HANDICRAFTS AND HANDLOOM INDUSTRY IN SIKKIM:
CHANGES AND CONTINUITY (1947-1975)
A Dissertation Submitted To Sikkim University
In Partial Fulfillment of the Requirement for the Degree of Master of Philosophy By
Sangay Tshering Sherpa Department of History School of Social Sciences
February, 2019 Scanned by CamScanner Scanned by CamScanner Scanned by CamScanner ACKNOWLEDGEMENT
I would like to take this opportunity to acknowledge my sincere gratitude to my supervisor Dr. Anira Phipon Lepcha, for her support, guidance and encouragement to complete my dissertation. I’m grateful to Dr. Vijay Kumar Thangellapali, Head of the Department of History, for his guidance and valuable advice in every step of my research works. I also express my deepest gratitude to all the professors of the
Department of History for their guidance and valuable suggestion.
For the completion of my research work I convey my thanks to the faculty member and librarian of the Sikkim State Library, Sikkim University Central library,
Namgyal Institute of Tibetology, Handicraft and Handloom Center, West Sikkim and
Sikkim State Archive. I would like to thank the Chopel madam, Additional Director of Directorate of Handicrafts and Handloom, Government of Sikkim for providing different figure of arts and crafts.
I would like to express my deepest gratitude to Almighty Lord for your blessing and guidance. I’m also very much thankful to my sister Nimdiki and Puja for helping me to collect data and information. I would like to thanks my brother
Passang Dorjee for providing financial support and encouragement. I also like convey my thanks to my friends Bhaskar, and Rukshana for your valuable cooperation and support. Lastly it is needless to say that without your support and encouragement the present work would not possible.
SANGAY TSHERING SHERPA
GLOSSARY
Pepon : The administrative head of a particular region of North Sikkim
Chaprasi : The guard
Chogyal : Dharma raja or king or Maharaja
Majito : Creeper Plant locally found in forest and the botanical name is
Rubia Cardifolia
Moorah : Stool made of bamboo products
Hatts : Weekly local Market
Mela : Fairs or crafts fairs
Choekyi : The wheel of Dharma
Palbhen : Endless Knot
Pema : Meaning is lotus
Nam-khang : Manufacturing center
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LIST OF ILLUSTRATIONS
LIST OF TABLES Page No.
Table 1:Tools used in Carpets Making 36 Table 1.1: Name of the Plants use for Dyeing Handloom and Handicrafts Products 42 Table1. 2: Share of Sectoral and Sub-Sectoral Plan Allocation in Sikkim (1954-1975) 61 Table 1.3: Number of Trainees in Four District of Sikkim in Handicrafts and Handloom sector from 1997-2001 64 Table 1.4: Fourth Five Year Plan of Sikkim, Handicraft & Cottage Industries (1972-1973) 66-67 Table1.5: Center and Section of Handicrafts and Handloom in North, South East and West district of Sikkim. 69-72 Table 1.6: Branches in North and South district of Sikkim with Year of Establishments 75-76 Table 1.7: Branches in West district of Sikkim with the Year of Establishment 77 Table 1.8: Community wise Census of Sikkim 1891 85 Table1.9: Number of Trainees by gender and type of handicrafts from1997-1999 105
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LIST OF FIGURES
Page No.
Figure.1: Thanka painting 27
Figure.1.1: Cane and bamboo crafts 30
Figure.1.2: Loom for carpet weaving 34
Figure.1.3: Carpet designs 35
Figure.1.4: Wooden table 37
Figure.1.5: Wooden screen 38
Figure.1.6: Image painted with natural dye 44
Figure.1.7: Lepcha traditional dress 88
Figure.1.8: Lepcha hat 90
Figure.1.9: Traditional dress of Nepali community 96 figure.1.10: Lucky signs 103
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CONTENTS
Page No.
ACKNOWLEDGEMENT i
GLOSSARY ii
LIST OF ILLUSTRATIONS ii-iv
CHAPTER-I 1-15
Introduction
CHAPTER-II 16-47
The nature and growth of handicrafts and handloom industry in Sikkim
CHAPTER-III 48-78
The role of the state in handicrafts and handloom industry in Sikkim
CHAPTER-IV 79-107
Socio-economic structure of handicrafts and handloom industry in Sikkim
CHAPTER-V
Conclusion 108-113
BIBLIOGRAPHY 114-119 CHAPTER-I INTRODUCTION The establishment of handicrafts and handloom industry in and around the world has its long historical and cultural background. The practice of producing goods to be used for local consumption had started since the dawn of civilization and slowly with the advance of culture the excess production of handicrafts and handlooms became a part of the trade, thus turning into an industry. It is thus deeply rooted in the culture and tradition of the native society as a whole. Employment of the people in craft production fulfilled their daily requirement of the family in rural as well as in urban areas. Manufacturing of the several crafts and handloom products are flourished across the villages as well as in towns.
The handicrafts were primarily practiced by the craftsperson having the traditional skills and knowledge (including both skilled and semi-skilled). The productions in the field of handicrafts industries generally are rural and family-based rather than manufacturing as a whole. As a result, in India, most of the crafts are produced within families, which require manual labour and skills. This craftsmanship and the crafts reflect the artistic value and the traditional lifestyle of that particular rural area. In India, there are many highly commercialized crafts like printed textile, carpet, wooden products, handloom weaving, etc. and the export of handicraft products gradually saw an increase from the 1990s onwards.1
1 Government of India, Ministry of Textiles, Note on Handloom Sector, Office of the Development Commissioner Handloom, 2015, pp. 1-2.
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Handloom is an integral part of the rural and semi-rural economic activities. Apart from agriculture, it is one of the largest unorganized activities. The production of handloom goods is eco-friendly and requires minimum use of mechanical power and capital. The contribution of the weavers and their skills keep the traditional crafts and handloom alive in the different state of India.2 The different terminologies being used to denote the handicrafts and handloom industries like cottage industries, household industries, handicrafts, and traditional Industries, etc. With the utilization of traditional skills and knowledge, millions of people continue the production of handicrafts goods in the world even today.3 The Government, as well as private organizations, is taking several initiatives and policies to increase the scale of handicrafts and handloom production.
In this context, this research work proposes to look into the handicrafts and handloom industry in the state of Sikkim, emphasizing to seek its development, changes, and continuity as a major industry. Sikkim is situated in the northeastern part of the
Himalayan region of India. The development of skills, craftsmanship and the establishment of handicrafts and handloom industries in Sikkim have long historical root.
The skills in handicrafts and handloom production reflect the talent and culture of the different communities of Sikkim.
Each community in Sikkim has their skills and interest in the practice of craft production as well as in weaving. For instance, the Lepcha community is skilled in bamboo-crafts, spinning of loom and weaving, similarly, on the other hand, the Bhutia
2Ibid. 3 Maureen Liebl, Tirthankar Roy, Handmade in India, Preliminary Analysis of Craft Producers and Craft Production, Economic and Political Weekly, 2003, pp.1-6.
2 community is skilled in ancient Tibetan practices of carpet weaving and rug weaving with muted shades and brilliant colours of pure vegetable dyes. The Nepali communities are famous in metal work, silverware, and woodwork.
The role of the state is also prominent in the enhancement of the practice of craft making and weaving. The patronage of the government further promotes the sustainability of traditional industries and craft production in Sikkim. Initially, the people used to weave cloths and carpets by using their handlooms at their houses with the help of the indigenous equipment for self-use and sometimes they used to sell the surplus produce in the Hatts.4 In order to sustain this practice of handicrafts and handloom, the
Palden Thondup Institute of Cottage Industries was set up in 1957 by the then Chogyal
Palden Thondup Namgyal in Gangtok.5 In the beginning, there were only 58 trainees
(local female and male) enrolled in this institute, but slowly the numbers increased with the development of scope and marketing. Similarly, the two weaving factories were also established in Lachung and Lachen, both in North Sikkim in 1976.6 In this research work the state signifies the Chogyal or Maharaja of Sikkim and the Government of Sikkim.
The primary aims and objectives of this institute were to preserve the traditional arts and crafts and the traditional skills and talent of the people of Sikkim. This institute encouraged the local youths which included both boys and girls for regular training in the
4 Weekly local Market 5 Golden Jubilee Celebrations,1957-2007,Estd.9th March, Directorate of Handicrafts & Handloom, Government of Sikkim, issued by Information and Public Relations Department, Government of Sikkim, 2007, p.1 6 Sukhdev Singh Chib, This Beautiful India, Sikkim, Light & Life Publishers, New Delhi, 1977,p.49.
3 field of craft and weaving. The Palden Thondup Institute of Cottage Industries was later known as Government Institute of Cottage Industry (GICI) likewise at now, it is known as Directorate of Handicrafts and Handloom, Government of Sikkim. In this Institute, people are employed as part-time workers as well as a permanent employee. Furthermore, it is making considerable efforts in employing, the youth to be self-reliant and self- depended.
The involvement of people in the field of handicrafts and handloom industry support the social and economic life of the people of Sikkim. The ideas, skills and traditional knowledge of craft production and weaving continuously transfer from one generation to the other. The innovation of tools and technique in the process of weaving and craft making further developed a variety of designs and products.
STATEMENT OF THE PROBLEM
The practices of weaving and craft production reflect the culture and traditions of society.
Handicrafts and handloom industry is a major source of income for rural communities which support the livelihood of the family or individuals. It has both social and economic significance. The numbers of the weaver, craftsperson, and artisan are engaged in crafts work as a part-time as well as permanent. Historically, in Sikkim, different communities are engaged in particular handicrafts and handloom activities which throw much light on their social structure of the society.
In Sikkim, the state played a leading role in the development of handicrafts and handloom industry. The establishment of the training schools and Palden Thondup
Institute of Cottage Industries further initiate the training programmes in various parts of
4 the state under the Chogyals (ruler of Sikkim). These generated the interest and participation of the people in handicrafts and handloom sector. Further, with the establishment of Directorate of Handcrafts and Handloom, there was a rise in the number of weaving and crafts making institutions in the four districts of Sikkim. As a result, the visible impact can be seen in the increase in the volume of production. Therefore, this institute further, started to search for the market to supply the products globally. With the passage of time, many integrated handicrafts and handloom institutions and the training schools were established in every corner of all the four districts of Sikkim. The initiative of the state and cooperation of all the communities further promote the growth and development of weaving and craft production in the state of Sikkim.
The main focus and motive of this research are to seek and bring forth the elements of development in the area of handicrafts and handloom production and also to look into the causes behind the changes. The topic of this research itself reflects the changes and continuity of Handicrafts and Handloom industry. Therefore, this work could not limit itself to the said time frame (1947-1975). Moreover, it emphasizes both the traditional and contemporary nature of the handicrafts and handloom industry. After
India‟s independence (1947), many planning were initiated in India. As a result, Sikkim also received financial support which cumulatively helped in the development of cottage or village industries in Sikkim. However, in 1975 Sikkim became the 22nd state of Indian
Union.
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LITERATURE REVIEW
In this research, both the primary and secondary sources are referred. Further, to have a proper understanding of the tradition of weaving, wood carving, crafts making, the process of evolution, and the dyeing process; journals, articles, Gazetteers, and archival records are used. However, much of the work has not been done in this area. Most of the books and journals have analyzed the broader understanding of the industries and the economy of the state of Sikkim.
H. H, Risley, The Gazetteer of Sikkim view on the historical background of the handicrafts and handloom tradition of Sikkim. He also observes the imports of raw materials and the traditional economic lifestyle of the communities of Sikkim. However, in this book, there is an absence of comprehensive study about the establishment of weaving institution.
J Claude White in his book, Sikkim and Bhutan Twenty-One Years on the North-
East-Frontier, particularly in chapter „Arts and Industries of Sikkim and Bhutan‟ mentioned his experience and observation on Sikkim traditional handloom practices.
Further, he has also described his personal experience in the state of Sikkim. White also mentions how his policies improved the traditional practices of weaving and crafts making in Sikkim.
Gazetteer of Sikkim, edited by Sunita Kharel and Jigme Wangchuk Bhutia briefly highlights the historical background of the handicrafts and handloom industry in Sikkim.
It does not explain the provision of the trade and market for handicrafts and handloom products.
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Smririkumar Sarkar‟s article Social Organization of Artisan Production in India:
Changing Role of Market, Technology and Merchant-Creditor: 18th to 20th Centuries in
History of Science, Philosophy and Culture in Indian Civilizations, Volume-VIII,edited by D.P Chattopadhyaya, Binay Bhushan, Chaudhuri gives the detailed analysis of the artisan‟s involvement in the handicrafts and handloom tradition in India. He explains that the structure of artisans is changed with the changing time. Further, this book emphasizes how Indian historiography neglected the artisan historiography. Beside this book also illustrates the impact of British rule on Indian artisans.
S.R, Lepcha, R. Gurung, & M.L, Arrawatia, in Indian Journal of Traditional
Knowledge, volume-11, published “Traditional Lepcha crafts Sumok-thyakut (Lepcha
Hat) and Conservation in Dzongu Tribal Reserved Area (DTRA), Sikkim, India.” This article pointed out that the weaving of Lepcha Hat is one of the oldest arts and crafts of
Sikkim. Cane and bamboo, the tail of birds, are the main raw materials for weaving the
Lepcha hat. This journal further explains about methods and process of weaving hat.
The Splendor of Sikkim, Culture and Tradition of Ethnic Communities of Sikkim, published by Cultural Affairs and Heritage Department Government of Sikkim highlighted the social economic and religious tradition of the various communities of
Sikkim. Each community has their distinct arts and crafts in Sikkim. However, it does not mention the nature and growth of the handicrafts and handloom institutes.
Theodore Herman‟s article on „Role of Cottage and Small-Scale Industries in
Asian Economic Development‟ mentions the concept of handicrafts, handloom and cottage industries. Further, he also discusses the exports and imports of handicraft
7 products in Asia. This has helped to understand the concept of handicrafts, handloom, and cottages industries, also the production scale, and export in Asia.
The book on History, Culture, and Customs of Sikkim written by J.R Subba mention the historical background of the origin of arts and crafts in Sikkim. He has also highlighted the study of the traditional weaving dresses, making handicrafts equipment, weapons, and the community wise handicrafts and handloom products in detail.
Regarding the background of economic plan and policy of the Government of
Sikkim, J.C Debnath, on his book Economic History of Sikkim, Before and After
Independence observes that the different plan and policy of the Government of Sikkim helped in the establishment of training sections, and institute of the cottage industry.
The book written by David Arnold, Kharchandy, Understanding Tribes of Asia, views about the social and cultural background of the Lepcha community. This article has helped to understand the social setup of the aboriginals Lepchas of Sikkim.
Mowsume Bose Roy‟s (Datta) book on Women in Handicrafts Industry, A Study of Sikkim broadly analysis about the women‟s contribution to the development of handicrafts and handloom tradition in Sikkim. Another interesting point is that this book points out the data of some handicrafts and handloom institutions. However, this book does not outlook the historical background of the tradition of weaving and crafts making.
Similarly, it does not mention about the plan and policy of the State Government.
An Autobiography, Time Change written by Hope Cook describes her journey of life from the USA to Sikkim. Her autobiography also pointed out as how people of hilly areas use bamboo to conducts water from one place to other. It also mentions Maharaja
8
Kumar or Chogyal Palden Thondup Namgyal was attracted to the beautiful design of carpets. His room was decorated with carpets and handicrafts products.
An article entitled „Note on Handloom Sector‟ issued by the Government of India,
Ministry of Textiles, helps to understand the handloom industries in India. On the other hand, it also mentions the materials required in the handloom industries. However, it does not provide much information on the handicraft related issue.
Suresh Kumar Gurung emphasized the social and political dimensions of Sikkim.
His book Sikkim Ethnicity and Political Dynamics, A Triadic Perspective mostly view the cultural and political history of Sikkim and its community.
Journal of Traditional Knowledge, entitled Traditional handloom and handicrafts of Sikkim, volume-9, written by Tika Prashad, Sharma & S.K, Borthakur describes mainly about the community and their professional arts and crafts.
T.M Abraham in his Handicrafts in India analyzes the interrelation between society, culture and the tradition of arts and crafts. This book generally deals about the structure and the origin of the handicrafts in India and the world.
Aribam Indubala Devi has studied a various economic occupation and the government institutions of Sikkim. Moreover, her book on Amazing North East Sikkim also examined growth and development of the small scale industries of Sikkim.
The book on Indian Folk arts and crafts, written by Jasleen, Dhamija broadly revealed on the Indian ancient arts and crafts. Her studies also examine the various cultural festivals and the society of India.
9
Verrier, Elwin made the detailed analysis of the ancient arts and crafts of the tribal areas of North East. Moreover, the interesting information regarding the interrelation between the tribal communities with the weaving and craft tradition can be found in his book Art of the North-East Frontier of India, North-East Frontiers Agency.
Sukhdev Singh Chib‟s book on This Beautiful India, Sikkim briefly mentions
Sikkim‟s handicrafts and small scale industry.
Regarding the dyeing and dye process across the world C.E. Pellew, has done the extensive studies on the book Dyes and Dyeing. Similarly Pellew also broadly analyzed the significance of vegetable dyes and aniline dyes.
David P Jackson, Janice A, Jackson on his book Tibetan Thanka Painting,
Method and Materials studied the historical background and the composition of thanka painting. Besides, the studies were also undertaken on how thanka painting became popular in South Asian countries as well as in the world. It has also helped to understand more on Tibetan thanka paintings.
The book on Kashmiri Shawls and Carpets written by Vidhu Ganjoor Buzz Burza examines the historical background of the carpet weaving. Further, this book also pointed out the dyes and dyeing.
The extensive study on the Tibetan painting was carried out by Pratapaditya Pal, in his book on Tibetan Paintings, A Study of Tibetan Thankas eleventh to the nineteenth century. He also broadly analyzed the origin of thanka paintings.
An article on Handmade in India written by Maureen Liebl and Tirthankar Roy gives information about the handicrafts and handloom industries in India. Further, it also discusses in detail about the export and import of handicrafts and handloom product.
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However, this article does not analyse particularly about the design and variety of products.
M. Sharma‟s „Industrial Development in Sikkim‟ has explained about the planning process in Sikkim which helped in the development of infrastructure like roads and transport which resulted in the improvement of the infrastructure and then to the development of small scale industries. He has also discussed the reasons for the industrial backwardness of the state of Sikkim. He further argued that in the proposed Planning the government should have included the development of Technological ideas and innovation for the development of cottages industries. However, this journal is lacks to provide data- based information.
In the Sikkim Problem and Prospects of Development written by Mans Das Gupta mentions the industries of Sikkim and also has used the term „old type‟ and „new type‟ industries. His writing dealt with the development and backwardness of the industrial processes in Sikkim. He writes that the old type industries are Fruit Preservation Factory,
Brewery, Handloom, Distillery, and Sikkim Jewels. The new types of industries are flour mills, watch and rollers. This book insights the brief historical process of industrial development in Sikkim. It does not provide much information about the handloom industry.
Alok K. Shrivastava‟s book Surajkund, The Sikkim Story dealt with the traditional
Handloom and handcrafts Industries in Sikkim. He mentions the thanka painting, bamboo, and crafts, wood carving, carpet weaving. In his book, he further mentioned about the various communities engaged in these traditional handloom and handicraft
11 industries. However, this book does not provide much information on the historical background of weaving and craft work.
Anjan Chakrabarti in his book on Economic Development and Employment in
Sikkim mentions the process of industrial development in Sikkim. He further discusses the plan allocation in the industrial sector from 1954-2005. He also explains the causes of the industrial backwardness of Sikkim. It does not focus much on traditional craft and handloom.
Sanjay Kathuria‟s article „Handicrafts Export‟ analyses the export of handicrafts product from India. Further, this article also mentions the volume of trade and the production process. However, it does not reveal much information about the relationship between society and craft production.
R.K. Mishra and J. Kiranmai‟s book State Level Public Enterprises in Sikkim
Policy and Planning mentions about the Enterprises of Sikkim. This book throws some light on the development of State Level Public Enterprise in Sikkim and its objectives and functions in the promotion of the small and large scale industries. He writes that there are numbers of enterprises in Sikkim and one of them is Sikkim Industrial Development and Investment Corporation Ltd (SIDICO). This enterprise provides financial help to other enterprises based on industries. These enterprises provide loan and subsidies for the establishment of the Cottage Industries in Sikkim. The enterprise as Handloom and
Handicrafts Development Corporation Ltd (HHDC) supports for the promotion of handloom and handicrafts products in Sikkim. However, lack to address the evolution of enterprises in the state of Sikkim.
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David S Manson‟s book A Concise History of Modern Europe: Liberty, Equality,
Solidarity broadly mentioned the Industrial Revolution in Britain. He has also dealt with the causes and the impact of the Industrial Revolution in Europe. He has explained that the geographical location of England made her as the center of trade and activities. The changes in agricultural production and the innovation of the new ideas as well as the invention of the machine created favourable condition for the birth of the Industrial
Revolution.
Anup Chatterjee mentions the Industrial Revolution in India in his book Industrial
Policy and Economic Development in India. He further argues that the establishment of the British rule disturbed the self-sufficient village economy of India. He also mentions that the British Raj was responsible for the decline of handicraft industries in India.
However, they are also credited for the establishment of the modern factories and railways here in India.
OBJECTIVES
1. To understand the nature and growth of the handicrafts and handloom industry in
Sikkim.
2. To analyze the role of the state in the development of handicrafts and handloom industry in Sikkim.
3. To identify the socio-economic structure of the handicrafts and handloom industry in
Sikkim.
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METHODOLOGY
This research is based on historical methodology. It is an explanatory and descriptive- statistical work. In this research, both the primary and secondary sources are used.
In order to collect data, the following institutes were visited. They are Sikkim
State Archive; Crafts Museum of Directorates of Handicrafts and Handloom Industry,
Gangtok; Various Handicraft and handloom center across Sikkim; Museum of Sikkim
High Court, Gangtok; Sikkim State Library, Sikkim University Central Library, and the library of Namgyal Institute of Tibetology.
CHAPTERISATION
CHAPTER I: INTRODUCTION
The chapter discusses the condition of handicrafts and handloom traditions in
Sikkim with special reference to the three different community viz. the Lepchas, the
Bhutias and the Nepalis. Further, this chapter focuses on the ideas, concepts as well as the practice of weaving craft production.
CHAPTER II: THE NATURE AND GROWTH OF HANDICRAFTS AND
HANDLOOM INDUSTRY IN SIKKIM
This chapter focuses on the varieties of handicrafts and handloom products in Sikkim. It further explains the nature and its growth of the weaving and crafts making institutes. It also mentions the export and import of goods.
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CHAPTER III:-THE ROLE OF THE STATE IN HANDICRAFTS AND
HANDLOOM INDUSTRY IN SIKKIM.
This chapter explores the role as well as initiatives of the government in the development of both craft making and weaving tradition in Sikkim. It also depicts the process of institutionalization of handicrafts and handloom industries in Sikkim.
CHAPTER IV: SOCIO-ECONOMIC STRUCTURE OF HANDICRAFTS AND
HANDLOOM INDUSTRY IN SIKKIM
This chapter explains the involvement of various communities in weaving and crafts production. Further, this chapter looks into the requirement of raw materials as well as the use of tools and technique.
CHAPTER V: CONCLUSION
This chapter summarizes the findings of the research work and examines the trend and progress of the crafts and weaving.
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CHAPTER- II
THE NATURE AND GROWTH OF HANDICRAFTS AND
HANDLOOM INDUSTRY IN SIKKIM
The practice of crafts making and weaving is an integral part of human civilization. Both the handicrafts and handloom tradition have a distinct history of its origin in this world.
Since time immemorial, various communities are socially and culturally involved in the process of weaving and crafts making. Use of various design and colour in crafts making provides the glimpse of the culture and tradition of that society. The varieties of handicrafts products demonstrated the expression of natures and rural folk culture.
Initially, people use to make quite a lot of crafts for their daily use in their household. For instance, with the help of bamboo people used to make baskets, small huts, vessels, arrows, bridges, and different decorative objects. The arts and crafts are traditionally mingled with the religions, cultures, community, and society.
The influx of various religious and cultural practices within a society resulted in the evolution of designs and motifs in crafts and weaving products. Crafts are the creation of an individual‟s imagination and became the product of villages and towns. No doubt with the advent of modern technology and machine production, gradually, the tradition of making handicrafts and weaving is decaying day by day. However, in many rural as well as in urban areas the culture of craft production is still alive and well preserved.7
Concerning to the interrelation between arts, crafts and the society it has been noted,
“The fragments of vases and vessels on earth from the banks of Indus, the carved metal
7 T.M Abraham, Handicrafts in India, Mathew Cherian, New Delhi, pp. 1-12.
16 bowls and coloured tiles from Euphrates the miniature wooden toys and gold ornaments from the banks of Nile, all truly reflect the culture of a bygone age.”8
However, weaving is also one of the dominant arts of the society, which developed since human civilization. Fibers, threat, silks, wool, cotton, textiles, yarns as well as several natural products are the integral component of the handloom industry.
There is a long historical evolution of the weaving process in India as well all over the world.
Regarding the historical background of the carpet weaving it has been mentioned,
“Earlier in the 20th century, a frozen royal tomb in Siberia yielded a magnificent 2, 500 years old carpet of Persian origin. This is the earliest example of carpets. Beginning with the 3rd century, the technique of carpet weaving spread throughout the Orient… The techniques of carpet were brought to South Asia during the 15th century by Sultan Zain- ul-Abadin.”9 However, the handloom industry provides employment to both skilled and semi-skilled labours, which further helps to enhance the rural economy.10
As in the context of the state of Sikkim, since from the beginning, culturally the state is also known for its handicrafts and handloom products. The craftsperson along with the various communities of Sikkim inherited the skills of weaving and crafts making. Such skills are continuously preserved and advanced from one generation to another generation. Geographically, Sikkim is in the eastern part of the Himalayan region
8Ibid. 9Vidhu Ganjoor Buzz Burza, Kashmiri Shawls and Carpets, Samvedana Culture & Heritage Trust, New Delhi, 2006, p.24. 10T.M Abraham, op.cit., p. 127.
17 of India. Historical account of Sikkim reveals that three monks coronated Phuntshog
Namgyal in 1642 as the temporal and religious ruler of Sikkim. From that period onwards the Namgyal dynasty began to rule over Sikkim. Historically the geographical area of
Sikkim was extended far beyond the present frontier. In Anjan Chakrabarti‟s book,
Economic Development and Employment in Sikkim, is mentioned “In North it extended up to Thang La near Tibet, in the East up to Tagong La near Paro in Bhutan, in South
Kishanganj in Purnia district in Bihar and West to Tumir Chorten on the Timar River in
Nepal.”11
However, the Gazetteer of Sikkim, 2013, mentions as the present geographical area of Sikkim as “Sikkim is separated by the Singali la range from Nepal in the west,
Chola range from Tibet in the northeast and Kingdom of Bhutan in the southeast, Rangit and Rangpo Rivers from the borders with the Indian state of West Bengal in the south.”12
Traditionally, several communities of Sikkim are skilled in the diverse profession of weaving and craft making like the Lepcha community are skillful in the making of different crafts and weaving, on the other hand, the Bhutia community are expert in carpet weaving, and the Nepali community is famous for silver and woodwork. In the rural areas, though the craftsmen are agriculturist or cultivator, during the lean season, they are also engaged in crafts production for their self earning and sustenance. Initially,
11Anjan Chakrabarti, Economic Development and Employment in Sikkim, Authors Press, Delhi, 2009, pp.7-8. 12 Sunita Kharel & Jigme Wangchuk Bhutia (ed), Gazetteer of Sikkim, Home Department, Government of Sikkim, Gangtok, 2013, p.1.
18 in Sikkim, the market was limited to the supply of crafts and weaving products.13
However, gradually rudimentary local market provided the platform for the exchange of crafts and weaving products. In order to promote and preserve the local handicrafts and weaving culture, the two weaving schools were also set up at Lachung and Lachen in
North Sikkim.14
Regarding these weaving schools, J.C Debnath in Economic History of Sikkim mentions, “The two weaving schools at Lachung and Lachen, which are managed by the ladies of the Scandinavian Alliance Mission stationed there, received aid from the state.
The school buildings and looms are the property of the state, and a small annual grant is given for their maintenance. In return, the state receives 2 annas in the rupee on sales.”15
These two weaving schools were under the supervision of Maharani, but after the death of Maharani, Maharaja continued to look after these schools.
Regarding the name and the contribution of Scandinavian Alliance missionary, J.
Claude White‟s Sikkim and Bhutan, Twenty-one Years on the North- East Frontiers
1887-1908 wrote “The Lachung schools turned out most excellent tweeds, thanks to the assistance given by Miss Johanson, a Scandinavian missionary under whose care the village girls regularly came to work, collected the requisite dyes from the jungle, and followed the patterns; but that supervision is withdrawn, the girls would work or not as
13 Mahendra P. Lama, Sikkim Human Development Report, 2001, Government of Sikkim Social Science Press, Delhi, 2001, p.69. 14Anjan Chakrabarti, op.cit., pp. 33-34. 15J.C Debnath, Economic History of Sikkim, Before and After Independence, Abhijeet Publication, Delhi, 2009, p.221.
19 the spirit moved them, and pattern neglected; but so long as, Miss Johanson remains output is excellent.”16
By looking at the historical background of these schools, it is clear that during
1922 these two weaving schools at Lachen and Lachung, North Sikkim was under the supervision of Mission house. The various types of woolen cloth as well as woolen blanket used to be manufactured at this weaving school. However, the then Maharaja of
Sikkim also used to send the demand of different pattern of tweeds and rugs through letters and orders. At that period, weaving school of Lachen was under the supervision of
Miss E. Kronquist, the Mission House. Therefore, in order to buy the manufactured handmade goods firstly, demand had to be placed before the supervisor of Mission
House.17
The economic lifestyle of the weavers is a concern. Although weaving and crafts making tradition was their main economic occupation, they also used to carry out the agriculture activities to maintain their livelihood. Sometimes in order to purchase wool to make rugs and tweeds weavers of Lachung and Lachen also used to take loans or advance money from the State. At the weaving centers apart from weaving various clothes and blankets, weavers also used to weave the handmade uniform for the officers, peon, and guard of different Departments. During that period, the several workers and the officers of the various department of Sikkim used to wear the handmade woven uniform. These all handmade uniforms were used to manufacture at the different weaving centers.
16J. Claude White , Sikkim and Bhutan, Twenty-one Years on the North- East Frontiers, 1887- 1908, Low Publications, Delhi, (Reprint), 1999, p.296. 17 File no 4530, serial no 19, Sikkim State, office of His Highness the Maharaja of Sikkim, 1922.
20
Sometimes, in order to weave cloths, blankets and Carpets and the reeds for rugs and tweeds were also brought from Kalimpong, West Bengal. Traditionally the raw materials were used to carry from Tista- Bridge to the Royal-mail to Gangtok, Sikkim.18
Initially, most of the weaving schools were under the mission‟s supervision, but from 1941 onwards the Forest Department, Sikkim State, and the Pepon19 also started to supervise these weaving schools. Both the Forest Department and the Pepon acted as the intermediary between weavers and state. As the demand and supply of the woolen cloths are concerned, firstly, the office of the Maharaja used to make an order of many sets of uniform to the Forest Manager.
Similarly, the forest manager further used forward this order to the Pepon. Then only the Pepon used to place the demand to the supervisors of weaving schools. It is also found that Sometimes the office of the Maharaja used to place the order to the Pepon directly. These handmade uniforms were demanded basically for the Bhutia and Nepali chaprasis20 of the Finance Department, high school and the state press. In the same way, the khaki tweeds cloths, coats, and many other uniforms were ordered for the sub- inspector and peon of various departments. The letter dated 14/11/1942 of Financial
Secretary to the His Highness; the Maharaja to the Forest Manager reflects the demand of uniforms made by Maharaja to the Forest Manager and also the type of uniforms for the chaprasis belonging to Nepali and Bhutia communities. The letters mention “list of
Bhutia and Nepali chaprasis of Finance Department who are entitled to warm uniform
18 File no 3, serial no 10, Sikkim State, General Department, Reg. Manufacturing of Rugs and Tweeds at Lachen and Lachung, 1942. 19 Pepon is the administrative head of a particular region. 20 Chaprasi is a guard.
21 for 1042 (Tweed uniform- Bhutia Chaprasis-Bokhu & putty and Nepali Chaprasis- coat, knicker, booker & putty).”21
Since the beginning, culturally, the state of Sikkim is also known for its handicrafts and handloom products. The artisans belonging to the various communities of
Sikkim inherited the skills of weaving and crafts making from their predecessors. These skills and technique are continuously preserved and used from one generation to another generation. In the beginning, artisan never used to obtain any proper formal training, but they developed their skills in their family.
Aribam Indubala Devi in his book Amazing North East Sikkim mentions that
Sikkimese artisans and craftsmen are greatly influenced by the Gandhian ideals. During his political career, Gandhi also gave more importance for the upliftment of the village people, by promoting the developments of handicrafts and cottage industries in India.22
The various products of handicrafts and handloom support the fulfillment of their household needs. They used to exchange their product through local trade as well as through barter system. The products like carpet weaving, Sikkimese garments, wood carving, thanka painting, dolls making, blanket weaving, cane and bamboo product as well as handmade paper making are the integral part of the handloom and handicrafts products in Sikkim.
21 Memo No 3056/F, dt.14/II/42, Financial Secretary to H.H the Maharaja of Sikkim, Forwarded to the Forest Manager. 22Ibid.
22
During the premerger epoch, Chogyal provided much attention towards the development of handicrafts and weaving practices.23 In order to promote and preserve the local handicrafts and weaving culture, in Sikkim, Palden Thondup Institute of Cottage Industry was established at Gangtok in 1957.
Apart from agriculture and Tourism Handicrafts and Handloom industry is the largest industry in Sikkim. With the establishment of institutions in various parts of
Sikkim, imparting of training in the field of various crafts making and weaving also started. Gradually, in various training institutions, a different section of handicrafts and handloom was established. The designs, paintings, murals, motifs, and various carpets weaving, as well as the wood product of Sikkim reveal the Hindu and Buddhist iconography. Apart from various traditions of crafts making, mask making is also one of the earliest forms of art in Sikkim. In this mask making wood are carved and made into various faces of god and goddess. Mask would be made from the wood which is known as Zarushing (Zaru wood) found in high altitude area. These masks are used by people or particularly by monks (Lamas) in different religious festivals and religious dances.24
23 AribamIndubala Devi, (ed), Amazing North East Sikkim, Vij Books, New Delhi, 2010, pp.171- 172. 24 Sunita Kharel & Jigme Wangchuk Bhutia, op.cit., pp.420-421.
23
VARIOUS HANDICRAFTS AND HANDLOOM PRODUCTS OF SIKKIM
The following are the brief description of various handicrafts and handloom products of
Sikkim which incorporate wood carving, thanka painting, carpet weaving, cane and bamboo product as well as handmade paper making.
THANKA PAINTING
Apart from various arts and crafts thanka painting is the oldest forms of art in Asia. This painting incorporates the iconography, skills of painters, style, design, and religious contents. Most of the Buddhist art portray rten (which means support) the physical representation of the enlightened body as well as mind and speech. Most of the Buddhist art like stupas, scripture, and thankas represent the enlightened body. There are many paintings in Tibet which were not rten. These paintings illustrate the Buddhist doctrine.
On the other hand, paintings which portray the bodily part of the enlightened one are termed as sukrten (body support). The thankas which depict the painting of stupas, temples, as well as monasteries belong to sukrten paintings.25
Thanka is the rolled up or scroll paintings of an image on cloth. It is not horizontal but rather vertical scroll. In China, thankas are painted on silk cloth whereas in
India and Tibet thankas are painted on cotton cloth. Almost during fourteen and fifteen century in western Tibet, there prevailed Khache-Tibetans style and Kadampa style of paintings. These natures of the painting are found in thanka as well as in wall paintings.
25 David P Jackson, Janice A Jackson, Tibetan Thanka Painting, Method and Materials, Serindia Publication, London, 1988, pp.1-25.
24
In Tibet, Indians artists were there during the period of Yarlung Dynasty. Similarly, there were also Artists from Nepal and China.26
Initially, the practice of Thanka painting came to Sikkim from Tibet. The artists of the thankas were primarily lamas or monks. The artists have to follow specific rules and regulation in the process of thanka painting. While making thankas, some artist also uses their own methods of coloring in order to make the painting attractive. Thanka is the paintings on cloth which can be rolled up. There are several steps which can be applied in the process of thanka paintings. Firstly, the piece of cloths is made smooth and sizing with the mixture of chalk and glue. When clothes get dried, master uses black and red color in the outer clothes. The outline color is painted by the master, but sometimes joint efforts of both master and trainees are also needed. The painting has to carry out in a slow process, having a single mistake in the painting is also considered as a sin.
When the painting is completed, the thankas is mounted with silk. The image of
Buddha or Bodhisattva in the painted thankas is also observed and adequately examined by the other monks or lamas. Mostly the thankas are placed on the various corner of the wall in monasteries as well as hung in the domestic altars. The devotees worship the thankas placed in monasteries and altars. Occasionally the people donate thankas to the monasteries. In some of the thankas, the artists also depicted the image of monks and the teachers which are also placed in monasteries. With the establishment of various
Buddhist sects, the tradition and the style of paintings also began to transform.
26Pratapaditya Pal, Tibetan Paintings, A Study of Tibetan Thankas eleventh to nineteenth century, Time Book International, New Delhi,1988, pp.1-98.
25
The size of the thankas varies in shape, and size. Some are small in size and some of the
Thankas are large almost 100feet long. The large vertical thankas are displayed during religious festivals in many monasteries and religious places till today. In some thankas, the image of single deity is depicted and such technique is called Kangdsa.
26
Figure.1 THANKA PAINTING
Source: Crafts Gallery, Directorate of Handicrafts & Handloom Industry,
Government of Sikkim.
27
There are different categories of thankas. In Vajrayana discipline, the image of teachers and guru-lineage are depicted. In other types, one can find the depiction of monks
„confession sutras‟ of the thirty-five Buddha‟s and the „mandalas‟ painted on canvas.27
The culture of thanka painting began since ancient times and still prevalent in different parts of Asia and the world. The artists and the people of different regions inherit the skills of thanka paintings and its religious and cultural significance from generation to generation.
CANE AND BAMBOO CRAFTS
Bamboo is found almost in various region of India. From the earlier period onwards the people of Sikkim use the bamboo for different purposes. The utilization of bamboo is connected with the social and economical lifestyle of Sikkim. Traditionally, bamboo was used by the people of Sikkim for various purposes.
For the construction of the house, making furniture, fences, gates, baskets, flutes, etc different kind of bamboo are used. They are also used for hoisting prayer flags, making moorahs or small stools and other items like flowers, baskets, and dustbin.
Firstly, the bamboo is cut into different pieces and size with the help of local tools like khukuri, bamfok, or knife. By using these pieces, the craftsmen make several handicraft
27 Golden Jubilee Celebrations,1957-2007,Estd.9th March, Directorate of Handicrafts & Handloom, Government of Sikkim, issued by Information and Public Relations Department, Government of Sikkim, 2007, pp.7-11.
28 items. The Directorate of Handicrafts and Handloom, Government of Sikkim, promotes the use of bamboo and the local raw materials for various purposes.28
Initially, the use of bamboo was the traditional art of Lepchas and Nepalies of Sikkim
Himalaya.29
28 Sikkim Handloom & Handicrafts Development Corporation, Zero Point Gangtok, Catalogue, Ethnic Sikkim Handicraft Products, Office of the Development Commissioner (Handicrafts) Ministry of textiles, Government of India, New Delhi, pp.7-8.
29 Alok k. Shrivastava, Surajkund the Sikkim Story, Information &Public Relations, Department, Government of Sikkim, South Asia Foundation, New Delhi, pp.60-61.
29
Figure.1.1 CANE AND BAMBOO CRAFTS
Source: Crafts Gallery, Directorate of Handicrafts & Handloom Industry,
Government of Sikkim.
30
HAND MADE PAPER
The use of handmade paper is increasingly becoming popular in the world market. In order to manufacture the handmade paper, they use the waste materials which also help in the process of recycling waste resources. Therefore, the use of the paper is also eco- friendly and helps in saving the environment.
Primarily, in Sikkim, the handmade paper unit was started at Directorate of
Handicrafts and Handloom in 1957. Initially, the unit had only two trainers and the process of preparing paper was entirely done manually. Slowly, the modern machines were also introduced for manufacturing various types of papers. The locally available plant named argeli (edgeworthia gardenia) is mainly use for the manufacturing papers.
The raw materials used in handmade paper making unit are waste papers from different offices, printing press and the bark of argalee (edgeworthia gardenia) collected from nearby villages.
The process of manufacturing handmade paper comprised of eight steps. Firstly, the raw materials are collected from various sources and are made into several tiny pieces. Secondly, in order to remove the unwanted materials methods like sorting, cutting and dusting are followed. The Hollander beater tool is used to arrange the rags in a proper location. The raw materials are soaked into water and a certain amount of chemical is also added. The third step is called paper lifting and coaching. Here, the soaked materials are converted into cloth. Fourthly, the hydraulic press is used to dry the water and moist from sheets. Sometimes, sheets are also placed and hung for drying in the air. This step is called pressing and separation. Fifthly, when the sheets get dried, then the dirt particles are removed by clearing and sizing. In the sixth step, the clean sheets are placed in a
31 metallic sheet and get it passed through the loaded rollers. The final process is the posting, cutting and packing in which the papers are piled and cut into the required shape and size.30
CARPET MAKING
In Sikkim, the carpet weaving was initially woven in two weaving schools
Lachung and Lachen at North Sikkim under Maharaja Factory. However, these traditions of carpet weaving were further extended by the Palden Thondup Institute of Cottage
Industries, established at Gangtok in 1957.31 In Sikkim, the carpets are made of pure wool with natural dyes in different sizes and colours. Throughout Sikkim, the style of dying and weaving also varies from place to place. Initially, the motifs in carpet are those of dragon, snow lion, lotus, and flower patterns.
Similarly, some of the other designs are also found in the carpets which are related to Buddhist iconography, for example, Dhawaja (flag), Kalash (water vessel), etc.
Since the beginning, the unit of carpet making is successful in providing employment to the people of the rural area of Sikkim. This practice of carpet making is mostly carried out by the women of Sikkim. Carpets are used for covering the walls, chairs, floor, beds, etc. The finished products are marked by the Sikkim Handloom and Handicrafts
Development Corporation.32
30 Golden Jubilee Celebrations, op.cit., pp.13-14. 31 Mahendra P. Lama, Sikkim Human Development Report, Government of Sikkim, Social Science Press, 2001, p.69.
32 Sikkim Handloom & Handicrafts Development Corporation, op.cit., p.7.
32
There is a process to weave a carpet. This process involves a number of steps. At first, a weaver makes the taan in den thak-thi (loom) by using cotton wool according to the remarkable size. Then after, by referring to graphs design, the weaving process will start.
The fong or thowa (wooden hammers) are used for knotting the wooden gauge rod, and knots are compressed down to tighten against the earlier rows of knot. After weaving, the process of leveling the carpet with a special scissor is done.
33
Figure.1.2 LOOM FOR CARPET WEAVING
Source: Crafts Gallery, Directorate of Handicrafts & Handloom Industry, Government of
Sikkim.
34
Figure.1.3 CARPET DESIGNS
Sources: Office of the Directorate of Handicrafts and Handloom, Government of
Sikkim, Gangtok , East Sikkim.
The following table shows the names of various tools and looms used for carpet weaving.
Further, this table also mentions the various tools and its functions. However, the prices are given in approximate rates.
35
Table 1: Tools used in Carpets Making
Sl. Items Function Price No. (approx) 1. Den Thak-thi (Loom) Upon which the main carpet is woven Rs. 300/-
2. Bha-shey (carder To roll raw wool for spinning Rs.25 brush) 3. Phang (spindle) For spinning Yarn Rs. 5
4. Sok (axis-rod) Holds the wrap and functions as its Rs. 1 main support 5. Pen–shing (spool) Pushes weft threads across warp Rs.5
6. Tam (shed sticks) Ease way for spools to pass through Rs.1 warp and also separates wrap threads
7. Ne –shing Attached by leashes of cord to each Rs. 1 wrap thread its function is to keep the wrap tight 8. Chak – tap (comb To press weft thread firmly down Rs.20 beater in) 9. Gyuk – shu (gague- Around which the woolen pile is Rs.5 rod) knotted 10. Thowa (wooden After each row of knotting the gauge- Rs.5 hammer) rod and knots are beaten down against the previous rows of knots with Thowa 11. Shyap (wooden Help adjust the length of wrap Rs.1 pieces) 12. Jhem – chey(scissor) For outlining unwanted threads Rs.15
13. -do- For contouring and shearing finished Rs.50 carpet 14. Dhi (knife) For cutting knots woven around the Rs.4 gauge-rod after hammering 15. Charkha (wheel) For reeling and plying yarns Rs.25
16. Dom (box) For keeping rolled yarns for weaving Rs.25
17. Den – thi (seat) For weavers to sit Rs. 20
Source: Government Institute of Cottage Industries, Government of Sikkim, Gangtok,
Sikkim Handicrafts and Catalogue, 1987.
36
WOOD CARVING
Wood carving is considered as one of the ancient art forms of Sikkim. Wood carving is one of the units of Directorate Handicrafts and Handloom. This unit manufactures the product like Choktis (carved table), „bakchoe’ (square table), wooden masks, decorative screens, alters, and other product in traditional design. Wood is one of the main raw materials used for wood carving. Particularly the woods of ‘tooni’
(toonaceliata), „rani chaap’ (MacaliaExelsa) and ‘okher’(Walnut) are used to make several wooden products. The following pictures show the measurement of wooden table and wooden screen produced by wood carving units.
Figure.1.4 WOODEN TABLE
Sources: Office of the Directorate of Handicrafts and Handloom, Government of Sikkim,
Gangtok , East Sikkim.
37
Figure.1.5 Wooden Screen
Sources: Office of Director, Directorate of Handicrafts and Handloom,
Government of Sikkim, Gangtok, East Sikkim.
38
The Directorate of Handicrafts and Handloom provide three years of training and after completion, the trainees are given certificates. After the training, the trainees are free to start their own business or a cooperative society.33
Apart from conducting training these institutes also produce many products based on traditional arts and crafts. These finished products are sold in local and in the global market. In order to provide the benefit to the people of Sikkim and also to promote the traditional skills number of handicrafts‟ institutes were established in several regions of
Sikkim. To popularize the arts and crafts of Sikkim, the government regularly organizes the sales cum exhibition of handicrafts and metal works of Sikkim at the Central Cottage
Industries Emporium, New Delhi since 1975.34
The Central Cottage Industries Emporium in New Delhi displays the various kinds of handicrafts and handloom products. In the emporium, a section of Sikkimese arts and items are found. This emporium also creates consciousness and awareness among the people regarding the richness of arts and crafts. It provides the platform to sell the various products of handicrafts and handloom from the different corners of the country. Further, the products are also exported to foreign markets like Europe and the United States of
America.35
33 Golden Jubilee Celebrations, op.cit., pp. 17-18. 34Sukhdev Singh Chib,This Beautiful India,Sikkim, Light & Life Publishers,1977, pp.49-50. 35Jasleen Dhamija, Indian Folk arts and crafts, National Book Trust, New Delhi, (Reprint), 2005, p.7
39
DYES AND DYEING
Dyeing plays a prominent role to make handicrafts and handloom products attractive, valuable and beautiful. History reveals that there was evolution occurred in the art of dyeing. During ancient period the dyes and dyeing were mostly based on vegetables dye extracted from fruits, plants and various forest products. However, during the modern period, the so-called aniline dyes are introduced in the dyeing. Therefore, the quality, value, and the beauty of these vegetable dye and aniline dyes are differed from each other.
The process and the quality of dyeing are continuously changing from generation to generation. Concerning the continuous transformation of the dyeing, it has been written, “In the19th centuries second half, aniline or chemical dye began to spread to the
Orient, replacing traditional natural dyes. The processes of getting the natural dyes were very time consuming and tedious.”36
In the Indian context, traditionally different colours for dyeing were drawn from vegetables, plant, and fruits. These natural dyestuffs were largely use for dyeing clothes, woolen goods, silk items etc. For instance, turmeric and safflower are used for yellow dye, carthamus tinctorum for pink dye, red-wood for red dye, cutch (catechu) and gambier for brown dye and Indigo. Gradually, these natural dyes are replaced by the aniline dye, acid dye, and chemical dye.
Regarding this dyes and dyeing methods, it has been noted, “To suppose for an instant this is important and highly specialized art has not advanced nearly two thousand
36 Vidhu Ganjoor Buzz Burza, op.cit, p.23.
40 years…the fact that many of the very best, fastest, and most beautiful of the dyes of our ancestors-such as cochineal, with the dyed practically all of their fast pinks and scarlets; logwood, with which silk as well as wool was, and is still dyed black; fustic, which was used for yellows on wool and cotton and several others.”37
As in the context of Sikkim, traditionally the different natural or vegetable dyes have been used for dyeing the traditional cloth, woolen carpets, blankets, and shawls. The dye was drawn from fruits, plants and different forest products. However, during the 20th century, the aniline dye was introduced in Sikkim. As compared to the natural dye this aniline dye is cheaper and gives brilliant colour which easily available in the market.
However, in order to preserve the tradition of using natural dyes, this new aniline dyes was prohibited from selling in the market. Sikhim and Bhutan, Twenty Years on the
North-East Frontier, 1887-1908, written by the first British political officer to Sikkim
J.Claude White mentions, “The women weave at small looms set up in different houses where the dyeing of the thread is also done; and until lately vegetable dyes, to be found in abundance in the forests and jungles of Sikhim, were always used.”38
With the view to developing designs and colour under the Institute of handicrafts and handloom of Sikkim the new dyeing shed was also constructed in 1985-86 at North
Sikkim, Chungthang.39 Traditionally, till 1918, the natural dye made by the Lepcha of
Zongu North Sikkim was also exchanged with wool and salt of Tibet via Lachen North
Sikkim. After consuming some amount of salt for their family further, the salt was again
37 C.E. Pellew, Dyes and Dyeing, Abhishek Publicatin, Chandigarh, 2007, pp. 19-32. 38 J.Claude White, op.cit., pp. 295-296. 39 Golden Jubilee Celebrations, op.cit, p. 21.
41 exchanged with the cotton of Darjeeling. During that period, Tibet was the main supplier of wool in Sikkim.40
However, in Sikkim, the importance and the beauty of vegetable dyes are prevalent even today. The different natural or vegetable dye extracted from fruits, roots, barks, leaves of plants are summarized in the following table.
Table 1.1: Name of the Plants used for Dyeing Handloom and Handicrafts Products
Local Name Botanical Name Parts of plants Life of plants Season
available
Chucha Rhubarb Roots Can be stored October
Cho / Majito Rubia Cordifolia Vine Can be stored May – June
Shungay SymplocosRacemosa Leaves Short May – June
Tanga / Juglan Regia Bark, fruit Can be stored October
Okher
Halhaley Rumex nepalisis Leaves & Short May – June
roots
Source: Golden Jubilee Celebrations, 1957-2007, Estd.9th March, Directorate of
Handicrafts & Handloom, Government of Sikkim, issued by Information and Public
Relations Department, Government of Sikkim, 2007.
40 J.C Debnath, op.cit., pp.81-85.
42
The above table mentions the name of the plants and fruits as well as the different parts of plants used for the colouring of woven cotton clothes, carpets and woolen blankets which are collected from the forest of Sikkim. The varieties mentioned-above of plants are used for the purpose of dyeing different colour for instance, Tanga or okher is used for brown colour, Cho or Majito for pink, maroon and orange colour, and Rhubarb root is for golden yellow colour. Similarly, there are other plants and flowers used for dyeing such as Burberry, leaves of tea, turmeric and myrobolan (terminalila chebula).41
41 Ibid, p.21.
43
Figure.1.6 Image Painted with Natural Dye
Sources: Office of the Directorate of Handicrafts and Handloom, Government of Sikkim,
Gangtok, East Sikkim.
44
In 1950 the majority of the people of Sikkim were settled in the rural areas. During that period, there were only a few roads for the people to move from one place to another.
The roads and infrastructure were not properly developed.42
Manas Das Gupta‟s book Sikkim Problem and Prospects of Development mentions “Historically, in Sikkim, the relative lack of capital, the presence of a large number of unskilled workers, the discouragement to entrepreneurship and social structure that emphasized tradition, particularism and diffused functional relationship-all were barriers to structural changes and the economic transformation.”43
In India when the planning was introduced in 1950 Sikkim was also given monetary aid of Rupees three lakh per annum.44 In Sikkim, the First Seven Years
Development Plan was initiated from 1954 to 1961 after the several discussions between the then ruler of Sikkim and Late Prime Minister Jawaralal Nehru. Moreover, this Plan gave more emphasis on the development of cottage industries.
Regarding the plan investment and expenditure it is point out, “Sikkim experimented its first experience by formulating a Seven year Development Plan (1954 to
1961) and accorded emphasis on the development of cottage industries with a view that
42 B. Bhattacharya, Sikkim Land and People, Omsons Publications, New Delhi, 1997, p.103. 43 Manas Das Gupta, Sikkim Problem and Prospect of Development, Indus Publishing Company, New Delhi, 1992, p.132. 44 Sunita Kharel & Jigme Wangchuk Bhutia, op.cit., p.409.
45 this would serves means of stabilizing the rural economy and provide subsidiary income to rural population which contributed about 95% of the total population.”45
However, during that period the Plan was also initiated to strengthen the rural economy and to provide income to the rural population. On 16th May 1975, when Sikkim became the Constituent state of Indian Union all the four districts in Sikkim were declared as industrially backward. Gradually, many initiatives were taken by the government for the growth of cottage industry in Sikkim. In order to look after the industrial development of Sikkim in 1976, the Directorate of Industries was set up.
Similarly in 1976 training institute was also started at Rangpo, East Sikkim. As a result, these initiatives of the government further helped in the development of the handicrafts and handloom institution and training centers in Sikkim.46
Conclusion
Lastly in conclusion, previously the crafts and weaving occupation was restricted in within the family or households which fulfilled the requirement of their households only. After the technological and infrastructural developments, there was growth in crafts and weaving production. Similarly, the number of new institutions of cottage industry also increased to a great extent. Moreover, with the implementation of plan and policy of the government and allocation of aids, much progress could be witnessed in the field of handicrafts and handloom sector. Most notable among the
45 File No ‟S-54167 The Industrial Economy Of Sikkim, , Bur/Ind, A.No;13417, Bureau of Economics & Statistics ,Planning & Development Department, Government of Sikkim ,1987, p. 1. 46Ibid, p.14.
46 development of institution was the establishment of Palden Thondup Cottage Industry in1957. The Palden Thondup Cottage Industry further paved the way for the growth and developments of many new sections/units of handicrafts and handloom products. Within the First Plan period, the new carpentry section was also started. On the whole, this cottage industry revolutionized the growth and the development of handicrafts and handloom sector by starting many new sections of arts and crafts. Gradually, in various parts of Sikkim, different branches were also setup under the Government Institute of
Cottage Industry. In different weaving centers, the training was also initiated to the local girls and boys. Many new training programmes are also initiated for different arts and crafts such as wood carving, thanka painting, carpet weaving, cane and bamboo product as well as handmade paper making. Therefore, in order to cope with the rapidly increasing demand of the products and to preserve the traditional arts and crafts of
Sikkim, the Directorate of Handicrafts and Handloom has established a number of weaving and crafts centers in different districts. It can be observed that the state,various center of cottage industry, involvement of weavers, artisan, craftsmen, are making considerable efforts for the growth and the development of weaving and crafts making tradition in Sikkim.
47
CHAPTER- III
THE ROLE OF THE STATE IN HANDICRAFTS AND HANDLOOM
INDUSTRY IN SIKKIM
The arts and crafts are an integral part of Sikkimese society. It is difficult to analyze as when did the handicrafts and handloom work started in Sikkim. But it can be argued that since the human civilization people started weaving and crafts making tradition by applying various ways and technique. In the context of Sikkim, historically people used to weave different cotton cloths by using the locally available raw materials. The women of Sikkim manufactured various clothes in their looms for self-utilization. The weavers also used vegetable or natural dye for colouring weaved clothes.
The skills and technique applied in handicrafts and handloom production of
Sikkim reflect the traditions, cultures, and talents of the different communities of Sikkim.
J.R Subba in his book History, Culture and Custom of Sikkim writes “The ancient art and culture of the antiquity of Sikkim comprise of simple household items of the ancient people of that time- the Lepcha, the Limboos and the Bhutia…the extraction of nettle bark for fiber and weaving the clothes, making mats (pira, gundri, gajra) out of paddy straw, dry maize khosela, etc. by the primitive people of that time are the art and culture, and that could be some example of early arts of Sikkim.”47 The above-written statement clearly shows that the earliest arts and crafts of Sikkim were confined within their households, to fulfill their family needs and necessity.
47 J.R Subba, History, Culture and Customs of Sikkim, Gyan Publishing House, New Delhi, 2008, p. 224.
48
With time, the Chogyal48 also began to patronize the art and crafts in Sikkim. The
Chogyal Tashi Namgyal played a vital role in spreading and flourishing the traditions of crafts and weaving practices in various region of Sikkim. It is mentioned, “It is not very clear exactly when the carpet-weaving began in Sikkim but an earnest and serious step towards this direction had been taken in the early 1920s when Chogyal Tashi Namgyal encouraged the craft and created Palace workshop for carpet weaving known as “NAM-
KHANG”, which literally means woolen products manufacturing centre.”49 These consistent efforts of the Chogyal by way of establishing woolen manufacturing centre further flourish the tradition of weaving in Sikkim. The governments used to hire skilled local craftsmen from different communities of Sikkim and with their help training and workshop were conducted in order to generate interest among the people of Sikkim.
It has been observed in the File no 4 of 1922, Serial No 25 Sikkim State General
Department that, the handicrafts and handloom sector was under the state supervision and the supply and demand of manufactured rugs, tweeds, woolen goods, and carpets from
Sikkim tweed and rug factories were also under the direct control of Maharaja of Sikkim.
Many historical written evidences show that the function of the General Secretary to His
Highness the Maharaja of Sikkim was immense in the tweed and rugs related business and market. As regard to the demand of different uniforms for peon, guard, and chaprasis of various department of Sikkim, the General Secretary used to write a letters of order to weave handmade uniforms on behalf of Maharaja of Sikkim to both forest managers and the pepons (administrative heads) of Lachung and Lachen. Similarly, even in the supply
48 Dharma raja or king or Maharaja 49Government Institute of Cottage Industries, Government of Sikkim, Gangtok, Sikkim Handicrafts and Catalogue, 1987, p. 4.
49 of rugs and tweeds, the General Secretary used to make agreements with different commission agents. The number of orders sent by the commission agents was received by the General Secretary who again used to give orders of the demand for the manufactured goods to the different Maharajas factories.
The File No 4 of 1922 mentions that the business transaction was conducted by an agreement between the commission agent and the General Secretary (who was considered as an employer). On the 14th July 1922, the agreement was signed between one of the commission agent named Abdul Kasim Peer Mahommed, Resident of
Raghunathpur, and the General Secretary, His Highness the Maharaja of Sikkim Durbar.
In this agreement both the party, the employer and the commission agent had to comply the following terms and conditions for the business of Tweeds and Rugs where they have signed on the Sikkim state eight annas stamp.
1. “The employer will employ the Commission Agent from the date hereof as a
commission agent in the employers business of Tweeds and Rugs.
2. The Commission Agent will, during the continuance of this agreement, diligently
and faithfully serve the employer in such capacity as aforesaid.
3. The Commission Agent shall use his utmost endeavours to obtain orders for the
goods manufactured in the Sikkim Tweed and Rug factories, and shall at regular
intervals visit customers and endeavour to obtain orders for such goods and shall
accurately and promptly transmit all orders obtained by him to the employer.
4. The Commission Agent will secure orders for Tweeds at the rate of Rs.5/-, per
yard, and for Rugs at Rs.22/8/ each.
50
5. The employer will pay the Commission Agent, rupee one, as commission on
every yard of tweed and Rs.4/8/-, for each rug in respect of all original orders
secured.
6. The account relating to the payment of the Commission Agent will be settled once
a year or at any convenient interval.
7. The Commission Agent will at all time keep full and accurate accounts of all
orders received by him, and in particular, will forward to the employer daily the
triplicate copy of all orders received by him, with an advance of 10% on the value
for which the orders are secured.
8. The employer will keep a proper account of all articles sold through the
Commission Agent and will send to the Commission Agent a copy of invoice of
articles sold through him.
9. The employer will give to the Commission Agent book containing order forms in
triplicate. A copy of each triplicate form will be retained by the Commission
Agent. A copy will be given to the purchaser, and a copy will be sent to the
employer as herein before mentioned.
10. The employer will, on receipt of his copy of the order form, dispatch to the
purchaser by V.P.P goods according to the number given on the samples of tweed
or rug selected.
11. The employer will provide the Commission Agent free of cost with:-
(a) Letter paper and envelopes.
(b) Samples of Rugs and of tweeds; and,
(c) Order form books.
51
12. Either party may, at any time, determine this agreement by giving to the other
three calendar months, notice, in writing, or the employer may, in the event of any
breach by the Commission Agent of this agreement, determine the same without
notice.
In witness whereof, the said parties have hereunto set their hands the day and year
above mentioned.”50
This 26th Day of July 1922, I, Abdul Kasim Peer Mohamed hereby agree to sell
Carpets for Sikkim State under the terms and conditions of the above agreement
except as regards rates for securing orders. The condition in respect to Carpets
will follow as under:-
“The Commission Agent will secure orders for carpets at the rate of
Rs.2/8/- per square feet.
The employer will pay Commission Agent -/8/- per square foot, as
commission on every square foot of carpet in respect of all original orders
secured.
In witness whereof the said parties have hereunto set their hands the day and year above mentioned.”51
50 File no 4 of 1922, Serial No 25, Sikkim State, General Department, Tweeds & Rugs sale agreement between Sikkim Durbar& Abdul Kassim Peer Mohammad, (commission agent), Sikkim State Archives, Gangtok, p.I. 51 Ibid, p.II.
52
Likewise, a copy of an agreement was signed between the General Secretary and Abdul
Kasim Peer Mohamed on 26th Day of July 1922, which shows that Abdul as a commission agent agreed to sell carpets for Sikkim State under the terms and conditions of the above agreement except as regards to rates for securing orders. However, further in respect to selling carpets, other conditions were made between them. The conditions were as follows: - “The Commission Agent will secure orders for carpets at the rate of Rs.2/8/- per square feet. The employer will pay Commission Agent -/8/- per square foot, as commission on every square foot of carpet in respect of all original orders secured.”52
In facts, many official letters exchanged between different commissioned agents and the General Secretary shows the list of various demand and supply of Rugs and
Tweed at a different cost. Further, these letters also highlight that the various agencies and the commission agent of different places used to buy different rugs and tweeds products manufactured in Maharaja Factories. By keeping a certain amount of commission further, these manufactured woolen products were supplied to the other places. The letter dated 20th September 1922, No 3516 mentions that the application of
Nada Kesher Prasad of Mowna Chapra, C/O, Ram Sewak Ram, Gangtok sent on 16th
September 1922 requesting to be allowed to work as an Agent, for selling Sikkim Rug and tweeds on a commission of 6 ¼ percent. The request of the Nada Kesher as a commission agent was accepted and granted by the General Secretary.53
52 Ibid, p.III. 53 Sikkim State, Office of His Highness the Maharaja of Sikkim, General Department, Serial No, 192, Letter No 3516, dated. 20/9/1922.
53
The role of the commission agents in the business of the woolen cloths, blankets, carpets as well as different handloom products was an intermediary between the state and the purchaser. Firstly, the agents used to obtain orders from the customers and forward the list of orders along with the address of customer/purchaser to the General Secretary. After receiving the orders from commission agents, the General Secretary further used to dispatch the demanded goods through value payable post. However, the agent used to get a certain amount of commission for his service.54
Alok k. Shrivastava in his book Surajkund the Sikkim Story mentions, “Sikkim is a land of very old and deeply rooted by handloom and handicrafts tradition. The activities such as thanka painting, wood carving and Lepcha handloom weaving are typical in
Sikkim. Certain other craft, such as cane &bamboo, carpet weaving metal crafts, multi- crafts are also practiced in state.”55 The establishments of various permanent training centers further help in the enhancement of weaving and crafts production in Sikkim. In order to provide training in various crafts, seven training centers were established in
1919. For the infrastructural development, many buildings were also constructed at
Gangtok, Dzongu, Melli, and Namchi. Gradually, the printing sections were also set up in various centers. The machine-like carts iron looms began to be used in the weaving section. The infrastructural and technological development further resulted in the increase of crafts production in the Sikkim.56
54 Sikkim State, General Department, Letter No 4684, dated 29/11/1922. 55Alok k. Shrivastava, Surajkund the Sikkim Story, Information &Public Relations, Department, Government of Sikkim, South Asia Foundation, New Delhi,p.51. 56 Sukhdev Singh Chib, This beautiful India, Sikkim, Light & Life Publishers, New Delhi, 1977, pp. 49-50.
54
The real boost to the weaving and crafts works in Sikkim, however, was given with the establishments of Palden Thondup Cottage Industries Institute in 1957 by the Chogyal
Palden Thondup Namgyal. In the initial phase there were only 58 trainees, but slowly the numbers of trainees increased with the growth of infrastructure, facilities, and market.
The primary aims and objective of this institute were to preserve the traditional arts & crafts and the traditional skills and talent. This cottage industry also initiates and encourage the local youth which include both boys and girls for regular training in handicrafts and Handloom. At present, Palden Thondup Cottage Industries Institute is named as Government Institute of Cottage Industry under Director of Handicrafts &
Handloom which is at Zero Point, Gangtok, East Sikkim.
Historically, a variety of handloom and handicrafts products manufactured in
Sikkim was also sent to the different exhibition which was organized in India as well as in foreign countries. Sikkim handloom products like woolen tweeds and different cloth and crafts products were well-known in various parts of India.
In December 1921, the Industrial exhibition was organized by the All India Hand
Weaving Exhibition at Patna. In that industrial exhibition, the high quality of crafts and handloom products of Sikkim were also displayed. On that exhibition, a Sikkimese weaver name recorded as Pamputi wife of Munshi Karmala received silver medal and certificate.57 From this information, it may be noted that since the earlier period, the handloom and handicrafts product of Sikkim were famous. Furthermore, from 1975 the
57 File No 4, Serial No28(IV), Sikkim State, General Department, Award of Silver medal to Samputi by All India Hand Weaving Exhibition, Patna, 1922.
55
Sikkim State Government has been arranging sales-cum-exhibition of various handicrafts and handloom product at Central Cottage Emporium at New Delhi.58
In the connection of the exhibition of crafts and handloom products, in 1987 under the supervision of Surendra Patel of Sharad Gandharva fame the new mela59 called as Surajkund Crafts Mela was also started. At present, this Surajkund Crafts Mela is organized under the agencies of the Ministry of Tourism, Government of India. The authority of this mela is under the offices of the Development Commissioners
(Handicrafts) and Development Commissioner (Handloom). The Crafts Museum of New
Delhi and Haryana are also the member agencies of this mela. The Mela authority continuously organizes this Surajkund Mela in order to display the various handicrafts and handloom products of the country. Every year, during the exhibition, the various finest handicrafts and handloom products of Sikkim like carpet, handloom, multi-craft, wood crafts, thanka, cane and bamboo crafts, the religious mask are also displayed.
During this event, the weavers not only showcase the arts and crafts but also demonstrate their looms and techniques in order to draw the attention of the people and to show the cultural heritage of the country. Every year this mela begins from 1st to 15th February at
Surajkund, Faridabad in Haryana. This mela was started to exhibit the various arts and
58AribamIndubala Devi, (ed), Amazing North East Sikkim, Viji Books India, New Delhi, 2010, p. 172. 59Fairs or crafts fairs
56 crafts of the country. This mela further encourages these arts and crafts tradition of the whole country.60
However, at present, the various handicrafts and handloom products are exhibited in different regional crafts bazaars and trade fairs. During the exhibitions, the excellent participants also receive the awards and certificate, for example in 2005 at North East
Trade Expo in New Delhi participants from Sikkim also received the award. Even within
Sikkim the government also confers the state awards to the craftsmen, weavers, and trainers who excel in a particular unit of handicrafts and handloom sector.61 In order to increase the production and to sustain the crafts and weaving traditions, the state government of Sikkim is continuously working in the process of modernizing tools and technology and annually organizing the crafts fair at Gangtok and other regions of
Sikkim.
The establishment of the Government Institute of Cottage Industry and its branches further support to keep this tradition of crafts making and weaving all over
Sikkim. Similarly, the cottage industry is making considerable efforts in providing employment opportunity to make the youths of the state self-reliant and self-depended.
With the passes of time, Research & Design Development Unit was also established. This unit initiates the design and survey of traditional arts and crafts resources in monasteries
60 Surajkund Crafts Mela, Department of Tourism, Ministry of Tourism & Culture, Government of India, in collaboration with Development Commissioners for Handloom, Commissioner Development(Handicrafts), 2002. 61 Golden Jubilee Celebrations,1957-2007, Estd.9th March, Directorate of Handicrafts & Handloom, Government of Sikkim, issued by Information and Public Relations Department, Government of Sikkim, 2007, p. 5.
57 and rural area. In 1991-92 graph designing also began in Research & Design
Development Unit. In order to increase the production and supply of the handicrafts and handloom product, this unit also searches for the market and raw materials. It also examines and studies the design, technique, tools and technology and quality varieties of wooden products, bamboo crafts, blankets, carpet, and thanka paintings of various regions and collects the photographs and samples for the record. Further, these new collected designs and techniques are applied in various sections of the handicrafts and handloom industry.
In order to continue their skill of crafts and arts, the government provided most of the tools required for weaving/crafts making to the ex-trainees and trained craftsmen and weavers. However, due to some circumstances, this objective was not successful. Later on, the trained people were also given loans for buying the raw materials and to develop the trade network.
Gradually, this Institute of Cottage Industry was divided into two units like
Production and Training units. The Field Level Organization was also established to provide help for those who were engaged in their own production and also to increase the marketing area. Up to 1990, the stipend for the trainees was between Rs.30 to 200 per month which was gradually increased. In 2003, the stipend increased to Rs 500 and 600 per month. This institute provides the training in various sections of crafts making and weaving like blanket weaving, mask making, carpet weaving, thanka painting, wood carving, cane and bamboo crafts, and multi-craft. The duration of training periods varies on the basis of sections, for instance, the two-year training is provided for the trainees of blanket weaving, carpet weaving, mask making, and multi-craft. Similarly, the three
58 years training has been provided to wood carving and one-year training for cane and bamboo crafts. Likewise, for thanka painting, the trainees are provided four years of the training course.62
The institutes of the Directors of Handicrafts and Handloom have many productive missions as well as the aims and objectives. The first mission is to be the major center of learning and training in the field of traditional arts and crafts of the state of Sikkim. The second is to preserve and revive the traditional arts and crafts of the state.
The third mission is to achieve a high level of participation and skill development with the help of capacity skill. The fourth is to multiply the information of the plan and programs of the state and central Government and to generate the employment and income of the product of handloom and handicrafts. The last aim is to develop the state in the field of crafts and arts.63
Likewise, the objectives of this institute are to train the talented and educated youth and to show them the direction in the field of handloom and handicrafts. In the same way, the objective is also to reduce the migration of youths from the rural area by providing them the building skills and developmental training. The objective is to transfer the talent and technique of crafts making and weaving from one generation to the coming generation.64
62 Golden Jubilee Celebrations, op.cit., p.1. 63 Sikkim Handloom & Handicrafts Development Corporation, Zero Point, Gangtok, The office of the Development Commissioners(Handicrafts), Ministry of Textiles, Government of India, New Delhi, 2003, p. 3 64Ibid.
59
In facts, from mid -1970, the introduction and implementation of the development of infrastructural and organizational supports enhanced the growth and development of crafts and weaving tradition in Sikkim. As a result, it provided employment opportunity to the number of local people.65
In Sikkim the First Five Year Plan which was introduced in 1954, which gave more focused on the development of infrastructure, commercial farming, and cottage industries. Similarly, in the Second Plan, the government emphasized the development of road and bridge, education, health, and road transports. The Third Five Year Plan increased plan allocation by 6.2 percent as compared to the Second Five Year Plan. The whole roads & bridge sector got the highest allocations. From the third plan onwards the allocation on the road & bridge and industries, and health is observed downward trends.
Table1.2 given below shows the plan allocation in Sikkim from 1954-1975. Apart from the allocation of aid to the different sectors, it is observed that since from the first plan period allocation of aid was continuously given for the development of cottage industry.
65M. Sharma, Industrial Development In Sikkim, Proceeding of Workshop on Science and Technology input for Socio-economic development of Sikkim, 24-25 August 1987, Sikkim Science Society, Gangtok, 1987, p. 44.
60
Table1. 2: Share of Sectoral and Sub-Sectoral Plan Allocation in Sikkim (1954-1975)
Sectors I II III IV
Plan Plan Plan Plan
(1954-61) (1961-66) (1966-71) (1971-75)
% % % %
Agriculture allied 21.5 20.0 15.0 14.2 activities
Power 9.2 8.3 7.3 8.8
Industries 4.3 0.5 6.7 3.5
Road and bridge 42.8 40.5 43.4 36.3
Road Transport 5.2 6.9 4.1 3.5
Education 7.4 12.4 7.9 8.8
Health 7.1 7.2 9.4 4.1
Tourism 0.8 0.4 4.4 2.0
Others 2.5 3.4 5.8 16
Total outlay(Rs 32.4 63.7 97.1 203.6 million
Source: Anjan Chakrabarti, Economic History and Employment in Sikkim, Authors press,
2009, p.60.
61
With the introduction of the development plan and policy, the governmental patronage to the cottage industry including handicrafts and handloom became much more direct. The developmental plan was also initiated to promote the handicraft and handloom industry and to enhance the rural economy as well.
In the First Plan Period, Rs.3.87 lakhs was spent by the Government towards the development of cottage industries. Within this First plan period, Palden Thondup
Institute of Cottage Industries was established in 1957 at Gangtok, East Sikkim. After the establishment of the Palden Thondup Institute of Cottage Industry many steps had been taken to flourish the tradition of crafts making and weaving in Sikkim. For instance, in order to spread the scope of crafts making and weaving the Palden Thondup Institute of
Cottage Industries began to initiate the training programmes. In the First Phase of the training period, almost 42 participants completed their course in various arts and crafts.
Each student was also given Rs 25 as a stipend per month. These 42 students completed their course in handloom weaving, carpet making carpentry, handmade papermaking and doll making. Within the training period with the help of these participants, this institute also produced various types of handicrafts and handloom product.66
In order to increase production, this institute introduced many new machines like a loom, lathe machines, and sewing machine. With this institute new section of handicrafts and handloom was established. Gradually the demand for the finished handicrafts and handloom products was increased. Therefore, in order to full fill the growing demand some of the section of handicrafts and handloom was converted to
66 J.C Debnath in Economic History of Sikkim, Before and After Independence, Abhijeet Publication, Delhi, 2009, p.22.
62 training-cum-production center. The carpentry section of Palden Thondup Institute of
Cottage Industries was upgraded as the training-cum-production center in 1959. From
1962 onwards, the different sections were also upgraded.
During the Second Five Year Plan, almost 113 participants successfully completed their training in various sections of handloom and handicrafts including carpet making, hand-made paper making, carpentry, handloom, doll making, and multi-arts and crafts. Further 109 students were also given training in tailoring, ceramics and batik work. During their training period, the trainees were also given Rs 30 as a stipend per month. It is observed that the stipends were also increased. Hostel for both girls and boys were also constructed.67
Those students who completed their training period were offered employment in the different production unit of this institute. Within this institute, they were working as a paid laboures and workers. However, their salary was varied according to their work, for example, some workers received Rs 35 per month, and some worker received Rs 200 per month. During the last phase of the Second Five Year Plan, almost forty-two students were given the employment opportunity in this institute as paid workers. During this
Plan, seven selected students were also sent for different vocational training of handicrafts and handloom. They were given training in tailoring, handmade paper making, leather work, and electrical works. In order to increase these traditions of
67 Ibid, p. 223.
63 weaving and crafts making different training and production unit and weaving schools were also established.68
The number of trainees in East, West, South, North district of Sikkim in handicrafts and handloom sector from 1997-2001 is summarized in the following table.
Table 1.3: Number of Trainees in Four Districts of Sikkim in Handicrafts and
Handloom Sector (1997-2001)
Districts 1997 1998 1999 2000 2001
East Sikkim 70 57 78 74 57
West Sikkim 44 56 74 74 67
North 65 54 121 99 69
Sikkim
South 31 42 66 51 30
Sikkim
Total 219 209 339 298 223
Source: Mowsume Bose Roy (Datta), Women in Handicrafts Industry, A Study of Sikkim, p. 119.
68 Ibid.
64
The above table shows that there has been an increase in the number of trainees from
1997 to 1999. Moreover, this table also indicates that from 1999 to 2001 the number of trainees is slowly decreasing as per the total number. Further, this above it statically mentions the number of trainees in North, South, East and west district of Sikkim in
1997, 1998, 1999, 2000 and 2001.
Sikkim initiated different plans and policy which supported in the development of handicrafts and handloom sector in Sikkim. The table number 1.4 shows that the year- wise expenditure in various units of cottage industry advanced the development of tools and technology as well as the production scale. Further, the yearly expenditure which was introduced between1972-1973 successfully increased the progress and the growth of training units, handmade paper units, and production units. This expenditure of government further promoted the enhancement of the various section of production within the handicrafts and handloom industry.
65
The Fourth Five Year Plan of Sikkim, Handicraft & Cottage Industries (1972-1973) is
shown as follows.
Table: 1.4: Fourth Five Year Plan of Sikkim, Handicraft & Cottage Industries (1972-
1973)
I. Training Unit
Sl. Head of Account 1971-1972 Actual(1971-72) 1972- No. 1973(lakhs)
1 Pay of Establishment 0.05 0.01 0.12 2 Allowances & Honoraria 0.01 0.01 0.03 3 Office contingencies - - 0.04 4 Other Contingencies i) Equipment & Materials 0.01 0.01 0.04 ii) Excursion & Education 0.02 0.02 0.05
5 Stipend 0.44 0.20 0.36
6 Specialized Training 0.05 - 0.20 7 Building - - 0.30
66
II. Hand Made Paper Unit
Sl. Head of Account 1971- Actual(1971-72) 1972-1973(lakhs)
No. 1972
1 Pay of Establishment 0.12 0.12 0.13
2 Allowances & 0.3 0.9 0.6
Honoraria
3 Furniture - - 0.5
4 Working Capital 0.39 0.32 0.40
5 Deduct Sale proceeds (-).40 (-).32 (-.)40
III. Production Unit
Sl. Head of Account 1971- Actual(1971- 1972- No. 1972 72) 1973(lakhs) 1 Pay of Officer 0.06 0.05 0.14 2 Pay of Establishment 0.05 0.01 0.03 3 Allowances& Honoraria i) Travelling Allowance 0.01 - 0.01 ii) Other Allowance 0.02 0.01 0.03 Sources: File No-S-54167/fin, Fourth Five Year Plan of Sikkim, Budget Estimates, 1972-
73, Government of Sikkim, Finance Department, September 1972.
These above tables give details regarding the process of the fourth five years plan in
Sikkim from 1972-73. Similarly, the above table has further examined the year-wise
67 expenditure between 1972-1973. It has mostly provided the data of three units of the handicrafts and cottage industries of training units, Hand paper units and Production units.69
Under Directorate of Handicrafts and Handloom Industry, many new institutes were gradually started in various region of the state. In order to increase the crafts production and continue the weaving tradition, many new technologies were also implemented in these institutes. At headquarter of Directorate of Handicrafts and Handloom Industry Gangtok, the
Office cum storehouse was established in 1985-86.70
In the different centers many new specialized sections of training cum production were also introduced. The names of the center and sections of handicrafts and handloom in four districts of Sikkim are shown in the following table.
69 File no-S-54167/fin, Fourth Five Year Plan of Sikkim, Budget Estimates, 1972-73, Government of Sikkim, Finance Department, September 1972. 70 Golden Jubilee Celebrations, op.cit., p. 22.
68
Table1.5: Centers and Sections in North, South, East and West districts of Sikkim
North Sikkim
Sl. No. Name of Centre Section
1. Kabi Carpet weaving and wood
carving
2. Lingdong Carpets, Handloom, wood
carving
3. Chungthang Carpet and Handloom
4. Lachung Carpet and blanket weaving
5. Lachen Carpet and blanket weaving
Sources: Golden Jubilee Celebrations, 1957-2007, Estd.9th March, Directorate of
Handicrafts & Handloom, Government of Sikkim, issued by Information and Public
Relations Department, Government of Sikkim, 2007, pp. 2-3.
In North Sikkim, Lachen and Lachung center is the oldest center of the handloom and handicrafts of Sikkim. At present, there are 5 centers of the Institute of Cottage
Industry of Sikkim.
69
West Sikkim
Sl. No. Name of Center Section
1. Pelling Carpet and Arts
2. Okharey Carpets and Arts
3. Soreng Carpet and Handloom
4. Dentam Carpet and Arts
5. Chakung Handloom and Arts
6. Renchenpong Carpet and Arts
7. Tashinding Carpet and Arts
8. Reshi Handloom and Multi-craft
9. Chumbong Carpet
10. Singling Multi-craft
11. Salangdang Carpet
12. Tharpu Carpet and Handloom
13. Karjee Carpet
Sources: Office of the Directorate of Handicrafts and Handloom Industry at Gazying,
West District, retrieved on 21.08.2018.
70
The above table illustrates the different sections of handicrafts and handloom that are established at the west district of Sikkim. There are almost 13 centers where the trainees receive training in various sections of the handloom and handicrafts.
South Sikkim
Sl. No. Name of Centre Section
1. Namchi Carpet weaving, handloom,
wood carving
2. Melli Carpets and Handloom
3. Kewzing Carpet and Handloom and
wood carving
4. Temi –Tarku Carpet and handloom
5. Yangang Carpet and wood carving
Sources: Golden Jubilee Celebrations, 1957-2007, Estd.9th March, Directorate of
Handicrafts & Handloom, Government of Sikkim, issued by Information and Public
Relations Department, Government of Sikkim, 2007.
Within south Sikkim, the centers of the government institute of handicrafts and handloom are Namchi, Melli, Kewzing, Temi-Tarku, and Yangang. The sections are carpet weaving, handloom, and wood carving. Namchi is the main district center of south
Sikkim.
71
East Sikkim
Sl. No. Name of Centre Section
14. Rongli Carpet and wood carving
15. Rhenock Handloom and multi-crafts
16. Lingdok Carpet and Handloom
17. Parakha Handloom and multi-crafts
18. Central Pandam Handloom and multi-crafts
19. Martam Carpet
20. Kokaley handloom
21. Tumin Carpet
Sources: Golden Jubilee Celebrations, 1957-2007, Estd.9th March, Directorate of
Handicrafts & Handloom, Government of Sikkim, issued by Information and Public
Relations Department, Government of Sikkim, 2007.
The above table mentions the centers, of East district such as Rongli, Rhenock, Lingdok,
Parakha, Central Pandam, Martam, Kokaley, and Tumin. In each centers training on different sections are conducted.
While looking at the historical background of these institutes and its sections/units it has been found that it was only after the establishment of the Palden Thondup Institute of Cottage Industries in 1957 by the Chogyal Palden Thondup Namgyal gradually institutionalized the various weaving centers of Sikkim. At the beginning in this Institute,
72 there were only 58 trainees and limited section of crafts making and weaving. However, slowly the numbers of trainees increased with the opening of the different training center of handicrafts and handloom industry.
It is found that in order to expand the crafts and weaving sections two new storied buildings were also constructed at Lachen, North Sikkim in 1989-90. Apart from imparting training in various crafts, mask making training was also started in 1991-92 at the main center Gangtok, East Sikkim. Besides, meeting the growing demands in the market and to uplift the handloom sectors, in 1995-96 the new loom which is known as frame loom was introduced for the first time in handloom section. In 1997-1998 a new three-storied building was constructed for carpet weaving at Gangtok. The real boost in carpet weaving was carried out with the introduction of the iron loom at Gangtok in
1997-98.71 It is observed that the role of the government in advancing and introducing the modernized tools and technologies and providing infrastructural facilities, financial support to the trainees further increase the handicrafts and handloom production and a number of centers in various regions of Sikkim.
STATE LEVEL PUBLIC ENTERPRISE
The State Level Public Enterprise was established by the Government Company, Public
Corporation, Co-operative Society and departmental firms. There are various enterprises under the State Level Public Enterprises (SLPEs) in Sikkim, which play a fundamental role in the economic development of the state. Gradually and slowly the scale of investment in the State Level Public Enterprise is also increasing. Some of the enterprises
71Ibid, p.22.
73 were set up before the merger of Sikkim (1975) in the India union.72 For the development of industries in general in Sikkim, the Sikkim Industrial Development and Investment
Corporation Ltd (SIDICO) was established on March 1977. The main objectives of the
SIDICO are to provide financial support, to provide subsidies and loans for the establishment of a new cottage and other industries, and also to provide financial assistance to the various small and medium scale industries. Moreover, on 23rd December
1977, the Government of India made a new policy for the development of village or cottage industries.73
In order to promote the handicrafts and handloom tradition in Sikkim, the
Sikkim Handloom and Handicrafts Development Corporation limited (HHDC) was formed on December 2003. Sikkim Handloom and Handicrafts Development Corporation particularly work for the marketing of Handicrafts and Handloom products in Sikkim.
There are competitions among the entrepreneurs for market and supply of the products. In order to expand the skill of craftsmanship and weaving, the Handloom and Handicrafts
Development Corporation organize many training in different parts of the state. This
Corporation makes efforts in searching the market to sell the various handloom and crafts products. Furthermore, in order to attract the buyers and to promote the market Sikkim
Handloom and Handicrafts Development Corporation showcases the attractive products
72 R. K Sharma & J. Kirannai, State Level Public Enterprise in Sikkim, Policy and Planning, Concept Publishing Company, New Delhi, 1997, pp. 16-17. 73 File No ‟S-54167 The Industrial Economy Of Sikkim, Bur/Ind, A.No;13417, Bureau of Economics & Statistics, Planning & Development Department, Government of Sikkim,1987, p. 2.
74 in the exhibitions. The consistent effort of the Government and public entrepreneurs, the
Sikkimese arts and crafts is gaining its glory.74
VARIOUS CENTERS OF HANDICRAFTS AND HANDLOOM INDUSTRY IN
SIKKIM
The Government Institute of Cottage Industry plays a fundamental role to enhance the local crafts and weaving traditions of Sikkim. To benefit the people of local and remote areas this institute has expanded the branches almost all four district of
Sikkim. The following table shows the branches of the Directorate of Handicrafts &
Handloom, Government of Sikkim.
Table 1.6: Branches in North and South Districts of Sikkim, with the Year of
Establishment
Sl. Year of Place District
No establishment
1 1976 Lachung North Sikkim
2 1980 Chungthang North Sikkim
3 1982 Lachen North Sikkim
5 1984 Kewzing South Sikkim
6 1987 Lingdong North Sikkim
74 R. K Sharma & J. Kirannai, op.cit., pp. 16-17.
75
7 1991 Namchi South Sikkim
8 1993 Rhenock East Sikkim
9 1996 Kabi North Sikkim
10 1996 Rongli East Sikkim
11 1996 Yangang South Sikkim
12 2000 Melli South Sikkim
13 2003 Lingdok East Sikkim
14 2004 Parakha East Sikkim
15 2005 Martam East Sikkim
16 2005 Central Pendam East Sikkim
17 2005 Kokaley East Sikkim
18 2005 TimiTarku South Sikkim
Source: Golden Jubilee Celebrations, 1957-2007, Directorate of Handicrafts &
Handloom, Government of Sikkim p.23.
76
Table 1.7: Branches in West district of Sikkim, with the Year of Establishment
Sl. No. Name of Center Date of opening
1. Pelling 18/08/1982
2. Okharey 07/09/1987
3. Soreng 01/01/1993
4. Dentam 01/04/1995
5. Chakung 21/09/1996
6. Renchenpong 20/08/1996
7. Tashinding 01/04/2000
8. Reshi 03/07/2003
9. Chumbong 01/04/2005
10. Singling 14/04/2005
11. Salangdang 01/09/2006
12. Tharpu 24/04/2007
13. Karjee 13/09/2011
Sources: Office of the Directorate of Handicrafts and Handloom Industry at West
District, Gazying.
The above table indicates that the branches of Government Institute of Cottage
Industry are increasing in all the four districts of Sikkim. From 1976 to 2011 this institute
77 has 31 training center in all four districts of Sikkim. The main headquarter, Directorate of
Handicrafts and Handloom is situated at Gangtok Zero Point. These centers provide training to the local craftsmen and weavers in various fields of handicrafts and handloom.
The handicrafts and handloom industry is gradually generating both employment and income in rural and urban areas. Many handicrafts and handloom products have captured the international and national markets. By applying both the manpower and modern technology the quality and the number of Sikkim‟s handicrafts and handloom product are upgrading day by day. The speedy growth of the tourism industry in Sikkim has also helped in the promotion of its arts and crafts outside the state.75
Conclusion
It is quite understandable that traditionally the crafts making and the weaving is a part of the culture of the Sikkimese society. However, the state played a prominent role in the development of the old aged tradition of making handicrafts and handloom products. During the rule of Chogyal Tashi Namgyal, the institution called Namkhang was established for manufacturing rugs and tweeds. In 1954 onwards the First Plan was initiated in Sikkim which improved the growth of the production of arts and crafts. This
Plan also brought improvement in tools and technology. In order to administer the handicrafts and handloom sectors, an Institution named Palden Thondup Cottage Industry was established in 1957 at Gangtok. The Palden Thondup Cottage Industry was later formally established as the Directorate of Handicrafts and Handloom, Government of
Sikkim. As a result, many new training centers were started in various region of Sikkim.
75 Sikkim Human Development Report, Planning Commission, Government of India, Academic Foundation, New Delhi, 2008, p.139.
78
CHAPTER- IV
SOCIO-ECONOMIC STRUCTURE OF HANDICRAFTS AND
HANDLOOM INDUSTRY IN SIKKIM
The socio-economic structure of the Handicrafts and Handlooms Industry in Sikkim seeks to analyze the involvement of various communities of Sikkim in weaving and crafts production. Further, it also examines the data of trainees in the institution. The artisans and the weavers are an integral part of society. “The artisan is a person belonging to a particular social group, which evolved out of their co-existence, uniformity of occupational interests, working culture and above all their tool technique.”76
Since the dawn of civilization, most of the crafts and handloom products were utilized by human beings. The crafts and woven cloth were used for their self-use.
However, due to the social and technological changes, the production of crafts increases on a large scale. As a result, they began to supply the surplus for the commercial purpose.
Jasleen Dhamija on Indian Folk Arts and Crafts mentions “Simultaneously, Crafts
Museum and Regional Cultural centers bring craftsmen and performing artists to the
76 Smririkumar Sarkar, Social Organization of Artisan Production in India: Changing Role of Market, Technology and Merchant-Creditor: 18th to 20th Centuries in History of Science, Philosophy and Culture in Indian Civilizations, D.P Chattopadhyaya, Binay Bhushan Chudhuri, (ed), History of Science, Philosophy and Culture in Indian Civilizations, Volume-VIII, Economic History of India form Eighteen to Twentieth Century, PHIPSPC, Center for Studies in Civilizations, 2005, pp.108-131.
79 metropolis.”77 The artisans were traditionally engaged in particular kind of craft work which had gone through the long history of evolution.
While talking about the historical background of the arts and crafts of Sikkim, it is interesting to know that the different communities of people have migrated to Sikkim from different geographical regions who also brought there along the age-old tradition of artistic design and culture. The Sikkimese arts and crafts have been influenced by Indian,
Chinese, and Nepalese culture of arts and crafts. About this relationship and influence of arts and crafts White writes “The arts and industries of Sikkim and Bhutan have an intimate connection with those of China, as from their earliest days... with the spread of
Buddhism a certain amount of Indian influence was brought in…it has, however, also crept in through Nepal, and whenever the Newar craftsmen have penetrated Indian designs are to be met.”78 In Sikkim, there are various government institutes which impart training on a regular basis. The establishments of the Directorate of Handloom and
Handicrafts Industry in Sikkim expose the talent and tradition of arts and crafts across the state. Earlier it was like community-based crafts and weaving tradition. However, slowly these institutes began to impart training despite their caste and community. Therefore the structure of community-based crafts gradually transforms into multicultural crafts. The advent of the new technology in the process of crafts production and weaving have transformed the then existing social structure of artisans, and weavers. Further, the traditional way of production changed to technological based production. These
77 Jasleen Dhamija, Indian Folk arts and Crafts, National Book Trust, New Delhi, (reprint), 2005, p.1. 78 J.Claude White, Sikhim and Bhutan, Twenty-one years on the North-East Frontier, 1887-1908, Low Price Publication, Delhi, 1909, pp. 294.
80 implementations of modern technology in handloom and handicrafts sector increase the specialization in crafts and weaving works.
By looking at the background of the marketing of handicrafts and handloom products, it is clear that traditionally before the establishment of the center for sales cum exhibition, people exchanged the products through the barter system. For instance, during
1918 the natural dye made by the Lepcha of Zongu was also exchanged with wool and salt of Tibet via Lachen, North Sikkim. Tibet was the main supplier of wool in Sikkim.
The salt was brought from Tibet was again used to exchange with the cotton of
Darjeeling.79 However, later with the establishment of Handicrafts and Handloom
Institute of Cottage Industry, the various marketing agencies were also established. For instance, the Handicrafts and Handloom Development Corporation looks after the marketing of crafts and handloom products. The artisans and the craftsmen of rural areas also sell their handicrafts and handloom product through this corporation.
Similarly, in different institutions, sales, cum exhibition centers were also established. There are sales emporiums at Delhi, Bagdogra, Gangtok, Rangpo, and
Soreng. The different Non-Governmental Organization is also working for the marketing of these crafts and handloom products.80
In the handloom sector after the use of power and iron looms the scale of production gradually increased. With the increase in producing various kinds of craft began to be supplied to the markets. Handloom is also one of the chief means of
79 J.C Debnath in Economic History of Sikkim, Before and After Independence, Abhijeet Publication, Delhi, 2009, pp.81-85. 80 Golden Jubilee Celebrations,1957-2007,Estd.9th March, Directorate of Handicrafts & Handloom, Government of Sikkim, issued by Information and Public Relations Department, Government of Sikkim, 2007, p. 5.
81 livelihood which plays a crucial role in the socio-economic development of the society.
Sikkim is also one of the attractive tourist destinations in the world. In Sikkim, the several communities are also economically dependent on tourism. The artistic designs and the diversity of arts and crafts of Sikkim also contributed in promoting the tourism industry in the state. While talking about the crafts, the structure of monasteries,
Chortens, wooden masks, and various paintings are the example of the craftsmanship of the state. Gradually in Sikkim, the tourism sector is developing day by day.81
Sikkim comprises various communities, among them the Lepchas, the Bhutias and the Nepalis are the major communities. Each community has their distinct history, custom, and tradition. Linguistically and culturally they are different from one another.
The Lepchas are the original inhabitants of Sikkim. The Lepchas have originated from the mongoloid race and having a linguistic connection to the Tibeto-Burman family, the
Lepchas, are the actual autochthones of Sikkim and Darjeeling Himalayas. They call themselves Rumkup, Ronhpa, and Raongkup. Their country called as Mayel Lyang, meaning the land of hidden paradise. They are known by different names as like in
Sikkim they are called as Renjyongmubin and in Darjeeling Tamsangmu.82
The Lepchas have their language, scripts, and dialects which are varied from other communities. Lepcha language is called as „Rongring‟ and use script known as
„Mutanchi Rong Aming.‟ Namsoong or Numbun is the festivals of Lepchas which celebrate are during December as a New Year. They also celebrate Tendong Lho Rum
81 Mahendra P. Lama, (ed), Sikkim society, Polity, Economy, Environment, Indus Publishing Company, New Delhi, 2000, pp.221-223. 82 David Arnold Kharchandy, Understanding Tribes of Asia, Lakshi Publisher & Distributer, New Delhi, 2018, p.182.
82
Faat. During this festival, they used to offer prayer to Mount Tendong. Wood and other forest products are used to construct their traditional house. In the foundation laying ceremony of the house, they used to put up the nine wooden pillars on the stone to protect from decay.
Lepchas were occupationally agriculturalist and hunters-gatherers, but with the passage of times gradually they also adopted various other occupations. In the context of handloom and handicrafts, Lepchas are primarily expert in weaving and craftworks.83
The Bhutias are also known as Lopo, which means the „the dwellers of the southward‟ or Denjongpa (people from Denjong)84 or Denzongpas or Lhopas85 or Lhori.
Bhutias have many sub-groups like Dukpas, Chumbipas, Dopthapas, Tromopas,
Lachenpas, and Lachungpas. They are divided into two main groups, i.e., Tong-du-ruzi and Beb tsen gyed. Within Tong-du-ruzi, four rus or clans that incorporate Tsechu
Tharpa, Sangdarpa, Kachopa and Shengaoa. Similarly, within Beb tsen gyed there are eight rus or clans which include Ethenpas, Phenchungpa, Phenpunadik, Namnakpa,
Nachangpa, Gonsarpa, Namchangopa, and Chungiopa.86 Bhutias are live in different parts of Sikkim. In North Sikkim particularly the Lachenpas and Lachungpas have the administration of their own and legal system, called „Dzumsa.‟ In this region, people elect Pipon as the head of „Dzumsa.‟
83 The Splendor of Sikkim, Culture and Tradition of Ethnic Communities of Sikkim, Cultural Affairs and Heritage Department, Government of Sikkim,Gangtok, 2017, pp.31-35. 84 Ibid, p.15. 85 Suresh Kumar Gurung, Sikkim Ethnicity and Political Dynamics, A Triadic Perspective, Kunal Books publisher & Distributer, Delhi, 2011, p.92. 86Sunita Kharel, & Jigme Wangchuk Bhutia (ed), Gazetteer of Sikkim, Home Department, Government of Sikkim, Gangtok, p.116.
83
The language of Bhutia is known as Lhokey and use Tibetans script. Bhutias follow the lamastic form of Buddhism. Monks conducted the various kinds of rites and ceremonies in monasteries, the village as well as at home. Previously, one male member of every
Bhutias family was used to send to the monasteries. Traditionally the house of the
Bhutias community was constructed with the help of wood and stone. Sonam Losoong is the main festival of Bhutias. During the festival they offer various kinds of fruits. Apart from Sonam Losoong, Pang Lhabsol is also another ritual festival. Occupationally
Bhutias used to practice agriculture and cattle rearing. However, with time they began to work in Governments, private as well as business sector. Apart from this, they are also expert in various handloom and handicrafts work like weaving, wood- carving and thanka paintings.87
The Nepalis are also one of the major ethnic communities of Sikkim. The term
Nepali communities include many other communities like Bahuns, Chettries, Newares,
Limboos, Khambu-Rais, Mangars, Yakhas, Sunuwars, Gurung, Tamangs, Bhujels,
Thamis, Kamis, Damais, Sarkis, Majihis, Thakuris, Jogis, Sanyasis, and Thakuris. Each of these communities has a distinct culture, tradition, custom, and history.88
87 The Splendor of Sikkim, op.cit., pp.15-17. 88 Sunita Kharel, & Jigme Wangchuk Bhutia op.cit., p.117.
84
The following Table shows the population of Lepcha, Bhutia, and Nepali. The community wise census conducted in 1891 by White.
Table 1.8: Community wise Census of Sikkim 1891
Sl. Community Population
No.
1. Lepchas 5,800
2. Bhutias 4,700
3. Nepali 19,500
4. Total 30,000
Source: HH Risley, The Gazetteer of Sikkim, B.R Publishing Corporation,
Delhi2005, 2010, p.259.
Community Involvement in Weaving and Craft Production
In Sikkim, the Lepchas are mostly professional in weaving or handloom works.
Mowsume Bose Roy (Datta), in Women in Handicrafts Industry, A Study of Sikkim, coated the lines from Gorer (1938) which explicitly mentions “until the beginning of this century Lepchas used to weave all their cloth, but nowadays only a couple of women bother to weave, people were instead ready-made and fairly shoddy clothes”.89 Gradually this tradition of weaving is producing the generation of weavers in Sikkim. Historically,
89 Mowsume Bose Roy (Datta), Women in Handicrafts Industry, A Study of Sikkim, Mittal Publications, New Delhi, 2012, p. 115.
85 the Lepcha weavers mostly used sheep wool, cotton, woolen yarn and silk for weaving various cloths. However, over time they also began to use acrylic as raw materials.
Cotton was grown in the lower valley. There is also evidence that weavers also used the nettle fibers for weaving cloth which is commonly called as sisnu. HH Risley‟s, The
Gazetteer of Sikkim, wrote mentions “cotton is grown in small quantities in the lower valley. Jute is not grown in Sikhim. Wild fibers-the natives employ the large nettle (so- ris) for making cloth, which is said to be very durable.”90
In loin looms clothes are weaved in various traditional designs and attractive colour. The frame of loin loom is of bamboo and wood. However, there are many loin looms such as Blackstrap, Shuttle, Breast bar, and Bamboo bar. These implements are mostly made of bamboo or wood. The types of equipment like front bar, breast bar, herald bar, circular bamboo bar, lease rod, blackstrap, and sword are the tools or parts of loin loom. There are multiple patterns and techniques which are used to weave the cloths in lion loom. In the process of weaving, firstly the weavers wind the cotton yarns in a wooden frame according to the required lengths. Secondly, the wound yarn is placed in vertical frame loom for weaving. Thirdly, the weavers lay down several patterns and designs in cloths as well as in various woven products. Commonly they apply motifs like
Damru, (musical instrument) swastika, water, and flowers. The various tools used to weave cloths are spinning machine, spindle, wrap drum and loom.
The Lepcha were famous in traditional weaving and spinning yarn. In the process of weaving, they follow the different kinds of methods like shedding, picking and beating. Lepcha women also weave many handloom products like traditional dresses,
90 H H Risley, op.cit., p.77.
86 table mates, shawls, bed covers, and jackets.91 Apart from this, the Lepcha duree is also woven by the Lepcha women. The woolen and cotton yarn is used to weave the Lepcha duree. Further, the dyed yarn used for weaving duree has to get dry almost a week, and the synthetic and vegetable dyes with different colours are used.
91Sunita Kharel, & Jigme Wangchuk Bhutia, op.cit., p. 420.
87
Figure.1.7 LEPCHA TRADITIONAL DRESS
Source: Crafts Gallery, Directorate of Handicrafts & Handloom Industry, Government of
Sikkim.
88
The weaver mostly uses green, yellow, red, white and black colours. Earlier the weaver used to apply the vegetable dye in the yarn, found in the forested region of Sikkim.
However, with the introduction of aniline dyes, gradually the weavers began using it. Due to the cheaper rate and more comfortable to use, the weavers desire to apply aniline dyes; as a result, aniline dyes slowly replace the attractiveness of vegetable dye.92
Most of the Lepcha traditional costumes are the oldest form of handicrafts and handloom tradition. The Lepcha traditional hat is one of the earliest crafts of Sikkim. The bamboo (Cephalostachyum Capitatum) and cane (Calamus acanthomatous) or Ru is used to weave the Lepcha hat. Since from the beginning, the Lepcha community utilizes bamboo and cane for various household work. Every section of a hat has traditional meaning and importance. The people of the Lepcha Community use to wear the traditional hat in various Lepcha festivals including Namsoong, an offering of prayer to
Mt Kanchenjunga, Mt Tendong and also in marriage ceremonies. Sometimes they also use to wear a traditional Lepcha hat in different cultural and religious festivals.
The weaving of traditional Lepcha hat is also one of the oldest tradition of handicrafts and handloom of Sikkim. The craftsperson should have the skill of craftsmanship in making it. It may take more than a week or month, depending on the skill of craftsperson. For this, the craftsman has to apply many steps. The strings or poli of cane or bamboo are used. By keeping 4mm thickness, in a rounded shape the strings are woven. The natural dye of climber locally called as Rubia manjith is used for dying the hat.
92 Mowsume Bose Roy (Datta), op.cit., p.107.
89
Figure.1.8 LEPCHA HAT
Source: Crafts Gallery, Directorate of Handicrafts & Handloom Industry, Government of
Sikkim
90
Traditional Lepcha hat comprises four different layers. The first layer of Lepcha hat is known as Sungdyong song which means the web of a spider. The second layer is as Ee- mik which means eye of putka (mountain bee). Likewise, the third layer is Sumok tsum which means the design of the armour. Finally, the fourth or base of the hat is known as
Afyel. Here, they attach the tail of a bird Nubong Ong Fo with carved wood or metal piece in the moon and sun shape.93
Many materials like Po Pali (large bamboo yarn), Payongpali (small pieces of bamboo),Rukup (cane), Kung cho (natural dye of Majito94), Tonzer long (stone which is like glass), kaffer (leaf), Nambongong (feather or tail of birds), Pugu reep, and Mongyung
Tukseem (feather of peacock) are used in the process of weaving the Lepcha hat.95
Historically the Lepcha community was dependent on the occupation of hunting, gathering, animal rearing and agricultural activities. Traditionally the different agricultural tools and the household implements of Lepcha community are connected with the arts and crafts of Sikkim. J.R Subba mention the various handicrafts tools of the
Lepcha community, “Vir Tangsit or traps, made of bamboo which is used for trapping fish, Srigli (net) for fish catching, Chompo (basket), tung zyag (basket), Slu and Chong hup (bow and arrow made of bamboo, string and iron), spear, Ban and knife for hunting, fitok (earthen vessels for cooking), Tali (wooden plates), Zaru (bamboo spoon), padam
93 S R Lepcha, R Gurung & M L Arrawatia, Traditional Lepcha crafts Sumok-thyakut (Lepcha Hat) and conservation in Dzongu Tribal Reserved Area (DTRA), Sikkim, India, Indian Journal of Traditional Knowledge, volume- 11, 2012, pp. 537-540. 94 Creeper Plant locally found in forest and the botanical name is Rubia Cardifolia. 95 Golden Jubilee Celebrations, op.cit., p. 16.
91
(long bamboo can bring water), pathyoth (bamboo can for millet beer), injidut (milk can)etc.”96
Similarly, the Lepcha women weavers are traditionally famous in weaving the traditional dresses of the Lepcha community like dam ta gaap (female dress of Lepcha), dom pra (male dress of Lepcha) which are also related to handloom weaving culture of
Sikkim.97 The distinct design and colour of the weaving product somehow represent the cultural synthesis of the people of Sikkim.
Even during 1925, Lepcha community followed the traditional way of lifestyle. In the traditional life of the Lepchas, the bamboo was the main implements for making vessels, mats and different types of equipment. In the earlier days, for weaving, the
Lepcha use simple tools like spinning roads and spinning spindles. They are also involved in the making of crude pottery of black soil. However, Nepal exported better quality of pottery to Sikkim. Apart from this, villagers were also involved in the making of handmade white paper. For making this white paper villagers mostly use nettle as a raw material. During this time the tradition of painting in the skin was also introduced in
Sikkim from Tibet. However, gradually most of the local arts are becoming specific day by day. From these points, it is clear that traditionally most of the products were exchanged through the barter system.98
Historically, wood carving is practiced by the Lepchas and the Bhutias professing
Buddhist religion. Wood carving is the earliest art of the Lepcha and the Bhutia
96 J.R Subba, History, Culture and Customs of Sikkim, Gyan Publishing House, New Delhi, 2008, p. 224. 97 Ibid, p. 24. 98 J.C Debnath, op.cit., 2009, p. 83.
92 community. The eight Buddhist signs are depicted in woodcrafts which are place in monasteries as well as several older buildings. However, with the establishment of
Government Institute of Cottage Industries, the Nepali communities are also getting trained and are engaged in wood carving. As a result, gradually people from Nepali communities are involved in wood carving.
The making of a wooden mask is also one of the traditions of crafts making. The carved wooden mask is known as Zaru-shing. The different colours and designs are applied in it to make it more attractive and meaningful. Earlier they used to paint with vegetable dye, but now they use synthetic dye. Each mask has a different meaning and associate with distinct religious stories. The Monks or the Buddhist lamas perform several mask dances in the different religious festival at monasteries. The Bhutias and the
Lepchas carved the wooden mask of Mahakal, Garura, and Kanchgchendzonga. The wooden mask is kept for a different decorative purpose.
Thanka paintings are also one of the art and crafts of Sikkim. It is the religious scrolls which are place in several Buddhist monasteries. Primarily, the religious artisans of Bhutia and Lepcha communities used to paint the thankas. They were known as
Larips. While painting, the thanka artisans are necessary to know the Tibetan language.
However, slowly the Nepalise also began to involve in this kind of art. Apart from the
Bhutia and the Lepcha community, several other communities are also involved in different handicrafts and handloom works.99
Within Nepali communities, some were expert in mining and metal works. HH
Risley, in The Gazetteer of Sikkim, wrote “The miners are all Nepalies, and belong to the
99Mowsume Bose Roy (Datta), op.cit., pp. 108-115.
93 caste of Mangers” and further mentions “the Nepalies miners have a very keen eye for copper ores.”100 Some of the Nepali communities are also expert in various kinds of handicrafts and handloom works. The communities included within the Nepali community are Bahuns, Chettries, Newares, Limboos, Khambu-Rais, Mangars, Yakhas,
Sunuwars, Gurung, Tamangs, Bhujels, Thamis, Kamis, Damais, Sarkis, Majihis,
Thakuris, Jogis, Sanyasis, and Thakuris. Each community has their history and cultural occupation. Traditionally, even during 20th century, the Nepali communities were very much skilled in the making of arts and crafts of Sikkim. Besides, J.C White also mentions
“In Sikkim, the arts are now almost entirely carried on by Nepales craftsmen… .”101
The Nepali community also has their prominent role in preservation and flourishing the tradition of craft making and the weaving in Sikkim. The weaving of different traditional clothes, the making of various crafts and arts are the main contribution of the Nepali community. Culturally, the women from the Gurung community are skilled in weaving various handloom products like Rardi, Burkasan, Topii
(caps) and use raw wool of sheep for weaving these clothes
Similarly, women of the Nepali community are also professional in weaving traditional dresses like Dhaka Fariya, Choli, Dhaka Topi, Dhaka Mujetro. Gradually, these handicrafts and handloom products were introduced in the state of Sikkim. Apart from weaving, they are also skilled in making bamboo crafts and wood crafts. The animal‟s skin and bamboo used as raw materials for making of baskets, tray, lamb stand,
100H H Risley, op.cit., p.66-71. 101 J.Claude White, op.cit., 294.
94 pen stand and the weaving of Gajra, Pira from khosala (maze product), Gundari, basket, and stools (mura).102
Bhujel is also one of the ethnic communities of Sikkim; locally call as „Khawas,
They belong to the Mongoloid stocks. According to their mythology, they are descendent of Rocky Mountains of Hugam. They settled in different parts of Sikkim such as
Daramdin, Salangdang, Kitam, Turuk, Rhenock, Jitlang, Dodok, Karthok, Tokal
Bermiok, Pakyong, Chujachen, and Rigu. Bhujel have their language is called Puhgal
Gnur. They have their religion, culture, and tradition. Traditionally bamboo is one of the essential materials in their life. The Bhujel community makes various bamboo products for their daily use. They acquire the skill of bamboo craftsmanship. Women from the
Bhujel community are also expert in handloom weaving and knitting.
102 J.R Subba, op.cit., p. 227.
95
Figure.1.9 TRADITIONAL DRESS OF NEPALI COMMUNITY
Source: Crafts Gallery, Directorate of Handicrafts & Handloom Industry, Government of
Sikkim.
96
Similarly, the Gurung community call themselves as Tamu which means courageous and fearlessness. They have their language called as Timu Kye and use Khema script. The main occupation of the Gurung is Sheep rearing. The Gurung women are expert in spinning and weaving tradition. Historically, they used to woven cloth for their family as well as to sell in market. By using the wooden spindle, women spin a yarn of sheep.
Further, the yarns of sheep are used to weave many handloom products like blanket, rugs, caps as well as coats. With the use of corn husk and bamboo, men weave several handicrafts products like stool (moorah), baskets (made of bamboo product), ropes and mats (made of corn/maze husk).103
The people of hilly areas extensively used Bamboo and canes. There are multiple uses of bamboo-like for making various types of agricultural equipment, making the house, weaving various crafts, making of several implements. Earlier people also use bamboo for taking water from the river.
Regarding the use of bamboo, it has been mentioned, “Network of bamboo aqueducts conducts water from one level of terraces to another. Sunk into the ground at each other level of terracing are bamboo shunts to draw of excess water.”104
Kagatey is also another community of Sikkim. They belonged from Yolmo community and originated from the border of Nepal and Tibet. The handmade papermaking is the prominent occupation for their livelihood. In the Nepali language, the meaning of title „Kagatey‟ itself is the paper maker. They used to make the paper from a plant, locally called as Orgalley which found in the hilly areas. However, the Kagatey are
103 The Splendor of Sikkim, op.cit., pp.139-223. 104 Hope Cook, Time Change An Autobiography, Simon and Schuster, New York, 1980, p.65.
97 also skilled in thanka painting as well in the painting of god and goddesses (kheba).
Traditionally women from Kagatey were engaged in weaving various woolen carpets.105
The communities like Damai, Kami, and Sarki makes the Nepali Schedule Caste community of Sikkim. They are skilled in gold, silver, and metalwork like making many tools of agriculture, khukuri, bamfok, and sickle. However, with time they are also involved in different Government as well as private sectors.106
Mangars are also the early settlers of Sikkim. They also have their language.
Their script is known as Akkharika script. Their languages belong to Tibeto-Burman family. Apart from agriculture and hunting, weaving and the making of the bamboo basket are also the main occupation of Manger. The Mangars were skilled in making handmade clothes by using the animal skins. Mostly, they used the skin of sheep as well as the bark of nettle (sisnu) for making cloth.107
The Sunuwar also called as „Mukhia‟ are one of the community of Sikkim. They belong to the linguistic tribe of Kirat. The Sunuwar are divided into clans like Barathares,
Dasthares, and Jirels. Apart from hunting and agriculture, they are also occupationally dependent on various handloom and handicrafts work. Traditionally, the women of
Sunuwar community were skilled in weaving woolen hand-made loom garments.
Similarly, men of Sunuwar community were skilled in making of baskets and other bamboo product for daily use.108
105The Splendor of Sikkim, op.cit., pp.139-223. 106 Ibid. 107 Ibid. 108Ibid.
98
While talking about the Limboo community, occupationally, they are dependent on agricultural activities. The Limboo community has their history, tradition, unique culture and one of the tribal communities of the state of Sikkim. The various agricultural and household tools and implements of this community are primarily related to the arts and crafts of Sikkim. Similarly, some of the traditional musical instrument, bows and arrows, and hunting weapons or equipment is made of handicrafts products.
However, some of the handicrafts tools and implements are also popular among the different other communities of the state of Sikkim. The different handicrafts tools and implements are listed by J.R. Subba. They are “Agricultural implements: Kekhu (plough),
Nising (juwa), Pensing (Harish), Hemek (Dandhey), Phehikli (Phyauri), Phali,
Phengkhen (Karuwa), Kang (spead), Tingkang (Kanta)Lepkong (Kodali), ..Lokphey/
Thupa (spear), Thowa (Kunjo),..Michak (Chakmak).. Hattaso, Bhakari, Chitra, Chandey,
Yakphang, Chyaphla, Phayet (Nanglo), Sappo/ Thingey (Doko), Lumbhu (Thunchey),
Khuruk/ Wanglep (Ghum),Mangdang (Deli), Noyee/ Pokwa (Dalo), Sachep (Perongo),
Chep (Pecha), Phurlung,Mohola, Yangdang (Kokro), Sorma (Chhapani), Phuney,
Khannam (Namlo), Thakpa (Damlo), Phethokwa/ Thokwa (Dhiri), Kandya (Dhungro),
Chongey, Pipsing/ Tom, Chillingey (Chalni),etc.”109
Most of these handicrafts tools, implements and equipments are made of cane and bamboo and wood crafts. All these implements are utilized in daily life among the various communities of Sikkim. Similarly, some of these crafts are also traditionally utilized in different cultural festivals. However, few prominent implements are gradually extinct from society. Mainly, for these handicrafts tools and implements, the different
109 J.R Subba, op.cit., p. 225.
99 communities used their terminology. Further, the terminology is also distinct from region to region and community to community.
Beside these agricultural tools and implements, there are various household materials made of either wood crafts or cane and bamboo. Some of these materials are
Khookchng, or Sano Okhli, Khemba or Ghempa, Pong or Theki, Okhli, Mushli, Dhiki,
Dundero, Chimta, Pira, Gundri, Rari, Burkasan, etc. All the terminologies as mentioned above of household materials are local or community-based terminology. The various communities traditionally use most of these materials. Similarly, the various traditional musical instruments and the weapon made of handicrafts, handloom and metals products are also listed by J.R Subba. They are as follows “Pheja (Khukuri), Pokphey (Bamphok),
Mudenphey (Sword), Lee (Bow), Tong (Arrow), Purtha (Guleli), Kola (Matengra),
Tmmok (gun), Toati (Banchoro), Kuthumpma/ Tu (Spear), Khoo (Dhal). Further, the musical instruments are Simikla Kom (Binayo), Phenjey Kom (Muchunga), Ke/
Chyabrung (Long log Drum), Nagara, Mephra (Bansuri), Udhungba (Sarangi),
Yalamber muksam, (Yalamber Baja), Tungna, etc.”110 These instruments are the traditional musical instrument of the Limboo and the Rai Community. Some of these handicrafts mentioned above products are also popular among the various other communities in Sikkim.
110 Ibid, p. 225.
100
INVOLVEMENT OF WOMEN IN HANDICRAFTS AND HANDLOOM
INDUSTRY IN SIKKIM
This section particularly examines the role of the women belonging to the different communities, in the weaving sector. Since from the beginning, women play a prominent role in flourishing the tradition of the weaving and handloom works in Sikkim.
Mostly the women were dominated in carpet making, handloom and blanket weaving. On the other, hand men participated in wood carving; mask making, thanka painting, cane, and bamboo work. However, after the establishment of the Government Institute of
Cottage Industries, in fact, it would be correct to say that the crafts and weaving are entirely carried out by both male and female. Both the women and men of Sikkim uniformly contribute to the promotion and the development of handicrafts and handloom product in Sikkim. However, the handloom and weaving section is dominated by the women weavers in all the institutes situated in different regions of the state.
The women of the Lepcha community played a fundamental role in handloom weaving. Since from the beginning, the Lepcha women used to weave various handloom products like shawls, Lepcha traditional dresses, table mats shoulder bags, woven jackets, etc. They use multiple design and colour to make products attractive and valuable. Cotton yarns use as the primary raw material for handloom weaving. Vertical frame loom is used for weaving the various handloom products.
Similarly, the women of Bhutia community were expert in carpet weaving. They use sheep wool to woven the woolen carpet, such tradition is carried from generation.
The cotton yarn is used as a raw material for weaving carpet.111 During carpet making the
111 Tika Prashad Sharma & S.K Borthakur, Traditional handloom and handicrafts of Sikkim, Indian Journal of Traditional Knowledge, volume-9, 2008, p. 376.
101 cotton yarns is further converted into taan. The woven carpets are used for different purposes like covering chair, beds, and sofas.112
In the same way, the Nepali women are also expert in blanket weaving. Mostly the yarns of sheep wool have been used for weaving blanket. First of all, in order to remove the dirt from the wool, the raw sheep wool is washed with soap. Then after, the wool is sun-dried. The dried wool is placed for spinning the yarn. The spun yarns, the yarns are set in wooden instrument named phang. Then the yarn is processed for colouring. They apply both the natural and chemical dye for dying yarn. Finally, it is weaved in the loom.113
Similarly, the making of the lucky signs is also one of the components of handicrafts. In the making of lucky sign mostly the women occupy a dominant position.
While in the preparation of lucky sign either needle or paint is used to make signs. The lucky sign is drawn on silk cloths either in the form of symbol or words. There are different varieties of lucky sign such as Choekyi (the wheel of Dharma), Palbhen (endless
Knot), Pema (meaning is lotus), etc. By using colours some of the Buddhist mantras are also presented in cloths as a lucky sign. These signs are in monasteries, households and other decorative works.
112 Ibid. 113 Ibid.
102
Figure.1.10 LUCKY SIGN
Source: Crafts Gallery, Directorate of Handicrafts & Handloom Industry, Government of
Sikkim.
103
Besides this, the women also participate in handmade papermaking. This section of handmade papermaking began in 1962. The products from the handmade paper section are card sheet, rags paper, and rayon paper. This unit of handicrafts recycles the waste paper collected from various the departments and offices.
On the other hand, in order to spread the tradition of weaving and handicrafts, many women cooperatives are established in various districts of Sikkim. In East Sikkim, the working women cooperatives are Educated Unemployed women‟s Welfare Co- operatives Society, Srishti Samity, Carpets Training Weaving center, Denzong Women
Handloom Co-operative Society, Mahili Broom Marketing Co-operative Society, and
Nayuma Women Co-operative Society. The Women Cutting and Tailoring Co-operative
Societies are in South Sikkim, and Tribal Women‟s Weaver and Handicraft Co-operative
Society is in West Sikkim. These co-operative societies are involved in producing various types of handicrafts and handloom works.114
These co-operative have played a significant in making women of Sikkim more self-reliant and has indeed helped in raising the living standard of the people. Generally, the women of Sikkim predominantly played a vital role in promoting the handloom weaving culture in Sikkim.
The table mentioned below show the number of male and female trainees involved in various sections of the handicrafts and handloom industry in Sikkim between 1997 to1999.
114 Mowsume Bose Roy (Datta), op.cit., pp.118.124.
104
Table 1.9: Number of Trainees by Gender and Type of handicrafts in Sikkim (1997-
1999)
Type of Training Male/female 1997 1998 1999
Wood carving Male 20 30 25
Female - - -
Carpet Male - - -
Female 126 102 215
Handloom Male - - -
Female 32 49 50
Multi –crafts Male - - -
Female 21 7 15
Thanka paintings Male 3 5 8
Female - - -
Mask making Total 1 3
Cane and bamboo Male 2 2 -
Female
Blanket Male - - -
Female 15 13
Source: Mowsume Bose Roy (Datta), Women in Handicrafts Industry, A Study of Sikkim, p. 119.
105
This table shows the integrated figures of the trainees from 1997 to 1999. There are many sections within the handicrafts and handloom sector, such as wood carving, carpet making, handloom weaving, multi-craft, mask making, thanka painting, cane and bamboo, and blanket weaving. In each section, various types of training have been imparted. The above table indicates that the male trainees were mostly involved in handicrafts work like wood carving, mask making, thanka painting, and cane and bamboo. However, female trainees were more in number in the weaving like carpet weaving, handloom and blanket weaving.
Conclusion
Lastly, Sikkim is the multi-ethnic and multi-cultural state. The different communities inherited their traditional arts and crafts. Each of the community is professional in particular types handicrafts and handloom products. Their traditional dresses, household equipment are made by themselves. Mostly women were involved in the handloom weaving tradition, on the other hand, the involvement of the men dominated the crafts making and wood carving. However, with the establishment of the
Institute of Cottage Industries, the community-based arts and crafts are transformed multi-cultural arts and crafts. The various skill developmental training was initiated for weaving and crafts making where anyone from any community could join the training. It shows democratic character of administration where there is no disparity concerning caste, creed, religion, and gender. Both the gender equally participates in the handicrafts and handloom industry in Sikkim. The Government role in upgrading this sector is immense. This industry has captured the eyes of the tourists too. It has played the role of
106 making the people as economically independent which further motivates an individual in the social realm. The Sikkimese women co-operatives initiation in developing weaving culture is enormous in the state. This industry tries to safeguard the age-old traditional patterns of weaving, wood carving, paper making, paintings, etc. However, due to the modernization and globalizations, the Sikkimese handicrafts and handloom products are of demand in international markets. The production in this industry has been increased due to the establishment of many new centers across Sikkim. Even the popularity of finely woven traditional dresses, handmade ornaments, motifs are vanishing from society.
Concerning to these facts and changes, it is noted, “Plastic ornaments easily take the place of the older, far more beautiful, ornaments of bone, seeds and wings of birds. A singlet takes the place of the decorative coat; short supplant the finely woven and cowries-decorated apron or the loin-cloth of leopard-skin.”115 However, as a whole, the old arts and crafts are slowly vanishing day by day.
115 Verrier Elwin, Art of the North-East Frontier of India, North-East Frontiers Agency, Shillong, 1959, p.183.
107
CHAPTER-V
CONCLUSION
The tradition of crafts making and the weaving culture is the part of the traditional occupation of the Sikkimese society. Sikkim is known by its Himalayan Mountains, glaciers, and the varieties of arts and crafts. Sikkim is the land of the cultural diversities and amalgamation of the deeply rooted tradition of crafts making and weaving culture.
Sikkim is a multi-ethnic state. There are major ethnic communities like the Lepchas, the
Bhutias and the Nepalies. Sikkim is also known for its tradition of making handicrafts and handloom products like carpet weaving, wood carving, blanket making, thanka painting, cane and bamboo crafts, and metal arts.
By looking at the historical background of the arts and crafts of Sikkim, each of these communities living here specializes in particular handicrafts and handloom product.
The Lepcha community is skillful in bamboo crafts, weaving, and woodwork, on the other hand, the Bhutias are expert in Tibetans carpet weaving, and the Nepali community is famous for silver and woodwork.
Traditionally, the arts and crafts are the original creation of human society.
Regarding the connections between society and arts and crafts, it is mentioned “The world of arts and crafts is as valuable as the world of science, philosophy or ethics. Like art, crafts reflect the state of human society through the individual.”116 Even the varieties of the design, motifs, colour and the different pattern of the arts and crafts reflect the cultural diversity of the society of Sikkim. Even during the Chogyal period or the
Namgyal dynasty period, the tradition of craft making and weaving was present among
116T.M Abraham, Handicrafts in India, Graphics Columbia, New Delhi, p.2.
108 the people of Sikkim. The different household materials and the agricultural equipment are associated with the handicrafts and handloom products. The different primary and secondary sources also reveal that the people of Sikkim made their clothes, agricultural equipments and the variety of arts and crafts for their self-consumption, and not for the commercialization. The women used to weave the woolen and cotton clothes by using their implements made of bamboo. Some of the literary sources also mention that the women weaved clothes at their small looms. Historically, the raw materials like wool, cotton, silk, and dye, were brought from Tibet and other regions. Apart from other crafts, bamboo crafts were very much popular in the society. While looking about the dyeing, traditionally the artisans of Sikkim used the natural or vegetable dye for colouring the woven products, collected from the jungles of Sikkim.
Gradually, the Chogyal or the Raja of Sikkim also provided significant initiatives for the development and preserving the age-old tradition of weaving. The Scandinavian
Alliance Mission in Lachen and Lachung in North Sikkim played a functional role in the opening of weaving school in the latter half of the 19th century. It was J.C White the first
British Political Officer who opened the doors for these missionaries to carry their works in Sikkim. These two weaving schools were under the supervision of various Mission schools. Later, these weaving schools came under the supervision of the Pepon and the forest department of Sikkim. The Maharaja of Sikkim also gave the supervisor a certain amount of aid. The various handicrafts and handloom products manufactured at these weaving schools were supplied to the different commission agents. The uniform of peons, chaprasis, and guards of different departments were also manufactured at these weaving schools.
109
In 1920, the Chogyal, Tashi Namgyal, established the manufacturing center called as
Nam-khang which produced carpets, blankets, and different handloom products. Slowly and gradually the tradition of craft making and weaving flourished among the people of
Sikkim.
During the reign of last Chogyal, Palden Thondup Namgyal, an Institution of
Cottage Industry was set up in 1957 at Gangtok East Sikkim. The name of this Institute was Palden Thondup Institute of Cottage Industries. In order to continue the tradition of crafts making and the weaving, this institute began to impart training in various sections of arts and crafts. Initially, this institute had less number of trainees, but slowly the number increased. The trainees received a certain amount of stipend every month.
However, after the establishment of the Palden Thondup Institute of Cottage
Industries, many new sections of arts and crafts were also introduced in Sikkim.
Similarly, within this institute, many new tools and equipment were gradually implemented. These technological evolutions further helped in the production of arts and crafts. Later on, the Palden Thondup Cottage Industry was called as Government Institute of Cottage Industry (GICI), but now it is known as Directorate of handicrafts and handloom, Government of Sikkim (DHH).
Under the Directorate of Handicrafts and Handloom Industry, many new branches were established in the four districts of Sikkim, viz. East, West, North, and South. The earlier established weaving schools were also brought under the administration of the
Directorate of handicrafts and handloom, Government of Sikkim. The headquarter of all these institutes is at Gangtok. In each centers many new sections of arts and crafts were introduced. In each centers, training was conducted on the various sections of crafts and
110 handloom weaving. The duration of training is based on the sections of handicrafts and handloom. In the same way, in many areas, the skill development training was also started. In different centers productions-cum training unit was introduced to increase the production.
Traditionally, the variety of finest handicrafts and handloom products were sent for the exhibition organized at different parts of the country. In most of the exhibition participants from Sikkim also received many medals, awards, and certifications. Even at present, the participants from the Directorate of Handicrafts and Handloom also take part in the different crafts fairs and exhibitions.
Similarly, in order to increase the scope and marketing, the sale-cum-production unit was established at the different institution under the Directorate of Handicrafts and
Handloom. This center of handicrafts and handloom provides training in carpet weaving, blanket weaving, thanka painting, multi-craft, mask making, handmade papermaking, wood carving, and cane and bamboo crafts making. Most of the raw materials for these arts and crafts are locally available.
In order to provide financial support and subsidies, Sikkim Industrial
Development and Investment Corporation Ltd (SIDICO) was formed on March 1977.
Similarly, the Sikkim Handloom and Handicrafts Development Corporation limited
(HHDC) was also established in December 2003 to work for the marketing of the crafts and woven products. The initiation of the Five Year Plan and the allocation of aid in the industrial sectors explicitly supported the development of handicrafts and handloom industry in Sikkim
111
Slowly, the Directorate of Handicrafts and Handloom industry was divided into production and training units. Earlier, the arts and crafts were community-based.
However, with the establishments of the Institute of Handicrafts and Handloom, this communities-based crafts, gradually becoming multi-ethnic crafts. This institute provides training to the local boys and girls irrespective of their caste creed and religion. Now, during the training period, the local trainees can learn any forms of arts and crafts.
Earlier, the women dominated the handloom and weaving sections and the men the crafts work. However, at present, both the women and men can obtain training in crafts making and weaving.
In facts, even today the people of the rural areas in Sikkim have the skill of making a variety of arts and crafts. The different handicrafts equipment and the implements are still used in agricultural and household activities. In the sustainability of this tradition of handicrafts and handloom, the rural people of Sikkim are playing a prominent role. This quality, the designs and the uniqueness of the variety of arts and crafts also help in the development of the tourism industry in Sikkim. The Directorate of
Handicrafts and Handloom Industry have a significant role in preserving the unique arts and crafts tradition of Sikkim. At present, different government agencies, women co- operatives, ex-trainees and, Non-Governmental Organization are still working for the promotion and preservation of old tradition of crafts making and weaving culture. The arts and crafts of the state of Sikkim are in the transitional phase. In fact, before the beginning of the Palden Thondup Institute of Cottage Industries, the production, composition, designs, and the diversity was restricted within family or produce generally for domestic purpose. It is fact that the method of weaving and craft making is
112 transforming but this culture is still alive in different parts of Sikkim. The modification in technique and the increase of production collectively substantiate that, the handicrafts and handloom industry of Sikkim are in the state of change and continuity.
113
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