Zosangliani.pdf

Design Space

INNOVATION IN MIZORAM JEWELLERY CRAFT

By ZOSANGLIANI

Submitted to NIFT in partial fulfillment of the requirements for the Degree of

Master of Design Department of Design Space

2015 – 2017

Faculty Guide : RUPA AGARWAL

NATIONAL INSTITUTE OF FASHION TECHNOLOGY MUMBAI

DECLARATION

The work in this project titled “Innovation in Mizoram Jewellery Craft ” is

authentic and original and is the outcome of my contribution & research. The project was carried out under the guidance of Mrs. Rupa Agarwal, chairperson at NIFT Mumbai No portion of this work has been submitted in support of an application for another degree / qualification to NIFT or any other university or professional organization.

ZOSANGLIANI Master In Design Department of Design pace Place: NIFT, Mumbai. Date:

In my capacity as supervisor of the candidate’s dissertation. I certify that the above statements are true to the best of my knowledge.

Rupa Agarwal Associate Professor Chairperson Design Space NIFT, Mumbai

ACKNOWLEGEMENT

This dissertation would not have been accomplished without the contributions of many people, I would like to thank the following people for all their effort , motivation ,and support during this study . I would like to thank to my mentor Rupa Agarwal for her guidance and assistnce throughout this project and Nitin kulkarni who provide insight and expertise that greatly assisted the research. The department of Mizoram state museum , Aizawl , Mizoram for letting me to take the ornaments photographs required for my project . Jeremy Hauhnar, and Samuel Zoramawia for the photography of my prototype , my brother Ralvulchhuaka Ralte for supporting me taking photographs of traditional ornaments. Thanks to Rody H Vanlalhriatpuii for modelling my jewellery prototype. My friends Elizabeth Darsiampuii , Lalhmunzauva Chinzah, for helping me with ideas for traditional ornaments curation . I am indebted to the craftsmen –Vanlalnghaka, Lalhuapzauvi, Lalkrosthanga, Lalsiamliana who helped develop the designs, using their expert skills . I thank Ministry of Textiles for sponsoring my project. All the people whom I had interviewed and collected pictures, without them my research would not be completed. Special thanks to my parents who always gave me moral and financial support towards the completion of the project.

TABLE OF CONTENTS CHAPTER

CONTENTS

PAGES

CHAPTER- 1

INTRODUCTION

1.1 Objective 1.2 Significance of the project 1.3 Hypothesis 1.4 Deliverables

2

3 4 4

CHAPTER – 2 REVIEW OF LITERATURE

2.1 Background Of The Mizo Tribe . 2.1.1 Origin 2.1.2 Tribes of Mizoram 2.1.3 Geography 2.1.4 Festivals 2.1.5 Dances

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2.2The Mizo bamboo culture 2.2.1 Bamboo in Mizoram 2.2.2 Different species of bamboo in Mizoram 2.2.3 Type of bamboo commonly used by Mizo craftsmen 2.2.4 Bamboo and cane craft of Mizoram 2.2.5 Different types of traditional bamboo usage

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2.3Traditional to contemporary jewellery 2.3.1Jadau jewellery 2.3.2American Indian Jewellery 2.4 International usage of bamboo in jewellery 2.5 importance of innovation in craft for its revival.

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CHAPTER -3

Research Methodologies

45

CHAPTER 4

Secondary Research Overview

49

36 42

CHAPTER

CONTENTS

CHAPTER -5

5.1 Significance of ornaments in Mizo culture 5.2 Different type of traditional ornaments in Mizoram 5.3 Modern Jewellery

THE MIZO ORNAMENTS

CHARPER -6 CHAPTER -7

The Mizo Artisans Market Research And Analysis

CHAPTER -8

Design Exploration And Development 8.1 Design Exploration 8.1.1 Mind map 8.1.2 Inspiration Board 8.1.3 Trend forecasting 8.1.4 Trend Analysis 8.2 Design development 8.2.1 Design -1 8.2.2 Design -2 8.2.3 Design -3 8.2.4 Design- 4 8.2.5 Design -5 8.2.6 Design -6 8.2.7 Design -7 8.2.8 Design -8 8.2.9 Design -9 8.2.10Design-10 8.3 Feedback 8.4 Overview of Primary Research and conclusion 9.1 Limitations of the study 9.2 Impact of the proposed research work on the cluster

CHAPTER – 9

REFERENCES GLOSSARY APPENDIX I APPENDIX II APPENDIX III APPENDIX IV APPENDEX V APPENDEX VI

PAGES 51 52 53 88

101 108

111

132 175 177 177

ABSTRACT

In today’s Mizo society, many people do not know and do not appreciate the significance of Mizoram jewellery craft. It is important because jewellery is a valuable possession and gives cultural identity. In the present scenario where there is limited usage of jewellery and the fact that it has not been reinvented to suit the times, there is a high possibility that it will disappear.

So, it is very important to keep in mind how the jewellery craft of Mizoram could be kept alive in the present and in future. This project will focus on how to develop and enhance the beauty of the piece there by creating value addition to the craft. It will also introduce the craft to a very wide range of audience , reaching out to the whole of India and the international market as well.

Keywords: cultural value, handicraft, traditional jewellery , material culture , Innovation.

CHAPTER -1 INTRODUCTION

The most common type of primitive ornaments like Thihna (a necklace with amber beads), Thifen (a necklace with smaller beads), Pumtek (fossilized

bead with various stripes in different design) , Vakiria (headgear worn by women on special occasions consisting of a bamboo band embellished with a feather, job tear seeds and decorated at the ends with beetle wings) .Traditionally, the Mizo make use of seeds, shells ,brass, bones ,animal claws, teeth and precious stones for jewellery . But nowadays, due to the unavailability of indigenous raw materials an acceptable substitute material was used and also new designs was developed taking inspiration from traditional textile pattern which is very popular in the current market. Despite this fact, there are very few people who did contribute to jewellery making to earn their livelihood and to sustain the craft. This step is necessary for the development and promotion of the craft.

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1.1 OBJECTIVE

•

To study the features of jewellery availability of the traditional craft and to document.

•

To identify suitable materials and techniques which could be implemented for prototype and design a product Prototype using locally accessible materials.

•

To identify the sector where the concept can be introduced.

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1.2 SIGNIFICANCE OF THE PROJECT

•

This will expand the user base rather than confining it to its traditional uses.

•

It will create a scope of better market opportunities by contemporizing the jewellery craft.

•

It will increase the level of demand for jewellery craft in toda s

generation. •

This will add new resources in Mizoram jewellery craft .

3

1.3 HYPOTHESIS After studied about various nature in every traditional Mizo craft, bamboo is chosen because it is the appropriate and suitable material that can be sourced

and produced locally besides the traditional weaving technique can be applied in jewellery design to indicate the Mizo identity.

1.4 DELIVERABLES

Designing a collection of Mizoram jewellery craft using locally source material there by contemporizing them into fashionable ornamental piece of Jewellery.

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CHAPTER – 2 REVIEW OF LITERATURE 2. 1 BACKGROUND OF THE MIZO TRIBE

2. 2 THE MIZO BAMBOO CULTURE

2. 3 TRADITIONAL TO CONTEMPORARY JEWELLERY

2. 4 INTERNATIONAL USAGE OF BAMBOO IN JEWELLERY

2. 5 IMPORTANCE OF INNOVATION IN CRAFT AREA FOR ITS REVIVAL

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2.1 BACKGROUND OF THE MIZO TRIBE Mizo is a generic term and stands for all tribes of Mizoram. It appears to spring from the Lushai derivative of the word Mizo . According to this

Mi means

persons and Zo means high hills. So Mizo stands for all those who live on high hills . Ra

stands for lands or country and so Mizoram stands for the

land of the Mizos . (3)

2.1.1 ORIGIN Mizo are of the Assam- Burma sub group that branches from Tibeto – Burman group of the main Tibeto –Chinese race . because of the affinity of language Mizo are classed s Tibeto- Burman though traditional ascribed them as people who lived in Chinlung, a place where the ancestors of the Mizo settle. (6) The following diagram would make this point more clear.

Table-1 : Mizo as a branch of the main Tibeto- Chinese race . Source : A brief history and culture of Mizo, B.Lalthangliana, 2014).

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Long ago, the conglomeration of Tibeto- Burman families settled in the northwest of China . They migrated to the west along the borders of Tibet : then moved down south into Myanmar . it is believed that they reached Myanmar in the beginning of the year 800 A.D.

Then, from the north of Myanmar, they moved down the banks of Chindwin river, settled in the Kabaw valley. Here they resided from the year 800 – 1300 A. D. However, the Shan who outnumbered them and were much stronger, entered the Kabaw valley. The Mizo were different and unable to stand up against the shan; and so they left the Kabaw valley in the year 1300.A.D

After leaving Kabaw Valley to their enemies, most of the Mizo moved west to Than Hills and the banks of the Run river, in the area which is now the northern Chin state. They continued to live separately on various hills. he period in which they lived on the Than hills and on the banks of the Run river is between 1300 and 1450 A.D.

During the period from 1300 to 1700 A.D during their sojourn on the Than and Lentlang hills and on the banks of the Run and Triau rivers, they composed many folk tales and songs on the basis of memory of their erderly which are important and worthy of note .

The various sub- Tribes who are the descendants of the Mizo entered Mizoram in different stages , times and period . the mainstream of the Mizo led by the

sailo chiefs entered the present state of Mizoram in the 1700A.D. Before they crossed the triau river they already had chiefs to rule them. The weaker chiefs and their subjects were first to cross out the Triau river, and later on the strong chiefs followed. They established villages on tops of various hills , and gradually spread out all over the present Mizoram.(4) 7

2.1.2 TRIBES OF MIZORAM The five major tribes of Mizoram are The Lushais, Lakhers(Mara), Pawis( Lai), Chakmas and Reangs.The Lakhers and Pawis are almost entirely concentrated in the southern part of Mizoram , now demarcated into a separate district named Lawngtlai and Saiha ,the Chakmas too have mostly settled in Saiha district but

they have also settled in sizeable concentration on the western border at Tlabung in Lunglei district and marpara and Tuipuibari In mamit district . The Lushais who constitute the most numerous tribes are mostly distributed in Aizawl, Lunglei, Kolasib, Champhai, Serchhip, Mamit, districts while the Reangs are found in small groups in all three districts of Mizoram but their main concentration is on the extreme north- western part of the Aizawl district bordering Tripura .(3)

Figure 1 : The map showing 8 district capitals of Mizoram Source : www.findthebest.in

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2.1.3 GEOGRAPHY Mizoram is a landlocked state in North East India whose southern part shares 722 kilometers long international borders with Myanmar and Bangladesh, and northern part share domestic borders with Manipur, Assam and Tripura. It is the fifth smallest state of India with 21,087 km2 (8,142 sq mi). It extends from 21°56'N to 24°31'N, and 92°16'E to 93°26'E.The tropic of cancer runs through the state nearly at its middle. The maximum north-south distance is 285 km, while maximum east-west stretch is 115 km. (Anonymous)

2.1.4 FESTIVALS The Mizo have three kinds of festivals. The origin of these festivals are not known and cannot be traced . From the history of the Mizo and the legends , it is known that they celebrated these festivals between the years 1450 to 1700 A.D when they had settled in the area between Run and the Triau rivers.

1.CHAPCHAR KUT This kut or festival was celebrated annually after they had cut their jhums and were free from toil and hard labour . Every year it was celebrated at the end of March or the beginning of April. Among the three festivals , it was the most popular and lasted the longest .

2. MIM KUT Mim is a nut known as Jo s tears . Mim kut was a festival which was celebrated at the end of August or in the beginning of September. The village chief and his elders fixed the date for celebrating it. In most cases, it was held when the a maize plants had matured . It was regarded as a festival in honour of dead . 9

4. PAWL KUT After harvesting the paddy at the end of the month of December, the Mizo used to celebrate the Pawl kut . Every family had a large amount of paddy, cereals, root crops. Pawl kut was regarded as a festival allotted to the children

.(6) These festivals are not celebrated with much fervor these days as Christianity became established in Mizoram. The culture of the Mizo tribes and its social structure has undergone tremendous change over 100 years, since the arrival of Christianity in late 1890s. Contemporary people of Mizoram celebrate Christmas, Easter and other Christian celebrations replacing many of old tribal customs and practice . (Anonymous)

2.1.5 DANCES 1. KHUALAM Khual lam means Strangers da e . Among the folk dances of Mizo, it is one of the oldest and most ancient. Its origin is lost in antiquity and cannot be traced .It is called thingdim dance .

Figure 2: Khualam(2012) | Source : VL.Zara

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2. CHE-RAW

The Mizo clans used to dance the Che-raw to celebrate a harvest of 100 loads paddy. It is said that some of Mizo clan or sub-clan also danced the Che-raw in the house of the bereaved .Children used to play Chera

Ka

for enjoyment

when they played games in the pawnto (moonlight).As year rolled by Che -raw became more and more popular and now it is the most prominent folk dance of the Mizo.

Figure 3 : Che-raw dance | Source : Deccanchronide .com

3. SO- LA-KIA /SAR- LAM- KAI The Lai (pawi) clan call this dance the Sar-lam- kai . On the other hand it is known to the Lusei clan as Ral - Lu- La , which means da i g to celebrate the taking of an enemy s head . The Mara clan call it the so- la-kia dance . Though there are slight differences in the what they perform it. 11

The solakia dance was conducted , guided and led mostly by drum and the cymbal . The cymbal gave the signals to change the steps and actions during the dance ; and the duration of the dance . In the Solakia / Sarlamkai dance the men and women are positioned alternately.(4)

Figure 4 : Sarlamkai | Source: http://www.mizoram.nic.in/

4. CHHEIH-LAM The word Chheih-la

is not an ancient or archaic word . Between the years

1907- 1908 the Puma zai made its appearance .Using the Puma zai , they used to dance the Tlang-lam . The Chheih- lam is a branch a of a tlanglam dance . The chheih-lam had no fixed steps .The way it was performed depended on the gumption and inventive abilities of the dancer. Generally , the chheih song consisted of three lines to averse . The singers stressed or emphasized the second or middle line ; and the movements of the dancer who also accentuated on the middle line . (4) 12

Figure 5: Cheihlam at Delhi Mizo Kut 2010| Source : darksyderz

These folk dances were performed in every special occasion and festivals . The performers are always wearing beautiful traditional costumes . Despite this fact the traditional ornaments were worn while performing The Mizo folk dances .

2.2 THE MIZO BAMBOO CULTURE Bamboo is one feature that is common to all the tribes of the north eastern their dependence on things made from bamboo. The Mizo people use extensively bamboo products and bamboo structure , it is so much apart of their lives that is difficult to think the Mizo without associating with images of bamboo artefacts. Bamboo shoots are eaten in boiled , roasted and pickled . Rice is eaten in bamboo plates and carried in bamboo basket and rise beer is drunk with bamboo mugs through bamboo stringking source(8). Tools were

made from bamboo to produce yarns and for weaving clothes , agricultural and games implements . Undoubtedly, The Mizo people can be said to have a bamboo culture. 13

2.2.1 BAMBOO IN MIZORAM

Bamboo forests cover a large extent of area in Mizoram. Around 57% of the geographical area of Mizoram is under Bamboo cover found at heights ranging from 400m – 1500m above mean sea level. The State possesses the maximum percentage of its geographical area under bamboo forests as compared to other states

bamboo of the country. Bamboo forests are most abundant in the five northern district but are rare in the eastern and south eastern parts of the stage ,particularly in Champhai , due to high altitude. Most of the bamboo species occurring in the in the State but are rare in the eastern and south eastern parts of the State occurring in the State are found between 400m to 1,500m altitude and their disribution is somewhat restricted to above 1,550m.(11)

2.2.2 DIFFERENT SPECIES OF BAMBOO IN MIZORAM

Table 2 : Different species of bamboo in Mizoram Source: Bamboos of Mizoram, Published by E & F Dept. Govt. of Mizoram, Aizawl

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2.2.3 TYPES OF BAMBOO COMMONLY USED BY THE MIZO CRAFTSMEN

Figure 6: Mautak (Melocanna baccifera Kurz )

Figure 7: Tai(Cane plant )

Figure 9:Bambusa pallida Munro

Figure 10:Rawthing(Bambusa tulda Roxb)

Figure 8: Rawnal(Dendro calamus giganteus Munro)

Figure 11: Phulrua (Dendrocalamus hamiltonii)

Source: Bamboos of Mizoram, Published by E & F Dept. Govt. of Mizoram, Aizawl

2.2.4 BAMBOO AND CANE CRAFT OF MIZORAM Mizoram is the land of a number of craftsmen and skilled artisans excelling in va rious crafts. Bamboo and Cane related crafts are a major source of income to the state as well as the people. The Mizo s dexterity in wicker-work and basketry is well known. Bamboo and Cane have their multifarious uses in turning out various commercial crafts and items of furniture. Even their houses are generally built with bamboo walls and floors and thatched roofs. While women excel at weaving, men are expert at cane and bamboo work. They make fine cane hats and uncommonly beautiful baskets. The traditional Mizo hat is known for its workmanship. (13). 15

It looks as if the hat is woven out of fine bamboo as fine as cotton yarn. Besides their typical hat or caps, domestic baskets are all made from plaited bamboo and these are reinforced by stout cane, which is very hard and durable. By smoking, the cane would be coloured a shiny mahogany to give some colour and patterns to the work.Traditional ornaments too use bamboo in it. On celebrations, Mizo women use a headgear of a bamboo band with parrot feathers stuck in it, the ends of which are decorated with beetles. Other bamboo products include fish and animal traps, rain bamboo hat seen with the formation of a flat thin layer on its top, japis, cones, circular boxes and other materials serving as reservoirs and containers of goods, crops and other things. Therefore, a variety of them is catered to the village craftsmen on regular or irregular basis. They serve mainly as body panniers for placing head-loads, carrying baskets, cages, fish nets, etc. They take different shapes and vary from

slim or even flat (like rice winnowing fans) to broad, elongate sizes and the traditional size with regard to proportion from rim to base is retained. Panniers or cones accommodate the bigger loads whereas the other baskets of course do not support heavy weight. (12) Cane and bamboo handicraft items are most prominent crafts of the state. These plain yet mesmerizing product designs of cane and bamboo are truly amazing and highly durable. Baskets, utensils, hats, flower vases, furniture and other decorative items are made out of these bamboo and cane handicrafts, which has a wide mar ket within the state and outside. (13)

2.2.5 DIFFERENT TYPES OF MIZO TRADITIONAL BAMBOO USAGE A .HOUSE The predominant materials used in construction are bamboo and wood . In the small and medium size towns they used corrugated metal sheets for the roofs, though in the villages grass thatched roofs predominate. The floors of the houses made either of wooden planks and bamboo. 16

Figure 12 : A traditional Mizo house | Source : http://www.mapsofindia.com

1 .WALLS

Three types of weave structure are used for the bamboo mat walls of the houses. Two of these used the bamboo flattened boards in the vertical and horizontal, but the weave structures vary between plain and twill. The third weave structure uses these flattened boards in the vertical, while the horizontal is made up of thick but narrow splits of bamboo, spaced well apart and alternately interlacing the vertical boards.

Figure 13 : weaving structure for walls and floor Source : Bamboo &Cane crafts Of Northeast India ,1986

2. WINDOWS The construction of The Mizo (Lushai) bamboo doors and windows has two basic types , the slides across the opening behind or those that swing up around a pivot or ring located at the top of the opening. These shutters are 17

rectangular planes where the two verticular edges are made of either whole or halved bamboo members , horizontal, elliptical holes are spaced uniformly on the inner surface of the vertical culms. Through these holes , the ends of the strong bamboo splits are introduced and as the splits have their ends shaped like a hammer head they can be rotated around their axis so as to lock themselves into the elliptical holes. (8)

Figure 14 : A sliding door Source :Bamboo &Cane crafts Of Northeast India ,1986

B.AGRICULTURE EQUIPMENTS 1.CHEM The most useful knife possessed by the Mizos is the single edged daos called chem. These daos are made in the village forge from steel purchased from the haka chins. The handles are made from the root of bamboo(melocanna bambusoides)(2).This is used for clearing the jungle, and the broad end is used for grubbing the holes in which the seeds are placed. During weeding season , the dao is bent at its middle part. This makes the dao very convenient for speedy weeding.(1)

Figure 15: chem (mizo knife ) Source : Benjamin Rualthanzauva

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2.HREIPUI: The hreipui (an a e s heads are of Iron about 11/2 inches wide at the edge , and tapper almost to a pointed end , the handles are simply pieces of bamboo, the heads being fixed through the hole made at the tough root portion . It is mainly used for cutting wood and felling trees .(1)

Figure 16: A Mizo women chopping firewood with a hreipui (axe). Source : Zothanchhingi Khiangte

3.PAIKAWNG The paikawng is an open weave carrying basket made and used by the Lushai tribe of Mizoram . This basket is generally used by women as a rough work basket for carrying firewood , bamboo water tubes etc. The basket made entirely of bamboo outer splits , is carried over the back with a strap resting on the head . The local names of the bamboo species normally used are rawnal, rawthing or phulrua .The basket has an extremely strong combination which is very resistant to vertical loads . This is due to the construction pattern as well as the fact that

fairly thick strips of bamboo are used . The paikawng has a square base of diagonal 230 mm from where it gradually transforms into a circle of 390 mm at the rim .The height of the basket is 390 mm . To the craftsmen making this basket the height is assumed to be one hand measure known as tawngkhat in Lushai. (8) 19

1

2

Figure 17 :firewood stock in Paikawng 1&2 : Close up view of paikawng. Source :Handmade in India – An encyclopaedia on crafts of India.

4.PAI EM The Paiem is a closed weave carrying basket used by the Lushais of Mizoram to carry grain and other field produce. In Lushais the word Em means basket and Pai means without holes . this basket is also called Emping . It is made from bamboo outer splits from a species locally called rawnal . Split cane is used in the rim strengthening element, the weft elements of the side weave near the base , in bindings at the rim and for strengthening the corners of the basket. The cane species used in locally known as mitperh. The base is woven in a herringbone twill pattern, with the herring bone pattern radiating from the centre of the base towards the base of the square. The herringbone pattern extends up each side of the basket. Each line in the pattern, on one side of the basket meets the corresponding line on both adjacent sides. This generates a wave like movement of the pattern around the basket.(8) 20

1

2 Figure 18 : Paiem , a Mizo basket | 2. Paiem as seen from above Source :Bamboo &Cane crafts Of NortEast India ,1986

5.DAWRAWN : The dawrawn is another closed – weave carrying basket used by

the Lushais, both for storage as well as to bring in field produce. This basket is made in two sizes , the

e s size and the

o e s size . It is a tall , narrow

basket with a square base and circular rim. The diagonal of the base square measures 190 mm, the rim diameter is 420 mm and its height 470 mm. The structure and method of construction is identical to that of the paiem.

2.A craftsmen making a dawrawn

3.The detail of the base corner

1 1

Figure 19 : The dawrawn another Mizo basket Source :Bamboo &Cane crafts Of Northeast India ,1986

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6.HNAM: It is a plaited band of cane which passes over the forehead in which ropes are attached to support a load when carried on the back.

Figure 20 : Hnam (A plaited band of cane) Source : Mizoram State Museum, AIzawl

Figure 21 : A mizo women wearing Hnam to carry basket. Source:http://www.flickr.com/photos/jvmi

7.BENVAWN : It is a small seed basket used for keeping and holding seeds while sowing in the new jhum land just after burning it . The thin stripes of bamboo and plaited together and crossing one another. Figure 22 : Benvawn (A small seed basket). Source : Mizoram State Museum, Aizawl.

(1)

8.PAIHPER : It is also a small basket slightly bigger than Benvawn . The material used in this basket is more or less same as Benvawn .(10)

Figure 23 :Paihper. Source : Mizoram State Museum, Aizawl.

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C. UTENSILS 1.TUI UM : Bamboo tubes used by the Mizos in the past for carrying water in from the fountain .It is made from a bamboo with a diameter of about 100 to

140mm and an inter node length of 450 to 600 mm . Two internodes are used to make a water tube 900 to 1200 mm long with one nodal one forming the base . The nodal one between the internodes is pierced to connect the lumen. Half the circumstance of the top open edge of the tube is cut at an angle to facilitate pouring. The outer skin of bamboo is removed and the nodes scrapped off to reduce the weight of the tube.(8)

Figure 24 : tuium (Bamboo water tubes) Figure 25: Mizo women carrying water with Tuium Source: http://Iva photography2013. Source : Bamboo and cane crafts of North East India. blogspot.in

2.FAIREL BEL : It is a plaited basket in which they put clean rice for cooking .The material used for making this basket is generally bamboo. A fine split bamboo is closely plaited (material) and a flat shallow or conical shape basket is used as the cover.

Figure26 : Fairelbel (A plaited rice basket)| Source : Mizoram state museum , Aizawl

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3.THLANGRA : The thlangra ia s a winnowing tray used by the Lushai tribe of Mizoram. Th triangular thlangra requires manufacturing skills that only a few craftsmen have. The rawthing bamboo is used because of the resistance of thin strip of this bamboo to impact loads .The strips from the mat are cut from green bamboo , one set from the outer layer and the other from the inner layer. The two thick strips used for the trim are also cut and bent and tied into the required triangular shape .All the strips are thoroughly dried before making the thlangra so that there is no shrinkage later. The dry strip are woven into a closely packed mat.(8)

Figure 27 : Thlangra , A Mizo Winnowing tray.

Source : Bamboo and cane crafts of North East India.1986

Figure 28 :Traditional way of cleaning rice in Thlangra |Source : Richard Khuptong

4. KHO : It is a Mizo basket used for measuring rice and keeping some clean rice for cooking . Thin strips of bamboo are used to make this basket .(1)

Figure 29 : Kho ( A Mizo measuring rice basket ) Source : Mizoram State Museum.

5.MAU FIAN : Bamboo spoons used for taking vegetables and other soups . (10) Figure 30: Mau Fian(bamboo Spoon ) Source : Mizoram state museum , Aizawl.

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6.BUHTLEI : It is a big rice spoon to ladle out from the pot . A piece of bamboo is used for stirring cooking rice

.It

generally has a hooked

handle.(10)

Figure 31 : Buhtlei (A big rice spoon). Source : Mizoram State Museum.

7.CHHIHRI : Chhihri is another kind of Mizo sieve used to dry up some small

articles and and also

used for

separating the husked grains of rice from the small broken pieces. A small split bamboo is woven having a number of small holes.(1)

Figure 33 :chhihri Source : Mizoram State Museum, Aizawl.

8.KHEKLAWK : Kheklawk is a small bamboo ladle spoon with a hooked handle used to ladle out saum from the gourd( saumbur) and for stirring Mizo preparation like Bai or sawhbawl Figure 34: Kheklawk (A small bamboo ladle spoon). Source : Mizoram state museum , Aizawl.

.

9.ZU SAWRNA : It is a funeral for purifying or filtering Mizo zu (beer) . A piece of bamboo is woven widening towards the mouth o the funnel in which a small portion of rice beer is kept to squeeze out pure beer. 25

Figure 35 : Zu sawrna (A Mizo rice beer purifier) Source : Art and Culture Department ,Aizawl

10.CHINGAL THLAWRBUR : Chingal means a potash or lye leached from wood ashes. Thlawrbur

means a

leaching funnel. This leaching funnel is a conical shape basket made of bamboo used for making lye or potash from wood ashes. This strong alkaline solution often took the place of soap

Figure 36: Chingal Thlawrna Source : Art and culture Department, Miz0ram.

for washing purposes in the past.(10)

D. MUSICAL INSTRUMENTS 1.TAWTAWRAWT : This is a bamboo trumphet . A number of bamboo tubes are cut off .The bigger tubes are joined by inserting into it the smaller tubes .Many bamboo tubes are joined one after another till the last tube happen to be the

size of a forefinger from where the trumphet is to be blown. A dry empty gourd, the bottom part being cut off is joined with the bigger end of the bamboo tube. The whole length can be more than five feet . It is usually blown in the jhum to tell their where about and presence and also to pass time and relieve their loneliness.(1)

Figure 37 : Tawtawrawt ( Bamboo Trumphet) Source : Musical instruments of Mizoram, Indianetzone , Sang Zuala.

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2.RAWCHHEM : It is s ot h s bag piper like mouth organ or we can say a Mizo

bag piper. It is made of a a dry hollow gourd into which are inserted nine bamboo tubes of different size and length, five of which being fixed at the gourd of about 2 inches distance from the other four tubes both of which are tied together but slightly slanting outwards. To make different notes of sound, holes are made at the desired spot of the tubes. Blowing is done at the tapering end of the gourd . To produce sufficient sound a hard blow is required to be made and different notes of sound are made by blocking or opening the holes in the tube with fingers.(9)

Figure38 : Rawchhem Source : Darlongmusic.blogspot.in

3.PHENGLAWNG : The word Phenglawng is a bamboo flute . The Lakher a

sub tribal group of Mizo call it siaramang chanongpa . A bamboo tube is cut opened at both ends , one end being notched with splinter of bamboo and a small hole is made near this end for blowing. Near the other end of the tube, three holes are made for producing notes. When the performer blows notes are produced by placing his fingers at the holes . Since recently more holes have been made to produce more notes.(2)

Figure 39 : Phenglawng (bamboo flute ). Source : Mizo folk music and instrument workshop

27

4 .TUIUMDAR : This is also a simple music which was mostly played by children. A chunk of bamboo tube only between two nodes is taken. From the outer covering of the bamboo, two or three pieces of cane like strings are curved out . The strings are then raised up by inserting two pieces of bamboo between the string and the bamboo tube near each node, It is played like a guitar. (1)

Figure 40 : Tuiumdar Source : Mizo folk music and instrument workshop

5.TINGTANG: The mizo word tingtang is guitar. But the Mizo guiter is played like a violin . It is made of a hollow gourd in which a bamboo shaft is fixed . the hollow gourd is cut opened and covered with a dry bladder of animal . The string taken from malay sago palm is tied at both ends of the bamboo shaft. It is then played by rubbing the string with a thin fine piece of bamboo exactly like a violin is played with a bow.(1)

Figure 41 : Tingtang (guitar) Source :Musical instruments of Mizoram , Indianetzone

28

E. GAMES 1.KALCHHET : walking on stilts is one of the Mizo games. The Mizo used two species strong bamboos locally called rawthing(bambusa Tulda) and Rawnal (Dendio Calamus Longispathus). With this the Mizo kids always play game of Figure 42 : A mizo girl playing with kalchhet Source : www.azassk.blogspot.com

inkheng or run a race .

2.KAHTHEK : It is a kind kind of gun made of bamboo. The Mizo boys used to called a gun ,Silai . A small bamboo tube of about two feet long is generally used for the purpose . The bamboo node at its one end is cut so that the bamboo tube can be used for the barrel of the gun . At the middle point of the tube a hole of about two inches long is made where one end of a split bamboo which will work like a spring , is inserted and the other end of the split bamboo hole near the other end of the bamboo tube . For the bullet, they used small round pebbles and sometimes small pointed bamboo sticks are used as an arrow in a bow.

Figure 43 : Kahthek Source :Pipute sulhnu (mizo history)

29

3.KAHCHIK: It is a kind of water pump . The Mizo boys in the past , used it like todays water pistol. The materials used for kahchik are a small bamboo tube of about one foot long and a split bamboo stick three to four inches longer than the former, One node of the bamboo tube is cut opened and at the other node a small is made for drawing and outflow of the water. One end of the bamboo stick is bound with a thick rag which is inserted into the bamboo tube . Drawing and pumping out of the water is done by pulling and pressing of the split bamboo stick. It is played exclusively by children only .(1)

F .FURNITURE 1.STOOL It is a short cylinder made of two rings of cane held apart by bamboo splits. The seat surface is made of raw hide stretched tight over the ring. The local names of the cane and bamboo are mitperh and phulrua.(8)

Figure 44 : The Mizo stool Source : Bamboo and cane crafts of North East India. 1086

Figure 45: Herhsawp another Mizo stool

Figure 46: The weave structure used in the seat

G.LOOM TOOLS The Mizo Backstrap loom consists of few pieces of bamboo and wood. The parts which are made up of bamboo are described as follows : 1.THEMBUPUI : The name of the large bamboo bar in a loom which raises those threads of the wrap which are not raised by the Hnahchawl and Themtrang . 30

Figure 47 : Thembupui | Source : Hmunsiamthangi

2.THEMPER : The name of the small pointed bar , made of splitted bamboo in a loom which keeps the cloth stretched to its full width.

Figure 48 : Themper | Source : Hmunsiamthangi

3.SAHTHLAU : The end of the sharp pointed bamboo cut off at an angle used in weaving and also called Sahzum or Sahthlau.(1)

Figure 49 : Sahthlau | Source : Hmunsiamthangi

Figure 50 :Mizo Puanbu ( a set of Loom ) | Source : Mizoram state museum , Aizawl

H.TOOLS TO PRODUCE YARN Bamboo was used in few parts of the tools to produce yarn for weaving puans (cloth). 31

1.LASAI : Lasai is a bamboo stick with a wide base and a narrow top, having one cane string which is first tied to the base and then go to the top of the stick .The cotton is teased by this bow about five Figure 51: Lasai Source :Mizoram State Museum, Aizawl

times to become clean.

2.CHAWNZIAL : It is a kind of mat made of thin strips of wood or bamboos bound together by a series of loops. It is used for wrapping hollow rolls of cotton while awaiting spinning.

Figure 52 : Chawnzial Source : Mizoram State Museum, Aizawl

3.LADINLEK: Ladinlek is a piece of wood which is sharpened at both ends like a pencil. Holes are made below each of the sharpened point the stick and then thin pieces of bamboo are inserted through these holes. Figure 53 :Ladinlek Source: Mizoram State Museum, Aizawl

4.SUVEL : Suvel is revolving tool with four extendable arms around which

skein of cotton yarn is put for making the yarn into balls around a small stone. It is made of wood and bamboo having a stand of its own .(10) Figure 54 : Suvel Source : Mizoram State Museum , Aizawl.

32

I. MISCELLANEOUS IMPLEMENTS 1.KHUMBEU:

Khumbeu

is

the

traditional hat commonly worn by Lushai men. It is shaped like a peak cap and retains its shape even when not in use . It is formed in two layers, each made from bamboo woven in a open hexagonal weave. This hat is

Figure 55 : The khumbeu, a traditional Lushai peaked cap. Source : Bamboo and cane crafts of North East India. 1086

extremely delicately made with a high quality of craftsmanship. 2.MUALBEU: It is a typical Mizo

e s

hat or helmet generally made of sairil cane lined with hnahthial leaves. It is commonly used while working in the jhum and in leisure times. 3.THUL: It is a special basket of the

Figure 56: Mualbeu , a traditional Mizo e s hat. Source : Mizoram state Museum, Aizawl.

mizo which is made of neatly stripped bamboo, cane (material )These baskets, though shaped like their carrying

baskets, have a double-walled structure and legs located at the corners of their square base. A lid shaped either like a semi-spherical dome or like a cane covers the mouth of the basket. The womenfolk kept their cloths in it. Sometimes it was also used for carrying beddings and other goods from place Figure 57 : Thul , A Special Basket Of Mizo Source : Reflections Of Passion

to place .(1) 33

4. MAU VAIBEL : It is a Mizo e s s oki g pipe

ade fro

Bamboo

Figure 58 : Mau Vaibel, a Mizo bamboo smoking pipe Source : Mizoram State Museum Aizawl.

5.ARBAWM : Arbawm is a chicken basket made from small splitted bamboo. Figure 59 : Arbawm, a Mizo chicken basket. Source:http://hmawngbungbu.blog spot.in

6.AIAWT : Aiawt means a bamboo trap for catching small fishes and crabs .The

trap

consists of an open basket. The top of the basket is filled in with a funnel made of bamboo slats which are kept wide enough apart by the flow of the water to allow small fishes to enter . Once aside, they cannot escape. The funnel is detachable and is removed to allow the fish or crab to be taken out these traps are used in small rivers when the small fishes are swarming..(1)

Figure 60 : Aiawt Source :www.azassk.blogspot.com

34

2.3 TRADITIONAL TO CONTEMPOARY JEWELLERY The jewellery designs and styles keep on changing with the change in lifestyle and tastes of people. The heavy and traditional designs in jewellery have been replaced with light and trendy contemporary designs., the jewellery industry has become as dynamic as the fashion industry. There is a constant churning of varied jewellery, launch of new ideas and innovation. Each season introduces you to a brand new range of jewellery or a reappearance of age old jewellery trends. Now a days people are very image conscious. They do t want jewellery as a symbol of financial security but to make a fashion statement and also as trends wear that suits different occasions.(14) 2.3 .1 JADAU JEWELLERY

The style of this jewellery inspired by mughals and greatly patronized by the rajputs of rajasthan. traditional jadau jewellery has stones encrusted on one side and colorful and intricate meenakari on thereverse. one side of the jewellery is engraved,enameled with meena and the other is embedded with uncut kundan stones and is further decorated with beads.(25) During mughal period, theart of kundan work reached rajasthan from delhi.

later on, craftsmen from the different part of the country migrated to the place and made kundan jewellery. rajasthan is a hub of kundankari. kundankari is basically done on gold and silver jewellery. Traditional kundan jewellery has stones encrusted on one side and colourful and intricate meenakari on the reverse. now a days, lac is inserted into the hollow parts which is then visible from the front. highly refined gold or kundan is used to cover the lac and gems are then pushed into it. In meenakari jewellery, precious stones are set and then enameled with gold. historically speaking, the art was introduced to rajasthan artisans by raja man singh of amer. meenakari is essentially enameling or decorating the metallic surface of jewellery with colors . The colour portions are 35

engraved for shallow depressions and the enamel dust of the required is then poured into those engravings and heated at high temperature and finally polished for luster. exclusive lac jewellery known as lacquer jewellery is very popular in rajasthan. it is available in versatile designs, which add to its beauty. among the various items in lac jewellery, the bangles are most popular one. bangles made of lac are of bright color and glass work done on them. (14)

Figure 61: jadau jewellery set . Figure 62 :Jadau Necklace Image source : http://www.southjewellery.com source:http://www.culturalindia.net/jewellery/types/ jadau-jewelry.html

2.3 .2 AMERICAN INDIAN JEWELRY The American Indian comes in an almost infinite variety of colors, materials, and designs. Individual pieces are primarily rings, earrings, bracelets, necklaces and pins. American Indian jewelry usually reflects the cultural regions and history of its tribal artisans but, over the years, tribes have borrowed designs and crafting practices from all over the world. Traditional jewelry is made from natural materials such as metals, hardwood, fossilized wood, clay, precious and semiprecious gemstones as well as animal materials such as feathers, quills, bone, antlers, teeth, shells and coral. Beadwork and other forms of personal decoration are also very popular. Like other pre-historic cultures around the world, American Indians began adorning themselves thousands of years ago, using shells, bones

and antlers to make beads and pendants. Each tribal region has its own styles and designs but for centuries has traded materials with one another.(15) 36

There are many contemporary American Indian jewelers who work with gold and precious gems as well all the traditional materials. American Indian jewelry, whether a hundred years old or just made this year, is a wonderful collectable – and wearable – art form. There is something for every taste and every price range to wear and enjoy. All Native Made art and craft, whether ancient or

contemporary, carries with it the spirit of purpose. The shapes, colors, textures and designs each have meaning to Native people. It is from this purpose that creativity thrives. TRADITIONAL AMERICAN INDIAN JEWELLERY

Figure 63: Squash Blossom Necklace 1900 source : americanindianoriginals.com/jewelry-making.

CONTEMPORIZED AMERICAN INDIAN JEWELLERY

Figure 65: Turquise and silver jewellery set Source:http://www.nativeamerica njewelry.com

Figure 66 :Coral Authentic Sterling Silver Flower Navajo Indian Cuff Bracelet Source:http://www.nativeameric anjewelry.com

37

Figure 64: heishe necklace Source : americanindianoriginals .com/jewelry-making.

Figure 67 : Native American beaded necklace Source : newbiediy.com

2.4 INTERNATIONAL USAGE OF BAMBOO IN JEWELLERY Bamboo is a fast –growing plant for which the attributes beauty and utility match perfectly ;the graceful canes consisting of hollow internodes ,solid nodes and high lignin content, a combination which gives this grass its great strength

(meredith 2001).It is

is a type of plant which is widely used for making

furniture, handicrafts, and jewelry. Being perennial in nature throughout the year and its strength and beauty has made Bamboo quite popular in various facets of life since several centuries.(16) 2.4.1TOMIZO SARATANI LACQUERED OJIME, of

a spider in low relief on a ground of lacquer(ten coats or more) , over a small bamboo cone node and internode core, and decorated with the makie technique, in which metal powders like gold are sprinkled over wet lacquer. This contemporary Japanese artist has made a of a number of ojime using bamboo as the core material , usually including the node (ornament

Figure 68: Tomizo Saratani Lacquered Ojime Source : ornament .vol.10.No.3. 1987

.vol.10.No.3. 1987) 2.4.2TOMOMI

MATSUNAGA

BAMBOO

BRACELETS, 8.0 centimenters wide , carved and left in their natural finish from the giant timber bamboo (Bambusa oldhamii), this artists also works with carved bamboo ornaments which have been covered with lacquer , some with the makie technique . she is among the few

who carve bamboo in curved shapes . It is usually cut straight (Ornament vol.15.No.3 .1992) 38

Figure 69 : Tomomi Matsunaga Bamboo Bracelets Source : Ornament vol.15.No.3 .1992)

2.4.3 FRED TATE BRACELET of sterling silver , fourteen karat yellow gold and black bamboo , set with Tahitian pearls, 6.6 centimeters wide. The piece uses the nodes/internodes of P.nigra, cold-connected of the bracelet. Fred Tate trained

O o

with

Taos

jeweler

Harold

or for three years. Fred and Janis Tate

live In Austin, Texas, and grow many species of Bamboo.(ornament Vol.31 .No.1 .2007) 2.4.4 CHAZ

FRODE NECKLACE

Figure 70 : Fred Tate Bracelet Source : ornament Vol.31 .No.1 .2007

of Nylon

tubing and ties, brass plumbing compression fittings, with a focal point of black bamboo rhizomes or roots. Model Genevieve Blazer also wearing earrings of the bamboo culm leaf sheath dipped in red vinyl plastic. Frode , a very talented and innovation, has been covered before. (ornament.35.3.2012) 2.4.5 INTERTWINED AND HEAT-BENT BAMBOO TORQUES, one finished ;some bound with

Figure 71: Chaz Frode Necklace Source : ornament.35.3.2012)

brass wire to initially hold the two culms together while heating and intertwining them while still straight, then while bending them into an arc on a wood mandrel. These torques range from about 17.5 to29.0 centimetres from opening to top of arc . Some of the culms are

dark, while others are lighter brown or even gray, due to varying sun exposure while drying. Note different terminations.(17) 39

Figure 72 : Heat – Bent Single Culm Torgues Source : ornament.35.3.2012)

2.4.6 UNASSEMBLED NECKLACE of heat- bent black bamboo , with antique silver chain, beads . Turkoman pendant set with glass and fabricated sterling clasp(unfinished) and pendant hangers. Loops of square silver wire are large enough to pass over branch stubs. These large loops are soldered onto small loops from the antique Balkan chain, likely of coin silver. Chain loops are closed with parallel pliers to trap the loops of the Turkoman pendant. Note bamboo is in a half-circle and has branch stubs left on, all

adding to the rustic, naturalistic look .(17)

Figure 73: Unassembled Necklace Of Heat- Bent Black Bamboo Source : Robert K .Liu ornament. 35.3.2012

2.4.7 HEAT – BENT SINGLE CULM TORGUES , to be worn with opening facing downward ; sawn

at nodes . Widths from 12.3 – 15.3 centimeters . Asymmetrical one is finished , with the long end anchored by wrapped twenty- four- gauge copper wire and carved carnelian from an antique Chinese hairpin, while short end ha an old Chinese carnelian melon bead. The sulcus/

Figure 74: Heat – Bent Single Culm Torgues , Source :Robert K .Liu ornament. 35.3.2012

groove is very useful when tying back wirewrapping. Brown .(17) 5.9 SINGLE TIGHT RADIUS BEND EARRINGS, with heat shrunk Coverlite on wire matrix, precious

coral

and

sterling

silver

bead

terminations and 18 gauge sterling silver earwire, hand formed, forged and buffed. In

this type of earring, both ends of the wire.(24) 40

Figure 75: single tight radius bend earrings. Source: www.ornamentmagazine.org

matrix are in drilled holes, which are glued into place; ca. 9.5 cm long. Open end of silver ear wire worn toward head 2.4.9 THE GUCCI BAMBOO COLLECTION, First introduced in the 1940s as an innovative solution to a lack of raw materials during World War II, the iconic stem shape of Gu i s hugely

popular Bamboo range was later translated into jewelry in 1971.The graceful form of the bamboo plant is interpreted across rings, earrings, bracelets and necklaces in 18kt gold, which can also come exquisitely accented with white diamonds. The Bamboo Fine Jewelry includes a range of Bamboo jewelry pieces that feature an innovative spring mechanism that combines exceptional design with technical expertise .(23)

Figure 76 : Gucci Bamboo Collection Source : www.guccitimeless.com

5.10 SQUARE BEND TORQUE WITH FOSSIL SHARK TOOTH VS INTERTWINED TORQUE AND PENDANT, latter with freshly cut black bamboo culms. Note how tight the intertwining, as well as the bail of the pendant is also a tight radius bend. This torque is decorated with vintage Bohemian glass rings and beads from the African trade, and Baule brass bead terminations. The 45-70 million years old fossil Lamna shark tooth from Morocco is accentuated with two Cornaline d Allepo Venetian beads, which simulate the way 41

Figure77 : square bend torque with fossil shark tooth Source: www.ornamentmagazine.org

Polynesians use red sealing wax to decorate their shark tooth jewellery. The tooth is attached to the bamboo with wrapped, annealed square bronze wire. (24)

2.6 IMPORTANCE OF INNOVATION IN CRAFT AREA FOR ITS REVIVAL. In general, when speaking of innovation and creativity, craft is not the first thought that comes to mind. Rather one might think of design (and technology) or art, respectively. In line with this, the common answer to the rhetorical question

h not raft? Dorst and Cross 2001; Chakrabarti 2006).

In India handicraft have been the main option of livelihood in village till today. But the artisans themselves are also inadequate in terms of designs, and they do not have proper training to develop their skills ,while the foreign countries keep recognizing Indian craft, so innovation in craft area is very important and therefore collaborating with the craft artists

will enhance their skills and

develop market to revive (.Julsrud,T & Denstadli J,M, (June2014 (Sethi 2005) defines that Designers bridge the gap between the market and the artisan, as today the artisan is geographically apart from his/her client, to be able to understand his/her aesthetic and socio-cultural needs. They help in finding the relevance of craft with respect to the artisan, the consumer and to the global market. Thus an interface, between the past and the present, the traditional and the modern, trying to match craft production to the needs of modern times and demands. Kapur, H & Mittar , S states that Collaborative innovation between designer and craftsperson is a means of expanding the craft vocabulary and reviving dying craft traditions and tapping contemporary markets . New intervention models can be developed for several purposes, whether for revitalizing a languishing

craft or for developing new products to create livelihoods. 42

Subhrajit Chatterjee in The Ancient Craft of Dhokra (2015) hignlighted Dokra artisans face several problems in marketing .The artisans could be taught to innovate and improvise , use better tools and better raw materials. Innovative techniques can be taught

the workers through government sponsored

programmes Dr. Arwah

Arjun Madan in The Power of Innovation: Craft Revival,

Empowerment and Sustainable Livelihood 2013)

mentioned The mission of

The World Craft council (WCC )is to bring crafts and craft s persons into the mainstream of life; it is about connecting with the past by maintaining inherited traditions and looking into the future through the use of modern technology to experiment, innovate and reach out to new markets. Amitava Ghosh In Triggering Innovation And Creativity In Traditional Handicraft Sectors - An Indian Perspective(2012) states about the concept of Dastakari Ranthambore in which the designer will bring a new approach, or a different way of seeing artisanal skill and expertise, and share his/her design capabilities and understanding of global market demands. The designer does not impose but rather 'unlocks' the potential of the existing skill by tweaking it to make it more saleable to consumers and in so doing may transform a craft that is struggling to find a market . Amitava Ghosh In Triggering Innovation And Creativity In Traditional Handicraft Sectors - An Indian Perspective(2012) states about the concept of Dastakari Ranthambore in which the designer will bring a new approach, or a different way of seeing artisanal skill and expertise, and share his/her design capabilities and understanding of global market demands. The designer does not impose but rather 'unlocks' the potential of the existing skill by tweaking it to make it more saleable to consumers and in so doing may transform a craft that is struggling to find a market

.

43

Fang-Wu Tung who writes in the paper, Wea i g with Rush: Exploring CraftDesignCollaborations in Revitalizing a Local Craft“ about exploring how designers may collaborate with artisans to unearth new opportunities for a local craft and how designers can make contributions to the artisan community . Under the collaboration, designers acquire knowledge of craft techniques and materials, and obtain inspiration to further their creation. On the other hand, the designers play a catalytic role to empower the craft artists and assist them in designing products to meet modern market needs. The craftdesign collaboration not only brings value-added to each other but also contributes to knowledge for both sides. Collaborating with craft artists has become a new trend of design praxis, but the collaboration is still under development and needs more exploration to achieve the better success. Thus, this study aims to get insight of craft-design collaboration by conducting

case studies of Yii project to understand the craft-design collaboration.

44

CHAPTER – 3 RESEARCH METHODOLOGIES 3.1SECONDARY RESEARCH A secondary research was conducted to find out information based on the following:

•

Background of the Mizo tribe.

•

The Mizo bamboo Culture .

•

Traditional to contemporary jewellery .

•

International usage of bamboo In jewellery.

•

Importance of innovation in craft area for its revival .

The sources that are used for secondary research are: •

Published research papers, journals, articles.

•

Books from Tribal research Institute of Mizoram and libraries .

•

Online and blogs for extensive information.

•

Online sites such as ,pinterest , instagram, tumblr ,

•

museum website. (for Visual research).

•

Catalogues from Mizoram state Museum and Bamboo Development Agency (as a visual tool).

•

Collecting pictures from Museum , market and people. 45

. 3.2 PRIMARY RESEARCH The exploratory and experimental methods were used in primary research. The methodology of the study was divided into the following steps.

I – INTERVIEWS

1.Historian And Cultural Expert This means professional Historian and local elders who have an in depth knowled. ge of the Mizos and their behaviour in the past.

PURPOSE: •

This will help in constructing the meaning of Jewellery craft in context to Mizo culture and also helps in understanding the role of ornamentation significance for Mizo.

•

This also aims in finding out the material culture of the Mizo which cannot be studied as a secondary research.

Note: The material value and how it changes et

will be the topic of discussion

by Which the researcher will also try to understand the function of jewellery and how it changed in the course of Mizo history .

2.Retailers Store and private dealer who are responsible for distributing the finished product in the market, customers/ end consumers.

PURPOSE: 46

•

This will aim in studying the buying pattern, market cycle (time) and quantity of demands and quality of the product currently available in the local market.

•

The topic of Discussion will be regarding the possibilities of the proposed design and material in the market and whether or not the proposed changes could help in boosting the jewellery craft sector and its value in the local market and outside.

3.Artisans Those involved in making and manufacturing the studied crafts.

PURPOSE: •

To understand the skill set required.

•

To study the possibilities of intervention.

•

To explore the technique and the skill set which could be used for the proposed technique and time required to respond to the technique .

II - DOCUMENTING MUSEUM CURATION (Mizo Jewellery)

PURPOSE:

•

To understand the traditional design and material used.

•

To better understand the role of materials and jewellery in Mizo culture in the past.

III - MARKET SURVEY

1.Traditional Jewellery 47

PURPOSE: •

To know the current status of Traditional Jewellery market in Mizoram and

•

other states.

•

To understand the attitude of jewellery craft in the local market (retailing

•

and manufacturing.

•

To predict the future possibilities for the craft studied.

•

To examine the material used (quality and design).

2. Other Mizo Traditional Craft Decorative PURPOSE:

•

To understand the skills of the local artisans.

•

To explore other possibilities (design and material) other than the current. traditional jewel produced locally.

•

To identify appropriate material and technique which could be incorporated.

48

CHAPTER – 4 OVERVIEW OF SECONDARY RESEARCH The various sub tribes of the Mizo entered Mizoram in different stages ,time and period .They established villages on tops of various hills , and gradually spread out all over the present Mizoram.

The five major tribes of Mizoram are the Lushais ,Lakhers(mara),Pawis(Lai), Chakmas and Reangs.

The Mizo have three kinds of festivals : Chapcharkut , Mim kut, Pawl kut .From the history of the Mizo legends it is known that they celebrate these festivals between the years 1450 – 1700 A.D.

The folk dances : Khuallam, che-raw, So- la-kia ,Chheih-lam etc were performed in every special occasion and festivals .The performers are always wearing beautiful traditional costumes .Despite this fact the traditional ornaments were worn while performing the Mizo folk dances .

The Mizo people use extensively bamboo products and bamboo structure ,it is so much apart of their lives that is difficult to think Mizo without associating with images of bamboo artefacts. The Mizo people can be said to have a bamboo culture. 49

.

The state possesses the maximum percentage of of its geographical area under bamboo forests as compared to other states bamboo of the country. Bamboo covers a large extent of area in Mizoram .Around 57% of the geographical area of Mizoram is under bamboo cover found at heights ranging from 400m – 1500m above the sea level.

Types of bamboo commonly used by the Mizo craftsmen are Mautak (melocanna baccifera), Tai(cane plant) , Rawnal (Dedrocalmus giganteus Munro), Bambusa pallida mumro, Rawthing (Bambusa tulda Roxb), Phulrua (Dendrocalamus hamiltonii) Different types of Traditional Mizo bamboo usage ; House ,Agriculture equipments, musical instruments , games, furniture, tools to produce yarns etc .

The jewellery designs and styles keep on changing with the change in lifestyle and tastes of people .The heavy and traditional designs in jewellery have been replaced with light and trendy contemporary designs. Nowadays people are very image conscious .They do t want jewellery as a symbol of financial security but to make a fashion statement and also as trends wear that suits different occasions. Bamboo is a fast – growing plant for which the attributes beauty and utility match perfectly .It is a type of plant which is widely used for making furniture, handicrafts , and jewellery.

In India handicraft have been the main option of livelihood in village till today .But the artisans themselves are also inadequate in terms of designs , and they do not have proper training to develop their skills, while the foreign countries keep recognizing Indian craft , so innovation in craft area is very important and therefore collaborating with the craft artists will enhance their skills and develop market to revive 50

CHAPTER -5 THE MIZO ORNAMENTS

5.1 SIGNIFICANCE OF ORNAMENTS IN MIZO CULTURE

Ornament must need and required in the past Mizo culture . It is one of a big treasure for their hereditary . Normally such as these ornaments – Amber beads , Thi hna , Thipui , Thi val are imported from the neighbouring countries

– Burma and China . So, both the sexes had wore all of these ornaments .

To the old Mizo society, all those beads and earrings are not wearing for general adornment or fashion . It also carries loyalty and dignity too. And those ornaments shows the status of man into the society . While the chief family and the rich man can wear the earrings Thipui and even the laymen a t , they just can wear an ordinary blue earrings , a name called

Thipawl . So,

that s earrings show us the separation between the family of the chief and the layman. While the voice of wearing Thipui should be respected : but the laymen voices are neglected.

To the old age (times) of the Mizo society , some ornament had they used to wear as a trophy . When they had fought war of village to village , clan and clan

. So, those war always made them a brave man and heroic from the military 51

participants . And then, they should give them a brave

a s trophy, that is the

Arkeziak. It is a symbol of a man who kills theenemy. It made from white cotton, mixed up with the colour of Red and Black . The business of the jewellery supply was the first and old business in tho the past Mizo society .Most of the Mizo historians had saying all these jewells such as Amber beads .Thipui ,Thival etc are supplied and imported from the neighbouring countries Myanmar and time between I & II world war.

And those ornaments had played an important role into the old Mizo Society . They were used it for the price of the maidens and too the daughter of the chief .Especially ,in this case , the daughter of the chief price is very costly ; it requires lots of jewells to deserve for it. That means the laymen a t buy and married ; just only the chief family and the rich man can do this .

5.2 DIFFERENT TYPES OF TRADITIONAL ORNAMENTS IN MIZORAM. 1. THIHNA Thihna is the most valuable , biggest and expensive necklace of The Mizo , It is a

tube shape single –strand amber bead necklace, The old necklaces are made of very dark amber , beautifully clear there could be various colors and sizes ,these necklaces

can normally range from

70 – 85 cm

long and the beads are

sometimes 5-7 cm long and over 2.5 cm in diameter. It is probable that these necklaces came from Burma (Myanmar). The price of Thihna depended on its worth and beauty , the longer the string of beads, the more beautiful it was to them .The number of beads size increased , the price of necklace also increased . It is said Sailo chief necklace are more bigger than layman s necklace as the Sailo s were established as the ruling clan.. Thihna is sometimes used as marriage price and Thuamchhawm (dowry ) which is considered as equivalent to Rs 20 called Tlai . 52

Initially Thihna were worn by the men only. If they were enough beads on a string to fit around the neck (as a choker ) it was sufficient for them . The well polished men used to change their necklace string everyday , Some men who does not afford to wear the full beaded string used to wear single bead strung on a cotton thread as a necklace . For this reason , The Mizo expression Thibeh lo thute chu eng vak ni suh came out , which means words without a necklace is nonsense . Latterly , when women started to wear necklace it was no longer worn by men. The women worn in any occasion especially while performing the Che-ra

and cultural

festivals

(bamboo dance ) .

Figure 78 : Mizo men wearing Thihna L-R Thahluana, and his sister and Lalthangkhuma , Lailak Lal (chief).| source : Mizo ladeh leh Zethlan

Figure 79 : Mizo men wearing Thihna L-R Thahluana, and his sister and Lalthang khuma , Lailak Lal (chief).| source : Mizo l adeh leh Zethlan

Figure : the mizo men wearing Thihna Source :Mizo la deh leh zethlan

Figure 80: The Mizo maiden wearing Thihna Source : Mizo La Deh leh Zethlan .

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3

1

4

2

5 6 6 7 Figure 80(1) : Thihna with blue bead |Source: Rotluanga, Dinthar, Aizawl .Figure 81( 2 ): Thihna| source : Mizoram state Museum , Mc donald hill ,Aizawl . Figure 3 & 4 : close up view of Thihna Figure 82( 5 ): Thihna eng (Yellow amber beaded) | source : Mizoram state meuseum , Mc donald Hill, Aizawl . Figure 6 : A close up view of Thina eng. Figure 83( 7) A collection of Thihna | Source: Rotluanga ,Dinthar,Aizawl.

2. SAIHA BENGBEH

The term

sai

ea s elepha t , ha here can be translated as teeth or tusk

and bengbeh means earri g .So it literally means Ivory earrings. It is a very highly prized Mizo earrings and only the rich people used to wear this earrings and when they wear it they feel very proud .Typically it is worn by

both man and woman but later it was only worn by the women .They sometimes add a few beads to the ivory to look more impressive . It is circular piece with inch or inch and a half in diameter . The poor people who cannot 54

The poor people who cannot afford ivory earrings used to wear earrings made from wood or clay of the same size with a hole in its centre to reduce the weight. The earrings , however are quite exclusive and to be able to wear them professionally stretch is necessary. When a girl gets her ears pierced, a pointed part of porcupine quills are inserted .These are replaced by the larger part , and then still larger ones of wooden plugs, so that they can gradually stretched into the required size , it is considered the larger the hole in their earlobes, the more respectable. Windows remove their earrings, and slit the lobes of their ears when they abandon all thought of re- marrying .

2

1

3

4

Figure 84(1) :A mizo woman wearing Saiha bengbeh,Khuangthangi ,M/O Saptea Halliday (1919) , source :Mizo Ladeh leh Zethlan .| Figure 85(2 ): A Mizo woman wearing Saiha bengbeh (Ivory earring) , source : Mizo ladeh leh zethlan | Figure 3 : A close up view of Saiha Bengbeh , source : Mizoram state museum , zarkawt , aizawl.|Figure 85(4 ): saiha bengbeh , source : Mizoram state museum, Aizawl, Mizoram.

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3.THIFEN

Thifen is a necklace made of barell ,round and cylindrical tile glass beads with six different

colors such as red, blue ,yellow and black with white spots

stranded in three rows with 55 cm of length . It is a small necklace which was worn by the Mizo men and women. It was owned and possessed only by the well to do and the rich family. The Thifen serves as a very important Thuam (dowry) for girls and also given and accepted as marriage price .

2 2 : Front view of Thi fen

1 3 3 : close up of Thihna ( stopper)

Figure 86 (1) : Thi- fen Source : Mizoram State Museum , Aizawl ,Mc donald Hill, Mizoram

4.THI –VAL

Thi- Val is a red barell shape single strand bead necklace which was made from semi precious stone with around 60 cm of length . It is also obtained from Burma (Myanmar). It is said it is the cheapest among the semi precious stones of Burma , but the Mizo set a high value on it and considered it as a valuable 56

possession .If the beads were of good quality. The Thi-val was worth the prize of a young Mithun or a Mithun heifer . In the olden days , the ordinary people could not afford to buy or posses them . A high prize Thi-val was regarded as a valuable possessions ; and sometimes those who owned them dared not wear or hold out them in the streets or in public(4) .The Thi-val was often given and accepted as the price of a bride

2

1

Figure 87(1): Thi- val Source : Mizoram state museum , Aizawl, Mizoram

3 2. Front view of Thi –val 3.Close up view of Thi-val stopper

5.RIAL THI The term Rial thi means freezing rain necklace ; Rial means freeing rain and thi means necklace . The Rial Thi is inspired from the beautiful sheer frozen drops made up of glass beads ,there could be different shapes and sizes .Usually the beads are shrung together with a single cotton thread and varying

between 50 to 60 cm of length . This necklace does not serves as a symbol of social status ,perhaps just aesthetic. It can be worn by ordinary women folks . 57

2

4 Figure 2: close up view of Rialthi | 4: close up of Rialthi stopper

1

3

Figure 88(1) : Rial-thi Source : Rotluanga,Bara bazar , Aizawl

Figure 88 (3): Another kind of Rial thi Source : Mizoram State Museum, Aizawl.

6. PUMTEK In THE LAKHERS N E Perry tell us . The old necklaces of these beads are very high valued and treated as their Heirlooms . It is almost possible to buy them. .They are of very different quality from the old beads, and it is easy to distinguish a modern beads from an old one. Legend relates that old Pumteks were the droppings of a goat. when the goat s owner fed him well , the goats produced Pumteks of great excellence ; If the quality of the food fell off, the Pumteks become progressively worse . In the families of chiefs and nobles , heirlooms are handed down from generation to generation . These generally consist of necklaces of Pumtek beads, gongs or guns .Heirlooms , in fact are never sold unless the owner is in very distress indeed . It is believed that if a

man sells his heirlooms he will have no children , and will be the last of his fa il

.

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Figure 89 : A chin woman wearing Pumtek necklace (2009) Source : pumtek.blogspot.in

Figure 90 : A chin man wearing Pumtek necklace Source : pumtek.blogspot.in

3

1

2

Figure 1 : Pumtek, source : Dengkhuma chhangte, Dawrpui vengthar, Aizawl. | Figure 2 : Another color of Pumtek, source : Rotluanga, Dinthar , Aizawl. | Figure 3 & 4 : close up view of Pumtek.

4

Figure 91:Pumtek with coins Source : Mizoram state museum ,zarkawt , Aizawl.

1 Figure 1 &2 close up view of Pumtek

2

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7. ZAHAU PAWI DAR SELU THI

The word Zahau Pawi refers the zahau pawi clan, and Dar means brass Selu here can be translated as Mithu s head . Zahau Pawi Dar Selu is a three – strand necklace of red tube tile glass beads features a brass pendant which was carved out as a Mithu s head with 64 cm long ,worn by male member of Zahau Pawi clan . It is probable this necklace may indicate the social status of the wearer as Mithun was the main valuable possession of the mizo. A man was considered rich according to the number of Mithuns he possessed . Thus this Mithun pendant could be regarded as a status symbol of the wealthy man .

2

3 1 3

Figure 92 : Zahau Pawi darselu Source : Mizoram State Museum , Aizawl , Mizoram

Figure 2 : A front view of Zahau pawi dar selu Figure 3 : A close up view of zahau pawi dar selu.

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8.MILU THI The word Milu means human head , Thi here means necklace or pendant .It is a double – strand necklace of red tube tile glass beads with a brass sculpture of human face pattern pendant , worn by men . This necklace is 60 cm of length . It is sort of a trophy or earned medals by a successful head taker and it symbolized his achievement of his status . In ulture and folklore of Mizora B Lalthangliana expressed

our ancestors were head- hunters who brought

home the heads of wild beasts and human beings . Those who brought home the heads of their enemies and performed rituals and ceremonies; and danced to celebrate their victory , gained respect . They were regarded as super – warriors .They gave the people of their village comfort and piece of mind .

2

1

Figure 93 : Milu thi Source : Mizoram State Museum

3

Figure 2 & 3 : A close up view of Milu thi

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9.THI-THEK

The word Thi-thek means spotted necklace . It is a necklace made up of round shape black colour beads with white dot patterns and incorporated a tube shape ivory locket that is 7.5 cm long .Ivory have used to set the value on it . The Thi-Thek is not indigenously made ,it could be obtained directly from the source of purchased by barter or traded from neighbour tribes.

2

3

1 Figure 94 : Thi-thek Figure Source : Mizoram Stae Museum , Aizawl .

Figure 2 : Front view of Thi – Thek Figure 3 : close up view of Thithek .

10.LALNU THIVAL PUI The meaning of the words : Lalnu is a hief s wife , Thival is read bead necklace ,here the word pui means great . It is brought from The Arakan state ( southwestern coast of Myanmar ). This bib necklace is a single strand 62

carnelian beads and has a locket of a chank (also conch) shell with a length of 8 to10 cm and ornamented with a pattern of small circle with a dot in the middle of each . Ne parry In The Lakhers says To make the pattern they take two sharp thin pieces of Iron , tie them together with string, and use them like the two legs of a compass . The dot in the center is made with fixed leg; the other leg moving round circles are makes a small circle . The dots and circles are then coloured with lamp black. A hole is bored at the wide end of the conch shell ,through which passes a string whereby the shell is attached to a necklace of carnelian beads . This conch shells necklace is very rare and highly alued . It is probably worn ceremonially by the wife of the Mizo chief .

2

1

3

Figure 94 : Lalnu Thival pui Source : Mizoram Stae Museum , Aizawl .

Figure 2 : Front view of Lalnu Thival pui Figure 3 : Close up view of Lalnu Thival pui.

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11 .THI TENGENG Thi Tengeng means brass bells necklace : Thi means necklace and Tengeng means

bell – ri gi g . This necklace features thirty –four brass bell beads

shrung on a cotton thread , each of which are alternated by different colour beads . It is worn for both anklets and necklace by Lai women on special occasion . Single bells were also worn by young children on their ankles with cotton thread, when the brass bell sounds while walking or running the wearer feel very proud.

2

3 Figure 95(1) : Thi Tengeng Source : Mizoram State Museum , Aizawl . Figure 2 : Front view of Thi tengeng. Figure 3 : Close up view 0f Thi tengeng.

1

Figure 96(4) : Another kind of Thi Tengeng

4 Source : Rotluanga, Dinthar ,Aizawl.

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12.PAWI SAHA THI

The word Pawi refers The pawi or Lai clans; Saha means animal teeth and Thi

means necklace . This necklace is a single strand with 40 cm

of length made of boar tusk (5.5 cm) ,each of which are alternated by four white heishi beads (4mm).It is a special necklace for warriors of Pawi community.

2

3 Figure 971) : Pawi Saha Thi Source : Mizoram State Museum , Aizawl .

1

Figure 2 : Front view of Pawi Saha Thi Figure 3 : Close up view Pawi Saha Thi.

13.SAKEI NGHO THI ‘Sakei Ngho’ Means Tiger Fang. This necklace is often worn by the Mizo men . It is used for oath taking and also thought to have magical properties .It is said a person while taking oath bites the tigers s fang saying that if he fails to stand on hid promise or fails to do what he has promised a tiger would seize and devour him . 65

2 Figure 98 (1) : Sakei Ngho Thi Source : Mizoram State Museum ,Aizawl .

1

Figure 2 : ccose u pview of Pawi Saha Thi

14.THI LUNG

Thilung is a single threaded yellow cone shape amber bead necklace with 45 cm of length . These beads were not indigenously made but the shape and form that resemble

can be seen in Mizo traditional textile motif which is

called saidawium .Thus . it can be considered as the Mizos paid great attention to their design coordination.

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2

1

3

Figure 99(1) : Thi Lung Source : Mizoram State Museum , Aizawl .

Figure 2 : Front view of Thi Lung Figure 3 : Close up view Thi Lung.

15.TANGKA THI

The word Tangka

refers to coins , Thi means necklace , so Tangka Thi

means coins necklace . This necklace is made of silver coins which are strung in a single row . At the edge of each coin a loop is made with silver or other metals for hanging .It is a symbol of wealth and is worn by the chief and the wealthy family only . This coins necklace is possibly possessed after the British east India company came to North East India .

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2

3

1 Figure 100 (1) : Tangka Thi. |

Figure 2 : Close up view of Tangka Thi Figure 3 : Close up view Tangka Thi

Source : Mizoram State Museum , Aizawl .

16.MANGBO NUKUIH It is worn by the ladies of the Matu community living in the north west of

Mizoram . This necklace is also worn as a belt . It is made of thin brass like spiral , joined at both ends with cotton thread , and is worn on festive and other important occasions.

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2

3 Figure 2 : Close up view of Mangbo Nukuih Figure 3 : Close up view Mangbo Nukuih | Source : Mizoram State Museum , Aizawl .

1

Figure 101 (1) : Mangbo Nukuih,

17.THIMKUAL

Thimkual is a brass hair pin which is run through the top of the hair . It is most probably obtained from Burma . when a boy is favorably inclined to marry a young girl , he puts his Thimkual to the girl as a security . Those girls who have many suitors use to receive many Thimkual . Lt. colonel J.Shahespeare In The Lushei Kuki Clan writes The Lushai wears a variety of articles in his hair knot . The commonest is brass two- pronged pin with a head shaped like a G. The pongs are drown out to sharp points and vary in length from three to eight or nine inches . These very long pins are a recent innovation , and their use seems to be restricted to the young dandies of the hamlets round Aizawl . Skewers of ivory, bone and metal about six or eight inches long are also worn. Of the two former there are two patterns , one four-sided , about a quarter of an inch thick at two thirds of its length, tapering to a point at each and, other being flat , 69

pointed at one and about half an inch broad at the other. Both are ornamented with engraved circles and lines . The metal skewers are quite plain and more for use in scratching the head than for ornament; a piece of the rib of a broken umbrella is also used as hairpins . 1.

2.

3.

Figure 102(1): A collection of Thimkual | Source : Mizoram state Museum . Fugure 2 : Side view of Thimkual Figure 103 (3) Fanai pawih In Thimkual | Source : Mizo La deh lah zethlan .2016

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18. ARKEZIAK

Arke ziak were made with white spun cotton yarn not yet boiled with rice. The yarn was not properly twisted in the spinning when plaited the La tluak made

and

arkeziaks Of different lengths , to be tied round the head , the neck

and the ankle etc .nad there ere peh buk

(tassels ) at both ends .The brave,

courageous head – hunters of enemies who had returned successful and victorious used to tie the Arkeziak on their heads , arms , legs and necks. All the warriors who took part in the expedition but could not kill enemies , nor could they all bring back heads, but had cut, slashed and chopped the fallen dead bodies companions were also regarded as brave head –hunters . All of them were honoured with Arkeziaks ; but generally, only those who had slain their foes and brought home the heads were honoured with precious things in addition to Arkeziak

2

1 Figure 104(1): Arkeziak | Source : Mizoram State Museum

Fugure 2 : Close up view of Arkeziak

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19. RALLU AIH THI Rallu , refers to human heads of enemies taken in raids , Aih means successful head – hunting of enemies ceremony ; Thi means necklace . It symbolized their success in head –hunting raids .Thus ,this necklace could have been given as a

trophy to those who had brought home the heads of their enemies from the war . It is made of wooden beads intermixed with mini arrows and knives with a tiny sculpture of human heads and is about 58 cm in length . It is worn by the Mara clans on special occasions .

2

1

3

Figure 2 : Front view of Rallu aih Thi. Figure 3 : Close up view Rallu aih Thi.

Figure 105(1): Rallu aih Thi Source : Mizoram State Museum

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20. DAR NGUNKUAL

Dar Ngunkual means Brass armlets. The word Dar means Brass and Ngunkual refers to The armlet. These armlet were worn high on the arm by the women of well – to – do family of Lai community . The dimension of these armlets are about 11 cm (exterior) and 9.5 (interior) in diameter.

1

3

Figure 106(1): A set of Dar Ngunkual Source : Mizoram State Museum Figure 2 : Dar Ngunkual a s seen from above Figure 3 : Side view Rallu aih Thi.

2

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21 .NGUN

Ngun means Bangles (also bracelet) . These bangles were made out of brass , copper and silver. They may be plain or ornamented with punched dot and geometric patterns. These Bangles are usually worn in pairs.

4

1

2

5

Figure 107(1 ,2, 3,4,5): Ngun ( Bracelet) Source : Mizoram State Museum, Mc Donald Hill,

3

Aizawl, Mizoram

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22.VAKIRIA /CHAWILUKHUM

Vakiria also known as Chawi Lukhum is a distinct head dress of Mizo women made of bamboo split , Procopine quills attached with the long tail feathers of

parrot in which red colour Pehbuk (tassels ) in the upright . Job tear beads were threaded with beetles wings are also hung horizontally on a small bamboo stick . It is worn on festive and important occasions especially while performing Folk dances Like Chai , Cheraw etc .The Vakiria is sometimes used as a Thuam (dowry) for the girls who belong to the wealthy family .

2

1

Figure 108(1):Vakiria /Chawilukhum Source : Mizoram State Museum. McDonald Hill, Aizawl,Mizoram Figure 108(2) : A Mizo woman in Viakiria /Chawilukhum. Source : Mizo la deh leh ze thlan (2016) . Figure 109(3) : Mizo women in Vakiria at Military Tatoo.Edinburg, Scotland (20014)

3

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5.3 MODERN MIZO JEWELLERY The Mizo jewellery which are available in the market today. Contemporary beaded jewelleries

inspired by the traditional textile patterns and colours

like Puanchei ,Ngotekherh, Puandum , Tawlhlohpuan etc . are vey popular in the current market . Other jewelleries which are made of bamboo, brass , silver

, copper also available . These materials i.e bead, metal were imported from Myanmar, China, and other states of the country. The modern Mizo jewellery are categorized by the following sections .

5.3.1 BEADED JEWELLERY

1. Puanchei Pattern

Figure 110 : Puanchei 6 strand beaded necklace. Source : Zo star, Chanmari, Aizawl.

Figure 111 : Puanchei 4 strand beaded necklace Source : Zo star, Chanmari, Aizawl.

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Figure 112 : Puanchei bead Braided necklace Source : TL Handloom,Chanmari ,Aizawl.

Figure 114 : Puanchei bead braided choker Source : Jenny Ching ,Zemabawk , Aizawl.

Figure 113 : Puanchei multiple strand beaded necklace Source : Zo star, Chanmari, Aizawl.

Figure 113 : Puanchei beaded necklace Source : Zo star, Chanmari, Aizawl.

Figure 115 : Puanchei beaded bracelet Source : Andrew Bamboo and cane , Chaltlang, Aizawl.

Figure117 : Puanchei beaded Earrings Source : Zostar , Chanmari Aizawl.

Figure 116 : Puanchei beaded bracelet Source : zostar , Chanmari Aizawl.

2.Ngotekherh Pattern Figure 117 : Ngotekherh 6 strand beaded Necklace in green colour Source : Zo star, Chanmari, Aizawl. Figure 118 : Ngotekherh 6 strand beaded Necklace in black colour. Source : TL handloom,Chanmari,Aiza wl.

117

118

119

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Figure 119 : Ngotekherh beaded necklace Source : TL Handlomm, Chanmari, Aizawl.

Figure 120 :Ngotekherh pattern beaded Necklace in different colours Source : Zo star , TL handloom, Zo dawr , Aizawl , Mizoram.

Figure 121: Ngotekherh pattern beaded bracelet in different colours Source : Zo star , TL handloom, Zo dawr

Figure 121 : Ngotekherh beaded bracelet Source : Andrew cane and bamboo ,Aizawl.

Figure 122: Ngotekherh beaded earrings . Source : TL handloom, zostar Chanmari ,Aizawl

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Figure 122: Ngotekherh beaded earrings . Source : TL handloom, zostar Chanmari ,Aizawl

3. Tawlhloh Puan Pattern

Figure 123 : Tawlhloh 6 Strand beaded bracelet Source : zo dawr , Chanmari ,Aizawl.

Figure 124 : Tawlhloh 4 Strand beaded bracelet Source : zo dawr , Chanmari ,Aizawl.

Figure 125 : Tawlhloh 4 Strand beaded bracelet Source : zo star , Chanmari ,Aizawl.

Figure 127 : Tawlhloh beaded earrings Source : Andrew bamboo and cane , Chaltlang ,,Aizawl.

Figure 126 : Tawlhloh beaded bracelet Source : Andrew bamboo and cane , Chaltlang ,Aizawl.

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4.Thifen Modern Thifen made out of glass and plastic beads.

Figure 128: Thifen Source :Zo par , electric veng ,Aizawl.

Figure129: Thifen Source : Zo star , Chanmari , Aizawl .

Figure 130 : Earrings inspired by Thifen Source : Zo star , Chanmari , Aizawl .

5.Pumtek The imitation Pumtek beads which are made from a hard wood with a finer grain.

Figure 132 : Pumtek in Black and white Source : Zo star , Chanmari, Aizawl.

Figure 133 : Pumtek in brown and white Source : TL handloom , Chanmari, Aizawl.

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Figure 134 : Pumtek with coins Source : Irene Zosangpuii ,Dawrpui ,Aizawl.

6. Thi – Val Modern Thi-val made from glass beads

Figure 135 :Thiival senduk Source : Zo par , electric veng , Aizawl.

Figure 136: Earrings inspired by Thihna Source : Z0 par Variety , electric veng Aizawl

Figure 137 : L-Thiival sen R- Thival Dum | Source :TL Handloom, Chanmari ,Aizawl

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7.Thi hna Traditionally Thi hna is made use of Amber beads, but due to the unavailability of the

raw material, glass beads is used in modern day .

Figure 138: Thina senduk. Source : zopar variety store , electric veng , Aizawl.

Figure 139 : Thina sen. Source : Zopar variety store , electric veng , Aizawl.

Figure 141: Thina dum . Source : zo star variety store ,chanmari, Aizawl.

Figure 142: Thina senduk . Source : Andrew collection ,Dawrpui phei , Aizawl.

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Figure140 : Thina sen. Source : Zo star ,chanmari , Aizawl.

Figure 143 : Thina dum leh vara tial . Source :Zo dawr ,Cateenkual Aizawl.

Figure 145 : Earrings Inspired By Thihna bead Source :Andrew collection,Zo Dawr,Zo star Aizawl, Mizoram.

Figure 144 :Thihna eng Source :Andrew collection, Dawrpui phei, Aizawl.

8.Other Beads Necklace These beaded necklaces do not have a specific name ,mostly they are made from plastic beads . It is handcrafted by the local jewellers but the materials were imported from other states of the country .

Figure 146 : Handmade bead Necklaces | Source ; Zo star, TL handloom , Andrew cane and bamboo, Aizawl , Mizoram.

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Figure 147 : Handmade bead Necklaces | Source ; Zo star, TL handloom , Andrew cane and bamboo, Aizawl , Mizoram.

Figure 148: Handmade bead Necklaces | Source ; Zo star, TL handloom , Andrew cane and bamboo, Aizawl , Mizoram.

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9. METALS

Figure 149: Plaited silver cuff bracelet . Source: Irene Zosangpuii, Dawrpuii , vengthar

Figure 150: Plaited silver armlet. Source: Irene Zosangpuii, Dawrpuii Vengthar Figure 152 : modern kharvar (brass belt). Source: TL handloom, Chanmari ,Aizawl.

Figure 151: Plaited silver ring. Source: Irene Zosangpuii, Dawrpuii , vengthar

Figure 149 : Plaited silver belt ornament | source : Irene Zosangpuii, Dawrpuii Vengthar , Aizawl.

Figure 150 : Plaited silver belt ornament | source : Irene Zosangpuii, Dawrpuii Vengthar , Aizawl.

Figure 151 : Plaited silver hair | source : Irene Zosangpuii, Dawrpuii Vengthar , Aizawl.

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10.BAMBOO Bamboo jewellery like coiled earrings , braide rings , painted earrings , hairpin, braided bracelet, burnt bracelet are also available in the market .

Figure 152 : Coiled bamboo earrings| source : Andrew cane and Bamboo, Chaltlang , Aizawl.

Figure 153 : Coiled bamboo earrings| source :Mawi Mawi Cane And Bamboo Industry, Zemabawk, Aizawl.

Figure 154: painted bamboo earrings, Source :Andrew cane and bamboo, Chaltlang, Aizawl.

Figure 155: Decorated ed bamboo earrings, Source :Andrew cane and bamboo, Chaltlang,Aizawl.

Figure 157:Bamboo rings Figure 158 :Bamboo ring Source :Andrew cane and bamboo, Source :Andrew cane and Chaltlang,Aizawl. bamboo,Chaltlang, Aizawl.

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Figure 156 : Bamboo earrings, Source :Rohlupuia Pachuau Edenthar, Aizawl.

Figure 159 :Dyed Bamboo ring Source :Andrew cane and bamboo,Chaltlang,Aizawl.

Figure 161: Bamboo Hair slide Source :Mawi Mawi Cane And Bamboo Industry, Zemabawk, Aizawl.

Figure 160: Decorated bamboo Hair slide, Source :TL Handloom, Chanmari, Aizawl.

Figure 162 : Braided bamboo bracelet.| Source :Mawi Mawi Cane And Bamboo Industry, Zemabawk, Aizawl.

Figure 163: Burnt bamboo bangles | Source :Andrew cane and bamboo, Chaltlang, Aizawl.

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CHAPTER – 6 THE MIZO ARTISANS An interview of 15 artisans who involved in making and manufacturing the

studied crafts (bead jewellers, bamboo jewellers , silver smith )was conducted in order to understand the skills of the local artisans, the skill set required ,also to study the possibilities of Intervention, to explore the technique and the skill set which could be used for the proposed technique and time required to respond to the technique , to identify appropriate material and technique which could be incorporated in jewellery Craft.

This also helped to know about the consumer trends and their demands, understanding the preferences and mindset of consumer, the market pattern for handcrafted jewellery.

.

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6.1 ARTISAN – 1 : DENGKHUMA, 67 | LALVENTHANGI SAILO, 62 | IRENE ZOSANGPUII,32

Figure 164 : Dengkhuma

Figure 166:Irene Zosangpuii Figure 165 : Lalventhangi Sailo D/O Dengkhuma W/O Dengkhuma

Dengkhuma and his family are basically from Tahan, Myanmar , now settled in

Aizawl for more than 20 years . They have started the Mizo ornament carft since 1986 .The family member of 12 were involved in this craft ,they worked at their home so that no amount was invested on store and workshop this also enabled them to work whenever they are free . They do not usually hire helpers from the outside the reason is because of the

finishing quality

maintenance .The entire work was carried out within the family itself.

They informed that they did not have any sort of professional training for this craft . Lalventhangi Sailo wife of Dengkhuma said they possessed a family heirloom piece of Vakiria That is the initial source of design, using this as a reference she practiced and developed her skills of technique by herself. It took her only one week to learn this craft. The time involved in the making of vakiria depend on the size and the intricacy of the designs. Normally one

person could be made one piece within one or two days .

TOOLS AND RAW MATERIAL : The raw materials used in making vakiria headgear such as vakulchang , porcupine quills , beetle wings were imported from Myanmar and Manipur . Pingpih (Jobs tear seeds) ,Nylon robe, 89

were sufficient ly available in the local market. She mentioned, due to the insu –

fficient source of traditional raw material ,they keep tracking the alternative material while keeping the traditional value .

They used traditional textile motifs for the head band weaving .They were fluent in making new designs and also familiar in the use of various colour combination . They made different colours and different traditional motifs to meet modern requirements and trend . They make the authentic piece as per the particular order placed. But this cannot be made so often due to the insufficient raw materials as only the rare organic material have been used in this . The authentic piece of vakiria is R 8000 .The normal wholesale price of vakiria headgear are Rs 550 r for Adult wear, Rs400 for kids wear, 1500 for vakulchnag (

e headress). January,

Fe ruar , Mar h are the est selli g seaso si e Chapchar Kut the

ajor tradit

tional festival of mizoram celebrated on March . People starts placed an order fr-

om the month of January.. RAW MATERIALS USED IN VAKIRIA

Figure 167 : Pingpih jo s tear seeds

Figure 168: Tlengtle thla (Beetles wings)

Figure 170: pingpih with beetles wing are hung by small strap of bamboo

Figure 169: pingpih are strung with beetles wing

Figure 171: pingpih with beetles wing are hung by small strap of bamboo, here pingpih are strung i alternate with black heisi beads. .

90

Traditionally vaki chang parrot s feathers is used ut due to i suffi ie t resour es .D ed feather is used to su stitute Parrot s feather.

Figure 172 : Feather before dye

Figure 173: Feather dyed with green colour

Figure 175 :Procupine Quills

Figure 174 : Feather dyed with green colour with yellow colour

Figure 176 :Porcupine Quills with long feathers in which red tassel is also attached to it

TRADITIONAL MOTIF USED FOR HEAD BAND WEAVE

Figure 172 : Lennbuang Thuam Puan motif Vakiria headband

Figure 173 : Front view of mitmu Rual motif

Figure 175 : Mitmurual motif in red and yellow colour

Figure 174: Back view of mitmu rual motif

Figure 176 : Faghma mu motif in yellow and white colour

91

VAKIRIA

Figure 177 : Vakiria in blue and white mitmurual Figure 178 : Vakiria in red and yellow mitmurual pattern. pattern source:Irene zosangpuii , Dawrpui vengthar, Aizawl. Source : Irene Zosangpuii, Dawrpui vengthar , Aizawl.

Figure 180 :Vakiria in black and hite le ua gthua Figure 179:vakiria in yellow and white Fanghma mu pattern at chapchar kut 2017 , T.Ramthanmawii pattern, Picture courtesy : Rinmawia Renthlei. Source : Irene Zosangpuii , Dawrpui vengthar, Aizawl.

92

6.2 ARTISAN -2 : JENNY CHING ,45

Figure 181 : Jenny ching

Figure 182: Jenny hi g s mother

Jenny Ching , the bead jeweller is from Manipur but now her family settled In Zemabawk , Aizawl since 2006 due to employment opportunities . she is 42 years old and a mother of four. Jenny learnt bead making for her desire and self – experiment

,she informed that she had spoiled 3 necklaces at the

beginning but she became an expert within just 2 weeks. Despite her natural interest she wants to keep alive the traditional craft of creating Mizo jewellery . She began working as a professional bead jewelers since 2010.

Types of jewellery she made are earrings , Necklace , Rings , Bracelets in a pattern of Mizo traditional textile like Puanchei, ngptekherh (in different colours) and Tawlhloh puan. Her husband helped her in whatever way it was possible , and he was specialized in making of vakiria (headress). She made close to 4 to 5 pieces of each items of jewellery in a day .Her wholesale price are Necklace – 20,40, 70, 180, 250 , Bracelet – 20, Bengbeh – 30 , vakiria – 500.

The raw materials used in jewellery such as bead, nylon thread , cotton thread 93

Vakiria materilas such as procopine quills, job tears , parrot long feather and cotton or wool tassels . beads, were generally source from Burma , Pocopine quills and jobs tear were sourced from Manipur , she was preferring manipur job tear seeds because they are whiter than Mizoram seeds. There were small changes in colour and technique as compared to earlier times but she manage to adapt her skills and aesthetic sense to suit the modern taste . She is regularly hire three to four helpers this makes her work easier because of this she is able to deliver her product on time . Her product was distributed to 10 craft stores in Aizawl and her monthly income now is in between 20000 – 25000S. She is taking care of her family from the earnings of this craft.

Figure 183 : Jenny hi g s work place

Figure 184 : Jenny hi g s work place

6.3 ARTISAN -3 :T LALNGAIHLIANI ,58

Figure 185: T. lalngaihliani

Figure 186 : T. lal gaihlia i s beaded jewellery

94

T.lalngaihliani is from champhai , she is now living in Ramhlun venglai , Aizawl

.she is 57 years old and a mother of three . T . lalngaihliani belongs to the chief community in Champhai area and also his uncle was into business of jewellery supply.Their family has a heirloom piece of Mizo jewellery that inspired her to make jewellery . she began working when she was 18 years old but she started selling her jewellery from 1990 till date .The whole family doing jewellery making as a profession . They sells Rs 100000 worth every month , her product were distributed in almost 15 Craft stores In Mizoram and also reached USA , Malaysia and other states of India.

Types of her jewellery are earrings , Necklace , Rings , Bracelets in a pattern of Mizo traditional textile like

Puanchei, Ngotekherh and Tawlhloh puan in

different colours . She imported her beads material from China . T. lalngaihliani makes sample designs

and developed techniques for new products .Her

dedication and commitment towards work is admirable. She adds the money that she earned from this craft was good enough for her living . 6.4 ARTISAN -4 : VANLALNGHAKA 34 | LALHUAZAUVI 37

Figure 187 : L – Vanlalnghaka ,R – Lalhuapzauvi

95

Vanlalnghaka and his wife Lalhuapzauvi are resident of Zemabawk, Aizawl .Lalhuapzauvi was born in a craft family , her father was a craft teacher at the middle school. she began her training from her father and perfected the bamboo craft .her husband Vanlalnghaka took training at (KVIB),Aizawl for 6

months in 2002 and started making different bamboo products with his wife a . their products got very appreciation when they showcased at IITF - India International Trade Fair 2006 at New Delhi. Later they was invited at various expo and also working as a part time trainer in Bamboo development Agency , Aizawl, Mizoram. Their monthly income out of this craft is in between Rs 2000025000. Vanlanghaka received Young Talented Artist Award for his excellence in cane and bamboo craft 2008 which was organised by Northeast Zone Cultural Center NEZCC, Guwahati .

6.5 ARTISAN - 5 : LALHMINGLIANA ,57|LALTHANPUII, 58| ROHLUPUIA ,27|LALRUATDIKI ,22.

Figure 188 : Lalthanpuii

Figure 189 : Rohlupuia

Figure 190 : Lalruatdiki

Lalhmingliania and his wife Lalthanpuii , resident of Edenthar , Aizawl , mizoram were born in traditional bamboo and cane craft family . their father and grandparents were experts in bamboo craft. from their childhood they were attracted towards cane & bamboo work . Lalthanpuii started his craft work as a professional craftsmen at the age of 15, his husband Lalhmingliana started since he was 16 years and working in this craft till date. 96

They encouraged their son Rohlupuia and his wife Lalruatdiki to learn the cane and bamboo work as a profession and also started bamboo craft work without any special training . they produced different types of items such as furniture , lamp shade ,jewellery, basket, vase , tray, mugs , tea coaster , ashtray, photo frame etc .their monthly income from this craft is in between 30000 - 35000

.Rolupuia and his mother L Lalthanpuii demonstrated their products in various exhibitions and got appreciated by many .Rohlupuia received Best Artisan Award in 3rd march 2012 which was organized by industries department (bamboo development agency ) and environment and forest department.

6.6 ARTISAN -6 : HRANGCHHAWNA , 73 | LALROKIMI , 54

Figure 191 : Hrangchhawna

Figure 192 : Bamboo Retail Outlet showroom , Chaltlang , Aizawl.

Hrangchhawna and his wife Lalrokimi are resident of Republic Veng , Aizawl .Hrangchhawna took his initial training from his grandfather during his childhood and also took training from government organized training program ,His wife Lalroki i s father was a very good cane and bamboo craftsman she began her training from her father , she was motivated by her own desire towards artistic and workmanship of the craft and produced different bamboo small items such as vase ,key chain, jewellery, bags , tea coaster etc and she

also enjoys making beaded jewellery. 97

They have their own manufacturing house at their home there are 20 craftsmen's working under them. They have showcased their products a multiple of times at Delhi Trade fair where many items are always sold. They are selling

their product at Bamboo retail outlet ,Chaltlang , Aizawl . Various

products of bamboo and cane are display and sell from this outlet everyday .

Their monthly income now is in between 35000- 40000. 6.7 ARTISAN -7 : C.LALCHHUANTHANGA ,38 |LALKROSTHANGA ,45.

Figure 194: Lalkrosthanga.

Figure 193 : C. lalchhuanthanga

C.Lalchhuanthanga and his brother Lalkrosthanga are a goldsmith silversmith . They are from the village Vangchhia and now living in Dawrpui vengthar , Aizawl. C.Lalchhuanthang learnt goldsmithing in the 1999 at Zopa Goldsmith a

renowned goldsmith in Mizoram and worked at first with them .He left Zopa Goldsmith in 2004 and started his own studio at Zodin Square Aizawl under the store name of ZNR ELISA Goldsmith ,his elder brother Lalkrosthanga joined his business in 2007 , he was motivated and encouraged by his younger brother . As a craftsman Chhuana makes sample designs for new products , he creates new intricate motifs and also develops new forms .They imported their equipment and raw materials from Silchar , India and Mandalay, Burma . They also sell imported ready mate gold and silver jewellery . they mainly received orders in custom designs engagement rings and others like earrings , bracelet and locket .They earned Rs 20000 to 25000 per month respectively. 98

6.8 ARTISAN -8 : LALSIAMLIANA , 47

Figure 195 : Lalsiamliana at his work place, vaivakawn ,Aizawl

Lalsiamliana belongs to the village called Tahan ,Myanmar but settled in Aizawl from 1990 . He has been married for 17 years and have four children. Siama said he learnt goldsmithing not because of his desire but due to lack of livelihood and employment opportunities . He took his training from Apollo goldsmith , Aizawl and started work with them for 3 years .Later he joined Zopa goldsmith in 1994 and worked with them till 2005. In 2005 he set up his own studio at Chanmari ,here his store location is in a busy area and have a good exposure and earned good amount of money .But due to some reasons he left after two years .After that he was working from his home but he could not meet sufficient number of customers, so he started small grocery store to support his living. In 2017 he made a fresh start and re

opened his store Siama Silver And Gold Smith at Vaivakawn , Aizawl. His monthly earning now is in between Rs 15000- 20000. 99

6.9 INSIGHTS

The Mizo artisans have the skills required for their job, but selling their product is the issues .This is because lack of design and finishing quality . For this reason people did not pay attention to their product as it should be ,combining traditional technique with new designs

and new forms is

necessary . This will make a better scope for the market as if they could offer new product quite often.

Keeping the locally accessible in mind, experimentation and observation

were done to develop Innovative jewellery designs . It was found that the bamboo material was being used in jewellery but not many range of products are made , bamboo are available in large quantities but at present it has not been utilized to the full optimum .The Mizo craftsmen could possibly produce a new range with sufficient look out .The nature of the Mizo bamboo craft technique was carefully studied with the artisans , the most suitable technique

like burnt technique , traditional weaving

techniques - cherzing , bawhtah, bawhtah kaihsawih, malkhalh , and other traditional braided technique -zawngtrah kuangphiar ( Sticky ea s braid/ Box braid) ,nghun phiar were chosen for the prototype .

100

CHAPTER – 7

MARKET RESEARCH AND ANALYSIS

15 Craft retailers who are involved with Mizo Jewellery were visted and data was collected by interviewing 15 respondents .The data obtained from the respondents has been represented in this chapter

PURPOSE: •

To know the current status of Traditional Jewellery market in Mizoram and other State.

•

To understand the attitude of jewellery craft in the local market (retailing

•

and manufacturing.

•

To predict the future possibilities for the craft studied.

•

To examine the material used (quality and design).

101

1. Years of experience in craft retailing?

8.3%

Figure 196 : Chart showing the respondents on the basis of their experience in craft retailing .

26.7% of the respondents have 5-10 years craft retail experience, 26.7% of the respondents have 10-15 years craft retail experience , 26.7% of the respondents have 0-5 years craft retail experience, only 8.3 % of the respondents have 2530 years craft retail experience.

2.Do you sell Mizo jewellery?

Figure 197 :Chart showing the respondents on the basis of selling Mizo jewellery.

100% of the respondents ( craft retailers ) are selling Mizo jewellery.

3.How long you started keeping in your store? All the respondents are selling Mizo jewelers out of 15 stores , 12 stores have kept from the beginning of the stores were opened , 3 stores have kept after 23 years after the stores were opened. 102

4.Price range of Mizo jewellery in the current market. 15 craft retailers were asked about their price range in jewellery. The prices are categorized on the basis of the current price as follows: Necklace : 100 – 2500 Earrings : 50 – 350 Rings

: 10 – 50

Bracelet : 60 - 150 5. Who buys jewellery in gender?

Figure 198 : Chart showing who buys jewellery in gender.

Majority of the respondent i.e 53.8% informed that only female buy Mizo jewellery, while 46.2% 0f the respondent informed that both female and male buy Mizo jewellery.

6.Which age group buys Mizo Jewellery most?

8.7%

Figure 199 : Chart showing age group which buys Mizo jewellery Most

103

Majority of the respondents i.e 76.9% informed that 25 -35 age group buy Mizo Jewellery most, 7.7% respondents informed that 20-25 age group buy Mizo jewellery most, 7.7% respondents informed that 55+ buy Mizo jewellery most , and 8.7% informed that 35 -45 buy Mizo jewellery most.

7.What type of jewellery is the most selling ?

Figure 200 : Chart showing most selling type of jewellery

Majority of the respondent i.e 85.7% informed that Necklace is the most selling type of jewellery .while 14.3 % informed that earrings are the most selling type of jewellery . None of the respondents mention rings and bracelet in most selling type of jewellery.

8. What piece of jewellery is the high value to customer? When asked about customers most high valued jewellery to 15 craft retailers 11 respondents informed that Thihna is the most value jewellery, 4 respondents informed that Puanchei pattern necklace is the most value jewellery . 104

10. Are you satisfy with the profit you have made from jewellery?

Figure 201 : Chart showing profit satisfactory of the respondents.

Majority of the respondents i.e 58.3% answered that they are satisfied with the profit they have made from jewellery craft , 41.7% respondents answered that the profit from jewellery alone was not satisfactory in present times .

11. In what purpose they mostly buy Mizo jewellery?

Figure 202 : Chart showing most purpose of buying Mizo jewellery

Majority of the respondents i.e 66.7% informed that self buyer are the most common consumer , 13.3% respondents informed that souvenirs are the most purpose of buying, 20% respondents informed that Gifts are the most purpose of buying Mizo jewellery. 105

12 .Pieces of Mizo jewellery sold in a month (general)

8.7%

Figure 203: Chart showing number of pieces sold in a month (general)

60% of the respondents answered that they have sold 0-5 pieces in a month, 20% of the respondents answered that they have sold 10-15 pieces in a month, 13.3% respondents answered that they have sold 15-20 pieces in a month , 8.7% respondents answered they have sold 5-10 pieces in a month. 13.Did you export your product to another states/country ?

Figure 204 : Chart showing percentage of craft exporter.

91.7% of the respondents did not export their product directly to other states or foreign countries, but it is informed that people used to purchase their products to send to their relatives, friends in other states or country, only 8.3% of the respondents informed that they have exported their product in other states of India and foreign countries. 106

14. What is your opinion of new product /design in jewellery craft?

Figure 203: Chart showing respondents opinion of new product/design in jewellery craft.

61.5% of the respondents answered that it will be a hit, 38.5% of the respondents answered that it will sell. CONCLUSION According to the respondents, demands for jewellery handicraft are very low in the present scenario, key customers of Mizo jewellery are few people who collect crafts as assets ,tourists who want to purchase unique items as souvenir, gift buyers who are more interested in handcrafted items rather than machine -made goods. The data reveals that the majority of the jewellery seller were not satisfied with the profit they have made , there are very few craft retailer who exported their product outside the state. It reveals the market of Mizoram jewellery craft is limited and confined to the state . Mostly the designs are outdated . Thus it may be concluded that the reason behind is the jewellery artisans are comfortable in the designs they are familiar with , due to the lack of education and knowledge they are not aware about the latest trends of international market, lack of proper marketing of their products ,lack of quality control, lack of good quality materials due to low price orders . So it is important to increase research and development activities with the help of design and development in the jewellery craft sector to improve the quality, demand and market of the Mizoram jewellery craft products. 107

CHAPTER – 8

DESIGN EXPLORATION AND DEVELOPMENT

8.1 DESIGN EXPLORATION 8.1.1 Mind Map

Goldsmith Silversmith – skills Silver jewelllery Necklace Rings Bracelet Earrings

Figure 204 : Mind map

108

8.1.2 Inspiration Board An inspiration board is made as a visual communication tool to enable a person to illustrate visually the direction of proposed designs , to inform the entire vibes of the designs pursued , and also to explain a certain traditional bamboo weaving technique inspiration and key imaginery message for a storyline .

Figure 205: Inspiration board

8.1.3 Development of Sketches

109

8.1. 3 Trend Forecasting

Figure 206: Trend Forecasting

110

8.1. 4 Trend Analysis

Figure 207: Trend Analysis

8.2 DESIGN DEVELOPMENT 8.2.1DESIGN -1 Woven Bamboo Silver Earrings These earrings were inspired by Mizo t aditio al ea i g te h i ue Bawhtah kaihsawih

hi h is t aditio all used i

Hnam

asket s Ba d .

Handcrafted by Lalhuapzauvi, Vanlalnghaka, Zemabawk, Aizawl,Mizoram.(Bamboo Craftsmen) Lalkrosthanga, Dawrpui Vengthar, Aizawl, Mizoram(Silver Smith). DETAILS •Made in Mizoram. • Material used - Sairil (Melocalamus compactiflorus), Silver . •2.5 grams silver. • Measurement-9.4cm L , 1.7cm W, silver stick -5.5 cm L , .4cm L • Pierced with silver ear wires . •Clean with a damp cloth and dry with a soft cloth Close up of weaving technique

Table 3 : Details of Design 1

111

Making of Design -1

Step 1: weaving bamboo

Step 4:Polished with touchwood

Step 2 :Finished weaving

Step 5:Preparing silver bar, ear wire

Step 3:Trimmed the excessive bamboo split

Step 6:Finished ear wire

Step 7 : cleaning the silver

Step 11 : Finished product Step 8 : cleaned silver

Step 9: silver fit in the bamboo

Step 10 : Putting silver ear wire

FINAL PRODUCT

Figure 208 : close up view of woven Bamboo Silver Earrings

Figure 209 : Model wearing woven Bamboo Silver Earrings

112

Cost Sheet Item : Design – 1 Woven Bamboo Silver Earrings

Material Cost With Artisans Charges

Quantity

Total Cost

1. Bamboo

200

1

200

2. Silver making

1800

1 (Pair)

1800

3.Packaging

210

1

210

4.Transportation

200

200

Total

2,410 Table 4 : Cost Sheet of design 1

8.2.2 DESIGN -2 Rectangle Ball Woven Bamboo Silver Earrings

These bamboo woven ball and rectagle were inspired by the Mizo traditional ea i g te h i ues bawhtah a d cherzing . Handcrafted by Lalhuapzaui, Vanlalnghaka, Zemabawk , Aizawl , Mizoram.(bamboo Craftsmen) Lalkrosthanga, Dawrpui Vengthar, Aizawl , Mizoram (Silversmith). DETAILS

Close up of weaving technique used

•Made in Mizoram. • Material used -Sairil(Melocalamus compactiflorus),Rawnal (Dendrocalamus giganteus Munro),silver . •2 grams silver. •Measurement-11cm L , Ball- 1.5cm diam, rectangle -3.5 cm L , .2cm W • pierced with silver ear wires . •Clean with a damp cloth and dry with a soft cloth. Table 5 : Details of Design 2

113

Making of Design - 1

Step 1: weaving bamboo

Step 5 ; finished bambo0 rectangle

Step 2: Finished weaving

Step 3 : cutting the excessive split

Step 5 : weaving bamboo ball Step 6 : Finished bamboo ball

Step 8 : Attaching silver wire

Step 7 : preparing silver wire

Finished Product

FINAL PRODUCT

Figure 210 : close up view of rectangle Ball woven Bamboo Silver Earrings

Figure 211 : Model wearing rectangle Ball woven Bamboo Silver Earrings

114

Cost sheet Item : Design – Woven Ball Rectangle Bamboo Silver Earrings

Material Cost With Artisans Charges

Quantity

Total Cost

1. Bamboo

250

1

250

2. Silver

600

1 (Pair)

600

3.Packaging

210

1

210

4.Transportation

200

200

Total

1,260

Table 6 : Costing of Design 2

8.2.3 DESIGN -3 Box Braided Bamboo Silver Earrings These earrings were inspired by Mizo t aditio al trah kuang phiar

o

aidi g te h i ue zawng-

aided .

Handcrafted by Lalhuapzauvi , Vanlalnghaka , Zemabawk , Aizawl Mizoram. (bamboo Craftsmen) Lalkrosthanga , Dawrpui Vengthar, Aizawl , Mizoram .(Silversmith). DETAILS •Made in Mizoram. • Material used - Sairil (Melocalamus compactiflorus) , Silver . •2 grams silver. •Measurements -7cm L , 4cm width • Pierced with silver ear wires . •Clean with a damp cloth and dry with a soft cloth.

Close up of weaving technique

Table 7 : Details of Design 3

115

Making of Design 3

Step 1: weaving bamboo split

Step 5 : Preparing silver wire /bar

Step 2 : Finished weaving Step 3 :Trim the excess split / glued it

Step 4 :Polished with touchwood

Step 6 : Cleaning the silver Step 7: Fit the silver bar in bamboo

Step 8: fitting the ear wire

Finished product

FINAL PRODUCT

Figure 212: close up view of box briaded woven Bamboo Silver Earrings

116

Cost Sheet Item : Design – Box Braided Bamboo Silver Earrings

Material Cost With Artisans Charges

Quantity

Total Cost

1. Bamboo

150

1

150

2. Silver

700

1 (Pair)

700

3.Packaging

210

1

210

4.Transportation

200

200

Total

1,260

Table 8 : costing of Design 3

8.2.4 DESIGN – 4 Braided Bamboo Silver Pendant This minimalist geometric pendant necklace was inspired by Mizo bamboo bracelet .Handcrafted by Lalhuapzaui , Vanlalnghaka , Zemabawk , Aizawl , Mizoram.(Bamboo Craftsmen)Lalkrosthanga , Dawrpui Vengthar, Aizawl , Mizoram .(Silversmith)

Close up of weaving technique

DETAILS •Made in Mizoram. • Material used- Rawnal (Dendrocalamus giganteus Munro), Sairil (Melocalamus compactiflorus), Silver . •5 grams silver.. •Measurements- Pendant- 10cm L , 4.3 cm diam , Cord – 44 cm L •W- clasp closure. •Clean with a damp cloth and dry with a soft cloth. Table 9:Details of Design 4

117

Making of design -4

Step 1: weaving bamboo split

Step 5: Ready braided circle & bamboo tube

Step 2 : Finished weaving

Step 3 : Making bamboo ring for braided based

Step 6: Preparing silver wire

Step 7: After cleaning silver wire Step 8: Attaching silver into bamboo

Step 4:sticking circle braided on bamboo circle ring

Step 6: Cleaning the silver

Finished Product

FINAL PRODUCT

Figure 213 : close up view of braided bamboo Silver pendant.

Figure 214 : Model wearing braided bamboo Silver pendant.

118

Cost Sheet Item : Design - 4 Braided Bamboo Silver Pendant

Material Cost With Artisans Charges

Quantity

Total Cost

1. Bamboo

150

1

150

2. Silver

900

1

900

3.Packaging

210

1

210

4.Transportation

200

200

Total

1,460

Table 10 : Cost sheet of Design 4

8.2.5 DESIGN -5

Woven Bamboo Silver Bar Necklace This bar necklace takes its inspiration from Mizo traditional necklace Thithek

hile also efe i g t aditio al a

oo ea i g te h i ue

cherzing . Handcrafted by Lalhuapzaui, Vanlalnghaka, Zemabawk, Aizawl ,Mizoram (bamboo craftsmen). Lalkrosthanga, Dawrpui Vengthar, Aizawl , Mizoram

(silversmith) . DETAILS •Made in Mizoram. •Material used -Rawnal(Dendrocalamus giganteus Munro), sairil (Melocalamus compactiflorus),Silver. •15 grams silver.. • Measurements - Bar- 10cm L , 1.8cm diam , cahion -63 cm L • Spring ring clasp closure . •Clean with a damp cloth and dry with a soft cloth close up of weaving technique

Table 11: Details of Design -5

119

Making of Design - 5

Step 1: weaving bamboo

Step 4: polished with touchwood

Step 2: finished weaving

Step 3 : wrapped in a bamboo tube

Step 5: preparing silver cap for both edged of tube

Step 6: Finished bamboo silver bar

Step 7: Attaching silver chain

Step 7: Finished product

FINAL PRODUCT

Figure 215 : Close uo view of woven bamboo silver Bar necklace .

Figure 216 : Model wearing woven bamboo silver Bar necklace .

120

Cost Sheet Item : Design - 5 Woven Bamboo Silver Bar Necklace

Material Cost With Artisans Charges

Quantity

Total Cost

1. Bamboo

200

1

200

2. Silver making

1000

1

800

3. Siver Chain

1000

1

1000

4.Packaging

210

1

210

5.Transportation

200

200

6.Total

2,410

Table 12 : Cost Sheet of Design 5

8.2.6 DESIGN – 6 Two Tone Woven Bamboo Silver Earrings These earrings was inspired by Mizo traditional weaving technique Malkalh, and blended with burnt bamboo technique . Handcrafted by Rohlupuia ,Edenthar(bambo craftsman) Lalsiamliana, Durtlang, Aizawl , Mizoram .(Silversmith)

DETAILS •Made in Mizoram. • Material used - Sairil (Melocalamus compactiflorus),Tai (cane ), silver •2 grams silver. • Measurements--9cm L , 1cm Dm • Pierced with silver ear wires . •Clean with a damp cloth and dry with a soft cloth

Close up of weaving technique used

Table 13: Details of Design 6

121

Making of Design -6

Step 1 : preparing bamboo

Step 5: cutting in a particular Size

Step 9 :Preparing Small loop

Step 2 : Shaping bamboo

Step 6: after cut

Step 7 :smoothening edges

Step 10 :attaching loop

Step 12: weaved bamboo

Step 3 : burning to give Burnt effect

Step 4: cleaning the smoked

Step 8: drilling for loop hole

Step 11 : weaving/ drilling hole /cutting excess part.

Step 13: Preparing silver wire

Step 14: Finished Product

FINAL PRODUCT

Figure 217 : close up view of Two tone woven bamboo silver Bar earrings .

122 Figure 218: Model wearing Two tone woven bamboo silver Bar earrings .

Cost Sheet Item : Design – 6 Two tone Box Braided Bamboo Silver Earrings

Material Cost With Artisans Charges

Quantity

Total Cost

1. Bamboo

150

1

150

2. Silver

700

1 (Pair)

700

3.Packaging

210

1

210

4.Transportation

200

200

Total

1,260

Table 14 : Cost sheet of Design 6

8.2.7 DESIGN - 7 Two Tone Woven Bamboo silver Ring This burnt effect bamboo woven ring was inspired by Mizo traditional ea i g te h i ue cherzing . Handcrafted by Lalhuapzauvi , Vanlalnghaka , Zemabawk , Aizawl, Mizoram (bamboo Craftsmen) . Lalsiamliana, Durtlang, Aizawl , Mizoram (Silversmith).

DETAILS •Made in Mizoram. • Material used - Sairil (Melocalamus compactiflorus), Rawnal(Dendrocalamus giganteus Munro),silver . •3.5 grams silver. •Measurements -Bar- 3 cm L , .8 cm diam Ring- 2cm diam, .6cmL • Adjustable . •Clean with a damp cloth and dry with a soft cloth. Close up of weaving technique used

Table 15 : Details of Design 7

123

Making of Design - 7

Step 1 : blowing bamboo Tube

Step 2 : Burnt bamboo tube

Step 5 :Glued it

Step 9 : Adjusting the hole To insert bamboo tube

Step 3 : weaving bamboo

Step 6 : wrapped the border with split bamboo

Step 7 : Preparing silver ring

Step 10 : Inserting bamboo into silver ring

Step 4 : wrapped on a Bamboo tube

Step 8 : cleaning

Finished Product

FINAL PRODUCT

Figure 219 : Close up view of Two tone woven bamboo silver ring .

Figure 210 : Model wearing Two tone woven bamboo silver ring

124

Cost Sheet Item : Design – 7 Two Tone Woven Bamboo Silver Ring

Material Cost With Artisans Charges

Quantity

Total Cost

1. Bamboo

100

1

100

2. Silver

500

1

500

3.Packaging

210

1

210

4.Transportation

200

200

Total

1,010

Table 16: Costing of Design 7

8.2.8 DESIGN - 8

Two Tone Woven Bamboo Silver Cuff Bracelet This burnt effect cuff bracelet was inspired by Mizo traditional weaving te h i ue Cherzing . Handcrafted by Rohlupuia ,Edenthar(bamboo craftsman). Lalsiamliana ,Durtlang, Aizawl , Mizoram (Silvesmith).

DETAILS •Made in Mizoram. • Material used- Sairil (Melocalamus compactiflorus), Rawnal (Dendrocalamus giganteus Munro), silver . •11 grams silver. •Measurements- 5cm L , 5.5cm Diam. •Clean with a damp cloth and dry with a soft cloth. Close up of weaving technique used

125

Table 17: Details of Design 8

Making of Design -8

Bamboo before cut

Step 4 : wrapped on burnt bamboo

Step 7 : soldering silver wire

Step 1 :smoothening before burning

Step 5 : Preparing silver cap

Step 2 : blowing bamboo

Step 6 :finished cap

Step 8 :attaching silver into bamboo

Step 3 :weaving

Step 6 : preparing cuff curve

Finished product

FINAL PRODUCT

Figure 211 : close up view of Two tone woven bamboo silver cuff Bracelet.

Figure 212 : Model wearing Two tone woven bamboo silver cuff Bracelet.

126

Cost Sheet Item : Design – 8 Two Tone Woven Bamboo Silver Cuff Bracelet

Material Cost With Artisans Charges

Quantity

Total Cost

1. Bamboo

150

1

150

2. Silver

1100

1

1100

3.Packaging

210

1

210

4.Transportation

200

200

Total

1,660

Table 16: costing of design 8

8.2.9 DESIGN - 9 Two Tone Woven Bamboo Silver Bar Pendant This t o to e a pe da t is

ade ith u t Ba

oo o

i ed ith

cherzing weaving technique and silver . It was inspired by Mizo traditional e kla e thithek a d Thlangra

i

o i gt a .

Handcrafted by Lalhuapzauvi , Vanlalnghaka , Zemabawk , Aizawl , Mizoram. (bamboo Craftsmen). Lalsiamliana, Durtlang, Aizawl, Mizoram (Silversmith). DETAILS •Made in Mizoram. •Material used-Rawnal(Dendrocalamus giganteus Munro), Sairil (Melocalamus compactiflorus) , Tai (cane ), Silver . •15 grams silver. •Pendant- 9cm L , 4.5 cm diam , chain – 64 cm L • Lobster clasp closure. •Clean with a damp cloth and dry with a soft cloth. Close up of weaving technique used Table 17 : Details of Design 9

127

Making of Design –9

Step 1: Weaving bamboo

Step 5: weaving for pendant

Step 9 :Ready bar pendant

Step 2: Finished weave /cut

Step 3: Wrapped in Burnt bamboo

Step 6:preparing the the pendant rib

Step 8 : pendant before stuck

Step 10 :Preparing silver cap

Step 13 :Trimming

Step 4: Finished wrap

Step 11:Finished cap

Ready pendant

FINAL PRODUCT

128

Step 8 :Ready pendant

Step 12:trimming

Cost Sheet Item : Design - 9 Two Tone woven Bamboo Silver Bar pendant

Material Cost With Artisans Charges

Quantity

Total Cost

1. Bamboo

400

1

500

2. Silver making

800

1

800

3.Silver wire

350

1

350

3.Packaging

210

1

210

4.Transportation

200

200

Total

2,060

Table 18: Costing of Design 9

8.2.10 DESIGN - 10 Two Tone Woven Bamboo Silver Pendant This burnt bamboo woven silver bold necklace is inspired by two techniques of traditional Mizo ea i g patte

Cherzing a d Bawhtah .

Handcrafted by Lalhuapzauvi, Vanlalnghaka, Zemabawk, Aizawl, Mizoram (bamboo craftsmen). Lalsiamliana, Durtlang, Aizawl ,Mizoram (Silversmith). DETAILS

close up of technique used

•Made in Mizoram. •Material used –Rawnal (Dendrocalamus giganteus Munro), Sairil(Melocalamus compactiflorus) , Silver . •5 grams silver. •Measurements - Pendant- 10cm L , 4.3 cm diam , Cord – 44 cm L •W- clasp closure. •Clean with a damp cloth and dry with a soft cloth. Table 19 : Details of Design 10

129

Making of Design 10

Step 1: Cutting bamboo tube

Step 5 : Peeling off to burn

Step 2 : Burning bamboo tube

Step 6 :smoothening

Step 14 : Polishing silver tube

Step 12 : Finished Locket

Step 4 : cutting bamboo For locket

Step 7 : burning

Step 8 : Burnt bamboo Step 9 : weaving bamboo

Step 11 : wrapping burnt Bamboo locket

Step 3 : Burnt Bamboo tube

Step 8: burnt locket

Step 10 : Another technique of weaving bamboo

Step 13 : Preparing silver tube for necklace

Step 15 :Preparing Necklace Lock

130

Step 16 : Putting together bamboo beads and silver tube

Finished product

FINAL PRODUCT

Figure 214 : Close up view of Two tone woven bamboo silver pendant .

Figure 215 : Model wearing Two tone woven bamboo silver pendant .

Cost Sheet

Item : Design - 10 Two Tone woven Bamboo Silver pendant

Material Cost With Artisans Charges

Quantity

Total Cost

1. Bamboo

400

1

500

2. Silver making

800

1

800

3.Silver wire

350

1

350

3.Packaging

210

1

210

4.Transportation

200

200

Total

2,060

Table 20 : Costing of Design 10

132

8.3FEEDBACK A feedback of 12 local designers from Aizawl was conducted in order to learn and understand the attitude of target audience towards the bamboo silver jewellery, and also to make it sure that designs are still keeping the traditional value. The following are the ratings and reviews each product got in the feedback: CATERGORY - I : Ratings of each design on the basis of look, size ,colour choice, style ,functionality/wearability ,finishing quality and weight. Design -1 :How did you find Braided Bamboo silver Pendant on the following terms ? 1.LOOK

Figure 216 : Chart showing the respondents perspective of Design – 1 in look.

50 % of respondents answered that is very attractive , 41.7% of respondents answered that is moderate attractive , 8.3%of respondents answered that is extremely attractive. None of the respondents answered that is moderate attractive, slightly attractive ,ugly. 2.SIZE

Figure 217 : Chart showing the respondents perspective of Design – 1 in size.

132

50% of respondents answered that is moderate ,41.7% of respondents answered that is accurate ,only 8.3% of respondents answered that is very big. 3.COLOUR CHOICE

Figure 218 : Chart showing the respondents perspective of Design-1 in colour choice.

75% of respondents answered that is suitable ,25% of respondents answered that is very suitable. None of the respondents answered that is unsuitable,not

At all suitable . 4.FUNCTIONALITY /WEARABILITY

Figure 219 : Chart showing the respondents perspective of Design-1 in functionality/Wearability.

when 12 local designers were asked about Functionality /wearability of Design 1, 66.7%answered that is obvious ,16.7% answered that is very obvious ,8.3% answered that is extremely obvious , only 8.3% answered that is unsure. 133

6.FINISHING QUALITY

Figure 220 : Chart showing the respondents perspective of Design-1 in finishing quality.

When 12 local designers were asked about finishing quality of Design -1, 58.3% answered that is good ,33.3 % answered that is average ,8.3% answered that is bad . .

7.WEIGHT

Figure 221 : Chart showing the respondents perspective of Design-1 in weight.

When 12 local designers were asked about the weight of Design -1, 58.3%answered that is very light ,16.7 % answered that is moderate, 16.7%

answered that is just ok , only 8.3% answered that is extremely light . 134

Design-2:How did you find design - 2 woven bamboo silver bar Necklace on the following terms ?

1.LOOK Extremely attractive

Figure 222 : Chart showing the respondents perspective of Design-2 in look .

Out of 12 respondents 41.7% answered that is moderate attractive , 33.3% of the respondents answered that is extremely attractive , 25% of the respondents answered that is very attractive . None of the respondents says it is slightly unattractive and ugly.

2.SIZE

Figure 223 : Chart showing the respondents perspective of Design-2 in size .

Majority of the respondents i.e 75% answered that is moderate ,16.7% of the respondents answered that is very big , only 8.3 % of the respondents answered that is accurate . None of the respondents says it is small and extremely big. 135

3.COLOUR CHOICE

Figure 224 : Chart showing the respondents perspective of Design-2 in colour choice.

Majority of the respondents answered that is very suitable , 33.3% of the respondents answered that is suitable, None of the respondents says it is unsuitable , not at suitable , 4.STYLE

Figure 225 : Chart showing the respondents perspective of Design-2 in style .

66.7% of the respondents answered that is very elegant, 25% of the respondents ans-wered that is extremely elegant, only 8,3% answered that is moderate. 136

5.FUNCTIONALITY/WEARABILITY

Figure 226 : Chart showing the respondents perspective of Design-2 in Fuctinality/Wearbility.

66.7% of the respondents answered that is very obvious , 25% of the respondents answered that is obvious , 8,3% answered that extremely obvious .

6.FINISHING QUALITY

Figure 227 : Chart showing the respondents perspective of Design-2 in Finishing Quality

66.7% of the respondents answered that is excellent , 25% of the respondents answered that is good , 8,3% answered that is good . None of the respondent

says it is bad finishing . 137

7.WEIGHT

Figure 228 : Chart showing the respondents perspective of Design-2 in weight.

50 % of the respondents answered that is moderate ,33.3 % of he respondents

answered that is good , 16.7 % of the respondents answered that is very light . None of the respondent says it is bad finishing . Design -3: How did you find–Two tone woven bamboo silver bar pendant on the following terms ?

1.LOOK

Figure 229 : Chart showing the respondents perspective of Design-3 in look.

Majority of the respondents i.e 58% answered that is extremely attractive , 41.7% of the respondents answered that is very attractive , none of the res-

pondents says it is slightly attractive, moderate attractive and ugly . 138

2.SIZE

Figure 230 : Chart showing the respondents perspective of Design-3 in size .

50 % of the respondents answered that is moderate , 41.7% of the respondents answered that is accurate , only 8.3 % of the respondents answered that is very big. None of the respondent says it is extremely big ,small .

3.COLOUR CHOICE

Figure 231 : Chart showing the respondents perspective of Design-3 in colour choice.

66.7% of the respondents answered that is very suitable , 33.3% of the respondents answered that is suitable , none of the respondent says it is unsuitable, not at all suitable 139

4.STYLE

Figure 232 : Chart showing the respondents perspective of Design-3 in Style .

58.3% of the respondents answered that is very elegant , 33.3% of the respondents answered that is extremely elegant , only 8.3% answered that is elegant , none of the respondent says it is moderate , uninteresting.

5.FUNCTIONALITY / WEARABILITY

Figure 233 : Chart showing the respondents perspective of Design-3 in functionality/wearability .

50% of the respondents answered that is very obvious , 33.3% of the respondents answered that is extremely obvious , 16.7 % answered that is obvious , none of the respondent says it unsure . 140

6.FINISHING QUALITY

Figure 235 : Chart showing the respondents perspective of Design-3 in finishing quality .

91.7% of the respondents answered that is excellent , only 8.3 % of the respondents answered that is good , none of the respondent says it is average, bad.

7.WEIGHT

Figure 236 : Chart showing the respondents perspective of Design-3 in weight .

50% of the respondents answered that is moderate ,41.7 % of the respondents answered that is just ok , only 8.3% of the respondents answered that is extremely light , none of the respondent says it is heavy,

very light. 141

Design- 4: How did you found Two tone woven bamboo silver Pendant on the following terms ? 1.LOOK

Figure 237 : Chart showing the respondents perspective of Design- 4 in look .

83.3% of the respondents answered that is extremely attractive , 16.7 % of the respo- ndents answered that is very attractive , none of the respondent says it is moderate attractive, slightly unntractive, ugly.

2.SIZE

Figure 238 : Chart showing the respondents perspective of Design- 4 in size .

66.7% of the respondents answered that is accurate , 33.3 % of the respondents answered that is moderate , none of the respondent says it is extremely big, very big, small. 142

3.COLOUR CHOICE

Figure 240 : Chart showing the respondents perspective of Design - 4 in colour choice .

91.7% of the respondents answered that is very suitable, 8.3 % of the respondents answered that is suitable , none of the respondent says it is unsuitable ,not at all suitable.

4.STYLE

Fig 241 : Chart showing the respondents perspective of Design - 4 style.

75% of the respondents answered that is extremly elegant ,16.7% of the respondents answered that is very elegant , 8.3% of the respondents answered that is elegant ,none of the respondent says it is moderate, uninteresting. 143

5. FUNCTIONALITY/ WEARABILITY

Figure 242 : Chart showing the respondents perspective of Design - 4 in functionality /wearability.

91.7 % of the respondents answered that is extremely obvious , 8.3 % of the respondents answered that is very obvious , none of the respondent says

it is obvious , unsure . 6. FINISHING QUALITY

Fig ure 243 : Chart showing the respondents perspective of Design - 4 in finishing quality.

83.3% of the respondents answered that is excellent ,16.7 % of the respondents answered that is very good , none of the respondent says it is average , bad . 144

7.WEIGHT

Figure 244 : Chart showing the respondents perspective of Design - 4 in weight.

66.7% of the respondents answered that is just ok , 33.3 % of the respondents answered that is moderate , none of the respondent says it is very light, extremely ,light, heavy . Design -5 :How did you found woven bamboo silver earrings on the following terms ?

1.LOOK

Figure 245 : Chart showing the respondents perspective of Design - 5 in look.

33.3 % of the respondents answered that is very attractive, 33.3% of the respondents answered that is moderate attractive, 33.3% of the respondents answered that is extremely attractive , none of the respondent says it ,is slightly unattractive, ugly 145

2.SIZE

Figure 246 : Chart showing the respondents perspective of Design - 5 in size.

75 % of the respondents answered that is moderate, 16.7% of the respondents answered that is very big, 8.3 % of the respondents answered that is accurate, none of the respondent says it is small , extremely big.

3.COLOUR CHOICE

Figure 247 : Chart showing the respondents perspective of Design - 5 in colour choice.

66.7 % of the respondents answered that is suitable , 33.3% of the respondents answered that is very suitable ,none of the respondent says it is unsustainable, not at all suitable . 146

4.STYLE

Figure 248 : Chart showing the respondents perspective of Design - 5 in style .

33.3 % of the respondents answered that is elegant , 25 % of the respondents answered that is moderate, 25% of the respondents answered that is extremely elegant ,16.7% of the respondent answered that is very elegant ,none of the respondents says it is uninteresting.

5. FUNCTIONALITY/WEARABILITY

Figure 249 : Chart showing the respondents perspective of Design - 5 in functionality /wearability .

41.7 % of the respondents answered that is very obvious, 33.3 % of the respondents answered that is extremely obvious , 25% of the respondents answered that is obvious, none of the respondents says it is unsure 147

4.STYLE

Figure 250 : Chart showing the respondents perspective of Design - 5 in style .

33.3 % of the respondents answered that is elegant , 25 % of the respondents answered that is moderate, 25% of the respondents answered that is extremely elegant ,16.7% of the respondent answered that is very elegant ,none of the respondents says it is uninteresting.

5. FUNCTIONALITY/WEARABILITY

Figure 251 : Chart showing the respondents perspective of Design - 5 in functionality /wearability .

41.7 % of the respondents answered that is very obvious, 33.3 % of the respondents answered that is extremely obvious , 25% of the respondents answered that is obvious, none of the respondents says it is unsure 148

6.FINISHING QUALITY

Figure 252 : Chart showing the respondents perspective of Design - 5 in finishing quality.

50 % of the respondents answered that is good , 33.3 % of the respondents

answered that is excellent,16.7% of the respondents answered that is average , none of the respondents says the finishing quality is bad .

7.WEIGHT

Figure 253 : Chart showing the respondents perspective of Design - 5 in finishing quality .

58.3 % of the respondents answered that is very light , 25 % of the respondents

answered that is moderate ,16.7% of the respondents answered that is just ok , none of the respondents says the weight is extremely light, heavy . 149

Design -6 :How did you find - Box braided bamboo silver earrings on the following terms ? 1.LOOK

Figure 254 : Chart showing the respondents perspective of Design – 6 in look.

50 % of the respondents answered that is very attractive , 41.7 % of the respondents answered that is moderate, 8.3 % of the respondents answered

that is extremely attractive, none of the respondents says the finishing quality is slightly unattractive ,ugly. 2.SIZE

Figure 255 : Chart showing the respondents perspective of Design – 6 in size .

58.3 % of the respondents answered that is very moderate , 41.7 % of the respondents answered that is accurate, none of the respondents says the size is very big ,extremely big , small. 150

3.COLOUR CHOICE

Fig 256 : Chart showing the respondents perspective of Design – 6 in colour choice. 90.9 % of the respondents answered that is very suitable , 9.1 % of the respondents answered that is suitable , none of the respondents says the finishing choice is slightly unsuitable, not at all suitable

4.STYLE

Fig257 : Chart showing the respondents perspective of Design – 6 in style. 41.7% % of the respondents answered that is very elegant, 41.7 % of the respondents answered that is elegant ,8.3% of the respondents answered that is moderate .8.3% of the respondents answered that is extremely elegant , none of the respondents says the style is uninteresting. 151

5.FUNCTIONALITY/ WEARABILITY

Figure 258 : Chart showing the respondents perspective of Design – 6 in functionality/ wearability.

66.7 % of the respondents answered that is very obvious , 25 % of the respondents answered that is obvious, 8.3% of the respondents answered that is unsure, none of respondents says extremely obvious.

6.FINIISHING QUALITY

Figure 259 : Chart showing the respondents perspective of Design – 6 in finishing quality.

41.7 % of the respondents answered that is excellent, 33.3% % of the respondents answered that is good, 25 % of the respondents answered that is average , none of respondents says the finishing quality is bad . 152

7.WEIGHT

Figure 260 : Chart showing the respondents perspective of Design – 6 in weight.

33.3 % of the respondents answered that is moderate , 33.3% % of the respondents answered that is very light ,33.3 % of the respondents answered that is just ok , none of respondents says the weight is extremely light , heavy . Design -7: How did you find Woven ball rectangle bamboo silver earrings on the following terms ? 1.LOOK

Figure 261 : Chart showing the respondents perspective of Design – 7 in look.

58.3 % of the respondents answered that is extremely attractive , 25 % of the respondents answered that is very attractive, 16.7% of the respondents answered that is moderate attractive, none of respondents says the look is slightly unattractive, ugly. 153

2.SIZE

Figure 262 : Chart showing the respondents perspective of Design – 7 in size.

50 % of the respondents answered that is moderate , 41.7 % of the respondents answered that is accurate , 8.3 % of the respondents answered that is very big, none of the respondents says the size is small, extremely big.

3. COLOURS CHANGE

Fig ure 263 : Chart showing the respondents perspective of Design – 7 in size.

50 % of the respondents answered that is very suitable , 50 % of the respondents answered that is suitable , none of the respondents says the colour choice is unsuitable, not at all suitable. 154

4.STYLE

Figure 264 : Chart showing the respondents perspective of Design – 7 in style.

50 % of the respondents answered that is extremely elegant, 33.3% of the respondents answered that is very elegant , 8.3 % of the respondents answered that is moderate , 8.3% of the respondents answered that is elegant. None of the respondents says uninteresting. 5.FUNCTIONALITY/WEARABILITY

Figure 265 : Chart showing the respondents perspective of Design – 7 in functionality /Wearability .

75 % of the respondents answered that is extremely obvious , 16.7 % of the respondents answered that is very obvious , 8.3 % of the respondents answered that obvious. None of the respondents says unsure. 155

6.FINISHING QUALITY

Figure 266 : Chart showing the respondents perspective of Design – 7 in finishing quality.

75 % of the respondents answered that is excellent , 25% of the respondents answered that is good. None of the respondents says average , bad .

7.WEIGHT

Figure 267 : Chart showing the respondents perspective of Design – 7 in weight.

33.3% of the respondents answered that is very light , 33.3% of the respondents answered that is just ok. 25% of the respondents answered that

is moderate , 8.3% of the respondents answered that is extremely light. 156

Design- 8 :How Did You Find Two Tone Woven Bamboo Silver Earrings On The Following Terms ? 1.LOOK

Fig ure 268 : Chart showing the respondents perspective of Design –8 in look .

75 % of the respondents answered that is extremely attractive,16.7% of the respondents answered that is very attrative.8.2 % answered that is moerate . None of the respondents says slightly unatractive, ugly.

2.SIZE

Figure 269 : Chart showing the respondents perspective of Design –8 in

size .

58.3 % of the respondents answered that is accurate ,41.7% of the respondents answered that is moderate .None of the respondents says small, very big, extremely big. 157

3.COLOR CHOICE

Figure 270 : Chart showing the respondents perspective of Design –8 in colour choice .

91.7 % of the respondents answered that is very suitable ,8.3% of the respondents answered that is suitable.None of the respondents says unsuitable, not at all suitable

4.STYLE

Figure 271 : Chart showing the respondents perspective of Design –8 in style.

75% of the respondents answered that is extremely elegant ,16.7% of the respondents answered that is very elegant 8.3% of the respondents answered that is moderate .None of the respondents says elegant , uninteresting 158

5.FUNCTIONALITY/WEARABILITY

Figure 272 : Chart showing the respondents perspective of Design –8 in functionality /wearability.

63.6 % of the respondents answered that is extremely obvious , 27.3% of the respondents answered that is very obvious , 9.1% of the respondents answered that is obvious .None of the respondents says unsure .

6.FINISHING QUALITY

Figure 273 : Chart showing the respondents perspective of Design –8 in finishing quality

.

91.7 % of the respondents answered that is excellent ,8.3% of the respondents answered that is good. None of the respondents says average ,bad.

159

7.WEIGHT

Figure 274 : Chart showing the respondents perspective of Design –8 in weight .

58.3 % of the respondents answered that is just ok, 25 % of the respondents answered that is moderate , 8.3% of the respondents answered that is extremely light, 8.3 % of the respondents answered that is very light None of the respondents says heavy . Design- 9 : How did you found Two tone woven bamboo silver ring on the following terms ? 1.LOOK

Figure 275: Chart showing the respondents perspective of Design –9 in look .

50 % of the respondents answered that is extremely attractive , 25 % of the respondents answered that is moderate attractive , 25 % of the respondents answered that is very attractive .None of the respondents says slightly unattractive ,ugly. 160

2.SIZE

Figure 276 : Chart showing the respondents perspective of Design –9 in size.

58.3 % of the respondents answered that is moderate , 33.3 % of the respondents answered that is accurate , 8.3 % of the respondents answered that is very big .None of the respondents says the size is extremely big, small. 3.COLOUR CHOICE

Figure 277 : Chart showing the respondents perspective of Design –9 in size.

58.3 % of the respondents answered that is very suitable , 41.7 % of the respondents answered that is suitable. None of the respondents unsuitable , not at all suitable., 161

4 .STYLE

Fig 278 : Chart showing the respondents perspective of Design –9 in style.

50 % of the respondents answered that is elegant , 33.3 % of the respondents answered that is extremely elegant , 16.7 % of the respondents answered that is very elegant. None of the respondents says moderate, uninteresting.

5.FUNCTIONALITY/WEARABILITY

Fig 279 ; Chart showing the respondents perspective of Design –9 in functionality/Wearability.

50 % of the respondents answered that is extremely obvious , 41.7% of the respondents answered that is very obvious , 8.3 % of the respondents answered that is very obvious . None of the respondents says unsure. 162

6.FINISHING QUALITY

Figure 280 : Chart showing the respondents perspective of Design –9 in finishing quality.

50 % of the respondents answered that is excellent, 33.3 % of the respondents answered that is good, 16.7 % of the respondents answered

that is average . None of the respondents says the finishing quality is bad .

7.WEIGHT

Figure 281 : Chart showing the respondents perspective of Design –9 in weight.

41.7 % of the respondents answered that is just ok 33.3 % of the respondents answered that is moderate , 16.7 % of the respondents answered that is very light . 8.3% of the respondents answered that is extremely light .None of the respondents says the weight is heavy. 163

Design -10 : How did you found Two tone bamboo silver cuff bracelet on the following terms ? 1.LOOK

Figure 282 : Chart showing the respondents perspective of Design –10 in look.

75% of the respondents answered that is extremely attractive ,16.7 % of the respondents answered that is very attractive,8.3 % of the respondents answered that is moderate attractive . None of the respondents says the look is slighty unattractive ,ugly .

2.SIZE

Figure 283 : Chart showing the respondents perspective of Design –19 in size .

58% of the respondents answered that is moderate, 41.7 % of the respondents answered that is accurate. None of the respondents says the size is extremely big ,very big,,small. 164

3.COLOUR CHOICE

Figure 284 : Chart showing the respondents perspective of Design –10 in colour choice.

90.9% of the respondents answered that is very suitable ,9.1 % of the respondents answered that is suitable .None of the respondents says unsuitable, not at all suitable .

4.STYLE

Fig ure 285 : Chart showing the respondents perspective of Design –10 in size

45.5% of the respondents answered that is extremely elegant , 36.4 % of the respondents answered that is very elegant . 18.2% of the respondents answered that is elegant. None of the respondents says moderate, uninteresting.

165

5.FUNCTIONALITY / WERABILITY

Figure 286 : Chart showing the respondents perspective of Design –10 in functionality/wearability .

50% of the respondents answered that is extremely obvious ,41.7 % of the respondents answered that is very obvious .8.3% of the respondents answered that is obvious. None of the respondents says unsure.

6.FINISHING QUALITY

Fig287 : Chart showing the respondents perspective of Design –10 in finishing quality. 91.7%

of

the respondents answered that is excellent ,8.3% of the respondents answered that is good. None of the respondents says average , bad . 166

7.WEIGHT

Figure 288 : Chart showing the respondents perspective of Design –10 in weight.

50% of the respondents answered that is just ok, 33.3% of the respondents

answered that is moderate , 16.7% of the respondents answered that is very light. None of the respondents says the weight is extremely light , heavy. CATEGORY- II: Overall ratings on a scale of 1to 5 , where is 1 is the highest and 5 is the lowest.

Design - 1 : Braided Bamboo silver pendant

Figure 289 : Chart showing the overall ratings of Design -1

41.7% of respondents answered 3 on a scale of 1-5 , 33.3% of respondents answered 2 on a scale of 1-5 ,25% of respondents answered 1 on a scale of 1-5, None of the respondents says 4,5. 167

Design -2: Woven Bamboo Silver Bar Necklace.

Figure 290 : Chart showing the overall ratings of Design -2.

50 % of respondents answered 2 on a scale of 1-5 , 41.7% of respondents answered 1 on a scale of 1-5 ,8.3% of respondents answered 3 on a scale of 1-5, None of the respondents says 4,5. Design -3: Woven Bamboo Silver Bar Pendant

Figure 291 : Chart showing the overall ratings of Design -3.

58.3 % of respondents answered 2 on a scale of 1-5 , 41.7% of respondents answered 1 on a scale of 1-5 . None of the respondents says3. 4,5. 168

Design -4 : Two Tone Woven Bamboo Silver pendant

Figure 292 : Chart showing the overall ratings of Design -4.

75 % of respondents answered 1 on a scale of 1-5 , 16.7% of respondents answered 2 on a scale of 1-5, 8.3% of respondents answered 3 on a scale of 1-5 .None of the respondents says 4, 5. Design -5 : Woven Bamboo silver earrings

Figure 293 : Chart showing the overall ratings of Design - 5.

41.7 % of respondents answered 1 on a scale of 1-5 , 41.7% of respondents answered 2 on a scale of 1-5,% of respondents answered 3 on a scale of 1-5, 16.7% of respondents answered 3 on a scale of 1-5. None of respondents says 4,5. 169

Design -6 : Box Braided Bamboo Silver Earrings

Figure 294 : Chart showing the overall ratings of Design – 6.

25 % of respondents answered 1 on a scale of 1-5 ,41.7 % of respondents answered 2 on a scale of 1-5, 33.3 % of respondents answered 3 on a scale of 1-5 .None of respondents says 4, 5. Design - 7 : Woven ball rectangle Bamboo Silver Earrings

Figure 295 : Chart showing the overall ratings of Design – 7.

66.7 % of respondents answered 1 on a scale of 1-5 , 25 % of respondents answered 2 on a scale of 1-5,8.3 % of respondents answered 3 on a scale of 1-5 .None of respondents says 4, 5.

170

Design- 8: Two Tone Woven Bamboo Silver Earrings

Figure 296 : Chart showing the overall ratings of Design – 8.

66.7 % of respondents answered 1 on a scale of 1-5 ,25 % of respondents answered 2 on a scale of 1-5, 8.3% of respondents answered 3 on a scale of 1-5 .None of the respondents says 4, 5.

Design- 9: Two Tone Woven Bamboo Silver Ring

Figure 297 : Chart showing the overall ratings of Design – 9.

50 % of respondents answered 1 on a scale of 1-5 ,25 % of respondents answered 2 on a scale of 1-5,16.7% of respondents answered 3 on a scale of 1-5, 8.3% of respondents answered 4 on a scale of 1-5 .None of respondents says 5. 171

Design -10: Two Tone Bamboo Silver Cuff

Figure 298 : Chart showing the overall ratings of Design – 10.8

88.3 % of respondents answered 1 on a scale of 1-5 ,8.3% of respondents answered 2 on a scale of 1-5, 8.3% of respondents answered 3 on a scale of

1-5. None of the respondents says 4,5. Category III -The opinion of bamboo silver price range i-e 800 – 2500 on the ratings of Extremely High , Very High, Average , Just Right ,Very Low,

Figure 299 : Chart showing the opinion of bamboo silver price ranges

41.7% of respondent answered that is just right, 50% of respondent answered that is average , 8.3% answered that is very low. None of the respondents says that is extremely high, very high . 172

Category IV– Th respondents opinion with the collection whether its still keeping traditional values . Yes , The weaving technique used in this jewellery are based on Mizo t aditio a d ate ials. A d it s a g eat a to keep t aditio al alues a d a clever way to broaden its path. Definitely, if dyeing can be done to have the mahogany look. They will be more attractive and surely add value to the pieces because most of the Mizo traditional baskets are smoked in the traditional heart.

Yes, it shows in the weaves and material used , the idea is brilliant and should be promoted soon. Yes. I think the collection still maintain its traditional value and yet very practical for the upcoming market with its ethnic look . Yes , ou ake out that it s ased o t aditio al te h i ues of ea i g a oo, the o aid , the Cherzing te h i ue a d the o i atio of burnt bamboo and inburnt bamboo all makes it very interestingly traditional.

The analysis of feedback shows that Two tone bamboo silver cuff bracelet was

the

most

highest ratings

in terms

of

look , size , weight,

functionality/wearability , finishing quality , style and colour choice .When

asked about the price ranges of jewellery majority of the respondents answered that is about average , while taking the the feedback most of the respondents said they are willing to buy the piece ,once the production started .

173

8.4 OVERVIEW OF PRIMARY RESEARCH AND CONCLUSION The primary research was carried out as the following steps, historian and cultural experts were interviewed , Mizoram State Museum catalogue was used as a visual guidance ,to make effective communication between the researcher and the interviewee , though the origin of these jewellery are not known and can not be traced due to the lack of written documents and resources .But, It can be included within Mizo traditional jewellery as The Mizo used and obtained them since very early time and grew up with them. The photography of Mizo ornaments is done from Mizoram state museum .Then

craft retailers those who are responsible for distribution in the market were interviewed

,simultaneously

current

Mizo

jewellery

available

were

photographed . The artisans contact were collected from the government department and non government organization handicrafts visited , artisans. Then interview of the local artisans who were engaged in jewellery craft was conducted , meanwhile the skill artisans who can work for proposed designs were identified, then design development was carried out within1 month. After the completion of prototype, product

feedback from local designers was

conducted in order to learn and understand the attitude of target audience towards the collection developed ( bamboo silver jewellery collection )and also to make it sure that designs are still keeping the traditional value.

The study of Mizoram Jewellery craft shows that the market of Mizoram

jewellery craft is limited and confined to the state . Most of the designs are outdated . The possible reason could be the jewellery artisans are comfortable in the work they are familiar with, so they are afraid of trying out new designs this could be due to the lack of education and knowledge, as they are

174

not aware the latest trends of international market, lack of proper marketing of their products ,lack of quality control, lack of good quality materials and finishing due to low price orders .Even though there is no proper support from the state government

regarding training, research and

development to provide innovative handicraft product . Also the government did not provide sufficient money to contemporize the craft. So it is recommended that the government should take more initiative to make the artisans aware about innovative designs in jewellery craft sector ,with the help of research and development activities, this will improve the quality, demand and market of the Mizoram jewellery craft products.

175

CHAPTER – 9

9.1 LIMITATIONS OF THE STUDY

9.2 IMPACT OF THE PROPOSED RESEARCH WORK ON THE CLUSTER

176

9.1 LIMITATIONS OF THE STUDY

•

An accurate and authentic origin of traditional ornaments are difficult to

trace out due to the lack of written documents and resources. In fact, the Mizo historians have also made possible assumption based on their study. •

The study was confined only within Aizawl city area since the research duration is very limited .

•

Bamboo treatment methods can be further studied to improve

the

product quality and durability . •

The manufacturing cost is comparatively high due to the limit excess to both skills craftsmen and raw materials .

•

Some of the respondents were busy and did not have enough time to

respond the researcher.

9.2 IMPACT OF THE PROPOSED RESEARCH WORK ON THE CLUSTER

•

This will help in adding a new potential product variety by creating different designs using locally accessible material.

•

It will empower artisans to further their own innovation.

177

REFERENCES 1. Lianhmingthanga .Material culture of the mizo.calcutta : Firma klm private limited on behalf of Tribal Research Institure Department of Art & Culture,1998 2. Parry,N.E . The Lakhers .Calcutta :Firma klm private limited on behalf of Tribal Research Institure Department of Art & Culture,1932. 3. Chatterji, N.Puan : The pride of Mizoram. Calcutta :Firma klm private limited on behalf of Tribal Research Institure Department of Art & Culture,1978. 4. Lalthangliana.B . New Delhi: Cultural Folklore of Mizoram: The Director , Publications Division. Ministry of Information and Broadcasting ,2005. 5. Shakespeare J. colonel. New Delhi.The Lushei Kuki clans: Allied Publishers Pvt .Ltd ,1975.

6. Lalthangliana.B .Aizawl : A brief history and culture of Mizo. Mizoram publication board .2014. 7. Boichhingpuii. Aizawl : Mizo La deh leh zethlan .Lois bet Print & Publication 2016. 8. Ranjan Mp, Iyer Nilam, Pandya Ghanshyam . NeweDelhi: Traditional wisdom Bamboo and Cane Crafts of Northeast India .The Development Commissioner of Handicrafts, Government of India,1986.

9. Rosangluaia .R. S. Aizawl : Mizo thilhlui Thenkhat (Objects of Mizo Antiquity). Tribal Research Institute . Mizoram. 1993. 10. Mizoram State Museum Catlogque. New Delhi : Mizoram state Museum Department of Art & Culture Government of Mizoram .2008. 11. http://mizobamboo.nic.in/Mizoram bamboo Development Agency .accessed on 24.01.2017. 12. http://ignca.nic.in/craft155.htm .Indira Gandhi Nation centre for the crafts ( accessed on 28.01.2017.) 13. http://www.camelcraft.com/mizoram-handicrafts.html .( accessed on 2.02.2017).

14. Rani Punam, Singh vivek (Jan 2013 ) Traditional to Contemporary Indian Jewellery volume 2 : issue 1 15. http://www.iaca.com/ . Indian and crafts Association (.Accessed on 12.04. 2017).

16 . http://www.utsavpedia.com/attires/jewelry/bamboo-jewelry/( Accesed on

15.02.2017).

17. Liu .K .Robert (2012).Bamboo jewellery A sustainable Resource .ornament 35. 18. Julsrud,T & Denstadli J,M, (June 2014) . Adoption of transport related innovations in the craft industry: Key theoretical approaches , Institute of Transport Economics , TOI report. 19. Kapur, H & Mittar , S (october 2014 ). Design Intervention & Craft Revival . International Journal of Scientific and Research Publications, Volume 4( Issue 10). 20. Kumar,S & Dutta, N (2011). Weaving a knowledge tapestry oftraditional crafts for modern fashion designers: an Indian experience . Art libraries Journal ,p 17-24. 21. Gosh,Amitava (June 2012 ). Triggering Innovation And Creativity In Traditional Handicrafts Sectors – An Indian Perspective .vol 8 (1). 22. Tung, F. –W. (2012). Weaving with rush: Exploring craft-design collaborations in revitalizing a local craft. International Journal of Design, 6(3), 71-84. 23.https://www.guccitimeless.com/en/jewelry/collections/bamboo#lines/pink gold(Accessed on 25.03.2017). 24. http://www.ornamentmagazine.org/the-workshop/2015/8/19/the magicof- heatshrinking-light-volumetric-and-colorful-part-i(Accessed on 15.04.2017) 25. http://www.culturalindia.net/jewellery/types/jadau-jewelry.html(Accessed on 26.04.2017)

GLOSSARY Aizawl

•

Capital of Mizoram

Aiawt

•

A bamboo trap for fish and crabs .

Buhtlei

•

A rice stirrer made of bamboo or wood .

Chapchar kut

•

Festival observed while waiting for the cutting to dry.

Chawnglaizawn

•

A folk dance performed in the days of ‘Chawngni’

Cheraw

•

Bamboo dance

Chem

•

Dao

Chheih lam

•

A folk dance of Mizo

Chin

•

People of race who originate from chinlung.

Em

•

A kind of basket.

Job.s tears

•

Pingpih

Khhuallam

•

A dance of welcoming guest.

Kut

•

Festival.

Lai

•

A clans of Mizo tribe.

Lakher

•

Mara name given by the Lushei people

Lam

•

Dance

Lushei

•

A clan within the Mizo tribe (British name for Lusei)

Mara

•

A clans of Mizo tribe also known as Lakher

Mau

•

Bamboo

Mizoram

•

State in the North east India

Pawl kut

•

A harvest festival

Pehbuk

•

Tassels

Rallu lam

•

Ritual ceremony in connection with the head of enemy

Sakuh

•

Procupine

Saiha

•

District capital of Mara Autonomous District.

Sarlamkai

•

Dance dedicate to unnatural death by the Lushei

Thangchhuah

•

A status attained by good-hunter or very capable person

Thi

•

Necklace

Thhuam

•

Dowry

APPENDIX I

LIST OF CRAFT STORES VISITED.

II

LIST OF GOVERNMENT OFFICE AND NGO VISITED.

III

LIST Of LOCAL DESIGNERS VISITED FOR PROTOTYPE

FEEDBACK. IV

LIST OF PEOPLE INTERVIEWED .

V

CRAFT RETAILER QUESTIONAIRE

VI

PROTOTYPE FEEDBACK QUESTIONAIRE .

APPENDIX I LIST OF CRAFT STORES VISITED

Sl. no

Name of Store

Address

Type of Jewellery Product Available

1.

TL Handloom& Handicraft

Chanmari Aizawl Mizoram& B-9 , New Market ,Aizawl

Beaded Jewellery - Necklace , Bracelet , Rings, Earrings Metal ornaments – Belt Bamboo – earrings , rings, bangles, hairpins . Vakiria & Vakulchang.(Headress)

2.

Dawli Hnamte Handloom & Handicraft

R.K Market, Aizawl, s Mizoram

Beaded jewellery – Necklace , Bangles, Earrings,Rings Metal Ornaments- Belt, Hairpin, Bangles

3.

Zo Dawr

Canteen Square, Dawrpui Aizawl, Mizoram

Beaded Jewellery - Necklace, earrings , bangles Bamboo jewellery - Bangles Vakiria &Vakulchang(Headdress)

4.

City Service

Chanmari Aizawl, Mizoram

Beaded Jewelley -Necklace, Earrings, Bracelet, Rings,) Bambo0 jewellery - Earrings, hair pin, bracelet

5.

M/S Zuali Handloom Industry

Bawngkawn Aizawl Mizoram

Beaded jewellery _ Necklace, Earrings , Bracelet

6.

Lenbuang Handloom & Handicraft

Ramhlun Industry Peng Aizawl Mizoram

Beaded jewellery – Necklace , earrings , Bracelet , Rings .

7.

Andrew Collection

Dawrpui, Aizawl, Mizoram

Beaded Jewellery : Necklaces , Earrings .

8.

Andrew Cane & Bamboo

Chaltlang Aizawl , Mizoram

Beaded jewellery- Necklaces , Bracelet. Bamboo Jewellery - Earrings ,hairpin, Bangles, rings Vakiria ( Headdress)

9.

Zopar Variety Store

Electric Veng, Aizawl Mizoram

Beaded Jewellery : Necklaces , Earrings ,Bangles . Bamboo Jewellery - Earrings , Rings .

10 .

Hnam Chhantu Pawl

Upper Republic Aizawl Mizoram

Beaded Jewellery : Necklaces, Earrings , Bracelet , Rings Bamboo Jewellery : earrings , Bangles , Rings , Hair clip .

11 .

Zonunsang Handloom

Chhinga Veng, Aizawl, Mizoram

Beaded Jewellery : Necklaces, Earrings, Bangles , Rings .

12 .

MAHCO

Treasury Square Aizawl Mizoram

Beaded Jewellery : Necklaces

13 .

Esther Enterprise Zo Kutchhuak

Vaivakawn Aizawl Mizoram

Beaded Jewellery : Necklaces, Bracelet, earrings

14 .

K.V.I Board Sales Emporium

Khatla,Aizawl Mizoram

Beaded Jewellery : Necklaces , Bracelet , Earrings .

15 .

The Ethnic Warehouse

Babutlang, Aizawl, Zarkawt Mizoram

Beaded Jewellery : Necklaces , Bracelet, Rings, Earrings. Metal Ornaments : Belt , Necklaces , Bangles Vakiria ( headress)

16 .

Zo Loom Mizo Traditional handmade Store

Zarkawt Aizawl Mizoram

Beaded jewellery : Necklaces, Bracelets, Earrings .

APPENDIX II LIST OF GOVERNMENT OFFICE AND NGO VISITED Sl. no.

Name of Department

Address

About

List of Jewellery Artisan

1.

Bamboo Development Agency

Khatla, Aizawl Mizora m

The Agency is headed by the General Body under the Chairmanship of chief secretary to the Government of Mizoram.

.1. Lalrokimi Andrew Cane & Bamboo Industry. 2. Vanlalnghaka Mawi Mawi Cane & Bamboo Industry 3. Kaphnuni K.Z handicrafts Industry

2.

Directorate of Industries

Khatla Aizawl Mizora m

It is one of the oldest departments of Mizoram estd in 1972 . Their mission is to accelerate industrial development in Mizoram by maximizing investment, output, growth, employment and competitiveness through development of infrastructure, human resource, incentives and administrative network.

NIL

3.

Office of Development Commissioner Handicraft.

Chaltlan g, Aizawl

Agency to implement various developmental schemes at the central level , to supplement state’s activities in the handicrafts sector .

NIL

4 . .

Khadi Village & Industries Board

New Capital Complex Aizawl

5 .

Hnam Chhantu Pawl

Upper Republic Aizawl Mizoram

2 .

3 .

COD NERC ( Centre For Community Development Through Network Research , Training Resource And Mobilization And Capacity Building)

Temple square,

MAHCO(Mizo ram Apex handloom Handicraft Cooperative Society LTD)

Treasury Square Aizawl Mizoram

Aizawl Mizoram

The Mizoram KVIB is a statutory Body by an Act of Assembly , jointly looked after by the Khadi & Village Industries Commission Provides all the funds Loan and various Promotional activities .

NIL

Hnam chhantu pawl is purely a voluntary NGO and it has no affiliation with any political party .It was set up in march 1994 . It was registered under the societies Registration Act , 18. 60 in 1995

2.Vanlalnghak a Mawi Mawi Cane & Bamboo Industry 3. T.Lalngaihliani 4. Irene Zosangpuii 5. Jenny

COD NERC is NGO established in 1992, to work with underprivileged in Mizoram in the areas of livelihood enhancement, capacity building, training, health education and women empowerment.

NIK\G

It was set up in 1977 . MAHCO operated sale depots at Treasury square Aizawl .

NIL

APPENDIX III LIST Of LOCAL DESIGNERS VISITED FOR PROTOTYPE FEEDBACK

Sl no

Name

Age

Gender

Name of Brand /Label

1.

Hannah

27

Female

Hannah Khiangte

2.

Charlee Mathlena

38

Male

Heritage Mizoram (textile Crafts)

3.

Engmawia

27

Male

Escape Engmoia.

4.

Stephanie Lathansangi Halliday

28

Female

Icandy Designs .

5.

Loicy

32

Female

Looshye (the art of Fashion Designing & Crafting)

6.

Susan R Ralte

47

Female

Ps Inc

7.

T. Vanlalruati

33

Female

Nupuii Tochhawng.

8.

Hmunsiamthangi

25

Female

Freelance (Textile Designer)

9.

Isaak Tochhawng

24

Male

Isaak Interior Design

10.

Lalnunsiami

27

Female

Siam Siami Design Studio

11.

Jennifer

30

Female

A’sre

12.

Lalramhluii

42

Female

Mahlui

APPENDIX IV LIST OF PEOPLE INTERVIEWED

Sl. no. 1.

2.

Interviewee Name : Lalkfakzuali Designation: Research Investigator. Tribal Institute,Aizawl.Mizora m Place : Aizawl, Chanmari Date : 01/01/ 2017 Name : Aditi ranjan Designation : senior faculty, national Institute of Design. Ahmedabad .

Place : NID, Paldi, Ahmednabad . Date: 31 /01 /2017

3.

4.

Topic discussed Current availability of Tribal research publication in material culture and Mizo ornaments .No dedication book on ornaments yet but few parts coulld be seen in material culture of the Mizo Lalhmingliana ,Neperry , Mizo thil hlui thenkhat , (objects of Antiquity , R.S Rosangzuala The scope of documenting and innovating the Mizo jewellery . What would be the best approach for innovation In Mizoram jewellery craft without damaging the cultural properties/ emotional attachment . What would be important to add to the jewellery craft to increase its value in the Mizoram market.

Name : B.Lalzawmliana Designation : Research Investigator, Mizoram state museum , Aizawl Place : Mcdonald hill, Aizawl Date : 6/02/2017

The overview history of Mizo ornaments

Name : Pu Rotluanga Designation : Private curator,Dinthar , Aizawl

Name and meaning of each jewellery collected

Place : Bara Bazaar, aizawl Date : 7 /02/ 2017

How it is linked with Their Lifestyle .

5.

Name : Deng khuma Designation : Cultural expert Place : Dawrpui vengthar , Aizawl, Mizoram Date :14/02 /2017

6.

Name : Sangzuala Pachuau Designation : Professor, Department of Mizo , Mizoram University Place : Mission veng , kawlthei Huan , Aizawl Date : 22 /02 /2017.

Name and material used in Mizo ornaments using museum catalogue as a visual guidance .

Role of Ornaments in early mizo society. Make a reference to Folk story to understand the value of Ornaments In Mizo society. Possibility and meaning of jewellery names , shapes, material and how it is made and used.

7.

Name :C. Laitanga Designation :Director (Retd), Art and culture Department ,Mizoram Place :Hunthar , Aizawl Date : 24 , february , 2017.

Traditional Ornaments of Mizo Tribe : Usage, possibility to obtain . How early Mizo people have maintained their livelihood to an understanding of material evidence in ornaments. Possibility to measure the advancement of early people on the basis of the material and equipment they acquire.

8.

Name : B.lalthangliana Designation :President , Mizoram Academy of Letters . Professor (Retd), Hrangbana College , Aizawl , Mizoram. Place :Chhinga veng, Aizawl . Date :25, february , 2017.

Brief history of Mizo Origin, Settlement In Chin State and how they entered Mizoram. Dated back to the time of early Mizo settlement to comprehend how they have possessed or discovered jewellery (materials , elements) .

APPENDIX V CRAFT RETAILER QUESTIONAIRE

I am a student of NIFTMumbai ,department- Masters in Design, and currently doing my Dissertation on “Innovation In Mizoram Jewellery Craft ”. I request you to kindly fill this questionnaire below.

The aim of the questionnaire is to study the buying pattern, market cycle (time) and quantity of demands and quality of the product currently available in the local market. Name _______________ Age ______ Gender ___________ Name of brand /store 1. 1.How long you have been run this store? 2. 2.Do you sell Mizo jewellery? 3. When have you started keeping in your store? 4. What is your price range in jewellery? 5. Who buys jewellery in gender? 6. Which age group buys mizo jewellery/ornaments most? 7. 20 -25 8. 26- 34

9. 35-44 10. 45- 54 11. 55- 64 12. In what purpose they mostly buy? 13. Which piece of jewellery is the most selling ? 14. What is your best selling season? 15. How many pieces you have sold in amonth/ week .?

16. Which piece of your jewellery is the high value to customers ? 17. Have u ever get any complaint from your customers 18. (in terms of material, design, colour, material, durability, price)? 19. What is the most frequent feedback you have received from customer? 20. Are you happy with the profit you have made ?

21. Did you export your product to other states/ country (with appox quantitiy)? If yes how did u maintained your export channel ? 22. Which item is the most exported items? 23 Which item is the most exported items.

24. What is your opinion of new product/design in jewellery craft? what would be the scope in the market?

APPENDIX VI CRAFT RETAILER QUESTIONAIRE I am a student of NIFT Mumbai, department- Masters in Design, and currently doing my Dissertation on “Innovation In Mizoram Jewellery Craft ”. I want a product feedback for my prototype I request you to kindly fill this questionnaire below. . Name _______________ Age ______ Gender ___________

Name of brand /Label _________________________________________ 1. How did you find design 1( Braided Bamboo silver Pendant) on the following terms ? 1.Look

•Extremly attractive •Very attractive •Moderate attractive •Slightly unattractive •Ugly Comment -----------------------------------------------------------------------------------------2.Size •Extremely big •very big •moderate •small •accurate . Comment-------------------------------------------------------------------------------------------------------------------------------------------------------------------------------3.Colour Choice •very suitable •suitable •unsuitable •not at all suitable Comment………………………………… ……..-----------------------------------------------------------------------------

7. 5.Functionality / wearability •Extremely obvious •Very obvious •Obvious •Unsure Comment -------------------------------6.Finishing quality •Excellent •Good •Average •Bad •Comment ----------------------------------------------------------------7Weight •Extremely light •Very light •Moderate •Just ok •Heavy Comment………………………………………

2. How did you find design 2 (woven bamboo silver bar necklace) on the following terms ?

1.Look •Extremly attractive •Very attractive •Moderate attractive •Slightly unattractive •Ugly Comment -------------------------------------------------------------------

2.Size •Extremely big •very big •moderate •small •accurate . Comment-----------------------------------------------------------------------

3.Colour Choice •very suitable •suitable •unsuitable •not at all suitable Comment………………………………………..--------------------------------------------

4.Style •Extremely elegant •Very Elegant •Elegant •Moderate •uninteresting Comment ----------------------------------------------------------------------

5.Functionality / wearability •Extremely obvious •Very obvious •Obvious •Unsure Comment ------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

6.Finishing quality •Excellent •Good •Average •Bad •Comment ------------------------------------------------------------------------------------------------------------------------------------------------------------7.Weight •Extremely light •Very light •Moderate •Just ok •Heavy Comment……………………………………… ……………………………………………………… ………………………………………….

2. How did you find design 2 (woven bamboo silver bar Necklace) on the following terms ?

1.Look

•Extremly attractive •Very attractive •Moderate attractive •Slightly unattractive •Ugly Comment --------------------------------------------------------

2.Size •Extremely big •very big •moderate •small •accurate . Comment----------------------------------------------------------------------------------------3.Colour Choice •very suitable •suitable •unsuitable •not at all suitable Comment………………………………………. .------------------------------------------------------4.Style •Extremely elegant •Very Elegant •Elegant •Moderate •uninteresting Comment ------------------------------------------------------------------------------------------

5.Functionality / wearability •Extremely obvious •Very obvious •Obvious •Unsure Comment ----------------------------------------------------------------6.Finishing quality •Excellent •Good •Average •Bad •Comment -------------------------------------------------------------------7.Weight •Extremely light •Very light •Moderate •Just ok •Heavy Comment……………………………… ………………………………

3. How did you find design 3(woven bamboo silver Bar pendant) on the following terms ? 1.Look •Extremly attractive •Very attractive •Moderate attractive •Slightly unattractive •Ugly Comment -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------2.Size •Extremely big •very big •moderate •small •accurate . Comment--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------3.Colour Choice •very suitable •suitable •unsuitable •not at all suitable Comment………………………………………..--------------------------------------------------------------------------------------------------------------------------------4.Style •Extremely elegant •Very Elegant •Elegant •Moderate •uninteresting Comment -----------------------------------------------------------------------------------------------------------------------------------------------------

5.Functionality / wearability •Extremely obvious •Very obvious •Obvious •Unsure Comment --------------------------------------------------------------6.Finishing quality •Excellent •Good •Average •Bad •Comment -------------------------------------------------------------------------------7.Weight •Extremely light •Very light •Moderate •Just ok •Heavy Comment……………………………… ……………………………………………… ………

4. How did you find design 4 (Two tone woven bamboo silver Pendant) on the

following terms ? 1.Look •Extremly attractive •Very attractive •Moderate attractive •Slightly unattractive •Ugly Comment -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------2.Size •Extremely big •very big •moderate •small •accurate . Comment--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------3.Colour Choice •very suitable •suitable •unsuitable •not at all suitable Comment………………………………………..--------------------------------------------------------------------------------------------------------------------------------4.Style •Extremely elegant •Very Elegant •Elegant •Moderate •uninteresting Comment -----------------------------------------------------------------------------------------------------------------------------------------------------

5.Functionality / wearability •Extremely obvious •Very obvious •Obvious •Unsure Comment --------------------------------------------------------------6.Finishing quality •Excellent •Good •Average •Bad •Comment -------------------------------------------------------------------------------7.Weight •Extremely light •Very light •Moderate •Just ok •Heavy Comment……………………………… ……………………………………………… ………

5. How did you find design 5 (woven bamboo silver earrings) on the following

terms ? 1.Look •Extremly attractive •Very attractive •Moderate attractive •Slightly unattractive •Ugly Comment -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------2.Size •Extremely big •very big •moderate •small •accurate . Comment--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------3.Colour Choice •very suitable •suitable •unsuitable •not at all suitable Comment………………………………………..--------------------------------------------------------------------------------------------------------------------------------4.Style •Extremely elegant •Very Elegant •Elegant •Moderate •uninteresting Comment -----------------------------------------------------------------------------------------------------------------------------------------------------

5.Functionality / wearability •Extremely obvious •Very obvious •Obvious •Unsure Comment --------------------------------------------------------------6.Finishing quality •Excellent •Good •Average •Bad •Comment -------------------------------------------------------------------------------7.Weight •Extremely light •Very light •Moderate •Just ok •Heavy Comment………………… ……………………………… ……………………………… ……

7. How did you find design 6( box braided bamboo silver earrings) on the following

terms ? 1.Look •Extremly attractive •Very attractive •Moderate attractive •Slightly unattractive •Ugly Comment -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------2.Size •Extremely big •very big •moderate •small •accurate . Comment--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------3.Colour Choice •very suitable •suitable •unsuitable •not at all suitable Comment………………………………………..--------------------------------------------------------------------------------------------------------------------------------4.Style •Extremely elegant •Very Elegant •Elegant •Moderate •uninteresting Comment -----------------------------------------------------------------------------------------------------------------------------------------------------

5.Functionality / wearability •Extremely obvious •Very obvious •Obvious •Unsure Comment --------------------------------------------------------------6.Finishing quality •Excellent •Good •Average •Bad •Comment -------------------------------------------------------------------------------7.Weight •Extremely light •Very light •Moderate •Just ok •Heavy Comment……………………………… ……………………………………………… ………

7. How did you find design 7(woven ball rectangle bamboo silver earrings) on the following terms ? 1.Look •Extremly attractive •Very attractive •Moderate attractive •Slightly unattractive •Ugly Comment -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------2.Size •Extremely big •very big •moderate •small •accurate . Comment--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------3.Colour Choice •very suitable •suitable •unsuitable •not at all suitable Comment………………………………………..--------------------------------------------------------------------------------------------------------------------------------4.Style •Extremely elegant •Very Elegant •Elegant •Moderate •uninteresting Comment -----------------------------------------------------------------------------------------------------------------------------------------------------

5.Functionality / wearability •Extremely obvious •Very obvious •Obvious •Unsure Comment --------------------------------------------------------------6.Finishing quality •Excellent •Good •Average •Bad •Comment -------------------------------------------------------------------------------7.Weight •Extremely light •Very light •Moderate •Just ok •Heavy Comment……………………………… ……………………………………………… ………

8. How did you find design 8(Two tone woven bamboo silver earrings) on the

following terms ? 1.Look •Extremly attractive •Very attractive •Moderate attractive •Slightly unattractive •Ugly Comment -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------2.Size •Extremely big •very big •moderate •small •accurate . Comment--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------3.Colour Choice •very suitable •suitable •unsuitable •not at all suitable Comment………………………………………..--------------------------------------------------------------------------------------------------------------------------------4.Style •Extremely elegant •Very Elegant •Elegant •Moderate •uninteresting Comment -----------------------------------------------------------------------------------------------------------------------------------------------------

5.Functionality / wearability •Extremely obvious •Very obvious •Obvious •Unsure Comment --------------------------------------------------------------6.Finishing quality •Excellent •Good •Average •Bad •Comment -------------------------------------------------------------------------------7.Weight •Extremely light •Very light •Moderate •Just ok •Heavy Comment……………………………… ……………………………………………… ………

8. How did you find design 8(Two tone woven bamboo silver earrings) on the

following terms ?

1.Look •Extremly attractive •Very attractive •Moderate attractive •Slightly unattractive •Ugly Comment -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------2.Size •Extremely big •very big •moderate •small •accurate . Comment--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------3.Colour Choice •very suitable •suitable •unsuitable •not at all suitable Comment………………………………………..--------------------------------------------------------------------------------------------------------------------------------4.Style •Extremely elegant •Very Elegant •Elegant •Moderate •uninteresting Comment -----------------------------------------------------------------------------------------------------------------------------------------------------

5.Functionality / wearability •Extremely obvious •Very obvious •Obvious •Unsure Comment --------------------------------------------------------------6.Finishing quality •Excellent •Good •Average •Bad •Comment -------------------------------------------------------------------------------7.Weight •Extremely light •Very light •Moderate •Just ok •Heavy Comment……………………………… ……………………………………………… ………

9. How did you find design 9( Two tone woven bamboo silver ring) on the following terms ? 1.Look •Extremly attractive •Very attractive •Moderate attractive •Slightly unattractive •Ugly Comment -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------2.Size •Extremely big •very big •moderate •small •accurate . Comment--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------3.Colour Choice •very suitable •suitable •unsuitable •not at all suitable Comment………………………………………..--------------------------------------------------------------------------------------------------------------------------------4.Style •Extremely elegant •Very Elegant •Elegant •Moderate •uninteresting Comment -----------------------------------------------------------------------------------------------------------------------------------------------------

5.Functionality / wearability •Extremely obvious •Very obvious •Obvious •Unsure Comment --------------------------------------------------------------6.Finishing quality •Excellent •Good •Average •Bad •Comment -------------------------------------------------------------------------------7.Weight •Extremely light •Very light •Moderate •Just ok •Heavy Comment……………………………… ……………………………………………… ………

10. How did you find design 10(Two tone bamboo silver cuff ) on the following terms ? 1.Look •Extremly attractive •Very attractive •Moderate attractive •Slightly unattractive •Ugly Comment -------------------------------------------------------------------------------------------------------------------------------------------------------------------------------2.Size •Extremely big •very big •moderate •small •accurate . Comment--------------------------------------------------------------------------------------------------------------------------------------------------------------------------------3.Colour Choice •very suitable •suitable •unsuitable •not at all suitable Comment………………………………………..--------------------------------------------------------------------------------------------------------------------------------4.Style •Extremely elegant •Very Elegant •Elegant •Moderate •uninteresting Comment -----------------------------------------------------------------------------------------------------------------------------------------------------

5.Functionality / wearability •Extremely obvious •Very obvious •Obvious •Unsure Comment --------------------------------------------------------------6.Finishing quality •Excellent •Good •Average •Bad •Comment -------------------------------------------------------------------------------7.Weight •Extremely light •Very light •Moderate •Just ok •Heavy Comment……………………………… ……………………………………………… ………

2.How much you rate them on a scale of 1 to 5 as overall ? where is 1 is the highest and 5 is the lowest . 1 2 3 4 5 Design 1 (Braided Bamboo silver Pendant) Design 2 (woven bamboo silver bar Necklace) Design 3 (woven bamboo silver Bar pendant) Design 4 (Two tone woven bamboo silver Pendant) Design 5 (woven bamboo silver earrings) Design 6 ( box braided bamboo silver earrings) Design 7 (woven ball rectangle bamboo silver earrings) Design 8 (Two tone woven bamboo silver earrings) Design 9 ( Two tone woven bamboo silver ring) Design 10 (Two tone bamboo silver cuff)

3.The bamboo silver ranges from 800 – 2500 , do you think prices are • • • • •

Extremely High Very High Average Just Right Very Low

4 . Do you think does it still keep traditional values