Lepcha Wisdom Through the Lens of their Dress

                                                                         

Debangana Roy

Dr.  D.C.Roy

Prologue:

Lepcha wisdom, a part of their indigenous knowledge, refers to the age old refined methods and practices developed by previous generations from an advanced understanding of the local environment with a strong will-power to save their culture, custom, tradition, belief, language, religion, belongings and lives from any future detrimental events. The Lepchas due to their long association with the environment and the place have observed, experienced and adopted their lifestyle as per the need and availability of the region. Originated in a closed and bounded hilly track, the Lepchas have designed their self style of living without much help from the outside knowledge and materials. The self-sufficient, self-contained, self-reliant Lepchas were independent and in course of time have developed their own knowledge in all fields of life. Their knowledge contains several important characteristics which can distinguish the community from others. Accepting the local surroundings as their universe and given, the Lepchas have developed their own ways of living in all fields of life by fully using the nature. They not only accept and use the nature but at the same time also thank and worship all aspects of the nature.

The present work essentially deals with how the Lepchas, the indigenous tribe of Eastern Himalayas, utilize their age old traditional knowledge in designing their costume to combat the weather, use local fiber, natural colour, self style design, sex wise variety, incidental and concomitant items towards one of the distinct identifying markers of the community.

Both Lepcha men and women have been adhering to their unique dressing sense since time immemorial. Their dress is colourful, comfortable, soothing, relaxing but attractive, gorgeous and elegant and at the same time all without being flashy or showy.  Lepcha dress is unique in its style and has no similarities with any other dress. They have designed their dress over long time according to their need, with the materials available locally. It is a one of the important markers of Lepcha identity and represents high sense of Lepcha wisdom and culture. The dress of the Lepchas is typical to the community and all materials used in it are collected from the resources found in the forests and local areas.

Male Dress:

Lepcha male dress is known as Dum-praa. Although Dum-praa is only one part of a complete male dress but the Lepcha male dress is known by the word Dum-praa. Like the medieval dress of the Romans and the Greeks, the length of Lepcha male dress reaches between knee and ankle. Dum-praa is a long flat blanket or shawl which is woven domestically. It is about three and a half feet in width and four to four and a half feet in length. Two pieces cut out of this cloth are joined together widthwise to wrap the whole upper portion of the body. It has dual role: it is used as a garment during day time and as a blanket at night.

L.S.Tamsang (1998) has mentioned three types of Dum-praa on the basis of patterns or designs used. They are: (1) Tagaap, the oldest design and is woven with floral design, (2) Khemchu, a scissors design of inverted and upright V’s and (3) Tamblyoak, a butterfly pattern. On the basis of materials used, there are three other types of Dum-praa: (1) Koozoo Vaadoah, the oldest dress made from Koozoo, a nettle plant. It is light, soft and natural plain dark cream colour without any type of dying or embroidery. It is costly, scarce in supply and thus is rarely used. (2) Thokroah, stripes on thin and soft fiber with black and white colour without any embroidery. It is multi-coloured with typical Lepcha pattern. (3) Menchhyo, a multi-coloured dress with a lavish splash of embroidery at the top where the Dum-praa drops down. The typical Lepcha pattern has vertical lines of varying thickness and colours. After wearing, the patterns beautifully drop from the shoulder all along the chest.

Tom Tshering Lepcha and Tar Tshering Lepcha (2010) have mentioned nine types of Dum-praa on the basis of their different patterns. They are: (1) Tsulot-tyet, (2) Tungbrik, (3) Tumblyok, (4) Poo-chak, (5) Sumok, (6) Samok or Sabok, (7) Tungtoksor, (8) Aa-shyer and (9) Aa-thyap-alyot. Tsulot-tyet is a pattern symbolizing arrow tips. Bow and arrow is the community weapon widely used for hunting and fishing. The tips of arrow are poisoned with substances obtained from the poisonous shrubs found in the local area. The tips of the arrow appear as one of the pattern of the Lepcha male dress, Dum-praa. Tungbrik and Tumblyok are the patters showing the stylist insects and butterfly. Lepchas are dwellers of forest which is rich in bio-diversity. They live among the insects and butterflies which become their constant company and are used as pattern in their dress. The pattern Poo-chak shows close association of the Lepchas with bamboo. Their love for bamboo and its multi-purpose use are reflected in the bamboo knot pattern of their dress.  Samok or Sabok is the pattern armour. When this pattern is used in Lepcha headgear, it is called Samok Thyaaktuk. Tungtoksor is a design of fern which the Lepchas use in their day to day life as food item. Use of fern as pattern in Lepcha dress shows close association of the community with the nature surrounding them. Aa-shyer is a pattern of thin strips of different colours. It has no significance other than the love of the community towards colourful dresses. Aa-thyap-alyot is a design where the ends of the cloth are left with frill of threads.

Lepcha shirt is known as Tago. It is loose with high neck at the back side and slightly open part in the front. Major part of Tago remained covered by Dum-praa except the sleeves and the neck. Tago has a rigid collar which runs around the neck and opens up at the throat in a small V towards the chest. It is made of thick cotton fiber and is mostly white or cream in color.

The top corners of each end of Dum-praa is most scientifically tied with Zet, a safety pin made of sharpened bamboo split or iron or bronze or silver preferably on the left shoulder with the shirt so as to allow free movement of the other shoulder and both the arms. The Lepchas leave one arm, generally the right arm free.

Dum-praa is gathered around the body at the hip and is fastened by a scarf or belt known as Nyaamrek.  It is a waist belt made of cotton cloth to tie and hold the upper dress items of the Lepchas.

The Lepcha trousers is known as Tomoo. It is three quarter in size and can reach between knee and ankle. It is made of thick cotton fiber and is mostly white or cream in color. The short size of Tamoo helps the Lepchas to work in waterlogged fields and leech infested jungles.

Lepcha shawl is known as Yaanglo. It is usually maroon or white in color. It has no pattern or design. It covers the chest area of the Lepcha gentlemen. Lepchas use Yaanglo during winter. It is also worn during marriage, rituals, occasion, festival, rituals, programmes etc. The Yaanglo is made gorgeous with embroidery work at both the ends.

In Lepcha, shoe is known as Dyaang Hlaom or simply Hlaom. But the Lepchas have no tradition of wearing shoes or any other kind of footwear. Even today they remain barefooted in the villages, but in the town they wear the normal shoes available in the market.

Tunggyip, a long handled bag hanging across the shoulder is a typical marker of Lepcha identity. Tunggyip is also known as Takvyaol. It has spot mark all over, which is known as Taak Tik. Lepchas carry all basic support items inside Tunggyip. It is a very useful dress and remains across the body in the village or town during agricultural operation, forest, fishing, hunting etc.

Thyaaktuk, the Lepcha hat is another distinct Lepcha identity. Depending upon the shape and size, Lepcha hat has different names like Samok Thyaaktuk, Paapree Thyaaktuk, Aanaok Thyaaktuk, Syeraaboo Thyaaktuk and Soring Thyaaktuk. Samok Thyaaktuk is an example of fine Lepcha craft. It is unique and takes lot of time and skill in preparing it. Lepchas use Ru or cane and sturdy but small bamboo (Cephalostachyum capitatum) in preparing Samok Thaaktuk. The Lepcha hat is decorated with bird’s feathers or tails. Numbong Fo tuksim, Rocket tailed Drongo’s tail is used to decorate hat for ceremonial purposes.

Baan, a short knife is kept in the waist hanging in wood or bamboo sheathe, which is another typical dress ornament of the Lepcha male. It is sharp on one edge and blunt on the other side. There are three types of Baan, the Lepcha Knife: Baan-pok, Baan-mok and Baan-Payook. Baan-pok is about a foot and a half to two feet long from the tip to the handle and two to two and a half inches broad. It is slightly curved at the top. Baan-mok is gently curved on both sides of the knife at the tip and in earlier days it was used against the enemies. Now it is used as ceremonial knife. Baan-Payook is a Lepcha sword and was used during war. It is not sharply pointed but gently curved at the top front end only. The Lepcha Baan is of typical shape and has no similarity with any of the weapons of the neighbouring communities. Baan-pok is commonly used as dress item by the Lepchas. It has multipurpose use. Lepchas use it for cutting trees, making utensils, constructing houses, agricultural operations etc. It is also used for protecting themselves from the attack of animals or human being and a Lepcha feels confident and gains mental strength in the presence of Baan-pok with him. J. D. Hooker admired the use of Baan-pok, “with only long knives and active hands, had provided us with a tolerably water-tight furnished house” (J.D.Hooker, vol.1;  1855, Reprint 2005; P-154). In another place he added “with the simple resource of a plain knife he makes his house and furnishes yours, with a speed, alacrity, and ingenuity that wile away that well-known long hour when the weary pilgrim frets for his couch” (J.D.Hooker, vol.1;  1855, Reprint 2005; P-165). L.S.Tamsang narrates the unique character of Baan-pok “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 of the knife initially confronts the proposed target” (L.S.Tamsang, 1998; Pp- 9-14). Baan-pok is a part of their ordinary dress item and is always kept hanging at the left side of their waist.

Salee- Tsaong i.e. the bow and arrow is typical item of Lepcha dress. On his way to hunting, a male carries a Salee by hanging on his shoulder and the quiver containing Tsaong, arrows on his back. In the early days Lepchas depended absolutely on forest for food and the Salee- Tsaong comprised an integral part of Lepcha dress. Salee, bow is usually made from split bamboo dried and hardened from being kept in the smoking area for seasons, bamboo though strong can be bent into a bow. The strings of forest creepers or animal veins are used as strings and firmly notched at both ends of the bow. The bow is flattened at the middle to withstand the tension from the bend and tapers towards both ends. Tsaong, arrows are made from matured dry split bamboos or canes. The Tsaong nyak, arrow head is made pointed with iron tip while Tsaong gro, the arrow feather end is made by tightening the bird’s feather in four different equal parts. Bird’s feather is used to confuse the animals or birds during hunting. The Tsaong nyak or the tips of the arrow are made poisonous by collecting poison from the roots of the poisonous plants available locally. Bamboo or cane is used to make the Tsaong Saloo, quiver for resting the arrows at the back of the hunter. Salee and Tsaong are considered as accessories for the Lepchas and compulsory items for the hunters.

A group of Lepcha men with their traditional dress comprising of Dum-praa with Zet, a safety pin; Nyaamrek, a waist belt; Tago, the loose shirt; Tomoo, Lepcha trouser;  Yaanglo, Lepcha shawl; Dyaang Hlaom, ordinary shoe; Tuggyip, long handled bag; Thyaaktuk, Lepcha hat; Baan-pok, Lepcha knife; Salee- Tsaong, bow and arrow is exceedingly picturesque, pleasing, elegant and graceful.

Female Dress:

Lepcha female dress is known as Dum-dem or Dum-bun.  The traditional Tamaan-dam is a course silk dress and cream in colour. Dum-dem or Dum-bun or Tamaan-dam is worn by covering the body criss-crossing just below the neck. It is a long dress which covers the whole body up to feet. Lepcha females do not use colourful dresses but prefers more simple, sober and most natural color. The Dum-dem is a flowing dress brightly coloured and smooth as the cloth is derived from cocoons of caterpillars from the forest. The coarse silk threads are dyed and woven into this simple flowing dress of the Lepchas.

Females use Tago, long sleeved loose blouse inside the Dum-dem. Both Dum-dem and Tago, the blouse, are plain in colour. Dum-dem is normally light color while Tago is red. Females do not use multi-coloured dress like the males.

A married Lepcha lady use Jyoordong Tago, meaning a flowing long sleeve gown over her Dum-dem or Dum-bun or Tamaan-dum. Jyoordong Tago is used symbolically to indicate that she is married. Lepchas use either black or blue velvet for Jyoordong Tago. 

Dum-dem or Dum-bun or Tamaan-dum is tied with Zet, a safety pin made of sharpened bamboo split or iron or bronze or silver on both the shoulders with their Tago or Jyoordong Tago. The Zet keeps all the weight of Dum-dem or Dum-bun or Tamaan-dum and allows free movement of both the shoulders and arms.

In the waist the females use Nyaamrek, a waist belt made of cotton cloth to tie and hold the upper dress items of the Lepchas.

Lepcha females use hanging portion of the front side of Nyaamrek as bags known as Dum-pyoom. It is used to collect fruits, vegetables etc. Dum-pyoom is traditionally used by the Lepcha females to greet a person. While greeting, a Lepcha female should hold the Dum-pyoom with two hands and say Khaamree. 

A scarf known as Tarao is used around the head of the Lepcha females. It is small in size and normally white in colour. Tarao is the female counterpart of Thyaaktuk, the male hat. It protects the females from cold and dust. 

Baan-hoor, a small knife is kept at the back of the Nyaamrek. It is used to protect them from animals and enemies. This is the female counterpart of the Baan-pok.  It is used in searching roots, edibles in the forest and also to cut grasses, vegetables, fruits, fire-woods and even used as a tool in agricultural operation. Girls are given the Baan-hoor, the sickle at the age of eight or ten years both as a piece of ornament and as a weapon to protect themselves from the enemies. 

Lepcha females are the lovers of Pansaan-palan, jewellery and ornaments. “Zet, a pair of silver safety pins to hold Dum-bun on both sides of the shoulders; Kakyoop, a ring, Kaawo, an amulet with Panzin, silver chains hooked to the amulet, and especially Sambraang Boor, silver chains with a Sambraang flower design, fastened by the side of her right waist; Kakel, a Bangle, and Takvil Lyaak, a necklace, made of fine, intricate cane splits, designs, and patterns enhance her charm, beauty, and personality” (L.S.Tamsang, 1998; P- 9-14).

Both male and female keep long hair but the style of plait distinguishes the sex. The males plait their hair in single braid while the females plait double braids. Unmarried women’s double plaited hair style is called Chyehem Tsaombee while the married women’s hair style is called Gi Pamoal Chom Phyoak. The Chyehem Tsaombee is compared with hair crested or Spangled Drongo bird’s tail while Gi Pamoal Chom Phyoak is compared with the black shiny cobra.

A group of Lepcha female with their traditional dress comprising of Dum-dem or Dum-bun or Tamaan-dum with Tago or Jyoordong Tago, loose blouse; Zet, a safety pin; Nyaamrek, a waist belt; Dum-pyoom, a pocket; Taroa, a scarf; Baan-hoor, Lepcha sickle; Pansaan-palan, jewellery and ornaments is exceedingly picturesque, beautiful, gorgeous, polite, elegant, attractive, pretty, cute and charming.

Materials Used:

Lepchas are the great naturalists of the Eastern Himalayan region. They not only know details about the fauna and flora of the region but also use them in their day to day life. All materials used in Lepcha dresses are collected and processed from the raw materials available in the local forest. The forest not only supplies fruits, roots etc for food items but also supplies tough fibers and sinews for weaving coarse blanket like cloths which the Lepchas use in their upper part of the body. “They dwelt in pretty cottages, around which they cultivated their plot of ground …… cotton, from which they spun their cloth:” (Mainwaring, 1876, P-ix). They collect silk from forest caterpillars for weaving clothes. The various trees, flowers, shrubs, roots, leaves are used for dyeing their cloths. They not only use descent colours but also the colours are first and long lasting.  Roots and leaves of two types of Syam Rik, Rubia Manjith are grounded and mixed with cold water to get red color. This gives permanent red colour for Lepcha Dum-praa. Maize is first roasted until it gets black in colour then the maize is grounded into powder. Black colour is made by mixing the powder with cold water and solution of tender leaves of Takmel, a type of forest shrub. This black colour is also used as black ink to write Lepcha manuscripts particularly the Naamtho Naamthaar, the holy manuscripts of the Lepchas. Blue colour is made by mixing the ground matured seeds of Gyabukhanak, Dichroa febriguga, a shrub is mixed with cold water. Thus all the three important colors – red, blue and black are made available from the locally available sources.

Lepchas have different types of hats or headgears like Samok Thyaaktuk, Paapree Thyaaktuk, Aanaok Thyaaktuk, Syeraaboo Thyaaktuk and Soring Thyaaktuk. These hats are normally made of fine canes, bamboos, straws and leaves and fine velvet cloth.  

Colours Used:

In traditional days only white and blue colours were used in Dum-praa. But in present days besides white and blue, Lepchas are also using red, green, orange and black colours in Dum-praa. White colour is a symbol of purity and perfection; blue symbolizes wisdom and progress; red stands for strength and energy; green is used for nature, peace and harmony; orange symbolizes material wealth and black stands for vibration of dignity.

Dum-dem, Lepcha female dress is simple, sober and most natural in colour. Tago, the blouse, is also plain in color. Sometimes Dum-dem is light colour while Tago is red. Females did not use multi-coloured dress like the males.

Some Comments:

A brief review of the existing literature on the Lepchas can highlight different aspects of the dresses of the community. All the comments not only depict the variety of Lepcha male and female dresses but at the same time, appreciate the quality and its usefulness as per the demand of the environment. Some such comments are:  

The description of A.Campbell shows the nature and type of Lepcha dress during those days. “The Lepcha dress is simple and graceful. It consists of a robe of striped red and white cotton cloth crossed over the breast and shoulders, and descending to the calf of the legs, leaving the arms bare ; a loose jacket of red cotton cloth is worn over the robe by those who can afford it, and both are bound round the waist by a red girdle ; some strings of coloured beads round the neck, silver and coral earrings, a bamboo bow and quiver of iron-pointed arrows, and a long knife complete the dress of the men. The knife, called " Baan'' by the Lepchas, and" chipsa" by the Bootias, is constantly worn by the males of all ages and ranks ; it hangs on the right side suspended from the left shoulder, and is used for all purposes. With the “baan" the Lepcha clears a space in the forest for his house and cultivation ; it is the only tool used by him in building ; with it he skins the animals that fall a prey to his snares and arrows ; it is his sword in battle, his table knife, his hoe, spade, and nail parer. Without the “ban" he is helpless to move in the jungle; with it, he is a man of all work : the expertness with which it is used by the boys of a few years' old even is the astonishment of strangers. The women are less neatly dressed than the men : a piece of plain unbleached cotton cloth, or the cloth of the castor oil insect, rolled round to form a sort of petticoat, with a loose red gown of the same, and a profusion of mock coral and coloured bead necklaces, form their entire wardrobe” (A.Campbell, 1840; P-383).

J.D.Hooker penned down some lines on the Dum-dem and discussed the other items of female dress. “When in full dress, the woman’s costume is extremely ornamental and picturesque; besides the shirt and petticoat she wears a small sleeveless woolen cloak, of gay pattern, usually covered with crosses, and fastened in front by a girdle of silver chains. Her neck is loaded with silver chains, amber necklaces, etc., and her head adorned with a coronet of scarlet cloth, studded with seed-pearls, jewels, glass beads, etc. The common dress is a long robe of indi, a cloth of coarse silk, spun from the cocoon of a large caterpillar that is found wild at the foot of the hills, and is also cultivated: it feeds on many different leaves, Sal (Shorea), castor oil etc”  (J.D.Hooker, Vol. 1: 1855: Reprint: P-122,123).

J.D.Hooker also discussed about the hair style of the Lepchas: both male and female. “In these decorations, and in their hair, they take some pride, the ladies frequently dressing the latter for the gentlemen: thus one may often see, the last thing at night, a damsel of discreet port, demurely go behind a young man, unplait his pig-tail, tease the hair, thin it of some of its lively inmates, braid it up for him, and retire. The women always wear two braided pig-tails, and it is by this they are most readily distinguished from their effeminate-looking partners, who wear only one” (J.D.Hooker, Vol. 1: 1855: Reprint: P-122).

W.W.Hunter has given a detailed account of Lepcha dress in his ‘A Statistical Account of Bengal’. He states: “The Lepcha’s dress is very scanty; and while Englishman at Darjiling are wearing woolen under-garments and hose, he is content with one cotton vesture, which is loosely thrown round the body, leaving one or both arms free; it reaches to the knee and is gathered round the waist. Its fabric is close; the ground colour white, ornamented with longitudinal blue stripes prettily worked with red and white. When new and clean, this grab is remarkably handsome and gay, but not showy. In cold weather an upper garment with loose sleeves is added. A long knife with a common wooden handle hangs by his side, stuck in a sheath; he has often also a quiver hangs of poisoned arrows and a bamboo bow across his back. On his right wrist is a curious wooden guard for the bowstring; and a little pouch containing aconite poison and a few common implements is suspended from his girdle. He seldom wears a hat, and when he does, it is often extravagantly broad and flat brimmed, with a small hemispherical crown.  It is made of leaves Scitamincae, between two thin plates of bamboo-work, clumsy and heavy. This is generally used in the rainy weather; while in the dry season a conical hat is worn, and of plaited slips of bamboo, with broad flakes of talc between the layers, and a peacock’s feather at the side. His umbrella consists of a large hood, much like the ancient boat called a coracle, which being placed over the head reaches to the thighs behind. It is also made of plaited bamboo. A group of Lepchas wearing these hats, running along in the pelting rain, are very droll figure; they look like snails with their shells on their backs. All the Lepchas are fond of ornaments, wearing silver hoops in their ears, necklaces made from cornelian, amber, and turquoise brought from Thibet, and pearls and corals from the south, with curious silver and golden charm-boxes or amulets attached to their necks or arms. These last are the Tibetan workmanship, and are often of great value. They contain little idols, charms, and written prayers, or the bones, hair, or nail parings of Lama or Buddhist priest; some are of great beauty, and highly ornamented. In these decorations and in their hair they take some pride. The women always wear two braided pigtails, and it is by this they are most readily distinguished from their effeminate-looking partners, who wear only one. When in full dress, the women’s costume is extremely ornamental and picturesque; besides the shits and petticoat, she wears a small, sleeveless, woolen cloak of gay pattern, usually covered with crosses, and fastened in front by a girdle of silver chains. Her neck is loaded with silver chains, amber necklaces, etc. ; and her head adorned with a coronet of scarlet cloth, studded with seed pearls, jewels, glass beads, etc. the common dress is a long robe of endi, a cloth of coarse silk spun from the cocoon of a large caterpillar” (W.W.Hunter; 1876; Reprint 1984: P- 49,50).

H.H.Risley has given a brief description about a Lepcha dress during the period of British induction in this part of the country. He states: “The Lepcha dress is simple and graceful. It consists of a robe of striped red and white cotton cloth crossed over the breast and shoulders, and descending to the calf of the leg, leaving the arms bare; a loose jacket of red cotton cloth is worn over the robe by those who can afford it, and both are bound round the waist by a red gridle; some strings of coloured beads round the neck, silver and coral earrings, a bamboo bow and quiver of iron-pointed arrows, and a long knife complete the dress of the men. The knife, called “ban” by the Lepchas, and “chipsa by the Bhotias, is constantly worn by the males of all ages and ranks: it hangs on the right side, suspended from the left shoulder, and is used for all purposes. With the “ban” the Lepchas clears a space in the forest for his house and cultivation; it is the only tool used by him in building; with it he skins the animals that fall a prey to his snares and arrows; it is his sword in battle, his table knife, his hoe, spade, and nail-parer. Without the “ban” he is helpless to move to the jungle; with it he is a man of all work: the expertness with which it is used by the boys of a few years old even is the astonishment of strangers. The women are less neatly dressed than the men: a piece of plain unbleached cotton cloth, or the cloth of the castor oil insect- the indi-rolled round to form a sort of petticoat, with a loose red gown of the same, and a profusion of mock coral and coloured bead necklaces, from their entire wardrobe. They are the domestic and farm drudges of the men, performing all out and in-door work along with their husbands, and much besides”  (H.H.Risley,1891;Reprint,1981; P-13).

L.A.Waddel discussed about Dum-dem, the female dress, hair style, scarf and jewellary. He writes that “the indoor dress of the women is a close-fitting gown without sleeves, and this was probably their full dress originally. But now, for out of doors, they wear over all a long, loose, wrapper like white cotton gown with long wide sleeves turned up in Tibetan fashion at the cuffs to show the red lining—a dress which effectually masks the figure and has little grace in its drapery. Their hair is parted in the middle and done up into two pig-tails which are usually gathered in a knot on the crown and secured with a silver pin. And over the head is thrown a gaudy silk handkerchief, drooping negligently over the neck, somewhat in the fashion of a Spanish peasant-girl’s. Around the neck they wear as much jewellery as they can afford. Their stocking less foot are unshod” (L.A.Waddel, 1899).

Lepchas particularly the females are expert in weaving both Dum-praa, their men’s dress; Tunggip, a long handled bag; Thyaaktuk, the Lepcha hat etc for the male members of the family. Almost all houses have their weaving apparatus and the females weave during their leisure time which forms a part of their household task. “The most important industry is weaving, coarse cotton cloth being woven by all the aboriginal races. The favourite patterns have a white or red background striped with red and blue or yellow and blue. These Lepcha cloths, as they called, are in some request among the residents of and visitors to Darjeeling; and, as worn by the Lepchas themselves, they make a picturesque dress (L.S.S.O.Malley, 1907; Reprint; P- 127).

Fred Pinn noted the material used, colour, length of shirt, belt, safety pin and other details of Lepcha dress. He observed that Lepcha dress “is nearly the same for male and female, except that the latter wear it rather larger in the skirt; its material is of thick cotton or woolen, generally of its natural colour, but occasionally dyed blue; it consists of a kind of tunic reaching to the knees, and fastened on each shoulder by a metal skewer, sometimes of silver, leaving the turn of the shoulders and the arms bare and confined by a belt round the waist; to this, such as can afford it, add a kind of jacket, or short shirt with loose sleeves”(F.Pinn, 1986; P- 83).

Epilogue:

A Lepcha dress is certainly unique and at the same time, it can well be considered as one of the identifying markers of the community. Dress represents the nature of culture of any community. The pattern or design of a Lepcha dress is sober and elegant. The colour used is typical for the community and is eye soothing. The length and style are gentle and weather friendly. The accessories are simple and need based. Weaving and dyeing are done most systematically and scientifically. Materials used are eco-friendly and locally available. All materials and accessories of Lepcha dresses are available and are collected from the local areas. Forest provides them cotton, dye and everything they need for weaving the dress at home. Lepcha women are good weavers and they have acquired the skill of weaving all parts of both male and female dresses. Lepchas do not depend on the market for the supply of any material for their dress. This not only establishes close association of the Lepchas with the forest but also shows the knowledge of the community about the forest. This supports that the Lepchas are the original inhabitants of the place. 

References

Campbell, A., (1870). ‘On the Lepchas’. The Journal of Ethnological Society of London, (1869 – 1870), Vol. 1 No. 2,

Hooker, J.D., (1855). ‘Notes of a Naturalist in Bengal, The Sikkim and Nepal Himalayas, The Khasi Mountains & C’.  Himalayan Journal. Vol.2, Murry, London.

            Lepcha, T.T. & T.T.Lepcha, (2010). Indigenous Lepcha Weave. Renjong Mutanchi Rong Tarjum, (Sikkim Lepcha Association). Kurmon Building, Gangtok.

            Molommu, S.P., (2014). ‘The Indigenous Ethnic Attire of the Lepchas of India: A Case Study’. Indian Streams Research Journal. ISSN 2230 – 7850. Volume-4. Issue-4. May-2014.

O’ Malley, L.S.S., (1907). Bengal District Gazetteers : Darjeeling. The Bengal Secretariat Book Depot, Reprint, 1989, Logos Press, Delhi.

            Pinn, F., (1986). The Road of Destiny: Darjeeling Letters 1839. Oxford University Press, Calcutta. [Fred Pinn spend one chapter on the ‘The Lepcha Problem’ in his “The Road of Destiny: Darjeeling Letters 1839].

Roy, D. C., (2005). Dynamics of Social Formation Among the Lepchas. Akansha Publishing House. New Delhi. ISBN: 81-87606-93-2.

Roy, D. C., (2010). Status of Women Among the Lepchas. Akansha Publishing House. New Delhi. ISBN; 978-81-8370-210-2.

 Roy, D. C., (2012). Lepchas: Past and Present. N.L.Publishers Shiv Mandir. Siliguri. West Bengal. ISBN: 978-81-86860-62-5.

 Roy, D.C. & Lepcha, D. S., (2016). Mahasweta Devir Dasti Choto Galpo. Collection and Translation of Ten Short Stories of Mahasweta Devi in Bengali and their translation in Lepcha. Mayel Lyaang Lepcha Development Board, Kalimpong, West Bengal.  

 Roy, D.C. & Lepcha, D. S., (2016). Lepcha Natak Sangraha. Collection of Lepcha Drama and their translation in Bengali.  Mayel Lyang Lepcha Development Board. Kalimpong, West Bengal.

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Roy, D.C. & Roy, Debangana., (2017). A Complete Lepcha Life: Culture, Custom, Tradition, Belief, Language, Religion etc. of a small community. Samiksya Print’z. Kalimpong.

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Note:

The present article is a part of our book A Complete Lepcha Life: Culture, Custom, Tradition, Belief, Language, Religion of a Hill Community published in 2017.

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