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.
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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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