothing is the dhoti, sherwani, and Gandhi cap. In Bhutan, traditional women's clothing includes the kira and wonju, while men wear the gho and use a kera belt. In Japan, the kimono is worn by both men and women, and women also wear kanzashi hair ornaments. Men may wear samue robes or yukata in summer. Traditional Afghan clothing includes salwar kameez and burqas for women
This document discusses traditional Indian clothing such as the dhoti, kurta, salwar kameez, and saree. It provides details on clothing styles, fabrics, colors, and how Bollywood films have influenced fashion trends in India over time, making traditional clothing bolder, more colorful, and inspired by film costumes. Fashion has evolved from conservative outfits in early films to incorporating more modern and form-fitting silhouettes that appeal to younger audiences while still reflecting Indian cultural traditions.
Ritual and ceremonial masks are an essential part of traditional Sub-Saharan and West African culture and art. Masks usually have spiritual or religious meanings and are used in ritual dances and social/religious events. African tribal artists undergo years of training to learn traditional carving techniques in order to create masks and other objects that are important for rituals. These artists hold respected positions and their work is valued more for its spiritual qualities than aesthetic appeal. Their art is meant to communicate elevated emotions and mystical inspiration.
Traditional Costumes of India #RajasthanMahin Hassan
This document provides information about traditional costumes and textiles from Rajasthan, India. It discusses the main types of clothing worn by men and women, including ghagras, cholis, odhnis, pagris, angarkhas and pyjamas. It also describes important textile crafts from the region like block printing, tie dye work, embroidery and mirror work. These crafts use locally sourced materials like cotton and silk. The document outlines the historical origins and development of these textiles and costumes, noting their royal patronage and increasing popularity both within India and internationally due to the influence of globalization.
The document discusses various aspects of traditional Indian clothing and fashion trends. It begins with a poem describing how weavers historically crafted clothing for different life stages. It then covers contemporary ethnic fashion trends like ruffled lehengas, innovative saree draping styles, abstract prints, and coral/peach colors. Next, it discusses the rising popularity of Indo-Western fusion clothing that blends traditional Indian elements with Western styles. Finally, it describes the versatility and cultural significance of the saree and how its fashion has evolved while maintaining elegance.
African clothing varies widely by region but traditionally incorporates locally sourced fabrics like cotton, raffia palm, flax, jute, wool, and silk. Styles range from simple embroidered robes in North Africa to beaded accessories indicating social status in Southern Africa. Headwraps originated in Sub-Saharan Africa and communicate information about the wearer's identity and background through color and design.
Th5441 presentation 2 - sarah lawler 1asarahlawler
The document discusses different types of kimonos worn in Japan during different periods and for different occasions. It describes kimonos worn during the Meiji period from 1868-1912 when Western influences began affecting fashion. Specific types of kimonos are defined such as furisode worn by unmarried women, tomesode as the most formal for married women, and uchikake only worn by brides. The document provides details on appropriate colors, fabrics, and symbolism associated with kimonos.
The document provides information about the costumes and textiles of Bihar and Jharkhand in India. It discusses the traditional crafts and weaving of the regions, including bamboo baskets and cane products from Bihar and silk production in Bhagalpur. It describes the traditional costumes worn by men, women, and tribes in the areas, which often incorporate religious and marital symbols. Festivals celebrated in Bihar and Jharkhand are also outlined, in addition to details about the symbolic Sujani embroidery and famous Bhagalpuri silk sarees produced in the region.
Clothing styles vary significantly between regions due to differences in ethnicity, geography, climate, and culture. The history of clothing dates back thousands of years, when early civilizations like the Indus Valley spun, wove, and dyed cotton. Countries still maintain distinct traditional styles influenced by their unique cultures, such as the vibrant dresses of Afghanistan reflecting tribes and status, or the traditional robes and headwear of Bhutan indicating class. However, modernization has introduced Western and globalized fashions as well.
Clothes serve three main purposes - protection, identification, and self-expression. They protect us from environmental factors like heat, cold, rain, and insects. The type of clothes we wear depends on factors like climate and job. Natural fabrics like cotton and wool are commonly used, as well as synthetic materials. Traditional dresses vary between countries and regions depending on local customs and climate. Proper care of clothes helps them last longer.
This ppt will be helpful for gaining the basic knowledge of Indian traditional textile from various states and regions. I will definitely try to add more slides in it.
Traditional Indian Dress : Its Origin and Types Paul Mattfield
This PDF describes about the traditional Indian dress and their origin and types. To know more visit : http://www.theindiabazaar.com/girls-indian-outfit-c-258-p-14.html
Marriage Practices of the Zou Tribe in Manipur-Continuity and Changeinventionjournals
International Journal of Humanities and Social Science Invention (IJHSSI) is an international journal intended for professionals and researchers in all fields of Humanities and Social Science. IJHSSI publishes research articles and reviews within the whole field Humanities and Social Science, new teaching methods, assessment, validation and the impact of new technologies and it will continue to provide information on the latest trends and developments in this ever-expanding subject. The publications of papers are selected through double peer reviewed to ensure originality, relevance, and readability. The articles published in our journal can be accessed online.
Culture:
• Culture: definition- pg 35 in Pretoruis.
• Components of culture:
• Cognitive component- pg 36 in Pretoruis.
• Normative component- pg 37 in Pretoruis.
• Symbolic component- pg 39 in Pretoruis.
Cultural concepts:
• Subcultures- pg 44 in Pretoruis.
• Cultural change- pg 44 in Pretoruis.
• Cultural competence (aspects of cultural identity)- pg 47 in Pretoruis.
• Culture shock- pg 37 in Du Toit.
• Cultural lag- pg 37 in Pretoruis.
• Ethnocentrism- pg 39 in Du Toit
• Xenocentrism- pg 39 in Du Toit
• Xenophobia- pg 40 in Du Toit
Culture formation and expansion
Pg’s 40-43 in Du Toit.
This presentation provides an overview of communication styles and cultural traditions in New Zealand, focusing on verbal and nonverbal gender roles, uses of clothing both formally and informally, and rituals including songs, proverbs, facial tattoos, and the Haka dance. Each group member contributed information on a different aspect of New Zealand culture and communication. The presentation aims to enhance understanding of the New Zealand culture through examining various verbal and nonverbal forms of communication.
Social and Cultural Life of the Wancho Tribe in Arunachal Pradeshijtsrd
The Wanchos are the indigenous people inhabiting the Patkai Hills of Longding district of Arunachal Pradesh. The Wanchos are the one who at one point of time was actively engaged in the head hunting. However the practice is now extinct since many years. The wanchos are famous for wood carving and bead work. The social life is governed by the traditional chieftain system assisted by the council of elders. The paper is based on primary data collected by using observation method, interview etc. Author broad objective was to know the socio cultural aspect of the wanchos. Dr. (Mrs) Kiran Kumari | Mrs Modang Reena "Social and Cultural Life of the Wancho Tribe in Arunachal Pradesh" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-4 | Issue-4 , June 2020, URL: https://www.ijtsrd.com/papers/ijtsrd30991.pdf Paper Url :https://www.ijtsrd.com/humanities-and-the-arts/social-science/30991/social-and-cultural-life-of-the-wancho-tribe-in-arunachal-pradesh/dr-mrs-kiran-kumari
The document provides information about West African cultures and traditions, focusing on Ghana and the Ashanti people. It discusses the Ashanti's matrilineal family structure and gender roles, as well as their traditions of weaving kente cloth, woodcarving, pottery, and using talking drums and adinkra symbols. Adinkra symbols originated in what is now Ivory Coast and were adopted by the Ashanti to decorate funeral cloths and represent meanings around farewell and remembrance. The document concludes by explaining how to make an adinkra symbol block print.
ABRA-1.pptx Cordillera heritage in college degreeLimsonbanagyo
Cordillera heritage college subject of the cordillera administrative region that help student to develop and appreciate the culture of our ancestors and preserve the rich heritage in the region. It's is the one requirements in the all the tertiary in the cordillera. Abra is one of the province in cordillera have an rich culture. In this file you will be learn such culture and how it's be at present
Girl-child beading is a cultural practice among the Samburu community in Kenya where young girls as young as 9 are engaged in relationships with older men, signified by the placement of beads around their necks. This practice amounts to sexual slavery and puts the girls at risk of health issues and ends their education. It is considered a rite of passage but denies the girls' basic human rights. Activists have spoken out against the practice but it continues due to support from community elders and a lack of action from government officials.
The document discusses tribal heritage and culture in India. It notes that tribal people constitute a large portion of the population in northeast India and have their own unique traditions that blend with broader Indian culture. It provides details on tribal arts including pottery, crafts made from materials like bamboo and cane, and festivals like Bali Jatra observed by tribes in Koraput which involves planting grains, feasting, dancing, and sacrifices.
The document discusses Kapampangan culture and cuisine. It begins by defining culture and explaining some key theories of cultural determinism. It then explores various manifestations of culture, including symbols, heroes, rituals and values. The document also examines layers of culture and strategies for reconciling cultural differences. Specific details about Kapampangan culture follow, such as customs, traditions, beliefs and the Kapampangan language.
Traditional garments vary widely between different regions of India, Bhutan, Japan, and Afghanistan. In India, common women's attire includes the sari, salwar kameez, and ghagra choli. Common men's clothing is the dhoti, sherwani, and Gandhi cap. In Bhutan, traditional women's clothing includes the kira and wonju, while men wear the gho and use a kera belt. In Japan, the kimono is worn by both men and women, and women also wear kanzashi hair ornaments. Men may wear samue robes or yukata in summer. Traditional Afghan clothing includes salwar kameez and burqas for women
This document discusses traditional Indian clothing such as the dhoti, kurta, salwar kameez, and saree. It provides details on clothing styles, fabrics, colors, and how Bollywood films have influenced fashion trends in India over time, making traditional clothing bolder, more colorful, and inspired by film costumes. Fashion has evolved from conservative outfits in early films to incorporating more modern and form-fitting silhouettes that appeal to younger audiences while still reflecting Indian cultural traditions.
Ritual and ceremonial masks are an essential part of traditional Sub-Saharan and West African culture and art. Masks usually have spiritual or religious meanings and are used in ritual dances and social/religious events. African tribal artists undergo years of training to learn traditional carving techniques in order to create masks and other objects that are important for rituals. These artists hold respected positions and their work is valued more for its spiritual qualities than aesthetic appeal. Their art is meant to communicate elevated emotions and mystical inspiration.
Traditional Costumes of India #RajasthanMahin Hassan
This document provides information about traditional costumes and textiles from Rajasthan, India. It discusses the main types of clothing worn by men and women, including ghagras, cholis, odhnis, pagris, angarkhas and pyjamas. It also describes important textile crafts from the region like block printing, tie dye work, embroidery and mirror work. These crafts use locally sourced materials like cotton and silk. The document outlines the historical origins and development of these textiles and costumes, noting their royal patronage and increasing popularity both within India and internationally due to the influence of globalization.
The document discusses various aspects of traditional Indian clothing and fashion trends. It begins with a poem describing how weavers historically crafted clothing for different life stages. It then covers contemporary ethnic fashion trends like ruffled lehengas, innovative saree draping styles, abstract prints, and coral/peach colors. Next, it discusses the rising popularity of Indo-Western fusion clothing that blends traditional Indian elements with Western styles. Finally, it describes the versatility and cultural significance of the saree and how its fashion has evolved while maintaining elegance.
African clothing varies widely by region but traditionally incorporates locally sourced fabrics like cotton, raffia palm, flax, jute, wool, and silk. Styles range from simple embroidered robes in North Africa to beaded accessories indicating social status in Southern Africa. Headwraps originated in Sub-Saharan Africa and communicate information about the wearer's identity and background through color and design.
Th5441 presentation 2 - sarah lawler 1asarahlawler
The document discusses different types of kimonos worn in Japan during different periods and for different occasions. It describes kimonos worn during the Meiji period from 1868-1912 when Western influences began affecting fashion. Specific types of kimonos are defined such as furisode worn by unmarried women, tomesode as the most formal for married women, and uchikake only worn by brides. The document provides details on appropriate colors, fabrics, and symbolism associated with kimonos.
The document provides information about the costumes and textiles of Bihar and Jharkhand in India. It discusses the traditional crafts and weaving of the regions, including bamboo baskets and cane products from Bihar and silk production in Bhagalpur. It describes the traditional costumes worn by men, women, and tribes in the areas, which often incorporate religious and marital symbols. Festivals celebrated in Bihar and Jharkhand are also outlined, in addition to details about the symbolic Sujani embroidery and famous Bhagalpuri silk sarees produced in the region.
Clothing styles vary significantly between regions due to differences in ethnicity, geography, climate, and culture. The history of clothing dates back thousands of years, when early civilizations like the Indus Valley spun, wove, and dyed cotton. Countries still maintain distinct traditional styles influenced by their unique cultures, such as the vibrant dresses of Afghanistan reflecting tribes and status, or the traditional robes and headwear of Bhutan indicating class. However, modernization has introduced Western and globalized fashions as well.
Clothes serve three main purposes - protection, identification, and self-expression. They protect us from environmental factors like heat, cold, rain, and insects. The type of clothes we wear depends on factors like climate and job. Natural fabrics like cotton and wool are commonly used, as well as synthetic materials. Traditional dresses vary between countries and regions depending on local customs and climate. Proper care of clothes helps them last longer.
This ppt will be helpful for gaining the basic knowledge of Indian traditional textile from various states and regions. I will definitely try to add more slides in it.
Traditional Indian Dress : Its Origin and Types Paul Mattfield
This PDF describes about the traditional Indian dress and their origin and types. To know more visit : http://www.theindiabazaar.com/girls-indian-outfit-c-258-p-14.html
Marriage Practices of the Zou Tribe in Manipur-Continuity and Changeinventionjournals
International Journal of Humanities and Social Science Invention (IJHSSI) is an international journal intended for professionals and researchers in all fields of Humanities and Social Science. IJHSSI publishes research articles and reviews within the whole field Humanities and Social Science, new teaching methods, assessment, validation and the impact of new technologies and it will continue to provide information on the latest trends and developments in this ever-expanding subject. The publications of papers are selected through double peer reviewed to ensure originality, relevance, and readability. The articles published in our journal can be accessed online.
Culture:
• Culture: definition- pg 35 in Pretoruis.
• Components of culture:
• Cognitive component- pg 36 in Pretoruis.
• Normative component- pg 37 in Pretoruis.
• Symbolic component- pg 39 in Pretoruis.
Cultural concepts:
• Subcultures- pg 44 in Pretoruis.
• Cultural change- pg 44 in Pretoruis.
• Cultural competence (aspects of cultural identity)- pg 47 in Pretoruis.
• Culture shock- pg 37 in Du Toit.
• Cultural lag- pg 37 in Pretoruis.
• Ethnocentrism- pg 39 in Du Toit
• Xenocentrism- pg 39 in Du Toit
• Xenophobia- pg 40 in Du Toit
Culture formation and expansion
Pg’s 40-43 in Du Toit.
This presentation provides an overview of communication styles and cultural traditions in New Zealand, focusing on verbal and nonverbal gender roles, uses of clothing both formally and informally, and rituals including songs, proverbs, facial tattoos, and the Haka dance. Each group member contributed information on a different aspect of New Zealand culture and communication. The presentation aims to enhance understanding of the New Zealand culture through examining various verbal and nonverbal forms of communication.
Social and Cultural Life of the Wancho Tribe in Arunachal Pradeshijtsrd
The Wanchos are the indigenous people inhabiting the Patkai Hills of Longding district of Arunachal Pradesh. The Wanchos are the one who at one point of time was actively engaged in the head hunting. However the practice is now extinct since many years. The wanchos are famous for wood carving and bead work. The social life is governed by the traditional chieftain system assisted by the council of elders. The paper is based on primary data collected by using observation method, interview etc. Author broad objective was to know the socio cultural aspect of the wanchos. Dr. (Mrs) Kiran Kumari | Mrs Modang Reena "Social and Cultural Life of the Wancho Tribe in Arunachal Pradesh" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-4 | Issue-4 , June 2020, URL: https://www.ijtsrd.com/papers/ijtsrd30991.pdf Paper Url :https://www.ijtsrd.com/humanities-and-the-arts/social-science/30991/social-and-cultural-life-of-the-wancho-tribe-in-arunachal-pradesh/dr-mrs-kiran-kumari
The document provides information about West African cultures and traditions, focusing on Ghana and the Ashanti people. It discusses the Ashanti's matrilineal family structure and gender roles, as well as their traditions of weaving kente cloth, woodcarving, pottery, and using talking drums and adinkra symbols. Adinkra symbols originated in what is now Ivory Coast and were adopted by the Ashanti to decorate funeral cloths and represent meanings around farewell and remembrance. The document concludes by explaining how to make an adinkra symbol block print.
ABRA-1.pptx Cordillera heritage in college degreeLimsonbanagyo
Cordillera heritage college subject of the cordillera administrative region that help student to develop and appreciate the culture of our ancestors and preserve the rich heritage in the region. It's is the one requirements in the all the tertiary in the cordillera. Abra is one of the province in cordillera have an rich culture. In this file you will be learn such culture and how it's be at present
Girl-child beading is a cultural practice among the Samburu community in Kenya where young girls as young as 9 are engaged in relationships with older men, signified by the placement of beads around their necks. This practice amounts to sexual slavery and puts the girls at risk of health issues and ends their education. It is considered a rite of passage but denies the girls' basic human rights. Activists have spoken out against the practice but it continues due to support from community elders and a lack of action from government officials.
The document discusses tribal heritage and culture in India. It notes that tribal people constitute a large portion of the population in northeast India and have their own unique traditions that blend with broader Indian culture. It provides details on tribal arts including pottery, crafts made from materials like bamboo and cane, and festivals like Bali Jatra observed by tribes in Koraput which involves planting grains, feasting, dancing, and sacrifices.
The document discusses Kapampangan culture and cuisine. It begins by defining culture and explaining some key theories of cultural determinism. It then explores various manifestations of culture, including symbols, heroes, rituals and values. The document also examines layers of culture and strategies for reconciling cultural differences. Specific details about Kapampangan culture follow, such as customs, traditions, beliefs and the Kapampangan language.
The Hanunuo Mangyans are an indigenous group located in Southeastern Mindoro in the Philippines. They number approximately 66,132 people. The Hanunuo live in permanent houses elevated above the ground and practice sustainable swidden agriculture to cultivate crops. They have a unique writing system and engage in cultural practices like music, poetry, and traditional clothing that maintain their cultural identity and traditions passed down from their ancestors.
This document summarizes a study on the love of beads among Ghanaians. It finds that beads play an important cultural role in Ghanaian society, used for adornment, communication of social status, and in cultural rituals. The study collects data through surveys to better understand bead uses and perceptions. It finds that beads are seen primarily as jewelry that distinguish ethnic groups and hold significance in traditions. The goal is to promote Ghanaian bead culture and educate on the various bead types and their meanings.
It's Perfectly Natural: Multiple Gender Expression in Nature, Cultures, and H...Reflection Press
The document discusses the natural occurrence of multiple gender expressions in nature, cultures, and history. It notes that many cultures throughout history have recognized and integrated more than two genders. Examples provided include the Bissu people of Indonesia who believe five genders must coexist for harmony, and Native American two-spirit traditions. Numerous animal species also demonstrate diverse gender roles or sex changes. The overall message is that gender diversity has always existed and is a natural part of life.
This document provides an overview of folk arts in the Philippines. It discusses how a country's culture and traditions are reflected in its arts, including music, dance, literature, and crafts. The document then focuses on the indigenous arts of the Philippines, such as weaving, pottery, carving, and personal ornaments. It provides examples of specific folk art forms from different regions of the country. These art forms are typically passed down through generations and reflect the lives and cultures of local communities. The document aims to teach students about the basic principles and elements of art through exploring Philippine folk arts.
Hunters and gatherers as well as Agricultural societiesgmatebele
Hunters and gatherers like the San or Basarwa community live nomadic lifestyles, moving in small groups between 20-50 people in search of wild fruits, vegetables, and animals. The document describes how they build temporary huts and forage from their local environment to survive. It also discusses their cultural practices like religious ceremonies, rock paintings, and how work is divided along gender lines between men who hunt and women who gather food.
Hunters and gatherers like the San or Basarwa community live nomadic lifestyles, moving in small groups between 20-50 people in search of wild fruits, vegetables, and animals. The document describes how they build temporary huts and forage from their local environment to survive. It also discusses their cultural practices like religious ceremonies, rock paintings, and how work is divided along gender lines between men who hunt and women who gather food.
The document describes a tribal initiation rite of passage ceremony. Young people are initiated into adulthood in front of their community. The initiates are dressed in fine clothing and dark robes signifying the ritual's sacred importance. They walk to an elevated place while music plays, as their kinsmen watch proudly howling. The initiates must bravely pass into adulthood seeking their community's and gods' approval.
Similar to Cultural Significance of Chin-Kuki -Mizo Dresses in Manipur (20)
This document announces the winners of the 2024 Youth Poster Contest organized by MATFORCE. It lists the grand prize and age category winners for grades K-6, 7-12, and individual age groups from 5 years old to 18 years old.
This tutorial offers a step-by-step guide on how to effectively use Pinterest. It covers the basics such as account creation and navigation, as well as advanced techniques including creating eye-catching pins and optimizing your profile. The tutorial also explores collaboration and networking on the platform. With visual illustrations and clear instructions, this tutorial will equip you with the skills to navigate Pinterest confidently and achieve your goals.
The cherry: beauty, softness, its heart-shaped plastic has inspired artists since Antiquity. Cherries and strawberries were considered the fruits of paradise and thus represented the souls of men.
❼❷⓿❺❻❷❽❷❼❽ Dpboss Matka ! Fix Satta Matka ! Matka Result ! Matka Guessing ! Final Matka ! Matka Result ! Dpboss Matka ! Matka Guessing ! Satta Matta Matka 143 ! Kalyan Matka ! Satta Matka Fast Result ! Kalyan Matka Guessing ! Dpboss Matka Guessing ! Satta 143 ! Kalyan Chart ! Kalyan final ! Satta guessing ! Matka tips ! Matka 143 ! India Matka ! Matka 420 ! matka Mumbai ! Satta chart ! Indian Satta ! Satta King ! Satta 143 ! Satta batta ! Satta मटका ! Satta chart ! Matka 143 ! Matka Satta ! India Matka ! Indian Satta Matka ! Final ank
Cultural Significance of Chin-Kuki -Mizo Dresses in Manipur
1. International Journal of Humanities and Social Science Invention
ISSN (Online): 2319 – 7722, ISSN (Print): 2319 – 7714
www.ijhssi.org Volume 4 Issue 4 || April. 2015 || PP.59-62
www.ijhssi.org 59 | Page
Cultural Significance of Chin-Kuki -Mizo Dresses in Manipur.
Carolyn Niengneihmoi
Research Scholar, Manipur University
ABSTRACT : The tribal arts and crafts of Manipur provide for the fascinating study of tribal culture. This is
readily apparent in the crafts of the Chin-Kuki-Mizo tribes. It is an integral part and reflects every aspect of
their culture. They have an independent existence which conditions their outlook towards Arts and Crafts by
way of building their homes, household items, costumes, jewellery etc. These crafted objects are made of simple
materials and though they are not designed in the most exotic and attractive manner, they are known for their
ethnic authenticity. The production of crafts is an inherent practice common among the Chin-Kuki-Mizo tribes.
They are not professionally trained or rely on hereditary talent and skill honed over generations. The leading
forms of Chin-Kuki-Mizo arts and crafts include handloom and handicrafts like weaving, use of textiles, wood
carving, basket weaving and jewellery made of beads, metals, ivory, wood etc. Dresses are the identity of every
nation or tribe. For the Chin Kuki Mizo, “dresses are the unwritten constitution”. It is a symbol whereby a
man’s social status, culture can be determined. Every shawl and loin cloth is patterned with beautiful designs
and chequered with different colours which have immense cultural significance. Their clothes are created from
designs based on things they find in their surroundings, such as creatures, animals birds, rivers etc as well as in
the myths of origin of the tribe concerned. There are shawls and loin clothes for every group of people; for the
rich, married people, youth, aged, for the poor and even for children. There are also dresses for funerals. This
article focuses on providing the significance and symbolism of material culture of the Chin-Kuki-Mizo tribe in
relation to clothes.
KEYWORDS: Chin-Kuki-Mizo, ethnic, hereditary, cultural, symbolism.
‘Clothing’ is one of the basic needs of mankind has led to the weaving of textiles since time
immemorial in various nooks and corners of our country. The woven textiles in various designs thus came to
replace the cloth of barks of trees and skins of animals which was the dress of nomadic men for a considerable
period of time in the history of mankind. Of these woven designs, some are simple and plain, while some
beautiful. The plainer it is, simpler to weave and the more intricate and decorative, more difficult to weave.
Dresses and crafts are primarily categorised in the material culture of a people. And while taking an in-depth
study, one finds that there is a very close relationship between the concrete material items of human culture with
the non-material abstract part. In the past days when modern education system was not known, cloths were
primarily used for protecting the human body from the wind, sun, rain and other natural forces. Clothing is also
associated with the principle idea of covering the human body especially the private parts so as to abstain
themselves from immoral acts thus stabilizing the sexual and moral behaviour.
The Chin-Kuki-Mizo men usually wore a loin-cloth which is worn somewhat like a ‘Dhoti’ and a cloth
or more is wrapped over the shoulder or both. The women wrap a loin cloth around the waists which reaches a
little over halfway down their thighs. Sometimes, a string is separately attached to the cloth which passes round
the waist to hold it up. In addition, a breast cloth is worn by the women that are tightly wrapped round the torso.
The outer corner of the cloth is tucked in at a spot between the left breast and the armpit. The clothes which are
used for clothing are spun and woven by women from the cotton which is grown in their land. The Chin -Kuki -
Mizo men doesn’t involve much in weaving and there is no contribution from them. However the girls start
helping their mothers or other female’s members of the family at a young age in different stages of weaving. It
is the responsibility of the mother to instruct and guide her daughter in the art of weaving at a very tender age.
All the essential clothing and requirements in a family is provided by women in the Chin-Kuki-Mizo society.
Hence, the quality of a woman is judged by the quality of clothes she produces. A woman who had exceptional
knowledge of weaving embroidery technique is given a high reputation especially among the womenfolk as
weaving different patterns of embroidery is taken as competition in the olden days.
The study of the Chin-Kuki-Mizo artefacts and the technique involving its preparation have great significance
by virtue of their relation to the whole social organisation particularly from the viewpoint of their religious
values and practices. Different designs with distinctive motifs and colours are connected with meanings which
have sociological significance and mystic Ideology in close connection with religious beliefs and past
recollections. The clothes or attires have a deep cultural significance and they assumed different names
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according to the purpose for which they were used. For instance, ZAWLPUAN – It is included in a woman’s
possessions when she gets married. It is intended to be kept for wrapping the body of the women’s husband
when he dies and it is held to be a disgrace if she fails to wrap her husband’s body in a Zawlpuan. PUANDUM-
is a cloth used by the men. It is a combination of black (6cm and 7cm), red (6.5cm), yellow (5mm), and green
(5mm) thread and is one of the better kinds of cloths made by the Lushais. PAWNRIN-is a cloth made out of
blue and white thread and used by the women. The PUANDUM and the PAWNRIN are used in many ways.
When a man dies, his body is wrapped in a Puandum and he is buried in it and the wrapping of the body in the
PUANDUM is regarded as a mark of respect to the deceased. A woman’s body should similarly be wrapped in a
PAWNRIN. PUANDUM has a very deep cultural significance. In earlier days every girl was invariably required
to weave at least one puandum so that she might carry it in her ‘Thul’ (cane basket) at the time of her marriage.
If due to very unusual circumstances, she failed to carry it thus, it was considered her prime duty to weave one
soon after going to her in-law’s place ,as failure to have at least one Puandum by her was looked upon as highly
disgraceful in their cultural set up .The possession of Puandum by the newly married girl was so conceived as it
was culturally linked with one of her very sacred duties namely to provide a distinctive cover for the dead body
of her husband if per chance the husband met his death during her lifetime. It could also be used for covering the
dead body of any near one in the Husband’s family. PUANDUM also assumes different names according to the
purpose for which it is mainly used. Thus when it is used to cover a dead body it is called ‘THIHRIN PUAN”
(thi means die). While it takes the name ZAWLPUAN it is presented as a token of affection and love or to
establish cordial relationship with someone. Zawl means friend and hence the transformed name of Puandum as
Zawlpuan. If the Puandum is used by the parents of a girl as a bedspread to enable a boy friend of their daughter
to sleep with her in their house, it is called DAWN PUAN PHAH. This implies an indirect consent of the
parents to the couple to have pre-marital sexual relationship with the condition that they would subsequently
bind themselves in marriage failing which; the boy is required to pay a prescribed fine. DAWN means ‘not to
consider’ and PHAH ‘to spread’. PUANDUM as ZAWLPUAN is also sometimes used as a wrapper. It used to
be a favourite night cover for young people during their night stay in Zawlbuk (men’s dormitory). PUANPI or
PUANPUI – A mattress for a married woman carried as a part of dowry when going to her husband’s house for
the first time or when legally married, in case of elopement. It is made from coarse cotton and involves lots of
manual work. Generally, it is six by four feet in dimension. Because of its weight, it is seldom washed. It is
made by passing round every fourth or fifth thread of the warp, a small row of raw cotton and drawing both ends
up. A raw of this cotton roll is put in after every fourth or fifth thread of the wool, so that on one side the quilt is
composed of closely placed tufts of cotton. THANGSUO PUON OR THANGCHHUAH-It is a handloom cloth
for the persons who earned the right to wear this by killing the maximum number of enemies in a war. A man
who has earned the title of ‘Thangchhuah’ is allowed to wear a cloth of a certain pattern and those who have
killed men in war have special head dresses, known as “Chhawndawl” and “Arke-ziak”. PUANLAISAN-It is a
red striped cloth. In Hmar language, Puon or puan means cloth, Lai means middle and sen or san means red, but
in the middle there are two black stripes also. The cloth has several designs; a) Sakat Zang Zie: This design
looks like arrows and Hmars interpret this as the designs on the back of a tiger. In their language, Sakai means
Tiger, Zang means back of the tiger and Zie means colour. b) Disul: Di in Hmar language means love and Sul
means abandoned. It is said that this design was evolved out of a tragedy. Once a Hmar boy fall in love with a
girl from the same community. Unfortunately, the boy died suddenly and as the girl was very much in love with
the boy she used to visit the grave regularly and ultimately she also died in grief. The souls after death met again
but could not stay together due to the law of the land. Before they finally departed the girl wove this design for
the boy so that whenever his eyes saw this particular design he could remember the girl. NGOTEKHERH- The
cloth has two broad black stripes of closely spaced wefts passing horizontally through the body of the cloth
having a white warp, on the two end borders of this cloth with SakaiZangZie, Diseu and Kokpuizik Zie designs
woven in it. (Kokpui - the branches of which are intertwined, Zik is the upper part of the plant and Zie means
intertwined).The design thus symbolically represents the upper part of the koui plant.1
SAIPIKHUP; Saipi
means elephant and Khup means knee. The design thus resembles elephant’s knee. It is extensively used by the
Thadous in Kampongarea. KHAMTANG-The base of the cloth is black and the sides and end borders have
yellow designs. Some stripe designs known as Khamtang form the borders. It symbolises the designs marked on
the upper side of the python. There are also some flower motifs known as Changmaimu. Both Khamtang and
Changmaimu are complimentary to each other and have different social significance. The legendary beliefs
about the Khamtang pattern was that, somewhere during 500 B.C, there was a place called Khovandar in which
lived a lady named Chawngnu who fell in love with a python-god. Before she joined him in the realm of
immortality, she caused her lover to lie by copying the markings of her lover’s body and sang a song
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“I sat weaving upon a rock,
placid stream runs below; I copied the markings of
my lover’s skin
to which I added
with crab markings”
Changmaimu resembles the cucumber seed. There were two brothers who sowed cucumber seed on a
clay mound. The younger brother’s cucumber became big enough to eat which they divided among themselves.
The elder one ate up quickly and demanded another portion from his brother. The younger refused to give
anymore. The elder threatened to drown himself on the mound. Yet the younger refused to give anymore. The
elder kept threatening and started sinking. At last he disappeared under the earth. The parents came home from
work and enquired the whereabouts of the elder brother. After much persuasion, the younger brother informed
that he disappeared under the clay mound. With an assurance from the younger that he would share his
remaining portion, the elder brother came out2
. THANGNANG-It is again a simple black cloth having two
designs at the end borders. One of the designs is known as Goshemjang having a similarity with the shape of a
gourd musical instrument, the other is a diamond like design symbolizing the belly portion of the python.
MAIJAPJEM; this design resembles a fan made of bamboo and cane. In Kuki language, MAIJAP means fan and
JEM means colour. THANGOU PUON; THANGOU in Paite means famous and Puon mean cloth. Thus there
are some restrictions imposed on the use of this cloth. Unless a Paite kills his enemies either in inter-tribal feud
or in general war, he is not entitled to wear; a cloth with this design. The Paites who show distinction by killing
some ferocious animals like tigers, elephants, wild buffaloes etc are debarred from using the Thangou puan. The
other alternative is to harvest the largest quantity of crop in the village and the Paite who actually performs this
is allowed to wear the Thangou puon. The Thangou puon has eight broad stripes and between these are four
narrow red and white stripes. The middle portion has four one-sided symbols and three red stripes. The symbols
are Kiukau or zigzag pattern, Tangmaimu or cucumber pattern, Shialutun or the form representing the
downward direction of the head of the Mithan and Len buam Thuam(Len in their language means big, Buam
means a banyan like tree and Thuam means a point where a branches meet). JAWLPUON- Jawl in paite means
friend and betrothed lover. The cloth is also named Shashengsin Puon meaning a cover cloth for a basket with
meat carried by a married girl going first time to her husband’s house. The Jawlpuon has nine red stripes and
eight black stripes alternately arranged running vertically throughout the length of the body. There are two rows
of Shial Lutun designs separated from each other and the end borders have motifs resembling the eyes of birds
in yellow, pink, red and green colour. TAWLHLOH PAUN- Tawlhloh in Mizo language means to stand firm;
not to change position; not to move backward. Tawlhloh puan was thus indicative of “never turning back” the
attitude of a warrior synonymous with do or die. It was a cloth which could not be put on except by a very
courageous warrior who had established for himself a reputation for such exceptional bravery. The traditional
significance of Tawlhloh puan was that the wearer was held high in esteem while the Mizos in former days
found some of their compatriots venturing to put on this particular type of Puan before going out to fight. If a
person putting on this cloth was found retreating from fighting he was scorned or looked down upon by the
people at large. It is a cloth about two yards in length and 42 inches in breadth with a white surface. Four black
stripes made of four intertwined threads gave a chain-like appearance to the stripes. Two of these chain-like
stripes breadth wise were so arranged as to divide the whole cloth into three equal parts. The other two stripes
used to be woven along the two vertical edges of the Puan. Along the length too there were two stripes running
over the whole length in such a way as to divide the cloth into three equal parts.
CONCLUSION
The crafts of the Chin-Kuki-Mizo do not represent the finest example of Craftsmanship. However, they stand in
evidence of a social fact and distinctive specimens of tradition and customs. Hence, through their craft is
interpreted every way of social and cultural life .Their crafts primarily cater to very specialized tribal needs and
to sociological aesthetical and personal values. Their arts and crafts reflect the value philosophy and attitude
towards life. It is important to note that weavers face several drawbacks. It is also necessary to understand the
difficulties against which the individual artist’s struggles; Lack of materials, most primitive tools, lack of
training, hesitation in showcasing one’s work and a climate in the state which discourages entrepreneurship are
some of the impediments faced by the craftsman and to appreciate traditional dresses requires empathy with the
craftspeople.
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NOTES AND REFERENCES
[1]. Bertram S Carey CIE; Assistant Commissioner, Burma and political Officer, Chin Hills. H N Museum. Imphal.2000..
[2]. Chatterji, N. Mrs. Dr: “Puan, The pride of Mizoram”, Firma KLM Private Limited on behalf of Tribal Research Institute
Aizawl, Mizoram
[3]. Gangte, T.S: “The Kukis of Manipur”, Delhi, 2003.
[4]. Gangte, Ngaknu: “Ethno-Historical Study of the Gangte”, Unpublished Ph.D Thesis submitted to Manipur University, 2002.
[5]. Guite, Vanlalruat: “Traditional Dresses and Crafts of the Zomis in Manipur”, Unpublished Ph.D Thesis submitted to Manipur
University, Imphal.1999 6. Khayi, Sinalei: “Arts and Crafts of the
[6]. Tangkhuls: A Study in their Cultural Significance”. Unpublished Ph.D Thesis, submitted to Manipur University, Imphal 1997.
[7]. Kumar, Satinder: “Encyclopedia of South Asian Tribes”. Vol VI.
[8]. Parry, NE: “A Monograph on Lushai Customs and Ceremonies”, Tribal Research Institute. Aizawl. Mizoram1927.
[9]. Roy, Nilima : “Art of Manipur” . Agam Kala Prakashan, Delhi 1979.
[10]. Shakespeare, John: “The Lushei Kuki Clans”, N. Delhi; 1912.