Sunday, October 31, 2010

CREATION MYTH: LEPCHA



CREATION MYTH OF THE LEPCHAS

                                                      PRESENTED BY
                                      MR. AZUK TAMSANGMOO LEPCHA






























Lepchas the ancient race that has survived for time immemorial within the boundaries of the present-day Darjeeling district of West Bengal and Sikkim in India , ILLam district  in Nepal and Samtse district  in Bhutan. They call themselves “Mutanchyee Rum Kup”  in their native language Rong-Aaring or  Lepcha language, which in literal translation means ‘Mothers loved one- children of God’
          The creation story (Aa-Eet Sung) is the core part of Lepcha traditional story (Lungten Sung).  It takes more than thirty days and nights to complete the whole story.

 CREATION OF THE WORLD
         The Supreme deity, the Creator   ‘Eetboo-deyboo Rum’ created the Kaongchyenkaonglo-Chyoo (Mt. Kanchendzonga) and Matli Pano (Earthquake King).  Kanchendzonga is the elder brother of Matli Pano. Eetboo-Deyboo Rum created these two; but this creation was not habitable for any creature because the whole world was covered with water Talyo Da – (the ocean). Eetboo-Deyboo Rum was concerned about human beings and where they would live.  The Supreme deity, Eetboo-Deyboo Rum  thought about the shelter for human beings; hence it was decided that Matli Pano would lie above the Talyo Da.  Eetboo-Deyboo Rum made the soil on his body which became the earth, where the creatures could live. Matli Pano did not want to live under the soil, so he moved below the earth and caused the whole world to shake. There was no control over his body movement, and thus there were floods and earthquakes everywhere, and no creature could live comfortably.
          Eetbo-deyboo now decided that Kanchendzonga should stand on Matli Pano’s chest so that he could control the movements of his younger brother.
Thereafter Eetbu Deyboo Rum wanted to create every possible type of living creatures that would be found on earth. So he called deities from all directions, like Somgli Soambam from East, West, South and North and deities from under the earth like Tongdek Mardek. They advised that the flesh of the animals and living creatures be made from the dust of the soil, the ribs, bones and spines to be made from rocks, the breath from the wind and the heat from the sun.
          Having completed all these, Eetboo-Deyboo Rum chose a creature among them for the purpose of making a human being. Eetboo-Deyboo Rum put the soul from the fresh snow of Mt. Kanchendzonga into the human being and named him Fadaongthingwho became the first male. Eetboo-Deyboo Rum, the Creator, realized Fodaongthing’s loneliness; so Eetboo-Deyboo Rum decided to  made a sister for him who could give him company. Eetboo-Deyboo Rum took one of the souls from Fodaongthing and created her, and named her Nuzaongnyoo.
           It is believed that each Lepcha male has eight units in a soul inside his body and every female has nine units or sub-souls inside her. Each of these sub-souls is called Sum’ in Lepcha. These units of sub-souls together constitute one soul that is called Apil’.  A Lepcha male has one unit or a sub-soul less because one of it was used to create the female, hence this calculation of the sub-souls is very important while conducting death ceremonies.
Eetboo-Deyboo Rum had instructed Fadaongthing and Nuzaongnyoo to live as brother and sister, in Ney- Mayel-Kyong (Village of eternity) and warned them of untold misery and misfortune if this relation was altered. Eetboo-Deyboo Rum then sent Fadaongthing to live at the top of Tungseng Nareng Chyoo (a mountain peak in Mt. Kanchendzonga) and Nuzaongnyoo was to live next to Naho Nathar Da, a lake at the base of that mountain. They were thus separated from each other.
Nuzaongnyoo grew into a beautiful young woman. She longed to see and meet Fadaongthing. Although she remembered well God’s command and warning not to meet Fadaongthing in an indecent manner, she was unable to control and resist the temptation. So one fine day she built a golden ladder and climbed up to Tungseng Nareng Chyoo and met Fadaongthing secretly. Thereafter Fadaongthing and Nazaongnyoo climbed down and spent their first night together at Lake Naho Nathar Da. On the night they broke the incest taboo, Nuzaongnyoo held the hand of Fadaongthing, when her bracelet gave obstruction, so she took it off and kept it beside her pillow, but it fell into the Naho Nathar Da lake where it grew into the Sanyaol Koong tree.
          The brother and sister violated the incest taboo, and Nuzaongnyoo got pregnant several times. Their first seven babies were hidden in a cave in order to hide their evil deeds from Eetboo-deyboo Rum. Realizing this, God summoned the first progenitors of the Lepchas and dropped them nine steps below the Ney-Mayel-Kyong to Tarbong Partam, where God instructed them to live as husband and wife, which began the first marriage ceremony. They were now to fend for themselves, spread and survive in this world of pain and sorrow, and to take care of their own children.
             In this land of pain and sorrow of Tarbong Partam they now had four children. The eldest daughter got the name ‘Nonglennyoo’, the eldest son got the name ‘Kuthaongfee’, the middle daughter got the name ‘Numsyumnyoo’ and the last son got the name‘Numbumthing’. One day God the creator visited the family of Tarbong Partam, where everyone was called for blessing,  Nonglennyoo andKuthaongfee were playing in dirt and was not presentable, in order to hide the shame the mother Nuzaongnyoo hid them in a cave and showed only the younger children Numsyumnyoo and Numbumthing, where God gave the blessings to them. It was later learnt that the two elder children were not there in the cave that mother Nuzaongnyoo had hidden, where they all started weeping and crying. In hearing their pain God asked them for the reason of their sorrow. With repentance and guilt Nuzaongnyoo confessed to God about the incident, where God showed the souls of Nonglennyoo and Kuthaongfee. God told them like the seven children which they could not hide earlier, Nonglennyooand Kuthaongfee also could not be hidden from His eyes. God the creator then made Nonglennyoo and Kuthaongfee the guardian angels of all the human beings. Nonglennyoo the eldest daughter was bestowed as the guardian angel of all the males, while Kuthaongfee the eldest son was made the guardian angel of all the females. Where these two were the guardian angel of human beings while the previous seven souls were bestowed as the guardian angels of stone, trees, rivers, mountains, wild animals which included all the others inside the nature,
          Meanwhile, the seven who were born in Ney-Mayel-Kyong the youths that lived for eternity, then became very powerful, within them came out a leader who was the  eldest and the strongest among the brothers and was called Laso-Mung-Pano. As they grew older, they got jealous of their  other brothers and sisters who were been taken care of with the love of mother and father, They felt betrayed by their parents and even questioned themselves that if they were to be discarded then why were they given birth. They discussed among themselves that the rights of the children they must get. In listening to their words Laso-Mung-Pano consoled them by giving assurance that revenge will be taken. The seven of them under the leadership of Laso-Mung-Pano came into a decision to start troubling the generations of Numsyumnyoo and Numbumthing.
          Laso-Mung stayed in Sanyaol Koong a big tree, on top of the mountain Sanyaol Chyoo. He lived on top of this tree as this location gave him the view of an eagle, wherefrom he observed human beings and took revenge by killing them. Various deities along with the Lepcha people decided to cut down the Sanyaol Koong tree and kill the demon. This was not an easy task. The Kumyu Kumshi deity (deity of ancestral wisdom) spent all day chopping the tree trunk, but overnight the tree would regenerate itself. After several failed attempts, they looked for someone with the special ability to bring down this tree.Pasyok Bu, a type of wood-eating caterpillar offered his help. In return he asked god of a favor that in future he (the god) should give him the Sungru kung tree as a reward; the tree would be his food as well as his shelter. The Kumyu Kumshi deity agreed to this. The deities then cut the tree during the day and at night the caterpillar kept eating the timber. Before the tree could be fully brought down, the Kumyu Kumshi deity suddenly faced a new problem which he had not foreseen. They would have to decide in which direction the huge tree should fall. They thought of different possibilities: whether the tree was to fall to the east Prolyang (Bhutan), to the north Putlyang (Tibet), to the west Payulyang (Nepal) or towards the south Pontonglyang  (Indian plains). If the tree fell on one of those directions, they feared that the huge tree would block the paths, cut off the trading routes and communications and make those places inaccessible. So they looked towards the passage of the living and the dead in Mt. Kanchendzonga. It was decided that it would be best to block this passage as this was the only alternative. It was from that very day that the living in this world could not meet the dead. Finally when the tree fell, Laso-Mung started to fly towards Mayel Lyang or Lepcha country.



THE LEPCHA EARTHEN TOWER
          The Lapchas were terrified of Laso-Mung-Pano, the devil; so some of them fled to Tibet and to the Himalayas, some settled down in China, many entered Assam, Tripura, Chittagong and Burma. A group of them did not want to leave the Sikkim Himalayas and went to Toonaok Tungshi Da, the source of Romam river, they followed its course and finally arrived at Da Raom-Dyen ( (Daromden lake) and built the legendary Lepcha Earthen Pots Tower to reach out to Eetboo-Deyboo Rum for help at Tal Laom Purtam. The Lepchas in dire straits demolished the lake and used the mud and clay of the lake to build earthen pots. They stacked the earthen pots on top of one another in order to build a staircase. When it was nearing completion, there was a serious breakdown of communications between the artisans working at the top and bottom of the Earthen Tower. When the artisans at the top of tower required a hook, shouted to the Lepcha artisans working below, ‘Kaok Vim Yang Tal!’ meaning ‘send up a hook’. The artisans working below heard it as ‘Chyek Ta meaning ‘knock it down’.
The Earthen Tower was thus knocked down, destroyed and many Lepchas were killed.
           Fragments of pottery are still found in and around Tal Laom Purtam and Da Raom-Dyen.

CREATION OF LEPCHA PRIEST AND PRIESTESS
          On seeing the plight and misery of the Lepchas, the Eetbu Deyboo Rum  consecrated the first Lepcha Priest, Azaor Boongthing as an aid to help the Lepchas. In Lepcha language the world is known as Sukdum-lung-ming-taam and a great personality is known as Aathing; so Sukdum-lung-ming-taam-saa-aathing was the name of the first Lepcha priest. Azaor Boongthing was in short also known as Taam-saa-aathing or Taamsangthing who gathered all possible knowledge about Laso-Mung-Pano. Knowledge alone was not enough for this and more power was needed to forecast and guide the movement for the preparation of the great battle. Under the advice of Tamsangthing, Eetboo-Deyboo Rum, the creator, decided to consecrate Nyolik Nyosong Mun who was bestowed with great powers for guidance and forecast. God himself established the first priest and priestess. The first Mun, a Lepcha priestess Nyolik Nyosong Mun was given supernatural powers by offering her three young shoots of Pashyaor (elephant grass). In the beginning Nyolik Nyosong found it extremely difficult to communicate and express her thoughts and powers to the terror stricken Lepchas. One day she heard and saw a Tungbum (bumble bee), humming and moving from flower to flower. Nyolik Nyosong was inspired by tungbum and she imitated the sound and rhythmic tones of Tungbum in her prayer and supplication to Eetbu Deyboo Rum . Thenceforth she successfully exercised her powers, communicated and expressed her thoughts to the Lepchas. The Lepcha Muns still continue to follow and use Tungbum’s rhythmic tones in their invocations and prayers to God till today.
          There is no institution for making of Lepcha priests and priestesses. It has to be inborn, made by the Lord and creator Eetboo-Deyboo Rum himself. It is due to this reason that a Lepcha Mun and Boongthing, that is, a Lepcha priestess and a priest recite their prayers together.

ORIGIN OF CHYEE, THE SPIRITUOUS LIQUOR
Using the supernatural powers bestowed upon her by Eetboo-Deyboo Rum, Nyolik Nyosong Mun revealed that the medicine for the restoration of lost morale of the Lepchas lay in the form of a Buth (Ingredient  to make a  Potion)   . She knew of Matlimanyoo, a sorceress who lived below the earth, and who was in possession of Buth, the power potion. Nyolik Nyosong asked for a volunteer to fetch Buth from Matlimanyoo. Tungdyer Palyung, a cockroach (blatta orientalis), volunteered to fetch it. It successfully brought the Buth from Matlimanyoo after tricking her and stealing the recipe and the medicinal herbs from the back of the neck of Matlimanyoo where she used to hide them.
          On the way back while Tungdyer Palyung was resting on the way after its arduous journey, Pamaol Bu, a pure black cobra (of genus Naja Naja) sneaked in and stole a bit of Buth from Tungdyer Palyung and tasted it. As soon as Pamaol Bu, the cobra tasted the Buth, it became mad and very poisonous. Next Hu, a honey bee, tasted a tiny bit of Buth, and it developed a sharp needle to prick with a seemingly negligible sting. Some of the large birds that tasted Buth became carnivorous. Kantek, a fig tree, who also touched Buth, developed sour taste. Finally when Kundong
Koong, a plantain tree, touched Buth, its fruit became sweet. The Lepchas believe that Buth was thus tasted by various animals and plants, which resulted in the removal of its poison; in this way it became suitable for the consumption of the Lepchas
          Tungdyer Palyaong finally arrived with Buth, a power potion, and handed it over to Nyolik Nyosong Mun. The priestess cooked millet, mixed Buth to prepare Chyee, fermented beverage, the ultimate power potion, and distributed it among the Lepcha soldiers to raise their morale to fight against Laso-Mung-Pano, the devil, in battle. With their morale high after drinking Chyee, the Lepchas fought gallantly.
          This is how the Lepchas’ Chyee, a fermented beverage, originated. Meanwhile when Matlimonyoo realized that her precious and rare Buth was stolen, she cast a spell on the Chyee, saying, Chyee thong ya gong ney maon, thong ma ya na gong ney nyung, meaning, ‘Chyee is a very good medicine if you know how to drink it properly, but if you don’t know how to drink it, it is like poison’. The Lepchas believe that because of this curse by Matlimonyoo, drinking excessive quantity of Chyee makes one quarrel, lose health, wealth and respect in the society.

ORIGIN OF YEARS
During the pursuit and hunt to kill Laso-Mung-Pano the Lepchas gathered from all directions under the leadership of Tamsangthing. Laso-Mung on seeing their new strength camouflaged himself in different forms using his magical powers to change his appearance. Each year, in a cycle of twelve years, he assumed a different form. These forms were -  Mouse -Kalok, Ox-Laong, Tiger-Sathaong, Eagle-Panthyong, Dragon-Sadyer, Snake-Bu, Horse-Un, Sheep-Luk, Monkey-Sahu, Hen-Hik, Dog-Kujyou and Pig-Mon. This gave rise to the origin of years. This cycle of twelve different forms assumed by Laso-Mung-Pano evolved into the calculation of years; the twelve forms come in a rotation in the Lepcha calendar.

ORIGIN OF CLANS
The Lepchas under the leadership of Tamsangthing fought and defeatedLaso- Mung-Pano at a place called Sukver, the valley of death. While Laso-Mung-Pano was lying on the ground in defeat, no one was sure if the devil was dead or alive. When the devil, Laso-Mung-Pano was finally slain, the Lepchas and Tamsangthing moved to a place called Tarkaol Tam-E-Tam, meaning the valley of deliverance. Tamsangthing bestowed upon the Lepchas the following clans:

1.            The Lepchas who prayed, remembered Eetboo-Deyboo, the Creator, and requested him to deliver the Lepchas from the clutches of the devil Laso-Mung-Pano were given the title of ‘Munlaommoo’.
2.            Those who made and prepared weapons like swords, Banmaok, etc., to fight the devil were called Karvomoo’.
3.            The ones who served Nyolik Nyosong Mun, Azaor Boongthing, and Lepcha leaders during the battle were given the title of ‘Adenmoo’.
4.            Those who helped to make bows and arrows for the purpose of fighting were called ‘Phyoong Talimmoo’.
5.            Suppliers of water, ration and food were given the title of ‘Joriboo’.
6.            The Lepchas who constructed and made bridges, roads, ropes and bow-strings were called ‘Sampumoo’ (girl).
7.            The man who dared to check if Laso Mung Pano’s heart was beating and if he was breathing was given the title of ‘Lutsaom moo’. In Lepcha alut means ‘heart’ and aasaom means ‘breath’ and when the prefix a-, common to both is removed, the two combined words become Lutsaom.
8.            The person who broke the eyes and blinded the devil was called‘Seemickmoo’.
9.            One who separated Laso-Mung-Pano’s head and legs with his Banmaokwas called Sungngootmoo’.
10.         The man who beat up, crushed the body of Laso Mung Pano into dust and blew them away into thin air from a hill top was given the title of‘Sungdyangmoo’.

The following ten Lepcha clans thus originated:
1.    Munlaommoo (Female)        2. Karvomoo (Male)               3. Adenmoo (Male)
4.    Phyoong Talimmoo  (Male)     5. Joriboo  (Male)           6. Lutsaommoo(Male)
7.  Sampumoo (Female)        8. Seemickmoo (Male)    9. Sungngootmoo(Male)
10. Sungdyangmoo(Male)

           Since the women folk helped equally in the battle, it is recognized that they had taken equal responsibility and their surnames are intact till today. The daughters take the surname of the mother and sons take that of the father. This is the reason why the brothers and sisters of the same parents can never have the same surname.
          The Lepcha priests, priestesses and elders while conducting the Lepcha rituals, rites and traditions still relate them to the origin of the Lepcha clans and the ten customary laws of the Lepchas.

References:
1) Lepcha Folklore and Folk Songs, by  Lyangsong Tamsang, year 2008. Place of publication Kalimpong, District Darjeeling, West Bengal . Publisher Sahitya academy Kolkatta.
2) Laso Mung Sung: Lepcha Oral tradition as a Reflection of Culture, 2008.    
    by Jenny  Bentley. Place of publication Gangtok,Sikkim.  Publisher  Bulletin of Tibetology .
3)   Nyolik-Nyosong, by Mungshel Simickmoo. year 2008. Place of publication Kalimpong, District Darjeeling, West Bengal. Publisher Tansen Simikmoo Lepcha
4)   Lepcha My vanishing Tribe ,by  A.R. Foning  year 1987, Kalimpong, District Darjeeling, West Bengal. Publisher Chupandi Farm Kalimpong.

5)   The author’s unpublished field notes from villages in Kalimpong, District Darjeeling, West Bengal and Dzongu, Sikkim.
6)   Lepcha ancient manuscripts called the ‘Naamthaars’ (these manuscript have no recorded dates and authors)


Thursday, October 28, 2010

LEPCHA DRESS








LEPCHA DRESS



The Lepcha have their own independent and unique dress for both men and women. It is colourful, attractive but not showy. When in groups, the Lepchas in their dress look picturesque. The Lepchas developed their own dress from time immemorial for both men and women. A race once with their own Lepcha kings, chieftains, and high priests and with their own independent old and rich language, literature, culture, and civilization, the Lepcha also boast their own unique dress.

The Lepcha women are deft weavers. They weave ‘Dum - praa’, their men’s dress. Each village produces’Dum - praa’ for their men. ‘Dum - praa’ has dual roles; during the day time, it is worn as a garment by men and at night it is used as a blanket. The Sikkim Arts and Crafts Institution produces ‘Dum - praa’ at Gangtok. The Arts and Crafts, Kalimpong has a Lepcha Weaving Department. It produces and supplies bags, dining table mats etc. for the market but, ironically, it does not produce ‘ Dum - praa’ for the Lepchas. Prices for a ‘Dum - praa’ may range from Rs.500 to 2,000 depending on its size, design, pattern, and quality.
Although there are many Lepcha patterns or designs when weaving a ‘Dum - praa’, the following three patterns or designs are very much sought after:

a. Tagaap. This is the oldest Lepcha pattern or designs. It is woven with a floral designs or patterns. b. Khemchu. It is a scissors design or pattern.

c. Tamblyoak. It is based on the butterflies patterns or designs.

A man’s dress is basically called ‘Dum - praa’, however, it is also known by three other names by its materials, make, and design:

a) Koojoo Vaadoah : This is the oldest kind of Lepcha dress for men. It is made from Koojoo, as the name implies, nettle plants. It is light and soft, but always in a plain colour without any pattern or design. No dyeing or any pattern, embroidery is applied and used in Koojoo Vaadoah. It is of dark cream colour, its natural colour. Today Koojoo Vaadoah dress is not made and available or used for two reasons; firstly, nettle plants are not available in plenty, and secondly, cheap cotton fibres are easily available in the market.

b) Thokroah: This dress is made from thin, soft fibres. ‘Thokroah’ can be easily distinguised or recognised by the absence of embroidery. Although it is multicoloured with typical Lepcha patterns and designs and some ‘Thokroah’ are in stripes, normally it is black and white; embroidery is markedly absence at the topend of the ‘Thokroah’ dress.

c)Menchhyo dress: It is recognised by its beautiful embroidery at the top end of Menshhyo dress.
The Lepchas put on Tago, meaning a loose shirt with stiff high neck at the back and slightly opened in the front. When going to the woods for hunting or fishing in the rivers, the Lepchas do not put on Tago with Dom - Praa.

Tomoo, the Lepcha trousers, are worn. They reach up to the calf, between the knee and ankle. Tomoo is also designed to easily pick off or get rid of leeches in the fields or woods during the Monsoon. The Lepchas put on Tago and Tomoo when they are working in the field or at home. Tago and Tomoo are usually made of thick cotton fibres and white in colour.

In the old days, the Lepchas never put on shoes but today shoes are worn by the Lepchas to protect their feet from broken glass, blades, and unhygienic condition in towns and cities. In the villages, they still go bare foot.

A bag popularly known as ‘Tanggyip’, is a part and parcel of the Lepcha dress. The old name for a Lepcha bag is ‘Takvyoal’ meaning a hanging bag and its pattern or design is called ‘Taak Tik’ meaning marked with spots. By Lepchas going to the fields, rivers, woods, market or any such place, a Tanggyip or Takvyoal is always carried, hanging by his side.



By Azuk Tamsangmoo lepcha





' SUMOK THAKTUK intrecately woven with variety of bamboos, kaffer laop arrowroot plant) (type maranta arunginacea stp ) coated with Mica plates from inside and has seven different stages in the process of making , basically there are three different patterns in the hat where each pattern depicts nature ,the base of the hats pattern is a reflection of a wild orchid found in the himalayan region with a local name SUMUK REEP osamX ir- ( Type , venustrum stp. ), the middle part is called EMIK ( the eyes of wasp tiny mountain bees which produces medicinal honey ), the top part is SUNGRYONG SONG (The spiders web which is a trade mark of the lepcha pattern in most hats )

In the ancient days the weavers used to weave the hat chanting mantras and prayers for the would be owner of the specific hat , these hats were woven for specific personalities and symbolised status and responsibility High priest (Mun /Bongthing)/ Chieftans/Generals of Army mainly wore these hats. During the reign of Chogyal the king of Sikkim made these hats as a part of the dress of the Royal Army of Sikkim .

As of now it is immedietely known among the Lepcha tribe that the person wearing this hat is a protector of the tradition ,culture, history and a knowledgeable person in lepcha language and literature ,It is common among the members of the tribe that ,when a person with a sumuk hat on his head meets another stranger with a sumuk hat on ,the wearers often measure each other the degree of knowledge on the Lepcha culture and their worthiness to wear the hat.

PAPRI THAKTUK : All weather hat of the lepchas made out of bamboo, designed on the top part ,the spiders web, the trade mark of the lepcha pattern . The hat itself gives a perfect defination on a Lepcha attire , the combination of this papri hat along with the spikes of porcupine siT)Aacu Sathim Aachyu attached in the front part of the hat is believed to protect the lepchas from negative and hovering spirits, which also acts as a helmet against the evil spirits.

ANOK THAKTUK : A history of its own , made out of velvet, cloth and jewellery Kont on the Middle top part of the hat , the central Knot has nine sub-knots which symbolises ten subcastes in the beginning of the lepcha tribe, the knots are nine in number because the person wearing it makes a counting of ten heads all together. The hat is commonly known as Lepcha hat and has a long Saga were the Natives wear it with pride .

SEYRAABOO THAKTUK serabU : A hunters hat , made out of different straws and intricately binded bamboo strips , the straws are rolled in such a manner that it cushions the skull and acts as an effective helmet, the sherabu hat is an important part of the instrument of a hunter.

SORING THYAKTUK : Sun hat made out of straws and bamboo with the lepcha trade mark used while working in the field





Baanpok: It means short knife.
Today non- Lepchas, unable to pronounce this Lepcha word Baanpok, is accepted and included in Nepali vocabulary. Baanpok is used for all purposes from cutting bones to wood. A Baanpok is presented to a young boy of about eight or nine by his parents. A Baanpok is his first prized possession. It hangs by his side, sheathed in an open scabbard either made of bamboo or soft wood.

A unique characteristic of a Lepcha ‘Baan’ is that it is stuck, unlike other knives of the world, the other way round in the scabbard; the blunt part of the Baan faces the front and the sharp cutting edge of the knife is kept, always, towards the back. When a Baan is taken out or unsheathed, the blunt edge of the knife initially confronts the proposed target.

b) Baanmok: It is gently curved on both sides of the knife at the tip, hence, the name Baanmok. In the old days, it was used in close- combat against enemies. Its length is about one and a half to to two feet, with an open scabbard to the front. Today it is used as a ceremonial knife. A man, during functions and ceremmonies, hangs it by his side. The cost of making a Baanmok is about Rs. 400.00 to 1,000.00 depending on the materials and quality.

c) Baan- Payook : It is a Lepcha sword again it is not sharply pointed but it is rather gently curved at the top front end side only. You can see a Baan-Payook in the Lepcha museum, Kalimpong, and in the houses of well-to-do Lepchas.

Yaanglo: Yaanglo is a Lepcha shawl worn by men. It is maroon and white in colour without any pattern or design. It is worn around the upper part of the body by well - to- do Lepcha gentlemen during winter or functions. Some Yaanglo have embroidery at the two ends.


Lepcha Hair style: Lepcha men used to, and some in the remote villages still do keep their hair long . It is plaited in a single braid to distinguish themselves from the women, who plait double braids. Unmarried womens double palited hairstyle is called “Chohem Chombi” compairing their hair with Hair - Crested or spangled Drongo Birds tail. Married womens hair style is called ‘Gi Pamoal Chom Phyoak’. It is compared with the black shiny combra. Lepchamen throw their Dum - praa round the body, leaving one arm, useally the right arm free. eachand of the top corners of the clothes is tied with the help of a ‘Zat’ a safety pin made of a sharpened bamboo split,iron bronze or silver on the left shoulder. A Dum- praa reaches down to the Knees or sometimes calf; and it is gathered round the waist with a “Naamrek”, a sash girdle,or band to hold or support the dress.

A group of Lepcha men in their Dum- Praa with hats, and their Baanmook, the knife, and their bags, Tanggyip or Takvyoal, hanging by their sides, is a side to behold.

Lepcha womens dress is basically called “Dum - Bun” or sometimes “Dumdem”, in the old days thick black clothes or “ Tamaan - Dam”, a course silk dress, spun from the cocoon of a large caterpillar that is found in the Sikkim and Darjeeling Hills, were worn by the women.
“Tamaan - dam” is normally of cream colour.Today dambun or dam-dem or Tamaan- dam dress materials are readily available in tha market. it is good that the Lepcha women have retain their basic, simple,natural taste,sense of colour,and style;they very loyally put on their Dam-bun at home and outside. Lepcha women do not put on showy or multi-coloured dresses with patternes or designes.and ordinary Dam-Bun will cost you about three to five hundred rupees in the
market.