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NDTV
4 days ago
- NDTV
8 Tribal Crafts From Northeast India That Are Deeply Rooted In Culture & History
India's Northeast isn't just geographically remote — it's also culturally rich in a way that feels untouched by the rush of the modern world. Home to more than 200 tribes, the region's crafts are as diverse as its landscapes, and every weave, pot, or painting is grounded in daily life, ritual, and ancestry. These are crafts with a point of view. Whether it's a bold Naga shawl that once signified warrior status or a bamboo basket woven for practical farming needs, the handmade treasures of the Northeast offer a window into the cultural heartbeat of the region. Here's a look at some of the most iconic tribal crafts from Northeast India, sorted by state, that you'll want to know about. Here Are 8 Noteworthy Tribal Crafts From Northeast India: 1. Naga Shawls — Nagaland A Naga shawl isn't just clothing — it's an identity marker. Traditionally, the colours and motifs on these shawls reflect tribal affiliations, gender, and even social status. The Tsungkotepsu shawl of the Ao tribe, once exclusive to warriors, features fierce symbols like spears and buffalo horns. Woven on backstrap looms using wool or cotton, these textiles are now being integrated into modern fashion. But the meanings remain: Each line and motif is still tied to centuries of tradition. 2. Bamboo And Cane Craft — Assam, Tripura, Mizoram, And Manipur Used in everything from tools to furniture, bamboo and cane are the lifeblood of utilitarian craft in the Northeast. In Tripura, Riang artisans create finely detailed cane stools and trays, while in Assam, bamboo is used for everything from household baskets to the decorative yet functional Japi hat. Manipur and Mizoram continue to produce an impressive array of woven goods, often combining traditional technique with clean, modern design-making them a hit among eco-conscious consumers. 3. Phanek And Innaphi Textiles — Manipur Worn by Meitei women, the Phanek is a woven skirt, typically paired with a sheer stole called the Innaphi. These textiles are handwoven using traditional techniques, often passed down through generations within families. Each colour and design carries meaning-red symbolises strength, while white denotes purity. The fabrics are worn for everything from daily wear to religious ceremonies, and their quiet elegance is winning over global design houses. 4. Eri And Muga Silk — Assam Assam is world-famous for two unique types of silk: Muga and Eri. Muga silk, with its natural golden hue, is exclusive to Assam and is known for its durability and sheen. It was once reserved for royalty and remains a marker of prestige. Eri silk, often called the 'peace silk', is produced without killing the silkworm, making it a favourite in sustainable fashion circles. Soft, breathable, and ethically made, Eri is commonly used in shawls and scarves, often dyed with natural pigments. 5. Black Pottery — Manipur The village of Andro in Manipur is home to a rare form of black pottery made without a potter's wheel. Instead, the clay is beaten and moulded by hand, then fired in an open flame, giving it its distinctive black sheen. Used traditionally for cooking and storage, these pots are made from a mix of serpentine stone and weathered rock. The all-black aesthetic has recently caught the eye of interior designers and collectors who love its raw, minimal vibe. 6. Wood Carving And Bead Jewellery — Arunachal Pradesh In Arunachal Pradesh, traditional crafts lean heavily on nature. The Monpa tribe carves wooden altars and ritual masks used in Buddhist ceremonies. The Apatani and Nyishi communities create elaborate bead jewellery, often incorporating bones, feathers, and seeds. These items aren't decorative in the conventional sense — they're ceremonial and symbolic, tied to rites of passage and tribal pride. 7. Thangka Paintings — Arunachal Pradesh & Sikkim Though more widely associated with Tibetan Buddhism, Thangka paintings are also deeply rooted in Arunachal Pradesh (especially among the Monpa) and parts of Sikkim. These paintings are done on cotton or silk and depict Buddhist deities, mandalas, or life events of the Buddha. Highly detailed and spiritually significant, Thangkas require years of training to perfect. They're not just visual — they're devotional tools meant for meditation and prayer. In recent years, some are being adapted as wall art for global homes, but traditionally they're rolled and stored when not in use, like a scroll. 8. Puan Textiles — Mizoram The Puan is more than a traditional garment — it's a symbol of Mizo identity. Handwoven with bold stripes, checks, and geometric motifs, it's worn during ceremonies, festivals, and formal events. Today, designers in Mizoram are incorporating Puan patterns into contemporary silhouettes — think bags, jackets, and even shoes — without losing the integrity of the original motifs.
Hindustan Times
14-05-2025
- Entertainment
- Hindustan Times
Northeastern designers give traditional textile a modern spin
Recently, actor Kareena Kapoor Khan turned heads with a striking off-shoulder dress by Hannah Khiangte, a designer hailing from Aizawl, Mizoram. The sculpted navy silhouette, accented with a cream fringe, stood out not just for its design but for its fabric — the Mizo puan, an indigenous textile rich in heritage. Hannah is not the only designer from the region who is blending tradition with contemporary flair. Textile designers from the Northeast are reviving heritage textiles and showcasing them on the global stage, where they remain relatively unknown. A post shared by Hannah Khiangte ™️ (@hannahkhiangteofficial) 'When we were in college, not much was taught about Northeastern textiles Northeast to design students, but now we see a change in how our creations are perceived,' says Manjushree Saikia, founder of the brand Ura Maku, who hails from Assam. 'We work with Eri silk, also known as Ahimsa silk, which is known to be eco-friendly and natural. People mostly used it in making Mekhela Chador, but I thought of using Eri silk in pantsuits and dresses,' she adds. A post shared by Ura Maku (@ Kintem, meaning 'communities' in the Ao-Naga dialect, was founded in 2023 by Moala Longchar, a former PR consultant who transitioned to textile design in 2018 by helping her mother in her textile business.'We take inspiration from the vibrant visual language and designs of Naga textiles, especially from the Ao-Naga tribe, reinterpreting traditional motifs and using the age-old loin loom technique, handloom and hand sewing the pieces together into a whole cloth. We saw the need to produce diverse designs that are not only commercially viable but also wearable,' she explains. A post shared by KINTEM (@kin_tem) A post shared by E A S T (@east_zimik) Fashion designer Easternlight Zimik focuses on a traditional weaving technique called 'backstrap weave': After graduating from NIFT in 2017 and working with brands like Manish Arora and Gaurav Gupta, I started my brand in 2023 and thought of promoting this long-lost weave. Not many youngsters are interested in learning this weaving technique. It is time-consuming, they are not paid enough, and a lot of cheaper versions of this technique are available. My effort is to present these textiles in the most avant-garde way possible.' 'When I started off, there were very few designers from the Northeast marking their presence, but it is a welcome change to see, so many talented designers doing great work in reviving and promoting their traditional textiles and presenting them to a global audience,' says designer Jenjum Gadi.
Indian Express
14-05-2025
- Business
- Indian Express
Taking the ‘silk route' in Punjab as Sericulture boosts farm income
Sericulture, once a minor allied activity in Punjab's agricultural sector, has been rapidly gaining traction and offering significant support to poor farmers and below poverty line (BPL) families, particularly empowering women. This year, silk cocoon production has seen an increase in procurement, and more farmers, especially in the state's sub-mountain regions, are getting involved. Punjab's sericulture activities — primarily practiced in one and more blocks in each of the four districts Pathankot, Gurdaspur, Hoshiarpur, and Rupnagar — have expanded significantly. For the first time, Amritsar has joined the sericulture map under the One District One Product (ODOP) initiative, with silk chosen as its flagship product. This year, Punjab has procured around 35,000 kg (35 metric tonnes) of green cocoons, surpassing last year's procurement of approximately 33,790 kg. The procurement has just concluded. In Pathankot, a major hub, 29,819 kg of cocoons have been procured, with Dharkalan and Sujanpur blocks being the primary areas for silkworm rearing. Last year, 21,976 kg was procured from this region. Hoshiarpur and Rupnagar have seen a procurement spike with 4,500 kg of cocoons being purchased, compared to 3,900 kg last year. Amritsar, where the sericulture initiative is in the early stage, has procured 256 kg of cocoons. There are now around half a dozen blocks across these five districts where silkworm rearing conditions are optimal. Nearly 1,000 farmers, of whom about 60% are women, are actively involved in sericulture in these blocks. With 13 dedicated sericulture farms and technical support from the state Horticulture Department, Punjab produces both Mulberry and Eri silk, with Tasar silk also being introduced recently. The cocoon production has seen a remarkable increase from 22.71 MT in 2017-18 to over 35 MT so far — a growth of nearly 54%. The second crop of the year is expected to arrive in September. Meanwhile, the average annual income per farmer has more than doubled — from Rs 20,000-25,000 to Rs 50,000-60,000. Vandana Sharma, a woman farmer from Dharkalan, shared that she began rearing silkworms last year, and finds it highly beneficial. In less than a month, she can earn Rs 10,000-15,000, depending on the amount of silkworms used to produce cocoons. 'I'm a poor woman, and this occupation helps me greatly. I rear silkworms in the March-April and September seasons, as it takes less than a month to rear these worms,' she said. Santosh Rani, another silkworm rearer from Dhar block, echoed similar sentiments, having 'sold around 35 kg of cocoons this season'. Emphasising the home-based nature of the work, Shami Kumar, Divisional Sericulture Officer in Sujanpur (Pathankot), said it has 'enabled women from socially disadvantaged groups to contribute significantly to family incomes and achieve financial independence.' Avtar Singh, Sericulture Farm Manager in Sujanpur, said cocoon prices have improved this year, with farmers receiving Rs 360-390 per kg, compared to Rs 290-330 per kg last year. For dry cocoons, the rate has risen to Rs 1,200 per kg. Singh said as demand for high-grade cocoons surged in 2023-24, market rates skyrocketed from Rs 550 to Rs 1,250 per kg, directly benefiting farmers. 'Sericulture is thriving under the Horticulture Department, Punjab, which subsidises silk seeds provided to BPL familieso through Corporate Social Responsibility (CSR) initiatives,' Singh said. 'We procure seeds from Dehradun, keep them for some time, and supply them to farmers.' Kartar Pathania, Sericulture Officer in Dharkalan, said: 'Through initiatives like Silk Samagra and Rashtriya Krishi Vikas Yojana, the state is providing financial and technical support for nurseries, plantations, rearing equipment, disinfectants, training, and the construction of rearing centres. Exposure visits, awareness camps, and resource development programmes are regularly conducted to upskill farmers.' Dr Balwinder Singh and Ramandeep Kaur, sericulture officers in Hoshiarpur, said 'the government provides a 50% subsidy for shed construction for the general category and 60% for reserved categories, and special attention is given to SC/ ST families, with sericulture emerging as a reliable source of livelihood and dignity.' It is expected that a reeling unit approved for Pathankot will double the income of rearers and reduce dependence on external markets. With the introduction of Eri culture, the working season has expanded from three to up to eight months a year, resulting in a 25% increase in farmers' income and enhanced social status. Shailender Kaur, director of the Horticulture Department, said that 'the state government aims to create a full value chain by transforming raw cocoons into silk threads and finished products within the state. Streamlined marketing facilities at the government level are ensuring that farmers receive remunerative prices without exploitation. Punjab's sericulture success was recently recognised at the national level, with the state receiving a Silver SKOCH Award in 2024 for its project on 'Women Empowerment and Socio-Economic Development', she said, adding: 'The state hosted its first-ever National Silk Expo at Kisan Bhawan in Chandigarh — a milestone event that showcased local silk products and provided networking opportunities for rearers, buyers, and innovators.' The Department also unveiled a dedicated sericulture logo, reinforcing its identity and ambition to establish 'Punjab Silk' as a premium brand over the next five years. Kaur said: 'Plans are in place to boost cocoon production to 50 MT, expand plantation areas, and invest in silk thread and cloth production, as well as value-added products.'
The Hindu
27-04-2025
- Sport
- The Hindu
Double joy for Uganda as Cheptegei and Chelangat triumph in TCS World 10K Bengaluru 2025
It was a Ugandan double in the TCS World 10K Bengaluru 2025, with Joshua Cheptegei and Sarah Chelangat claiming victories in the international elite men's and women's categories respectively here on Sunday. Cheptegei and Sarah won $26,000 each. Cheptegei, the reigning Olympic 10,000m champion, underlined his favourite status with a tactically sound run. Cheptegei stayed on the heels of leader Gabriel Geay for the first half, before going past the Tanzanian at the 6km mark. No less than four other competitors joined Cheptegei in the new leader group. Like he did at Paris, Cheptegei moved into top gear with a tremendous kick in the final kilometre. His competition could not keep pace, allowing Cheptegei (27:53s) to make a triumphant return to an event where he claimed silver back in 2014. Despite a quick start, the men's course record held by Nicholas Kimeli (27:38s) remained intact. 'When I came in 2014, I had zero experience as that was my first international race. I'm so happy to return to Bengaluru this year and win. Last year, I had won the Delhi Marathon. I believe that India is a place to chase dreams,' Cheptegei said. The elite women's run, which did not have a pacemaker, was dominated by Sarah Chelangat. Sarah, who holds the Ugandan national 10,000m record, pulled ahead of the field to gain an eleven second lead at the 4km milestone. Sarah went on to widen the gap, and by the final stretch, she had no company. The 23-year-old finished nearly a full minute ahead of her nearest rival, Cintia Chepngeno. Sarah (31:07s) could not come close to the course record, set by Irene Cheptai (30:35s) in 2022. A soft spoken Sarah explained her simple, effective race strategy. 'When we were running, I felt the pace was a bit slow. I thought - 'why don't I push and try to finish in the first position',' Sarah said. Sarah added that course record could have come under threat had there been a pacemaker. It was a memorable morning for Abhishek Pal (29:12s), who erased the Indian course record held by Kiran Matre (29:32s). The 2023 Asian Athletics Championships 10,000m bronze medallist finished a creditable seventh overall. Sanjivani Jadhav wore the Indian elite women crown for a fourth time in a row. Sanjivani's timing of 34:16s did not match her own Indian course record of 33:38s set in 2018. The win capped a fine week for Sanjivani, who claimed the 5,000m and 10,000m golds in the recent Federation Cup. Abhishek and Sanjivani took home ₹3,00,000 each, while Abhishek won an additional ₹1,00,000 for setting a new Indian course record. The results (top three): Elite Men: International: 1. Joshua Cheptegei (Uga) 27:53s, 2. Saymon Tesfagiorgis (Eri) 27:55, 3. Vincent Langat (Ken) 28:02. Indian: 1. Abhishek Pal 29:12, 2. Sawan Barwal 29:45, 3. Kiran Matre 30:01. Elite Women: International: 1. Sarah Chelangat (Uga) 31:07, 2. Cintia Chepngeno (Ken), 32:04, 3. Guteni Shanko (Eth) 32:06. Indian: 1. Sanjivani Jadhav 34:16, 2. Bharti Nain 35:36, 3. Poonam Sonune 35:57.
New Indian Express
26-04-2025
- Business
- New Indian Express
Kochi college teacher's homely restaurant is a foodie's delight
In a city like Kochi, where restaurants tirelessly compete to stand out, serving everything from fusion and pan-asian to continental, Mediterranean, and niche global cuisines, there's a quiet corner in Mulavukad, just a kilometre from Bolgatty, that chooses to walk a different path. At 'Jency's Good Food', the goal isn't to dazzle with trends but to comfort with simplicity. Here, the mantra is clear: 'Simple is key'. Rooted in authentic Kerala cuisine, Jency's Good Food doesn't try to reinvent the wheel. Instead, it brings food that feels like home to the table. 'There's a market for everything unique, sure. But how long can someone keep eating unfamiliar dishes? For most Malayalis, the familiar taste of naadan cuisine is something they can have every day. That's the purpose of food, right? The idea was to serve something people can come back to daily,' says founder Jency Treesa. A passionate home cook turned entrepreneur, Jency also serves as an assistant professor in commerce at St Teresa's College (Autonomous), Ernakulam, and is a research guide under MG University. Despite her academic commitments, she took the step toward fulfilling a long-held dream. 'Starting a restaurant was always in the back of my mind. Growing up with three brothers, we all used to cook when we wanted to recreate dishes we tasted outside. But with my teaching profession, I wasn't sure I could manage it all. Thankfully, my college management was very supportive, and finally, I made it happen.' Before launching the restaurant, Jency had already dipped her toes into the food business with homemade syrups — like naruneendi, beetroot, and carrot — as well as meat masala and sambar powder, all made fresh at home. The occasional catering gigs gave me the idea of serving larger groups and the confidence to scale up. The positive feedback I got during those times really gave me the push to start Good Food,' she adds. As I stepped into the cosy, welcoming space she curated, it felt more like entering someone's home than a restaurant. That's exactly what Jency envisioned — 'like dining at your family table.' The meal began with appam — light, fluffy in the centre with lacy edges so delicate, it's easy to lose count of how many you eat. Paired with it were two standout dishes, prawns in thick masala and Eri pollichathu. The Eri — slightly fried and coated in a spicy, tangy blend — was flaky and moist in just the right way. The prawns were generously sized, juicy, and bursting with flavour. According to Jency, on her menu, the showstopper is the pork fry. 'I have repeat customers mainly for pork.' Made with a base of onion, turmeric, and a ginger-garlic paste, what sets it apart is the dominant peppery note that elevates the dish. Fatty, flavorful, and crisp around the edges, it paired perfectly with the rice meals served. To round off the meal, I tried the naruneendi juice. Its refreshing earthiness felt cleansing — a perfect finish to a hearty lunch. What stands out across all dishes is the careful use of ingredients, most of which are freshly ground by Jency herself. Nothing feels heavy or overdone. The venture has live counters set outside, which start around 6.30pm. They also cater to customised orders, bringing a personalised experience to an event.
