Design Space

INNOVATION IN MIZORAM JEWELLERY CRAFT

By

ZOSANGLIANI

Submitted to NIFT in partial

fulfillment of the requirements for the
Degree of

Master of Design
Department of Design Space

2015 – 2017

Faculty Guide : RUPA AGARWAL

NATIONAL INSTITUTE OF FASHION TECHNOLOGY

MUMBAI
DECLARATION

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

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

ZOSANGLIANI
Master In Design
Department of Design pace

Place: NIFT, Mumbai.

Date:

In my capacity as supervisor of the candidate’s dissertation. I certify that the

above statements are true to the best of my knowledge.

Rupa Agarwal
Associate Professor
Chairperson Design Space
NIFT, Mumbai
ACKNOWLEGEMENT

This dissertation would not have been accomplished without the contributions
of many people, I would like to thank the following people for all their effort ,
motivation ,and support during this study .

I would like to thank to my mentor Rupa Agarwal for her guidance and assist-
nce throughout this project and Nitin kulkarni who provide insight and
expertise that greatly assisted the research.

The department of Mizoram state museum , Aizawl , Mizoram for letting me

to take the ornaments photographs required for my project .

Jeremy Hauhnar, and Samuel Zoramawia for the photography of my prototype

, my brother Ralvulchhuaka Ralte for supporting me taking photographs of tra-
ditional ornaments. Thanks to Rody H Vanlalhriatpuii for modelling my jewelle-
ry prototype.

My friends Elizabeth Darsiampuii , Lalhmunzauva Chinzah, for helping me with

ideas for traditional ornaments curation .

I am indebted to the craftsmen –Vanlalnghaka, Lalhuapzauvi, Lalkrosthanga,

Lalsiamliana who helped develop the designs, using their expert skills .

I thank Ministry of Textiles for sponsoring my project.

All the people whom I had interviewed and collected pictures, without them
my research would not be completed.

Special thanks to my parents who always gave me moral and financial support
towards the completion of the project.
 TABLE OF CONTENTS

CHAPTER CONTENTS PAGES

CHAPTER- 1

INTRODUCTION 1.1 Objective 2

1.2 Significance of the project 3
1.3 Hypothesis 4
1.4 Deliverables 4

CHAPTER – 2

REVIEW OF LITERATURE 2.1 Background Of The Mizo Tribe . 5

2.1.1 Origin
2.1.2 Tribes of Mizoram
2.1.3 Geography
2.1.4 Festivals
2.1.5 Dances

2.2The Mizo bamboo culture 13

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

2.3Traditional to contemporary 35
jewellery
2.3.1Jadau jewellery
2.3.2American Indian Jewellery
2.4 International usage of bamboo 36
in jewellery
2.5 importance of innovation in 42
craft for its revival.

CHAPTER -3 Research Methodologies 45

CHAPTER 4 Secondary Research Overview 49

CHAPTER CONTENTS PAGES
CHAPTER -5 5.1 Significance of ornaments 51
in Mizo culture
THE MIZO 5.2 Different type of traditional 52
ORNAMENTS ornaments in Mizoram
5.3 Modern Jewellery 53
CHARPER -6 The Mizo Artisans 88
CHAPTER -7 Market Research And Analysis 101

CHAPTER -8 Design Exploration And Development 108

8.1 Design Exploration
8.1.1 Mind map
8.1.2 Inspiration Board
8.1.3 Trend forecasting
8.1.4 Trend Analysis
8.2 Design development 111
8.2.1 Design -1
8.2.2 Design -2
8.2.3 Design -3
8.2.4 Design- 4
8.2.5 Design -5
8.2.6 Design -6
8.2.7 Design -7
8.2.8 Design -8
8.2.9 Design -9
8.2.10Design-10
8.3 Feedback 132
8.4 Overview of Primary Research 175
and conclusion
CHAPTER – 9 9.1 Limitations of the study 177
9.2 Impact of the proposed research work 177
on the cluster

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

In today’s Mizo society, many people do not know and do not appreciate the
significance of Mizoram jewellery craft. It is important because jewellery is a
valuable possession and gives cultural identity. In the present scenario
where there is limited usage of jewellery and the fact that it has not been
reinvented to suit the times, there is a high possibility that it will disappear.
So, it is very important to keep in mind how the jewellery craft of Mizoram
could be kept alive in the present and in future. This project will focus on
how to develop and enhance the beauty of the piece there by creating value
addition to the craft. It will also introduce the craft to a very wide range of
audience , reaching out to the whole of India and the international market
as well.

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

Innovation.
CHAPTER -1

INTRODUCTION

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

1
1.1 OBJECTIVE

• To study the features of jewellery availability of the traditional craft

and to document.

• To identify suitable materials and techniques which could be

implemented for prototype and design a product Prototype using

locally accessible materials.

• To identify the sector where the concept can be introduced.

2
1.2 SIGNIFICANCE OF THE PROJECT

• This will expand the user base rather than confining it to its traditional
uses.
• It will create a scope of better market opportunities by contemporizing
the jewellery craft.
• It will increase the level of demand for jewellery craft in toda s
generation.
• This will add new resources in Mizoram jewellery craft .

3
1.3 HYPOTHESIS

After studied about various nature in every traditional Mizo craft, bamboo is
chosen because it is the appropriate and suitable material that can be sourced
and produced locally besides the traditional weaving technique can be applied
in jewellery design to indicate the Mizo identity.

1.4 DELIVERABLES

Designing a collection of Mizoram jewellery craft using locally source material

there by contemporizing them into fashionable ornamental piece of Jewellery.

4
CHAPTER – 2

REVIEW OF LITERATURE

2. 1 BACKGROUND OF THE MIZO TRIBE

2. 2 THE MIZO BAMBOO CULTURE

2. 3 TRADITIONAL TO CONTEMPORARY JEWELLERY

2. 4 INTERNATIONAL USAGE OF BAMBOO IN JEWELLERY

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

5
2.1 BACKGROUND OF THE MIZO TRIBE

Mizo is a generic term and stands for all tribes of Mizoram. It appears to spring
from the Lushai derivative of the word Mizo . According to this Mi means
persons and Zo means high hills. So Mizo stands for all those who live on
high hills . Ra stands for lands or country and so Mizoram stands for the
land of the Mizos . (3)

2.1.1 ORIGIN

Mizo are of the Assam- Burma sub group that branches from Tibeto – Burman
group of the main Tibeto –Chinese race . because of the affinity of language
Mizo are classed s Tibeto- Burman though traditional ascribed them as people
who lived in Chinlung, a place where the ancestors of the Mizo settle. (6)

The following diagram would make this point more clear.

Table-1 : Mizo as a branch of the main Tibeto- Chinese race .

Source : A brief history and culture of Mizo, B.Lalthangliana, 2014).

6
Long ago, the conglomeration of Tibeto- Burman families settled in the north-
west of China . They migrated to the west along the borders of Tibet : then
moved down south into Myanmar . it is believed that they reached Myanmar
in the beginning of the year 800 A.D.

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

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

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

The various sub- Tribes who are the descendants of the Mizo entered Mizoram
in different stages , times and period . the mainstream of the Mizo led by the
sailo chiefs entered the present state of Mizoram in the 1700A.D. Before they
crossed the triau river they already had chiefs to rule them. The weaker chiefs
and their subjects were first to cross out the Triau river, and later on the
strong chiefs followed. They established villages on tops of various hills , and
gradually spread out all over the present Mizoram.(4)
7
2.1.2 TRIBES OF MIZORAM

The five major tribes of Mizoram are The Lushais, Lakhers(Mara), Pawis( Lai),
Chakmas and Reangs.The Lakhers and Pawis are almost entirely concentrated in
the southern part of Mizoram , now demarcated into a separate district named
Lawngtlai and Saiha ,the Chakmas too have mostly settled in Saiha district but
they have also settled in sizeable concentration on the western border at Tlabung
in Lunglei district and marpara and Tuipuibari In mamit district . The Lushais who
constitute the most numerous tribes are mostly distributed in Aizawl, Lunglei,
Kolasib, Champhai, Serchhip, Mamit, districts while the Reangs are found in small
groups in all three districts of Mizoram but their main concentration is on the
extreme north- western part of the Aizawl district bordering Tripura .(3)

Figure 1 : The map showing 8 district capitals of Mizoram

Source : www.findthebest.in

8
2.1.3 GEOGRAPHY

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

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

1.CHAPCHAR KUT

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

2. MIM KUT

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

9
4. PAWL KUT

After harvesting the paddy at the end of the month of December, the Mizo
used to celebrate the Pawl kut . Every family had a large amount of paddy,
cereals, root crops. Pawl kut was regarded as a festival allotted to the children
.(6)
These festivals are not celebrated with much fervor these days as Christianity
became established in Mizoram. The culture of the Mizo tribes and its social
structure has undergone tremendous change over 100 years, since the arrival
of Christianity in late 1890s. Contemporary people of Mizoram celebrate
Christmas, Easter and other Christian celebrations replacing many of old tribal
customs and practice . (Anonymous)

2.1.5 DANCES
1. KHUALAM

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

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

10
2. CHE-RAW
The Mizo clans used to dance the Che-raw to celebrate a harvest of 100 loads
paddy. It is said that some of Mizo clan or sub-clan also danced the Che-raw in
the house of the bereaved .Children used to play Chera Ka for enjoyment
when they played games in the pawnto (moonlight).As year rolled by Che -raw
became more and more popular and now it is the most prominent folk dance of
the Mizo.

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

3. SO- LA-KIA /SAR- LAM- KAI

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

11
The solakia dance was conducted , guided and led mostly by drum and the
cymbal . The cymbal gave the signals to change the steps and actions during the
dance ; and the duration of the dance . In the Solakia / Sarlamkai dance the men
and women are positioned alternately.(4)

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

4. CHHEIH-LAM

The word Chheih-la is not an ancient or archaic word . Between the years
1907- 1908 the Puma zai made its appearance .Using the Puma zai , they
used to dance the Tlang-lam . The Chheih- lam is a branch a of a tlanglam
dance . The chheih-lam had no fixed steps .The way it was performed
depended on the gumption and inventive abilities of the dancer. Generally ,
the chheih song consisted of three lines to averse . The singers stressed or
emphasized the second or middle line ; and the movements of the dancer
who also accentuated on the middle line . (4)
12
 Figure 5: Cheihlam at Delhi Mizo Kut 2010| Source : darksyderz

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

2.2 THE MIZO BAMBOO CULTURE

Bamboo is one feature that is common to all the tribes of the north eastern
their dependence on things made from bamboo. The Mizo people use
extensively bamboo products and bamboo structure , it is so much apart of
their lives that is difficult to think the Mizo without associating with images of
bamboo artefacts. Bamboo shoots are eaten in boiled , roasted and pickled .
Rice is eaten in bamboo plates and carried in bamboo basket and rise beer is
drunk with bamboo mugs through bamboo stringking source(8). Tools were
made from bamboo to produce yarns and for weaving clothes , agricultural and
games implements . Undoubtedly, The Mizo people can be said to have a
bamboo culture.
13
2.2.1 BAMBOO IN MIZORAM

Bamboo forests cover a large extent of area in Mizoram. Around 57% of the geog-
raphical area of Mizoram is under Bamboo cover found at heights ranging from
400m – 1500m above mean sea level. The State possesses the maximum percent-
age of its geographical area under bamboo forests as compared to other states
bamboo of the country. Bamboo forests are most abundant in the five northern
district but are rare in the eastern and south eastern parts of the stage ,particular-
ly in Champhai , due to high altitude. Most of the bamboo species occurring in the
in the State but are rare in the eastern and south eastern parts of the State occur-
ring in the State are found between 400m to 1,500m altitude and their disributio-
n is somewhat restricted to above 1,550m.(11)

2.2.2 DIFFERENT SPECIES OF BAMBOO IN MIZORAM

Table 2 : Different species of bamboo in Mizoram

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

14
2.2.3 TYPES OF BAMBOO COMMONLY USED BY THE MIZO
CRAFTSMEN

Figure 6: Mautak (Melocanna Figure 7: Tai(Cane plant ) Figure 8: Rawnal(Dendro

baccifera Kurz ) calamus giganteus Munro)

Figure 10:Rawthing(Bambusa Figure 11: Phulrua (Dendrocalamus

Figure 9:Bambusa pallida
tulda Roxb) hamiltonii)
Munro
Source: Bamboos of Mizoram, Published by E & F Dept. Govt. of Mizoram, Aizawl

2.2.4 BAMBOO AND CANE CRAFT OF MIZORAM

Mizoram is the land of a number of craftsmen and skilled artisans excelling in va -

rious crafts. Bamboo and Cane related crafts are a major source of income to the
state as well as the people. The Mizo s dexterity in wicker-work and basketry is
well known. Bamboo and Cane have their multifarious uses in turning out various
commercial crafts and items of furniture. Even their houses are generally built w-
ith bamboo walls and floors and thatched roofs. While women excel at weaving,
men are expert at cane and bamboo work. They make fine cane hats and uncom-
monly beautiful baskets. The traditional Mizo hat is known for its workmanship.
(13).
15
It looks as if the hat is woven out of fine bamboo as fine as cotton yarn. Besides
their typical hat or caps, domestic baskets are all made from plaited bamboo
and these are reinforced by stout cane, which is very hard and durable. By
smoking, the cane would be coloured a shiny mahogany to give some colour
and patterns to the work.Traditional ornaments too use bamboo in it. On
celebrations, Mizo women use a headgear of a bamboo band with parrot
feathers stuck in it, the ends of which are decorated with beetles. Other
bamboo products include fish and animal traps, rain bamboo hat seen with the
formation of a flat thin layer on its top, japis, cones, circular boxes and other
materials serving as reservoirs and containers of goods, crops and other things.
Therefore, a variety of them is catered to the village craftsmen on regular or
irregular basis. They serve mainly as body panniers for placing head-loads,
carrying baskets, cages, fish nets, etc. They take different shapes and vary from
slim or even flat (like rice winnowing fans) to broad, elongate sizes and the
traditional size with regard to proportion from rim to base is retained. Panniers
or cones accommodate the bigger loads whereas the other baskets of course do
not support heavy weight. (12)
Cane and bamboo handicraft items are most prominent crafts of the state. These
plain yet mesmerizing product designs of cane and bamboo are truly amazing and
highly durable. Baskets, utensils, hats, flower vases, furniture and other decorative
items are made out of these bamboo and cane handicrafts, which has a wide mar
ket within the state and outside. (13)

2.2.5 DIFFERENT TYPES OF MIZO TRADITIONAL BAMBOO USAGE

A .HOUSE
The predominant materials used in construction are bamboo and wood . In the
small and medium size towns they used corrugated metal sheets for the roofs,
though in the villages grass thatched roofs predominate. The floors of the houses
made either of wooden planks and bamboo.
16
 Figure 12 : A traditional Mizo house | Source : http://www.mapsofindia.com

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

Figure 13 : weaving structure for walls and floor

Source : Bamboo &Cane crafts Of Northeast India ,1986

2. WINDOWS

The construction of The Mizo (Lushai) bamboo doors and windows has two
basic types , the slides across the opening behind or those that swing up
around a pivot or ring located at the top of the opening. These shutters are
17
 rectangular planes where the two verticular edges are made of either whole or
halved bamboo members , horizontal, elliptical holes are spaced uniformly on
the inner surface of the vertical culms. Through these holes , the ends of the
strong bamboo splits are introduced and as the splits have their ends shaped
like a hammer head they can be rotated around their axis so as to lock
themselves into the elliptical holes. (8)

Figure 14 : A sliding door

Source :Bamboo &Cane crafts Of Northeast India ,1986

B.AGRICULTURE EQUIPMENTS

1.CHEM

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

Figure 15: chem (mizo knife )

Source : Benjamin Rualthanzauva

18
2.HREIPUI: The hreipui (an a e s heads are of Iron about 11/2 inches wide at
the edge , and tapper almost to a pointed end , the handles are simply pieces of
bamboo, the heads being fixed through the hole made at the tough root portion
. It is mainly used for cutting wood and felling trees .(1)

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

Source : Zothanchhingi Khiangte

3.PAIKAWNG
The paikawng is an open weave carrying basket made and used by the Lushai
tribe of Mizoram . This basket is generally used by women as a rough work
basket for carrying firewood , bamboo water tubes etc. The basket made entirely
of bamboo outer splits , is carried over the back with a strap resting on the head .
The local names of the bamboo species normally used are rawnal, rawthing or
phulrua .The basket has an extremely strong combination which is very resistant
to vertical loads . This is due to the construction pattern as well as the fact that
fairly thick strips of bamboo are used . The paikawng has a square base of
diagonal 230 mm from where it gradually transforms into a circle of 390 mm at
the rim .The height of the basket is 390 mm . To the craftsmen making this basket
the height is assumed to be one hand measure known as tawngkhat in Lushai. (8)
19
 1

Figure 17 :firewood stock in Paikawng

1&2 : Close up view of paikawng.
Source :Handmade in India – An encyclopaedia
2 on crafts of India.

4.PAI EM
The Paiem is a closed weave carrying basket used by the Lushais of Mizoram to
carry grain and other field produce. In Lushais the word Em means basket and
Pai means without holes . this basket is also called Emping . It is made from
bamboo outer splits from a species locally called rawnal . Split cane is used in
the rim strengthening element, the weft elements of the side weave near the
base , in bindings at the rim and for strengthening the corners of the basket.

The cane species used in locally known as mitperh. The base is woven in a
herringbone twill pattern, with the herring bone pattern radiating from the
centre of the base towards the base of the square. The herringbone pattern
extends up each side of the basket. Each line in the pattern, on one side of the
basket meets the corresponding line on both adjacent sides. This generates a
wave like movement of the pattern around the basket.(8)

20
 1 2

Figure 18 : Paiem , a Mizo basket | 2. Paiem as seen from above

Source :Bamboo &Cane crafts Of NortEast India ,1986

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

the Lushais, both for storage as well as to bring in field produce. This basket is
made in two sizes , the e s size and the o e s size . It is a tall , narrow
basket with a square base and circular rim. The diagonal of the base square
measures 190 mm, the rim diameter is 420 mm and its height 470 mm. The
structure and method of construction is identical to that of the paiem.

2.A craftsmen making a dawrawn

1 3.The detail of the base corner

1
Figure 19 : The dawrawn another Mizo basket
Source :Bamboo &Cane crafts Of Northeast India ,1986

21
6.HNAM: It is a plaited band of cane which passes over the forehead in which
ropes are attached to support a load when carried on the back.

Figure 20 : Hnam (A plaited band of cane) Figure 21 : A mizo women wearing Hnam
Source : Mizoram State Museum, AIzawl to carry basket.
Source:http://www.flickr.com/photos/jvmi

7.BENVAWN : It is a small seed ba-

sket used for keeping and holding
seeds while sowing in the new jh-
um land just after burning it . The
thin stripes of bamboo and plaited
together and crossing one another.
Figure 22 : Benvawn (A small seed basket).
(1) Source : Mizoram State Museum, Aizawl.

8.PAIHPER : It is also a small basket

slightly bigger than Benvawn . The
material used in this basket is more
or less same as Benvawn .(10)

Figure 23 :Paihper.
Source : Mizoram State Museum, Aizawl.
22
C. UTENSILS
1.TUI UM : Bamboo tubes used by the Mizos in the past for carrying water in
from the fountain .It is made from a bamboo with a diameter of about 100 to
140mm and an inter node length of 450 to 600 mm . Two internodes are used
to make a water tube 900 to 1200 mm long with one nodal one forming the
base . The nodal one between the internodes is pierced to connect the
lumen. Half the circumstance of the top open edge of the tube is cut at an
angle to facilitate pouring. The outer skin of bamboo is removed and the
nodes scrapped off to reduce the weight of the tube.(8)

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

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

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

23
3.THLANGRA : The thlangra ia s a winnowing tray used by the Lushai tribe of
Mizoram. Th triangular thlangra requires manufacturing skills that only a few
craftsmen have. The rawthing bamboo is used because of the resistance of thin
strip of this bamboo to impact loads .The strips from the mat are cut from green
bamboo , one set from the outer layer and the other from the inner layer. The
two thick strips used for the trim are also cut and bent and tied into the
required triangular shape .All the strips are thoroughly dried before making the
thlangra so that there is no shrinkage later. The dry strip are woven into a
closely packed mat.(8)

Figure 27 : Thlangra , A Mizo Winnowing tray. Figure 28 :Traditional way of cleaning rice
Source : Bamboo and cane crafts of North in Thlangra |Source : Richard Khuptong
East India.1986

4. KHO : It is a Mizo basket used for

measuring rice and keeping some
clean rice for cooking . Thin strips of
bamboo are used to make this basket
.(1) Figure 29 : Kho ( A Mizo measuring rice basket )
Source : Mizoram State Museum.

5.MAU FIAN : Bamboo spoons used

for taking vegetables and other soups .
(10)

Figure 30: Mau Fian(bamboo Spoon )

Source : Mizoram state museum , Aizawl.

24
6.BUHTLEI : It is a big rice spoon to
ladle out from the pot . A piece of
bamboo is used for stirring cooking
rice .It generally has a hooked
handle.(10) Figure 31 : Buhtlei (A big rice spoon).
Source : Mizoram State Museum.

7.CHHIHRI : Chhihri is another kind of

Mizo sieve used to dry up some small
articles and and also used for
separating the husked grains of rice
from the small broken pieces. A small
split bamboo is woven having a
number of small holes.(1) Figure 33 :chhihri
Source : Mizoram State Museum, Aizawl.

8.KHEKLAWK : Kheklawk is a small

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

9.ZU SAWRNA : It is a funeral for

purifying or filtering Mizo zu (beer) . A
piece of bamboo is woven widening
towards the mouth o the funnel in
which a small portion of rice beer is Figure 35 : Zu sawrna (A Mizo rice beer
purifier)
kept to squeeze out pure beer. Source : Art and Culture Department ,Aizawl
25
10.CHINGAL THLAWRBUR : Chingal
means a potash or lye leached from
wood ashes. Thlawrbur means a
leaching funnel. This leaching funnel is
a conical shape basket made of
bamboo used for making lye or potash
from wood ashes. This strong alkaline
solution often took the place of soap Figure 36: Chingal Thlawrna
Source : Art and culture Department,
for washing purposes in the past.(10) Miz0ram.

D. MUSICAL INSTRUMENTS

1.TAWTAWRAWT : This is a bamboo trumphet . A number of bamboo tubes are

cut off .The bigger tubes are joined by inserting into it the smaller tubes .Many
bamboo tubes are joined one after another till the last tube happen to be the
size of a forefinger from where the trumphet is to be blown. A dry empty gourd,
the bottom part being cut off is joined with the bigger end of the bamboo tube.
The whole length can be more than five feet . It is usually blown in the jhum to
tell their where about and presence and also to pass time and relieve their
loneliness.(1)

Figure 37 : Tawtawrawt ( Bamboo Trumphet)

Source : Musical instruments of Mizoram, Indianetzone , Sang Zuala.

26
2.RAWCHHEM : It is s ot h s bag piper like mouth organ or we can say a Mizo
bag piper. It is made of a a dry hollow gourd into which are inserted nine
bamboo tubes of different size and length, five of which being fixed at the gourd
of about 2 inches distance from the other four tubes both of which are tied
together but slightly slanting outwards. To make different notes of sound, holes
are made at the desired spot of the tubes. Blowing is done at the tapering end
of the gourd . To produce sufficient sound a hard blow is required to be made
and different notes of sound are made by blocking or opening the holes in the
tube with fingers.(9)

Figure38 : Rawchhem
Source : Darlongmusic.blogspot.in

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

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

Figure 39 : Phenglawng (bamboo flute ).

Source : Mizo folk music and instrument workshop

27
4 .TUIUMDAR : This is also a simple music which was mostly played by children.
A chunk of bamboo tube only between two nodes is taken. From the outer
covering of the bamboo, two or three pieces of cane like strings are curved out .
The strings are then raised up by inserting two pieces of bamboo between the
string and the bamboo tube near each node, It is played like a guitar. (1)

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

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

Figure 41 : Tingtang (guitar)

Source :Musical instruments of Mizoram , Indianetzone
28
E. GAMES

1.KALCHHET : walking on stilts is one of

the Mizo games. The Mizo used two
species strong bamboos locally called
rawthing(bambusa Tulda) and Rawnal
(Dendio Calamus Longispathus). With
this the Mizo kids always play game of
Figure 42 : A mizo girl playing with
inkheng or run a race . kalchhet
Source : www.azassk.blogspot.com

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

Figure 43 : Kahthek
Source :Pipute sulhnu (mizo history)
29
3.KAHCHIK: It is a kind of water pump . The Mizo boys in the past , used it like
todays water pistol. The materials used for kahchik are a small bamboo tube of
about one foot long and a split bamboo stick three to four inches longer than
the former, One node of the bamboo tube is cut opened and at the other node
a small is made for drawing and outflow of the water. One end of the bamboo
stick is bound with a thick rag which is inserted into the bamboo tube . Drawing
and pumping out of the water is done by pulling and pressing of the split
bamboo stick. It is played exclusively by children only .(1)

F .FURNITURE

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

Figure 44 : The Mizo stool Figure 45: Herhsawp another Figure 46: The
Source : Bamboo and cane crafts of North East weave structure
India. 1086 Mizo stool used in the seat

G.LOOM TOOLS

The Mizo Backstrap loom consists of few pieces of bamboo and wood. The parts
which are made up of bamboo are described as follows :

1.THEMBUPUI : The name of the large bamboo bar in a loom which raises those
threads of the wrap which are not raised by the Hnahchawl and Themtrang .
30
 Figure 47 : Thembupui | Source : Hmunsiamthangi

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

Figure 48 : Themper | Source : Hmunsiamthangi

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

Figure 49 : Sahthlau | Source : Hmunsiamthangi

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

H.TOOLS TO PRODUCE YARN

Bamboo was used in few parts of the tools to produce yarn for weaving puans
(cloth).
31
1.LASAI : Lasai is a bamboo stick with a
wide base and a narrow top, having one
cane string which is first tied to the base
and then go to the top of the stick .The
cotton is teased by this bow about five
times to become clean. Figure 51: Lasai
Source :Mizoram State Museum, Aizawl

2.CHAWNZIAL : It is a kind of mat

made of thin strips of wood or
bamboos bound together by a series
of loops. It is used for wrapping
hollow rolls of cotton while awaiting
spinning.
Figure 52 : Chawnzial
Source : Mizoram State Museum, Aizawl

3.LADINLEK: Ladinlek is a piece of wood

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

4.SUVEL : Suvel is revolving tool with

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

32
I. MISCELLANEOUS IMPLEMENTS
1.KHUMBEU: Khumbeu is the
traditional hat commonly worn by
Lushai men. It is shaped like a peak
cap and retains its shape even when
not in use . It is formed in two layers,
each made from bamboo woven in a
open hexagonal weave. This hat is
Figure 55 : The khumbeu, a traditional Lushai
extremely delicately made with a peaked cap.
Source : Bamboo and cane crafts of North East
high quality of craftsmanship. India. 1086

2.MUALBEU: It is a typical Mizo e s

hat or helmet generally made of sairil
cane lined with hnahthial leaves. It is
commonly used while working in the
jhum and in leisure times.
Figure 56: Mualbeu , a traditional Mizo e s hat.
3.THUL: It is a special basket of the Source : Mizoram state Museum, Aizawl.

mizo which is made of neatly stripped

bamboo, cane (material )These baskets,
though shaped like their carrying
baskets, have a double-walled structure
and legs located at the corners of their
square base. A lid shaped either like a
semi-spherical dome or like a cane
covers the mouth of the basket. The
womenfolk kept their cloths in it.
Sometimes it was also used for carrying
beddings and other goods from place
Figure 57 : Thul , A Special Basket Of Mizo
to place .(1) Source : Reflections Of Passion

33
4. MAU VAIBEL : It is a Mizo
e s s oki g pipe ade fro
Bamboo

Figure 58 : Mau Vaibel, a Mizo bamboo

smoking pipe
Source : Mizoram State Museum Aizawl.

5.ARBAWM : Arbawm is a
chicken basket made from small
splitted bamboo.

Figure 59 : Arbawm, a Mizo chicken basket.

Source:http://hmawngbungbu.blog
spot.in

6.AIAWT : Aiawt means a

bamboo trap for catching small
fishes and crabs .The trap
consists of an open basket. The
top of the basket is filled in
with a funnel made of bamboo
slats which are kept wide
enough apart by the flow of
the water to allow small fishes
to enter . Once aside, they
cannot escape. The funnel is
detachable and is removed to
allow the fish or crab to be
taken out these traps are used
in small rivers when the small
Figure 60 : Aiawt
fishes are swarming..(1) Source :www.azassk.blogspot.com

34
2.3 TRADITIONAL TO CONTEMPOARY JEWELLERY

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

2.3 .1 JADAU JEWELLERY

The style of this jewellery inspired by mughals and greatly patronized by the
rajputs of rajasthan. traditional jadau jewellery has stones encrusted on one
side and colorful and intricate meenakari on thereverse. one side of the
jewellery is engraved,enameled with meena and the other is embedded with
uncut kundan stones and is further decorated with beads.(25)
During mughal period, theart of kundan work reached rajasthan from delhi.
later on, craftsmen from the different part of the country migrated to the place
and made kundan jewellery. rajasthan is a hub of kundankari. kundankari is
basically done on gold and silver jewellery. Traditional kundan jewellery has
stones encrusted on one side and colourful and intricate meenakari on the
reverse. now a days, lac is inserted into the hollow parts which is then visible
from the front. highly refined gold or kundan is used to cover the lac and gems
are then pushed into it. In meenakari jewellery, precious stones are set and then
enameled with gold. historically speaking, the art was introduced to rajasthan
artisans by raja man singh of amer. meenakari is essentially enameling or
decorating the metallic surface of jewellery with colors . The colour portions are
35
engraved for shallow depressions and the enamel dust of the required is then
poured into those engravings and heated at high temperature and finally
polished for luster. exclusive lac jewellery known as lacquer jewellery is very
popular in rajasthan. it is available in versatile designs, which add to its beauty.
among the various items in lac jewellery, the bangles are most popular one.
bangles made of lac are of bright color and glass work done on them. (14)

Figure 61: jadau jewellery set . Figure 62 :Jadau Necklace

Image source : http://www.southjewellery.com source:http://www.culturalindia.net/jewellery/types/
jadau-jewelry.html

2.3 .2 AMERICAN INDIAN JEWELRY

The American Indian comes in an almost infinite variety of colors, materials, and
designs. Individual pieces are primarily rings, earrings, bracelets, necklaces and
pins. American Indian jewelry usually reflects the cultural regions and history of
its tribal artisans but, over the years, tribes have borrowed designs and crafting
practices from all over the world. Traditional jewelry is made from natural
materials such as metals, hardwood, fossilized wood, clay, precious and semi-
precious gemstones as well as animal materials such as feathers, quills, bone,
antlers, teeth, shells and coral. Beadwork and other forms of personal decoration
are also very popular. Like other pre-historic cultures around the world, American
Indians began adorning themselves thousands of years ago, using shells, bones
and antlers to make beads and pendants. Each tribal region has its own styles
and designs but for centuries has traded materials with one another.(15)
36
There are many contemporary American Indian jewelers who work with gold
and precious gems as well all the traditional materials. American Indian jewelry,
whether a hundred years old or just made this year, is a wonderful collectable –
and wearable – art form. There is something for every taste and every price
range to wear and enjoy. All Native Made art and craft, whether ancient or
contemporary, carries with it the spirit of purpose. The shapes, colors, textures
and designs each have meaning to Native people. It is from this purpose that
creativity thrives.

TRADITIONAL AMERICAN INDIAN JEWELLERY

Figure 63: Squash Blossom Necklace 1900

Figure 64: heishe necklace
source : americanindianoriginals.com/jewelry-making.
Source : americanindianoriginals
CONTEMPORIZED AMERICAN INDIAN JEWELLERY .com/jewelry-making.

Figure 66 :Coral Authentic

Figure 65: Turquise and silver Sterling Silver Flower Navajo
jewellery set Indian Cuff Bracelet Figure 67 : Native American
Source:http://www.nativeamerica Source:http://www.nativeameric beaded necklace
njewelry.com anjewelry.com Source : newbiediy.com

37
2.4 INTERNATIONAL USAGE OF BAMBOO IN JEWELLERY

Bamboo is a fast –growing plant for which the attributes beauty and utility
match perfectly ;the graceful canes consisting of hollow internodes ,solid nodes
and high lignin content, a combination which gives this grass its great strength
(meredith 2001).It is is a type of plant which is widely used for making
furniture, handicrafts, and jewelry. Being perennial in nature throughout the
year and its strength and beauty has made Bamboo quite popular in various
facets of life since several centuries.(16)

2.4.1TOMIZO SARATANI LACQUERED OJIME, of

a spider in low relief on a ground of lacquer(ten
coats or more) , over a small bamboo cone
node and internode core, and decorated with
the makie technique, in which metal powders
like gold are sprinkled over wet lacquer. This
contemporary Japanese artist has made a of a
number of ojime using bamboo as the core
Figure 68: Tomizo Saratani Lacquered Ojime
material , usually including the node (ornament Source : ornament .vol.10.No.3. 1987

.vol.10.No.3. 1987)

2.4.2TOMOMI MATSUNAGA BAMBOO

BRACELETS, 8.0 centimenters wide , carved and
left in their natural finish from the giant timber
bamboo (Bambusa oldhamii), this artists also
works with carved bamboo ornaments which
have been covered with lacquer , some with
the makie technique . she is among the few
who carve bamboo in curved shapes . It is
usually cut straight (Ornament vol.15.No.3 Figure 69 : Tomomi Matsunaga Bamboo
Bracelets
.1992) Source : Ornament vol.15.No.3 .1992)
38
2.4.3 FRED TATE BRACELET of sterling silver ,
fourteen karat yellow gold and black bamboo
, set with Tahitian pearls, 6.6 centimeters
wide. The piece uses the nodes/internodes of
P.nigra, cold-connected of the bracelet. Fred
Tate trained with Taos jeweler Harold
O o or for three years. Fred and Janis Tate
live In Austin, Texas, and grow many species of
Figure 70 : Fred Tate Bracelet
Bamboo.(ornament Vol.31 .No.1 .2007) Source : ornament Vol.31 .No.1 .2007

2.4.4 CHAZ FRODE NECKLACE of Nylon

tubing and ties, brass plumbing compression
fittings, with a focal point of black bamboo
rhizomes or roots. Model Genevieve Blazer
also wearing earrings of the bamboo culm leaf
sheath dipped in red vinyl plastic. Frode , a
very talented and innovation, has been
covered before. (ornament.35.3.2012)

2.4.5 INTERTWINED AND HEAT-BENT BAMBOO

Figure 71: Chaz Frode Necklace
TORQUES, one finished ;some bound with Source : ornament.35.3.2012)

brass wire to initially hold the two culms

together while heating and intertwining them
while still straight, then while bending them
into an arc on a wood mandrel. These torques
range from about 17.5 to29.0 centimetres from
opening to top of arc . Some of the culms are
dark, while others are lighter brown or even
gray, due to varying sun exposure while drying. Figure 72 : Heat – Bent Single Culm
Torgues
Note different terminations.(17) Source : ornament.35.3.2012)

39
2.4.6 UNASSEMBLED NECKLACE of heat- bent
black bamboo , with antique silver chain, beads .
Turkoman pendant set with glass and fabricated
sterling clasp(unfinished) and pendant hangers.
Loops of square silver wire are large enough to
pass over branch stubs. These large loops are
soldered onto small loops from the antique
Balkan chain, likely of coin silver. Chain loops are
closed with parallel pliers to trap the loops of
the Turkoman pendant. Note bamboo is in a
Figure 73: Unassembled Necklace
half-circle and has branch stubs left on, all Of Heat- Bent Black Bamboo
Source : Robert K .Liu ornament.
adding to the rustic, naturalistic look .(17) 35.3.2012

2.4.7 HEAT – BENT SINGLE CULM TORGUES , to

be worn with opening facing downward ; sawn
at nodes . Widths from 12.3 – 15.3 centimeters .
Asymmetrical one is finished , with the long end
anchored by wrapped twenty- four- gauge
copper wire and carved carnelian from an Figure 74: Heat – Bent Single Culm
Torgues ,
antique Chinese hairpin, while short end ha an Source :Robert K .Liu ornament.
35.3.2012
old Chinese carnelian melon bead. The sulcus/
groove is very useful when tying back wire-
wrapping. Brown .(17)

5.9 SINGLE TIGHT RADIUS BEND EARRINGS,

with heat shrunk Coverlite on wire matrix,
precious coral and sterling silver bead
terminations and 18 gauge sterling silver
earwire, hand formed, forged and buffed. In Figure 75: single tight radius bend
earrings.
this type of earring, both ends of the wire.(24) Source: www.ornamentmagazine.org

40
matrix are in drilled holes, which are glued into
place; ca. 9.5 cm long. Open end of silver ear
wire worn toward head

2.4.9 THE GUCCI BAMBOO COLLECTION, First

introduced in the 1940s as an innovative
solution to a lack of raw materials during World
War II, the iconic stem shape of Gu i s hugely
popular Bamboo range was later translated into
jewelry in 1971.The graceful form of the bamboo
plant is interpreted across rings, earrings,
bracelets and necklaces in 18kt gold, which can
also come exquisitely accented with white
diamonds. The Bamboo Fine Jewelry includes a
range of Bamboo jewelry pieces that feature an
innovative spring mechanism that combines
Figure 76 : Gucci Bamboo Collection
exceptional design with technical expertise .(23) Source : www.guccitimeless.com

5.10 SQUARE BEND TORQUE WITH FOSSIL

SHARK TOOTH VS INTERTWINED TORQUE AND
PENDANT,
latter with freshly cut black bamboo culms.
Note how tight the intertwining, as well as the
bail of the pendant is also a tight radius bend.
This torque is decorated with vintage Bohemian
glass rings and beads from the African trade,
and Baule brass bead terminations. The 45-70
million years old fossil Lamna shark tooth from
Morocco is accentuated with two Cornaline d Figure77 : square bend torque with
fossil shark tooth
Allepo Venetian beads, which simulate the way Source: www.ornamentmagazine.org

41
Polynesians use red sealing wax to decorate their shark tooth jewellery. The
tooth is attached to the bamboo with wrapped, annealed square bronze
wire. (24)

2.6 IMPORTANCE OF INNOVATION IN CRAFT AREA FOR ITS REVIVAL.

In general, when speaking of innovation and creativity, craft is not the first
thought that comes to mind. Rather one might think of design (and technology)
or art, respectively. In line with this, the common answer to the rhetorical
question h not raft? Dorst and Cross 2001; Chakrabarti 2006).

In India handicraft have been the main option of livelihood in village till today.
But the artisans themselves are also inadequate in terms of designs, and they
do not have proper training to develop their skills ,while the foreign countries
keep recognizing Indian craft, so innovation in craft area is very important and
therefore collaborating with the craft artists will enhance their skills and
develop market to revive (.Julsrud,T & Denstadli J,M, (June2014

(Sethi 2005) defines that Designers bridge the gap between the market and the
artisan, as today the artisan is geographically apart from his/her client, to be able
to understand his/her aesthetic and socio-cultural needs. They help in finding the
relevance of craft with respect to the artisan, the consumer and to the global
market. Thus an interface, between the past and the present, the traditional and
the modern, trying to match craft production to the needs of modern times and
demands.

Kapur, H & Mittar , S states that Collaborative innovation between designer and
craftsperson is a means of expanding the craft vocabulary and reviving dying
craft traditions and tapping contemporary markets . New intervention models
can be developed for several purposes, whether for revitalizing a languishing
craft or for developing new products to create livelihoods.
42
Subhrajit Chatterjee in The Ancient Craft of Dhokra (2015) hignlighted Dokra
artisans face several problems in marketing .The artisans could be taught to
innovate and improvise , use better tools and better raw materials. Innovative
techniques can be taught the workers through government sponsored
programmes

Dr. Arwah Arjun Madan in The Power of Innovation: Craft Revival,

Empowerment and Sustainable Livelihood 2013) mentioned The mission of
The World Craft council (WCC )is to bring crafts and craft s persons into the
mainstream of life; it is about connecting with the past by maintaining inherited
traditions and looking into the future through the use of modern technology to
experiment, innovate and reach out to new markets.

Amitava Ghosh In Triggering Innovation And Creativity In Traditional Handicraft

Sectors - An Indian Perspective(2012) states about the concept of Dastakari
Ranthambore in which the designer will bring a new approach, or a different
way of seeing artisanal skill and expertise, and share his/her design capabilities
and understanding of global market demands. The designer does not impose
but rather 'unlocks' the potential of the existing skill by tweaking it to make it
more saleable to consumers and in so doing may transform a craft that is
struggling to find a market
.
Amitava Ghosh In Triggering Innovation And Creativity In Traditional Handicraft
Sectors - An Indian Perspective(2012) states about the concept of Dastakari
Ranthambore in which the designer will bring a new approach, or a different
way of seeing artisanal skill and expertise, and share his/her design capabilities
and understanding of global market demands. The designer does not impose
but rather 'unlocks' the potential of the existing skill by tweaking it to make it
more saleable to consumers and in so doing may transform a craft that is
struggling to find a market
. 43
Fang-Wu Tung who writes in the paper, Wea i g with Rush: Exploring Craft-
DesignCollaborations in Revitalizing a Local Craft“ about exploring how
designers may collaborate with artisans to unearth new opportunities for a
local craft and how designers can make contributions to the artisan
community . Under the collaboration, designers acquire knowledge of craft
techniques and materials, and obtain inspiration to further their creation. On
the other hand, the designers play a catalytic role to empower the craft
artists and assist them in designing products to meet modern market needs.
The craftdesign collaboration not only brings value-added to each other but
also contributes to knowledge for both sides. Collaborating with craft artists
has become a new trend of design praxis, but the collaboration is still under
development and needs more exploration to achieve the better success.
Thus, this study aims to get insight of craft-design collaboration by conducting
case studies of Yii project to understand the craft-design collaboration.

44
CHAPTER – 3

RESEARCH METHODOLOGIES

3.1SECONDARY RESEARCH

A secondary research was conducted to find out information

based on the following:

• Background of the Mizo tribe.

• The Mizo bamboo Culture .
• Traditional to contemporary jewellery .
• International usage of bamboo In jewellery.
• Importance of innovation in craft area for its revival .

The sources that are used for secondary research are:

• Published research papers, journals, articles.

• Books from Tribal research Institute of Mizoram and libraries .
• Online and blogs for extensive information.
• Online sites such as ,pinterest , instagram, tumblr ,
• museum website. (for Visual research).
• Catalogues from Mizoram state Museum and Bamboo
Development Agency (as a visual tool).
• Collecting pictures from Museum , market and people.
45
 .

3.2 PRIMARY RESEARCH

The exploratory and experimental methods were used in primary research.

The methodology of the study was divided into the following steps.

I – INTERVIEWS

1.Historian And Cultural Expert

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

PURPOSE:

• This will help in constructing the meaning of Jewellery craft in context to Mizo
culture and also helps in understanding the role of ornamentation significance
for Mizo.
• This also aims in finding out the material culture of the Mizo which cannot be
studied as a secondary research.
Note: The material value and how it changes et will be the topic of discussion
by Which the researcher will also try to understand the function of jewellery and
how it changed in the course of Mizo history .

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

PURPOSE:

46
• This will aim in studying the buying pattern, market cycle (time) and
quantity of demands and quality of the product currently available in the
local market.
• The topic of Discussion will be regarding the possibilities of the proposed
design and material in the market and whether or not the proposed
changes could help in boosting the jewellery craft sector and its value in
the local market and outside.

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

PURPOSE:

• To understand the skill set required.

• To study the possibilities of intervention.
• To explore the technique and the skill set which could be used for the
proposed technique and time required to respond to the technique .

II - DOCUMENTING MUSEUM CURATION (Mizo Jewellery)

PURPOSE:

• To understand the traditional design and material used.

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

III - MARKET SURVEY

1.Traditional Jewellery
47
PURPOSE:

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

• other states.
• To understand the attitude of jewellery craft in the local market (retailing
• and manufacturing.
• To predict the future possibilities for the craft studied.
• To examine the material used (quality and design).

2. Other Mizo Traditional Craft Decorative

PURPOSE:

• To understand the skills of the local artisans.

• To explore other possibilities (design and material) other than the current.
traditional jewel produced locally.
• To identify appropriate material and technique which could be incorporated.

48
CHAPTER – 4

OVERVIEW OF SECONDARY RESEARCH

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

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

Chakmas and Reangs.

The Mizo have three kinds of festivals : Chapcharkut , Mim kut, Pawl kut .From
the history of the Mizo legends it is known that they celebrate these festivals
between the years 1450 – 1700 A.D.
The folk dances : Khuallam, che-raw, So- la-kia ,Chheih-lam etc were
performed in every special occasion and festivals .The performers are always
wearing beautiful traditional costumes .Despite this fact the traditional
ornaments were worn while performing the Mizo folk dances .

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

.
The state possesses the maximum percentage of of its geographical area
under bamboo forests as compared to other states bamboo of the country.
Bamboo covers a large extent of area in Mizoram .Around 57% of the
geographical area of Mizoram is under bamboo cover found at heights
ranging from 400m – 1500m above the sea level.
Types of bamboo commonly used by the Mizo craftsmen are Mautak
(melocanna baccifera), Tai(cane plant) , Rawnal (Dedrocalmus giganteus
Munro), Bambusa pallida mumro, Rawthing (Bambusa tulda Roxb), Phulrua
(Dendrocalamus hamiltonii)
Different types of Traditional Mizo bamboo usage ; House ,Agriculture
equipments, musical instruments , games, furniture, tools to produce yarns etc .

The jewellery designs and styles keep on changing with the change in lifestyle
and tastes of people .The heavy and traditional designs in jewellery have been
replaced with light and trendy contemporary designs. Nowadays people are
very image conscious .They do t want jewellery as a symbol of financial
security but to make a fashion statement and also as trends wear that suits
different occasions.

Bamboo is a fast – growing plant for which the attributes beauty and utility
match perfectly .It is a type of plant which is widely used for making furniture,
handicrafts , and jewellery.

In India handicraft have been the main option of livelihood in village till today
.But the artisans themselves are also inadequate in terms of designs , and they
do not have proper training to develop their skills, while the foreign countries
keep recognizing Indian craft , so innovation in craft area is very important and
therefore collaborating with the craft artists will enhance their skills and
develop market to revive
50
CHAPTER -5

THE MIZO ORNAMENTS

5.1 SIGNIFICANCE OF ORNAMENTS IN MIZO CULTURE

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

To the old Mizo society, all those beads and earrings are not wearing for
general adornment or fashion . It also carries loyalty and dignity too. And those
ornaments shows the status of man into the society . While the chief family
and the rich man can wear the earrings Thipui and even the laymen a t ,
they just can wear an ordinary blue earrings , a name called Thipawl . So,
that s earrings show us the separation between the family of the chief and the
layman. While the voice of wearing Thipui should be respected : but the
laymen voices are neglected.

To the old age (times) of the Mizo society , some ornament had they used to
wear as a trophy . When they had fought war of village to village , clan and clan
. So, those war always made them a brave man and heroic from the military
51
participants . And then, they should give them a brave a s trophy, that is the
Arkeziak. It is a symbol of a man who kills theenemy. It made from white
cotton, mixed up with the colour of Red and Black .
The business of the jewellery supply was the first and old business in tho the
past Mizo society .Most of the Mizo historians had saying all these jewells such
as Amber beads .Thipui ,Thival etc are supplied and imported from the
neighbouring countries Myanmar and time between I & II world war.

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

5.2 DIFFERENT TYPES OF TRADITIONAL ORNAMENTS IN MIZORAM.

1. THIHNA

Thihna is the most valuable , biggest and expensive necklace of The Mizo , It is a
tube shape single –strand amber bead necklace, The old necklaces are made of
very dark amber , beautifully clear there could be various colors and sizes ,these
necklaces can normally range from 70 – 85 cm long and the beads are
sometimes 5-7 cm long and over 2.5 cm in diameter. It is probable that these
necklaces came from Burma (Myanmar). The price of Thihna depended on its
worth and beauty , the longer the string of beads, the more beautiful it was to
them .The number of beads size increased , the price of necklace also increased .
It is said Sailo chief necklace are more bigger than layman s necklace as the Sailo
s were established as the ruling clan.. Thihna is sometimes used as marriage price
and Thuamchhawm (dowry ) which is considered as equivalent to Rs 20 called
Tlai .

52
Initially Thihna were worn by the men only. If they were enough beads on a
string to fit around the neck (as a choker ) it was sufficient for them . The well
polished men used to change their necklace string everyday , Some men who
does not afford to wear the full beaded string used to wear single bead strung
on a cotton thread as a necklace . For this reason , The Mizo expression Thibeh
lo thute chu eng vak ni suh came out , which means words without a necklace
is nonsense . Latterly , when women started to wear necklace it was no longer
worn by men. The women worn in any occasion and cultural festivals
especially while performing the Che-ra (bamboo dance ) .

Figure 78 : Mizo men wearing Thihna Figure 79 : Mizo men wearing Thihna
L-R Thahluana, and his sister and Lalthangkhuma , Lailak L-R Thahluana, and his sister and Lalthang
Lal (chief).| source : Mizo ladeh leh Zethlan khuma , Lailak Lal (chief).| source : Mizo l
adeh leh Zethlan

Figure : the mizo men wearing Thihna

Source :Mizo la deh leh zethlan

Figure 80: The Mizo maiden

wearing Thihna
Source : Mizo La Deh leh Zethlan
.
53
 3

4
1 2

6
6

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

2. SAIHA BENGBEH

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

and bengbeh means earri g .So it literally means Ivory earrings. It is a very
highly prized Mizo earrings and only the rich people used to wear this
earrings and when they wear it they feel very proud .Typically it is worn by
both man and woman but later it was only worn by the women .They
sometimes add a few beads to the ivory to look more impressive . It is circular
piece with inch or inch and a half in diameter . The poor people who cannot
54
The poor people who cannot afford ivory earrings used to wear earrings made
from wood or clay of the same size with a hole in its centre to reduce the weight.
The earrings , however are quite exclusive and to be able to wear them professio-
nally stretch is necessary. When a girl gets her ears pierced, a pointed part of
porcupine quills are inserted .These are replaced by the larger part , and then still
larger ones of wooden plugs, so that they can gradually stretched into the requ-
ired size , it is considered the larger the hole in their earlobes, the more respecta-
ble. Windows remove their earrings, and slit the lobes of their ears when they
abandon all thought of re- marrying .

1 2

3 4

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

55
3.THIFEN

Thifen is a necklace made of barell ,round and cylindrical tile glass beads with
six different colors such as red, blue ,yellow and black with white spots
stranded in three rows with 55 cm of length . It is a small necklace which was
worn by the Mizo men and women. It was owned and possessed only by the
well to do and the rich family. The Thifen serves as a very important Thuam
(dowry) for girls and also given and accepted as marriage price .

2
2 : Front view of Thi fen

1
3
Figure 86 (1) : Thi- fen 3 : close up of Thihna ( stopper)
Source : Mizoram State Museum , Aizawl ,Mc
donald Hill, Mizoram

4.THI –VAL

Thi- Val is a red barell shape single strand bead necklace which was made
from semi precious stone with around 60 cm of length . It is also obtained from
Burma (Myanmar). It is said it is the cheapest among the semi precious stones
of Burma , but the Mizo set a high value on it and considered it as a valuable
56
possession .If the beads were of good quality. The Thi-val was worth the prize
of a young Mithun or a Mithun heifer . In the olden days , the ordinary
people could not afford to buy or posses them . A high prize Thi-val was
regarded as a valuable possessions ; and sometimes those who owned them
dared not wear or hold out them in the streets or in public(4) .The Thi-val was
often given and accepted as the price of a bride

1 3

Figure 87(1): Thi- val

2. Front view of Thi –val
Source : Mizoram state museum , Aizawl,
3.Close up view of Thi-val stopper
Mizoram

5.RIAL THI

The term Rial thi means freezing rain necklace ; Rial means freeing rain and
thi means necklace . The Rial Thi is inspired from the beautiful sheer frozen
drops made up of glass beads ,there could be different shapes and sizes
.Usually the beads are shrung together with a single cotton thread and varying
between 50 to 60 cm of length . This necklace does not serves as a symbol of
social status ,perhaps just aesthetic. It can be worn by ordinary women folks .
57
 2

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

1 3

Figure 88(1) : Rial-thi Figure 88 (3): Another kind of Rial thi

Source : Rotluanga,Bara bazar , Aizawl Source : Mizoram State Museum, Aizawl.

6. PUMTEK

In THE LAKHERS N E Perry tell us . The old necklaces of these beads are very
high valued and treated as their Heirlooms . It is almost possible to buy them.
.They are of very different quality from the old beads, and it is easy to
distinguish a modern beads from an old one. Legend relates that old Pumteks
were the droppings of a goat. when the goat s owner fed him well , the goats
produced Pumteks of great excellence ; If the quality of the food fell off, the
Pumteks become progressively worse . In the families of chiefs and nobles ,
heirlooms are handed down from generation to generation . These generally
consist of necklaces of Pumtek beads, gongs or guns .Heirlooms , in fact are
never sold unless the owner is in very distress indeed . It is believed that if a
man sells his heirlooms he will have no children , and will be the last of his
fa il . 59
Figure 89 : A chin woman wearing Pumtek necklace (2009) Figure 90 : A chin man wearing
Source : pumtek.blogspot.in Pumtek necklace
Source : pumtek.blogspot.in

1 2

Figure 1 : Pumtek, source : Dengkhuma chhangte,

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

Figure 91:Pumtek with coins

Source : Mizoram state
museum ,zarkawt , Aizawl.

Figure 1 &2 close up view

of Pumtek

59
7. ZAHAU PAWI DAR SELU THI

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

1
3

Figure 92 : Zahau Pawi darselu

Figure 2 : A front view of Zahau pawi dar selu
Source : Mizoram State Museum ,
Figure 3 : A close up view of zahau pawi dar selu.
Aizawl , Mizoram

60
8.MILU THI

The word Milu means human head , Thi here means necklace or pendant .It
is a double – strand necklace of red tube tile glass beads with a brass sculpture
of human face pattern pendant , worn by men . This necklace is 60 cm of length
. It is sort of a trophy or earned medals by a successful head taker and it
symbolized his achievement of his status . In ulture and folklore of Mizora
B Lalthangliana expressed our ancestors were head- hunters who brought
home the heads of wild beasts and human beings . Those who brought home
the heads of their enemies and performed rituals and ceremonies; and danced
to celebrate their victory , gained respect . They were regarded as super –
warriors .They gave the people of their village comfort and piece of mind .

1 3

Figure 93 : Milu thi

Source : Mizoram State Museum Figure 2 & 3 : A close up view of Milu thi

61
9.THI-THEK

The word Thi-thek means spotted necklace . It is a necklace made up of round

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

1 3

Figure 94 : Thi-thek Figure Figure 2 : Front view of Thi – Thek

Source : Mizoram Stae Museum , Aizawl . Figure 3 : close up view of Thithek .

10.LALNU THIVAL PUI

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

62
carnelian beads and has a locket of a chank (also conch) shell with a length of
8 to10 cm and ornamented with a pattern of small circle with a dot in the
middle of each . Ne parry In The Lakhers says To make the pattern they take
two sharp thin pieces of Iron , tie them together with string, and use them like
the two legs of a compass . The dot in the center is made with fixed leg; the
other leg moving round circles are makes a small circle . The dots and circles
are then coloured with lamp black. A hole is bored at the wide end of the
conch shell ,through which passes a string whereby the shell is attached to a
necklace of carnelian beads . This conch shells necklace is very rare and highly

alued . It is probably worn ceremonially by the wife of the Mizo chief .

1 3

Figure 94 : Lalnu Thival pui Figure 2 : Front view of Lalnu Thival pui
Source : Mizoram Stae Museum , Aizawl . Figure 3 : Close up view of Lalnu Thival pui.

63
11 .THI TENGENG

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

Figure 95(1) : Thi Tengeng

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

Figure 96(4) : Another kind of Thi Tengeng

4 Source : Rotluanga, Dinthar ,Aizawl.

64
12.PAWI SAHA THI

The word Pawi refers The pawi or Lai clans; Saha means animal teeth
and Thi means necklace . This necklace is a single strand with 40 cm
of length made of boar tusk (5.5 cm) ,each of which are alternated by
four white heishi beads (4mm).It is a special necklace for warriors of
Pawi community.

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

1 Figure 2 : Front view of Pawi Saha Thi

Figure 3 : Close up view Pawi Saha Thi.

13.SAKEI NGHO THI

‘Sakei Ngho’ Means Tiger Fang. This necklace is often worn by the
Mizo men . It is used for oath taking and also thought to have magical
properties .It is said a person while taking oath bites the tigers s fang
saying that if he fails to stand on hid promise or fails to do what he has
promised a tiger would seize and devour him .
65
 2

Figure 98 (1) : Sakei Ngho Thi

Source : Mizoram State Museum ,Aizawl .

1
Figure 2 : ccose u pview of Pawi Saha Thi

14.THI LUNG

Thilung is a single threaded yellow cone shape amber bead necklace with 45
cm of length . These beads were not indigenously made but the shape and
form that resemble can be seen in Mizo traditional textile motif which is
called saidawium .Thus . it can be considered as the Mizos paid great
attention to their design coordination.

66
 2

1 3

Figure 99(1) : Thi Lung Figure 2 : Front view of Thi Lung

Source : Mizoram State Museum , Aizawl . Figure 3 : Close up view Thi Lung.

15.TANGKA THI

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

67
 2

Figure 2 : Close up view of Tangka Thi

1 Figure 3 : Close up view Tangka Thi
Figure 100 (1) : Tangka Thi. | Source : Mizoram State Museum , Aizawl .

16.MANGBO NUKUIH

It is worn by the ladies of the Matu community living in the north west of
Mizoram . This necklace is also worn as a belt . It is made of thin brass like
spiral , joined at both ends with cotton thread , and is worn on festive and other
important occasions.

68
 2

3
1 Figure 2 : Close up view of Mangbo Nukuih
Figure 3 : Close up view Mangbo Nukuih
Figure 101 (1) : Mangbo Nukuih, | Source : Mizoram State Museum , Aizawl .

17.THIMKUAL

Thimkual is a brass hair pin which is run through the top of the hair . It is most
probably obtained from Burma . when a boy is favorably inclined to marry a
young girl , he puts his Thimkual to the girl as a security . Those girls who have
many suitors use to receive many Thimkual . Lt. colonel J.Shahespeare In The
Lushei Kuki Clan writes The Lushai wears a variety of articles in his hair knot .
The commonest is brass two- pronged pin with a head shaped like a G. The
pongs are drown out to sharp points and vary in length from three to eight or
nine inches . These very long pins are a recent innovation , and their use seems
to be restricted to the young dandies of the hamlets round Aizawl . Skewers of
ivory, bone and metal about six or eight inches long are also worn. Of the two
former there are two patterns , one four-sided , about a quarter of an inch thick
at two thirds of its length, tapering to a point at each and, other being flat ,
69
pointed at one and about half an inch broad at the other. Both are ornamented
with engraved circles and lines . The metal skewers are quite plain and more
for use in scratching the head than for ornament; a piece of the rib of a broken
umbrella is also used as hairpins .
1.

2.

3.

Figure 102(1): A collection of Thimkual | Source : Mizoram state Museum . Fugure 2 : Side view of Thimkual
Figure 103 (3) Fanai pawih In Thimkual | Source : Mizo La deh lah zethlan .2016
70
18. ARKEZIAK

Arke ziak were made with white spun cotton yarn not yet boiled with rice. The
yarn was not properly twisted in the spinning when plaited the La tluak and
made arkeziaks Of different lengths , to be tied round the head , the neck
and the ankle etc .nad there ere peh buk (tassels ) at both ends .The brave,
courageous head – hunters of enemies who had returned successful and
victorious used to tie the Arkeziak on their heads , arms , legs and necks. All
the warriors who took part in the expedition but could not kill enemies , nor
could they all bring back heads, but had cut, slashed and chopped the fallen
dead bodies companions were also regarded as brave head –hunters . All of
them were honoured with Arkeziaks ; but generally, only those who had slain
their foes and brought home the heads were honoured with precious things in
addition to Arkeziak

1 2

Figure 104(1): Arkeziak | Source : Mizoram

State Museum Fugure 2 : Close up view of Arkeziak

71
19. RALLU AIH THI

Rallu , refers to human heads of enemies taken in raids , Aih means successful
head – hunting of enemies ceremony ; Thi means necklace . It symbolized their
success in head –hunting raids .Thus ,this necklace could have been given as a
trophy to those who had brought home the heads of their enemies from the
war . It is made of wooden beads intermixed with mini arrows and knives with
a tiny sculpture of human heads and is about 58 cm in length . It is worn by
the Mara clans on special occasions .

1 3

Figure 105(1): Rallu aih Thi Figure 2 : Front view of Rallu aih Thi.
Source : Mizoram State Museum Figure 3 : Close up view Rallu aih Thi.

72
20. DAR NGUNKUAL

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

Figure 106(1): A set of Dar Ngunkual

Source : Mizoram State Museum

Figure 2 : Dar Ngunkual a s seen from above

2 Figure 3 : Side view Rallu aih Thi.

73
21 .NGUN

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

1 4

2 5

Figure 107(1 ,2, 3,4,5): Ngun ( Bracelet)

Source : Mizoram State Museum, Mc Donald Hill,
3
Aizawl, Mizoram

74
22.VAKIRIA /CHAWILUKHUM

Vakiria also known as Chawi Lukhum is a distinct head dress of Mizo women
made of bamboo split , Procopine quills attached with the long tail feathers of
parrot in which red colour Pehbuk (tassels ) in the upright . Job tear beads were
threaded with beetles wings are also hung horizontally on a small bamboo
stick . It is worn on festive and important occasions especially while performing
Folk dances Like Chai , Cheraw etc .The Vakiria is sometimes used as a Thuam
(dowry) for the girls who belong to the wealthy family .

1 2

Figure 108(1):Vakiria /Chawiluk-

hum
Source : Mizoram State Museum.
McDonald Hill, Aizawl,Mizoram

Figure 108(2) : A Mizo woman in

Viakiria /Chawilukhum.
Source : Mizo la deh leh ze thlan
(2016) .

Figure 109(3) : Mizo women in

Vakiria at Military Tatoo.Edinburg,
Scotland (20014)
3
75
5.3 MODERN MIZO JEWELLERY

The Mizo jewellery which are available in the market today. Contemporary
beaded jewelleries inspired by the traditional textile patterns and colours
like Puanchei ,Ngotekherh, Puandum , Tawlhlohpuan etc . are vey popular in
the current market . Other jewelleries which are made of bamboo, brass , silver
, copper also available . These materials i.e bead, metal were imported from
Myanmar, China, and other states of the country. The modern Mizo jewellery
are categorized by the following sections .

5.3.1 BEADED JEWELLERY

1. Puanchei Pattern

Figure 110 : Puanchei 6 strand Figure 111 : Puanchei 4 strand Figure 112 : Puanchei bead
beaded necklace. beaded necklace Braided necklace
Source : Zo star, Chanmari, Source : Zo star, Chanmari, Aizawl. Source : TL Handloom,Chanmari
Aizawl. ,Aizawl.

76
 Figure 114 : Puanchei bead braided choker
Source : Jenny Ching ,Zemabawk , Aizawl.

Figure 113 : Puanchei multiple Figure 113 : Puanchei Figure 115 : Puanchei beaded bracelet
strand beaded necklace beaded necklace Source : Andrew Bamboo and cane , Chaltlang,
Source : Zo star, Chanmari, Aizawl. Source : Zo star, Aizawl.
Chanmari, Aizawl.

Figure 116 : Puanchei beaded bracelet Figure117 : Puanchei beaded Earrings

Source : zostar , Chanmari Aizawl. Source : Zostar , Chanmari Aizawl.

2.Ngotekherh Pattern
Figure 117 : Ngotekherh
6 strand beaded
Necklace in green colour
Source : Zo star,
Chanmari, Aizawl.

Figure 118 : Ngotekherh

6 strand beaded
Necklace in black colour.
Source : TL
handloom,Chanmari,Aiza
wl.

Figure 119 :
Ngotekherh beaded
necklace
Source : TL Handlomm,
117 118 119 Chanmari, Aizawl.

77
 Figure 120 :Ngotekherh pattern beaded Necklace in different colours
Source : Zo star , TL handloom, Zo dawr , Aizawl , Mizoram.

Figure 121: Ngotekherh pattern beaded bracelet in different colours

Source : Zo star , TL handloom, Zo dawr

Figure 122: Ngotekherh

Figure 121 : Ngotekherh beaded bracelet beaded earrings .
Source : Andrew cane and bamboo ,Aizawl. Source : TL handloom,
zostar Chanmari ,Aizawl

Figure 122: Ngotekherh beaded earrings .

Source : TL handloom, zostar Chanmari ,Aizawl

78
3. Tawlhloh Puan Pattern

Figure 123 : Tawlhloh 6 Figure 124 : Tawlhloh 4 Figure 125 : Tawlhloh 4 Strand
Strand beaded bracelet Strand beaded bracelet beaded bracelet
Source : zo dawr , Chanmari Source : zo dawr , Chanmari Source : zo star , Chanmari ,Aizawl.
,Aizawl. ,Aizawl.

Figure 126 : Tawlhloh beaded bracelet Figure 127 : Tawlhloh beaded

Source : Andrew bamboo and cane , Chaltlang earrings
,Aizawl. Source : Andrew bamboo and
cane , Chaltlang ,,Aizawl.

79
4.Thifen

Modern Thifen made out of glass and plastic beads.

Figure129: Thifen Figure 130 : Earrings inspired by

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

5.Pumtek

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

Figure 133 : Pumtek in brown and Figure 134 : Pumtek with

Figure 132 : Pumtek in Black and
white coins
white
Source : TL handloom , Chanmari, Source : Irene Zosangpuii
Source : Zo star , Chanmari, Aizawl.
Aizawl. ,Dawrpui ,Aizawl.

80
6. Thi – Val

Modern Thi-val made from glass beads

Figure 135 :Thiival senduk Figure 136: Earrings inspired by Thihna

Source : Zo par , electric veng , Aizawl. Source : Z0 par Variety , electric veng
Aizawl

Figure 137 : L-Thiival sen R- Thival Dum | Source :TL Handloom, Chanmari ,Aizawl
81
7.Thi hna

Traditionally Thi hna is made use of Amber beads, but due to the unavailability of the
raw material, glass beads is used in modern day .

Figure 138: Thina senduk. Figure 139 : Thina sen. Figure140 : Thina sen.
Source : zopar variety store , Source : Zopar variety store , Source : Zo star ,chanmari ,
electric veng , Aizawl. electric veng , Aizawl. Aizawl.

Figure 141: Thina dum . Figure 142: Thina senduk .

Source : zo star variety store Source : Andrew collection Figure 143 : Thina dum leh vara tial .
,chanmari, Aizawl. ,Dawrpui phei , Aizawl. Source :Zo dawr ,Cateenkual Aizawl.

82
 Figure 145 : Earrings Inspired By Thihna bead
Source :Andrew collection,Zo Dawr,Zo star Aizawl, Mizoram.

Figure 144 :Thihna eng

Source :Andrew collection,
Dawrpui phei, Aizawl.

8.Other Beads Necklace

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

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

83
Figure 147 : Handmade bead Necklaces | Source ; Zo star, TL handloom , Andrew cane and bamboo,
Aizawl , Mizoram.

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

84
9. METALS

Figure 149: Plaited silver cuff bracelet . Figure 150: Plaited silver armlet.
Source: Irene Zosangpuii, Dawrpuii , vengthar Source: Irene Zosangpuii, Dawrpuii Vengthar

Figure 152
Figure 151:
: modern
Plaited
kharvar
silver ring.
(brass
Source:
belt).
Irene
Source: TL
Zosangpuii,
handloom,
Dawrpuii ,
Chanmari
vengthar
,Aizawl.

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

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

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

85
10.BAMBOO

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

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

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

Figure 155: Decorated ed bamboo Figure 156 : Bamboo

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

Figure 157:Bamboo rings Figure 158 :Bamboo ring Figure 159 :Dyed Bamboo ring
Source :Andrew cane and bamboo, Source :Andrew cane and Source :Andrew cane and
Chaltlang,Aizawl. bamboo,Chaltlang, Aizawl. bamboo,Chaltlang,Aizawl.
86
 Figure 160: Decorated bamboo Hair slide, Figure 161: Bamboo Hair slide
Source :TL Handloom, Chanmari, Aizawl. Source :Mawi Mawi Cane And Bamboo Industry,
Zemabawk, Aizawl.

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

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

87
CHAPTER – 6

THE MIZO ARTISANS

An interview of 15 artisans who involved in making and manufacturing the

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

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

88
6.1 ARTISAN – 1 : DENGKHUMA, 67 | LALVENTHANGI SAILO, 62 | IRENE
ZOSANGPUII,32

Figure 166:Irene Zosangpuii

Figure 164 : Dengkhuma Figure 165 : Lalventhangi Sailo
D/O Dengkhuma
W/O Dengkhuma

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

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

TOOLS AND RAW MATERIAL : The raw materials used in making vakiria
headgear such as vakulchang , porcupine quills , beetle wings were imported
from Myanmar and Manipur . Pingpih (Jobs tear seeds) ,Nylon robe,
89
were sufficient ly available in the local market. She mentioned, due to the insu –
fficient source of traditional raw material ,they keep tracking the alternative mat-
erial while keeping the traditional value .

They used traditional textile motifs for the head band weaving .They were fluent
in making new designs and also familiar in the use of various colour combination .
They made different colours and different traditional motifs to meet modern re-
quirements and trend . They make the authentic piece as per the particular ord-
er placed. But this cannot be made so often due to the insufficient raw materials
as only the rare organic material have been used in this . The authentic piece of
vakiria is R 8000 .The normal wholesale price of vakiria headgear are Rs 550 r for
Adult wear, Rs400 for kids wear, 1500 for vakulchnag ( e headress). January,
Fe ruar , Mar h are the est selli g seaso si e Chapchar Kut the ajor tradit
tional festival of mizoram celebrated on March . People starts placed an order fr-
om the month of January..

RAW MATERIALS USED IN VAKIRIA

Figure 167 : Pingpih Figure 168: Tlengtle Figure 169: pingpih are strung with
jo s tear seeds thla (Beetles wings) beetles wing

Figure 170: pingpih with Figure 171: pingpih with beetles wing are hung by
beetles wing are hung by small strap of bamboo, here pingpih are strung i
small strap of bamboo alternate with black heisi beads. .

90
 Traditionally vaki chang parrot s feathers is used ut due to i suffi ie t
resour es .D ed feather is used to su stitute Parrot s feather.

Figure 172 : Feather Figure 173: Feather dyed Figure 174 : Feather dyed with
before dye with green colour green colour with yellow colour

Figure 176 :Porcupine Quills with long feathers in which red

Figure 175 :Procupine Quills
tassel is also attached to it

TRADITIONAL MOTIF USED FOR HEAD BAND WEAVE

Figure 172 : Lennbuang Thuam Puan Figure 173 : Front view of mitmu Figure 174: Back view of
motif Vakiria headband Rual motif mitmu rual motif

Figure 176 : Faghma mu motif in yellow and white

Figure 175 : Mitmurual motif in red and yellow
colour
colour

91
 VAKIRIA

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

Figure 180 :Vakiria in black and hite le ua gthua

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

92
6.2 ARTISAN -2 : JENNY CHING ,45

Figure 181 : Jenny ching Figure 182: Jenny hi g s mother

Jenny Ching , the bead jeweller is from Manipur but now her family settled In
Zemabawk , Aizawl since 2006 due to employment opportunities . she is 42
years old and a mother of four. Jenny learnt bead making for her desire and
self – experiment ,she informed that she had spoiled 3 necklaces at the
beginning but she became an expert within just 2 weeks. Despite her natural
interest she wants to keep alive the traditional craft of creating Mizo jewellery
. She began working as a professional bead jewelers since 2010.

Types of jewellery she made are earrings , Necklace , Rings , Bracelets in a

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

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

93
Vakiria materilas such as procopine quills, job tears , parrot long feather and
cotton or wool tassels . beads, were generally source from Burma , Pocopine
quills and jobs tear were sourced from Manipur , she was preferring manipur
job tear seeds because they are whiter than Mizoram seeds.
There were small changes in colour and technique as compared to earlier
times but she manage to adapt her skills and aesthetic sense to suit the modern
taste . She is regularly hire three to four helpers this makes her work easier
because of this she is able to deliver her product on time . Her product was
distributed to 10 craft stores in Aizawl and her monthly income now is in
between 20000 – 25000S. She is taking care of her family from the earnings of
this craft.

Figure 183 : Jenny hi g s work place Figure 184 : Jenny hi g s work place

6.3 ARTISAN -3 :T LALNGAIHLIANI ,58

Figure 185: T. lalngaihliani Figure 186 : T. lal gaihlia i s beaded jewellery

94
T.lalngaihliani is from champhai , she is now living in Ramhlun venglai , Aizawl
.she is 57 years old and a mother of three . T . lalngaihliani belongs to the chief
community in Champhai area and also his uncle was into business of jewellery
supply.Their family has a heirloom piece of Mizo jewellery that inspired her to
make jewellery . she began working when she was 18 years old but she started
selling her jewellery from 1990 till date .The whole family doing jewellery
making as a profession . They sells Rs 100000 worth every month , her product
were distributed in almost 15 Craft stores In Mizoram and also reached USA ,
Malaysia and other states of India.

Types of her jewellery are earrings , Necklace , Rings , Bracelets in a pattern of

Mizo traditional textile like Puanchei, Ngotekherh and Tawlhloh puan in
different colours . She imported her beads material from China . T. lalngaihliani
makes sample designs and developed techniques for new products .Her
dedication and commitment towards work is admirable. She adds the money
that she earned from this craft was good enough for her living .

6.4 ARTISAN -4 : VANLALNGHAKA 34 | LALHUAZAUVI 37

Figure 187 : L – Vanlalnghaka ,R – Lalhuapzauvi

95
Vanlalnghaka and his wife Lalhuapzauvi are resident of Zemabawk, Aizawl
.Lalhuapzauvi was born in a craft family , her father was a craft teacher at the
middle school. she began her training from her father and perfected the
bamboo craft .her husband Vanlalnghaka took training at (KVIB),Aizawl for 6
months in 2002 and started making different bamboo products with his wife a .
their products got very appreciation when they showcased at IITF - India
International Trade Fair 2006 at New Delhi. Later they was invited at various
expo and also working as a part time trainer in Bamboo development Agency ,
Aizawl, Mizoram. Their monthly income out of this craft is in between Rs 20000-
25000. Vanlanghaka received Young Talented Artist Award for his excellence in
cane and bamboo craft 2008 which was organised by Northeast Zone Cultural
Center NEZCC, Guwahati .

6.5 ARTISAN - 5 : LALHMINGLIANA ,57|LALTHANPUII, 58| ROHLUPUIA

,27|LALRUATDIKI ,22.

Figure 188 : Lalthanpuii Figure 189 : Rohlupuia Figure 190 : Lalruatdiki

Lalhmingliania and his wife Lalthanpuii , resident of Edenthar , Aizawl , mizoram

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

96
They encouraged their son Rohlupuia and his wife Lalruatdiki to learn the cane
and bamboo work as a profession and also started bamboo craft work without
any special training . they produced different types of items such as furniture ,
lamp shade ,jewellery, basket, vase , tray, mugs , tea coaster , ashtray, photo
frame etc .their monthly income from this craft is in between 30000 - 35000
.Rolupuia and his mother L Lalthanpuii demonstrated their products in various
exhibitions and got appreciated by many .Rohlupuia received Best Artisan Award
in 3rd march 2012 which was organized by industries department (bamboo
development agency ) and environment and forest department.

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

Figure 191 : Hrangchhawna Figure 192 : Bamboo Retail Outlet showroom , Chaltlang ,
Aizawl.

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

97
They have their own manufacturing house at their home there are 20
craftsmen's working under them. They have showcased their products a
multiple of times at Delhi Trade fair where many items are always sold. They are
selling their product at Bamboo retail outlet ,Chaltlang , Aizawl . Various
products of bamboo and cane are display and sell from this outlet everyday .
Their monthly income now is in between 35000- 40000.

6.7 ARTISAN -7 : C.LALCHHUANTHANGA ,38 |LALKROSTHANGA ,45.

Figure 193 : C. lalchhuanthanga Figure 194: Lalkrosthanga.

C.Lalchhuanthanga and his brother Lalkrosthanga are a goldsmith silversmith .

They are from the village Vangchhia and now living in Dawrpui vengthar ,
Aizawl. C.Lalchhuanthang learnt goldsmithing in the 1999 at Zopa Goldsmith a
renowned goldsmith in Mizoram and worked at first with them .He left Zopa
Goldsmith in 2004 and started his own studio at Zodin Square Aizawl under the
store name of ZNR ELISA Goldsmith ,his elder brother Lalkrosthanga joined his
business in 2007 , he was motivated and encouraged by his younger brother .
As a craftsman Chhuana makes sample designs for new products , he creates
new intricate motifs and also develops new forms .They imported their
equipment and raw materials from Silchar , India and Mandalay, Burma . They
also sell imported ready mate gold and silver jewellery . they mainly received
orders in custom designs engagement rings and others like earrings , bracelet
and locket .They earned Rs 20000 to 25000 per month respectively.

98
6.8 ARTISAN -8 : LALSIAMLIANA , 47

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

Lalsiamliana belongs to the village called Tahan ,Myanmar but settled in

Aizawl from 1990 . He has been married for 17 years and have four children.
Siama said he learnt goldsmithing not because of his desire but due to lack of
livelihood and employment opportunities . He took his training from Apollo
goldsmith , Aizawl and started work with them for 3 years .Later he joined
Zopa goldsmith in 1994 and worked with them till 2005. In 2005 he set up
his own studio at Chanmari ,here his store location is in a busy area and have
a good exposure and earned good amount of money .But due to some
reasons he left after two years .After that he was working from his home but
he could not meet sufficient number of customers, so he started small
grocery store to support his living. In 2017 he made a fresh start and re
opened his store Siama Silver And Gold Smith at Vaivakawn , Aizawl. His
monthly earning now is in between Rs 15000- 20000.

99
6.9 INSIGHTS

The Mizo artisans have the skills required for their job, but selling their
product is the issues .This is because lack of design and finishing quality .
For this reason people did not pay attention to their product as it should be
,combining traditional technique with new designs and new forms is
necessary . This will make a better scope for the market as if they could
offer new product quite often.

Keeping the locally accessible in mind, experimentation and observation

were done to develop Innovative jewellery designs . It was found that the
bamboo material was being used in jewellery but not many range of
products are made , bamboo are available in large quantities but at present
it has not been utilized to the full optimum .The Mizo craftsmen could
possibly produce a new range with sufficient look out .The nature of the
Mizo bamboo craft technique was carefully studied with the artisans ,
the most suitable technique like burnt technique , traditional weaving
techniques - cherzing , bawhtah, bawhtah kaihsawih, malkhalh , and other
traditional braided technique -zawngtrah kuangphiar ( Sticky ea s braid/
Box braid) ,nghun phiar were chosen for the prototype .

100
CHAPTER – 7

MARKET RESEARCH AND ANALYSIS

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

PURPOSE:

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

other State.
• To understand the attitude of jewellery craft in the local market (retailing
• and manufacturing.
• To predict the future possibilities for the craft studied.
• To examine the material used (quality and design).

101
1. Years of experience in craft retailing?

8.3%

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

26.7% of the respondents have 5-10 years craft retail experience, 26.7% of the
respondents have 10-15 years craft retail experience , 26.7% of the respondents
have 0-5 years craft retail experience, only 8.3 % of the respondents have 25-
30 years craft retail experience.

2.Do you sell Mizo jewellery?

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

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

3.How long you started keeping in your store?

All the respondents are selling Mizo jewelers out of 15 stores , 12 stores have
kept from the beginning of the stores were opened , 3 stores have kept after 2-
3 years after the stores were opened.
102
4.Price range of Mizo jewellery in the current market.

15 craft retailers were asked about their price range in jewellery. The prices
are categorized on the basis of the current price as follows:
Necklace : 100 – 2500
Earrings : 50 – 350
Rings : 10 – 50
Bracelet : 60 - 150

5. Who buys jewellery in gender?

Figure 198 : Chart showing who buys jewellery in gender.

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

6.Which age group buys Mizo Jewellery most?

8.7%

Figure 199 : Chart showing age group which buys Mizo jewellery Most
103
Majority of the respondents i.e 76.9% informed that 25 -35 age group
buy Mizo Jewellery most, 7.7% respondents informed that 20-25 age group
buy Mizo jewellery most, 7.7% respondents informed that 55+ buy Mizo
jewellery most , and 8.7% informed that 35 -45 buy Mizo jewellery most.

7.What type of jewellery is the most selling ?

Figure 200 : Chart showing most selling type of jewellery

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

8. What piece of jewellery is the high value to customer?

When asked about customers most high valued jewellery to 15 craft retailers
11 respondents informed that Thihna is the most value jewellery, 4
respondents informed that Puanchei pattern necklace is the most value
jewellery .

104
10. Are you satisfy with the profit you have made from jewellery?

Figure 201 : Chart showing profit satisfactory of the respondents.

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

11. In what purpose they mostly buy Mizo jewellery?

Figure 202 : Chart showing most purpose of buying Mizo jewellery

Majority of the respondents i.e 66.7% informed that self buyer are the
most common consumer , 13.3% respondents informed that souvenirs
are the most purpose of buying, 20% respondents informed that Gifts are
the most purpose of buying Mizo jewellery.
105
12 .Pieces of Mizo jewellery sold in a month (general)

8.7%

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

60% of the respondents answered that they have sold 0-5 pieces in a month,
20% of the respondents answered that they have sold 10-15 pieces in a month,
13.3% respondents answered that they have sold 15-20 pieces in a month ,
8.7% respondents answered they have sold 5-10 pieces in a month.

13.Did you export your product to another states/country ?

Figure 204 : Chart showing percentage of craft exporter.

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

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

craft.

61.5% of the respondents answered that it will be a hit, 38.5% of the respo-
ndents answered that it will sell.

CONCLUSION

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

107
CHAPTER – 8

DESIGN EXPLORATION AND DEVELOPMENT

8.1 DESIGN EXPLORATION

8.1.1 Mind Map

Goldsmith

Silversmith – skills
Silver jewelllery
Necklace
Rings
Bracelet
Earrings

Figure 204 : Mind map

108
8.1.2 Inspiration Board

An inspiration board is made as a visual communication tool to enable a

person to illustrate visually the direction of proposed designs , to inform the
entire vibes of the designs pursued , and also to explain a certain traditional
bamboo weaving technique inspiration and key imaginery message for a
storyline .

Figure 205: Inspiration board

8.1.3 Development of Sketches

109
8.1. 3 Trend Forecasting

Figure 206: Trend Forecasting

110
8.1. 4 Trend Analysis

Figure 207: Trend Analysis

8.2 DESIGN DEVELOPMENT

8.2.1DESIGN -1
Woven Bamboo Silver Earrings
These earrings were inspired by Mizo t aditio al ea i g te h i ue Bawhtah
kaihsawih hi h is t aditio all used i Hnam asket s Ba d .
Handcrafted by Lalhuapzauvi, Vanlalnghaka, Zemabawk, Aizawl,Mizoram.(Bamboo
Craftsmen) Lalkrosthanga, Dawrpui Vengthar, Aizawl, Mizoram(Silver Smith).
DETAILS

•Made in Mizoram.
• Material used - Sairil (Melocalamus
compactiflorus), Silver .
•2.5 grams silver.
• Measurement-9.4cm L , 1.7cm W,
silver stick -5.5 cm L , .4cm L
• Pierced with silver ear wires .
•Clean with a damp cloth and dry with
a soft cloth
Close up of weaving
technique Table 3 : Details of Design 1

111
Making of Design -1

Step 1: weaving bamboo Step 2 :Finished weaving Step 3:Trimmed the excessive bamboo split

Step 4:Polished with Step 5:Preparing Step 6:Finished ear wire Step 7 : cleaning the silver
touchwood silver bar, ear wire

Step 11 : Finished product

Step 8 : cleaned silver Step 9: silver fit in the Step 10 : Putting silver ear wire
bamboo
FINAL PRODUCT

Figure 208 : close up view of woven Figure 209 : Model wearing woven Bamboo Silver
Bamboo Silver Earrings Earrings
112
Cost Sheet

Item : Design – 1 Material Cost Quantity Total Cost

Woven Bamboo With Artisans
Silver Charges
Earrings

1. Bamboo 200 1 200

2. Silver making 1800 1 (Pair) 1800

3.Packaging 210 1 210

4.Transportation 200 200

Total 2,410

Table 4 : Cost Sheet of design 1

8.2.2 DESIGN -2

Rectangle Ball Woven Bamboo Silver Earrings

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

DETAILS

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

113
Making of Design - 1

Step 1: weaving bamboo Step 2: Finished weaving Step 3 : cutting the excessive split

Step 5 ; finished bambo0 Step 5 : weaving bamboo ball Step 6 : Finished bamboo Step 7 : preparing silver
rectangle ball wire

Step 8 : Attaching silver wire Finished Product

FINAL PRODUCT

Figure 210 : close up view of rectangle Ball Figure 211 : Model wearing rectangle Ball woven
woven Bamboo Silver Earrings Bamboo Silver Earrings
114
Cost sheet

Item : Design – Material Cost Quantity Total Cost

Woven Ball Rectangle With Artisans
Bamboo Silver Charges
Earrings

1. Bamboo 250 1 250

2. Silver 600 1 (Pair) 600

3.Packaging 210 1 210

4.Transportation 200 200

Total 1,260

Table 6 : Costing of Design 2

8.2.3 DESIGN -3
Box Braided Bamboo Silver Earrings
These earrings were inspired by Mizo t aditio al aidi g te h i ue zawng-
trah kuang phiar o aided .
Handcrafted by Lalhuapzauvi , Vanlalnghaka , Zemabawk , Aizawl Mizoram.
(bamboo Craftsmen) Lalkrosthanga , Dawrpui Vengthar, Aizawl , Mizoram
.(Silversmith).

DETAILS

•Made in Mizoram.
• Material used - Sairil (Melocalamus
compactiflorus) , Silver .
•2 grams silver.
•Measurements -7cm L , 4cm width
• Pierced with silver ear wires .
•Clean with a damp cloth and dry
Close up of weaving with a soft cloth.
technique

Table 7 : Details of Design 3

115
Making of Design 3

Step 1: weaving bamboo split Step 2 : Finished weaving Step 3 :Trim the excess Step 4 :Polished with
split / glued it touchwood

Step 5 : Preparing silver Step 6 : Cleaning the silver Step 7: Fit the silver bar in bamboo
wire /bar

Step 8: fitting the ear wire Finished product

FINAL PRODUCT

Figure 212: close up view of box briaded woven Bamboo Silver Earrings
116
Cost Sheet
Item : Design – Material Cost Quantity Total Cost
Box Braided Bamboo With Artisans
Silver Earrings Charges

1. Bamboo 150 1 150

2. Silver 700 1 (Pair) 700

3.Packaging 210 1 210

4.Transportation 200 200

Total 1,260

Table 8 : costing of Design 3

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

Close up of weaving technique

DETAILS

•Made in Mizoram.
• Material used- Rawnal (Dendrocalamus
giganteus Munro), Sairil (Melocalamus
compactiflorus), Silver .
•5 grams silver..
•Measurements- Pendant- 10cm L , 4.3
cm diam , Cord – 44 cm L
•W- clasp closure.
•Clean with a damp cloth and dry with a
soft cloth.
Table 9:Details of Design 4
117
Making of design -4

Step 1: weaving bamboo split Step 2 : Finished Step 3 : Making bamboo Step 4:sticking circle braided on
weaving ring for braided based bamboo circle ring

Step 5: Ready braided Step 6: Preparing silver wire Step 6: Cleaning the silver
circle & bamboo tube

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

FINAL PRODUCT

Figure 213 : close up view of braided bamboo Figure 214 : Model wearing braided bamboo
Silver pendant. Silver pendant.
118
Cost Sheet

Item : Design - 4 Material Cost Quantity Total Cost

Braided Bamboo With Artisans
Silver Pendant Charges

1. Bamboo 150 1 150

2. Silver 900 1 900

3.Packaging 210 1 210

4.Transportation 200 200

Total 1,460

Table 10 : Cost sheet of Design 4

8.2.5 DESIGN -5
Woven Bamboo Silver Bar Necklace
This bar necklace takes its inspiration from Mizo traditional necklace

Thithek hile also efe i g t aditio al a oo ea i g te h i ue

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

•Made in Mizoram.
•Material used -Rawnal(Dendrocalamus
giganteus Munro), sairil (Melocalamus
compactiflorus),Silver.
•15 grams silver..
• Measurements - Bar- 10cm L , 1.8cm
diam , cahion -63 cm L
• Spring ring clasp closure .
•Clean with a damp cloth and dry with a
soft cloth
Table 11: Details of Design -5
close up of weaving technique
119
Making of Design - 5

Step 1: weaving bamboo Step 2: finished weaving Step 3 : wrapped in a bamboo tube

Step 4: polished with Step 5: preparing silver cap for both edged of tube
touchwood

Step 6: Finished bamboo silver bar Step 7: Attaching silver chain Step 7: Finished product

FINAL PRODUCT

Figure 215 : Close uo view of woven bamboo Figure 216 : Model wearing woven bamboo
silver Bar necklace . silver Bar necklace .
120
Cost Sheet

Item : Design - 5 Material Cost Quantity Total Cost

Woven Bamboo With Artisans
Silver Bar Charges
Necklace
1. Bamboo 200 1 200

2. Silver making 1000 1 800

3. Siver Chain 1000 1 1000

4.Packaging 210 1 210

5.Transportation 200 200

6.Total 2,410

Table 12 : Cost Sheet of Design 5

8.2.6 DESIGN – 6
Two Tone Woven Bamboo Silver Earrings

These earrings was inspired by Mizo traditional weaving technique Malkalh, and
blended with burnt bamboo technique .
Handcrafted by Rohlupuia ,Edenthar(bambo craftsman) Lalsiamliana, Durtlang,
Aizawl , Mizoram .(Silversmith)

DETAILS

•Made in Mizoram.
• Material used - Sairil
(Melocalamus compactiflorus),Tai
(cane ), silver
•2 grams silver.
• Measurements--9cm L , 1cm Dm
• Pierced with silver ear wires .
•Clean with a damp cloth and dry
Close up of weaving
technique used with a soft cloth
Table 13: Details of Design 6

121
Making of Design -6

Step 3 : burning to give Step 4: cleaning the smoked

Step 1 : preparing bamboo Step 2 : Shaping bamboo Burnt effect

Step 5: cutting in a particular Step 6: after cut Step 7 :smoothening edges Step 8: drilling for loop hole
Size

Step 9 :Preparing Step 10 :attaching loop Step 11 : weaving/ drilling hole /cutting excess part.
Small loop

Step 12: weaved bamboo Step 13: Preparing silver wire Step 14: Finished Product

FINAL PRODUCT

Figure 217 : close up view of Two tone woven 122 Figure 218: Model wearing Two tone woven
bamboo silver Bar earrings . bamboo silver Bar earrings .
Cost Sheet

Item : Design – 6 Material Cost Quantity Total Cost

Two tone Box Braided With Artisans
Bamboo Silver Earrings Charges

1. Bamboo 150 1 150

2. Silver 700 1 (Pair) 700

3.Packaging 210 1 210

4.Transportation 200 200

Total 1,260

Table 14 : Cost sheet of Design 6

8.2.7 DESIGN - 7

Two Tone Woven Bamboo silver Ring

This burnt effect bamboo woven ring was inspired by Mizo traditional
ea i g te h i ue cherzing .
Handcrafted by Lalhuapzauvi , Vanlalnghaka , Zemabawk , Aizawl, Mizoram
(bamboo Craftsmen) . Lalsiamliana, Durtlang, Aizawl , Mizoram (Silversmith).

DETAILS

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

Close up of weaving technique used Table 15 : Details of Design 7

123
Making of Design - 7

Step 4 : wrapped on a
Step 1 : blowing bamboo Step 2 : Burnt bamboo tube Step 3 : weaving bamboo
Bamboo tube
Tube

Step 6 : wrapped the Step 7 : Preparing silver Step 8 : cleaning

Step 5 :Glued it
border with split bamboo ring

Step 9 : Adjusting the hole Step 10 : Inserting bamboo into silver ring Finished Product
To insert bamboo tube

FINAL PRODUCT

Figure 219 : Close up view of Two tone woven Figure 210 : Model wearing Two tone woven
bamboo silver ring . bamboo silver ring

124
Cost Sheet

Item : Design – 7 Material Cost Quantity Total Cost

Two Tone Woven With Artisans
Bamboo Silver Ring Charges

1. Bamboo 100 1 100

2. Silver 500 1 500

3.Packaging 210 1 210

4.Transportation 200 200

Total 1,010

Table 16: Costing of Design 7

8.2.8 DESIGN - 8
Two Tone Woven Bamboo Silver Cuff Bracelet

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

DETAILS

Close up of weaving technique used
•Made in Mizoram.
• Material used- Sairil
(Melocalamus
compactiflorus), Rawnal
(Dendrocalamus giganteus
Munro), silver .
•11 grams silver.
•Measurements- 5cm L ,
5.5cm Diam.
•Clean with a damp cloth
and dry with a soft cloth.
Table 17: Details of Design 8

125
Making of Design -8

Bamboo before cut Step 1 :smoothening Step 2 : blowing bamboo Step 3 :weaving
before burning

Step 4 : wrapped on Step 5 : Preparing silver Step 6 :finished cap Step 6 : preparing cuff
burnt bamboo cap curve

Step 8 :attaching silver into bamboo Finished product

Step 7 : soldering silver
wire

FINAL PRODUCT

Figure 211 : close up view of Two tone woven Figure 212 : Model wearing Two tone woven
bamboo silver cuff Bracelet. bamboo silver cuff Bracelet.

126
Cost Sheet

Item : Design – 8 Material Cost Quantity Total Cost

Two Tone Woven With Artisans
Bamboo Silver Cuff Charges
Bracelet

1. Bamboo 150 1 150

2. Silver 1100 1 1100

3.Packaging 210 1 210

4.Transportation 200 200

Total 1,660

Table 16: costing of design 8

8.2.9 DESIGN - 9
Two Tone Woven Bamboo Silver Bar Pendant
This t o to e a pe da t is ade ith u t Ba oo o i ed ith
cherzing weaving technique and silver . It was inspired by Mizo traditional
e kla e thithek a d Thlangra i o i gt a .

Handcrafted by Lalhuapzauvi , Vanlalnghaka , Zemabawk , Aizawl , Mizoram.

(bamboo Craftsmen). Lalsiamliana, Durtlang, Aizawl, Mizoram (Silversmith).

DETAILS

•Made in Mizoram.
•Material used-Rawnal(Dendrocalamus
giganteus Munro), Sairil (Melocalamus
compactiflorus) , Tai (cane ), Silver .
•15 grams silver.
•Pendant- 9cm L , 4.5 cm diam , chain –
64 cm L
• Lobster clasp closure.
•Clean with a damp cloth and dry with
a soft cloth.

Close up of weaving technique used Table 17 : Details of Design 9

127
 Making of Design –9

Step 1: Weaving bamboo Step 2: Finished weave /cut Step 3: Wrapped in Step 4: Finished wrap
Burnt bamboo

Step 6:preparing the the

Step 5: weaving for pendant rib Step 8 : pendant before Step 8 :Ready pendant
pendant stuck

Step 9 :Ready bar pendant Step 10 :Preparing silver cap Step 11:Finished cap Step 12:trimming

Step 13 :Trimming Ready pendant

FINAL PRODUCT

128
Cost Sheet
Item : Design - 9 Material Cost Quantity Total Cost
Two Tone woven Bamboo With Artisans
Silver Bar pendant Charges

1. Bamboo 400 1 500

2. Silver making 800 1 800

3.Silver wire 350 1 350

3.Packaging 210 1 210

4.Transportation 200 200

Total 2,060

Table 18: Costing of Design 9

8.2.10 DESIGN - 10

Two Tone Woven Bamboo Silver Pendant

This burnt bamboo woven silver bold necklace is inspired by two techniques of
traditional Mizo ea i g patte Cherzing a d Bawhtah .
Handcrafted by Lalhuapzauvi, Vanlalnghaka, Zemabawk, Aizawl, Mizoram
(bamboo craftsmen). Lalsiamliana, Durtlang, Aizawl ,Mizoram (Silversmith).
DETAILS

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

129
Making of Design 10

Step 3 : Burnt
Step 1: Cutting bamboo tube Step 2 : Burning bamboo tube Step 4 : cutting bamboo
Bamboo tube
For locket

Step 5 : Peeling off to burn Step 6 :smoothening Step 7 : burning Step 8: burnt locket

Step 8 : Burnt bamboo Step 9 : weaving bamboo Step 10 : Another technique of weaving bamboo

Step 11 : wrapping burnt Step 12 : Finished Step 13 : Preparing silver tube for necklace
Bamboo locket Locket

Step 14 : Polishing silver Step 15 :Preparing Necklace Step 16 : Putting together Finished product
tube Lock bamboo beads and silver
tube

130
FINAL PRODUCT

Figure 214 : Close up view of Two tone woven Figure 215 : Model wearing Two tone woven
bamboo silver pendant . bamboo silver pendant .

Cost Sheet

Item : Design - 10 Material Cost Quantity Total Cost

Two Tone woven With Artisans
Bamboo Silver pendant Charges

1. Bamboo 400 1 500

2. Silver making 800 1 800

3.Silver wire 350 1 350

3.Packaging 210 1 210

4.Transportation 200 200

Total 2,060

Table 20 : Costing of Design 10

132
8.3FEEDBACK

A feedback of 12 local designers from Aizawl was conducted in order to learn

and understand the attitude of target audience towards the bamboo silver
jewellery, and also to make it sure that designs are still keeping the
traditional value.
The following are the ratings and reviews each product got in the feedback:

CATERGORY - I : Ratings of each design on the basis of look, size ,colour choice,
style ,functionality/wearability ,finishing quality and weight.
Design -1 :How did you find Braided Bamboo silver Pendant on the following
terms ?
1.LOOK

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

50 % of respondents answered that is very attractive , 41.7% of respondents

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

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

132
50% of respondents answered that is moderate ,41.7% of respondents
answered that is accurate ,only 8.3% of respondents answered that is very big.

3.COLOUR CHOICE

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

75% of respondents answered that is suitable ,25% of respondents answered

that is very suitable. None of the respondents answered that is unsuitable,not
At all suitable .

4.FUNCTIONALITY /WEARABILITY

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

when 12 local designers were asked about Functionality /wearability of Design -

1, 66.7%answered that is obvious ,16.7% answered that is very obvious ,8.3%
answered that is extremely obvious , only 8.3% answered that is unsure.

133
6.FINISHING QUALITY

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

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

7.WEIGHT

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

When 12 local designers were asked about the weight of Design -1,
58.3%answered that is very light ,16.7 % answered that is moderate, 16.7%
answered that is just ok , only 8.3% answered that is extremely light .

134
Design-2:How did you find design - 2 woven bamboo silver bar Necklace on
the following terms ?

1.LOOK

Extremely attractive

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

Out of 12 respondents 41.7% answered that is moderate attractive , 33.3% of

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

2.SIZE

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

Majority of the respondents i.e 75% answered that is moderate ,16.7%

of the respondents answered that is very big , only 8.3 % of the respondents
answered that is accurate . None of the respondents says it is small and
extremely big.
135
3.COLOUR CHOICE

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

Majority of the respondents answered that is very suitable , 33.3% of the

respondents answered that is suitable, None of the respondents says it is
unsuitable , not at suitable ,

4.STYLE

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

66.7% of the respondents answered that is very elegant, 25% of the

respondents ans-wered that is extremely elegant, only 8,3% answered that
is moderate.
136
5.FUNCTIONALITY/WEARABILITY

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

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

6.FINISHING QUALITY

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

66.7% of the respondents answered that is excellent , 25% of the respondents

answered that is good , 8,3% answered that is good . None of the respondent
says it is bad finishing .
137
7.WEIGHT

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

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

answered that is good , 16.7 % of the respondents answered that is very light .
None of the respondent says it is bad finishing .

Design -3: How did you find–Two tone woven bamboo silver bar pendant on
the following terms ?

1.LOOK

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

Majority of the respondents i.e 58% answered that is extremely attractive ,

41.7% of the respondents answered that is very attractive , none of the res-
pondents says it is slightly attractive, moderate attractive and ugly .
138
2.SIZE

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

50 % of the respondents answered that is moderate , 41.7% of the respondents

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

3.COLOUR CHOICE

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

66.7% of the respondents answered that is very suitable , 33.3% of the

respondents answered that is suitable , none of the respondent says it is
unsuitable, not at all suitable
139
4.STYLE

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

58.3% of the respondents answered that is very elegant , 33.3% of the

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

5.FUNCTIONALITY / WEARABILITY

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

50% of the respondents answered that is very obvious , 33.3% of the

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

140
6.FINISHING QUALITY

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

91.7% of the respondents answered that is excellent , only 8.3 % of the

respondents answered that is good , none of the respondent says it is
average, bad.

7.WEIGHT

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

50% of the respondents answered that is moderate ,41.7 % of the

respondents answered that is just ok , only 8.3% of the respondents
answered that is extremely light , none of the respondent says it is heavy,
very light.

141
Design- 4: How did you found Two tone woven bamboo silver Pendant on the
following terms ?
1.LOOK

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

83.3% of the respondents answered that is extremely attractive , 16.7 % of

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

2.SIZE

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

66.7% of the respondents answered that is accurate , 33.3 % of the

respondents answered that is moderate , none of the respondent says it is
extremely big, very big, small.
142
3.COLOUR CHOICE

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

91.7% of the respondents answered that is very suitable, 8.3 % of the

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

4.STYLE

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

75% of the respondents answered that is extremly elegant ,16.7% of the

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

143
5. FUNCTIONALITY/ WEARABILITY

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

91.7 % of the respondents answered that is extremely obvious , 8.3 % of

the respondents answered that is very obvious , none of the respondent says
it is obvious , unsure .

6. FINISHING QUALITY

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

83.3% of the respondents answered that is excellent ,16.7 % of the

respondents answered that is very good , none of the respondent says it is
average , bad .

144
7.WEIGHT

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

66.7% of the respondents answered that is just ok , 33.3 % of the

respondents answered that is moderate , none of the respondent says it is
very light, extremely ,light, heavy .

Design -5 :How did you found woven bamboo silver earrings on the following
terms ?

1.LOOK

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

33.3 % of the respondents answered that is very attractive, 33.3% of the

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

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

75 % of the respondents answered that is moderate, 16.7% of the

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

3.COLOUR CHOICE

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

66.7 % of the respondents answered that is suitable , 33.3% of the

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

146
4.STYLE

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

33.3 % of the respondents answered that is elegant , 25 % of the

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

5. FUNCTIONALITY/WEARABILITY

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

41.7 % of the respondents answered that is very obvious, 33.3 % of the

respondents answered that is extremely obvious , 25% of the respondents
answered that is obvious, none of the respondents says it is unsure

147
4.STYLE

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

33.3 % of the respondents answered that is elegant , 25 % of the

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

5. FUNCTIONALITY/WEARABILITY

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

41.7 % of the respondents answered that is very obvious, 33.3 % of the

respondents answered that is extremely obvious , 25% of the respondents
answered that is obvious, none of the respondents says it is unsure

148
6.FINISHING QUALITY

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

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

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

7.WEIGHT

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

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

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

149
Design -6 :How did you find - Box braided bamboo silver earrings on the
following terms ?
1.LOOK

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

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

respondents answered that is moderate, 8.3 % of the respondents answered
that is extremely attractive, none of the respondents says the finishing quality
is slightly unattractive ,ugly.

2.SIZE

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

58.3 % of the respondents answered that is very moderate , 41.7 % of the

respondents answered that is accurate, none of the respondents says the
size is very big ,extremely big , small.

150
3.COLOUR CHOICE

Fig 256 : Chart showing the respondents perspective of Design – 6 in colour

choice.
90.9 % of the respondents answered that is very suitable , 9.1 % of the
respondents answered that is suitable , none of the respondents says the
finishing choice is slightly unsuitable, not at all suitable

4.STYLE

Fig257 : Chart showing the respondents perspective of Design – 6 in style.

41.7% % of the respondents answered that is very elegant, 41.7 % of the
respondents answered that is elegant ,8.3% of the respondents answered that is
moderate .8.3% of the respondents answered that is extremely elegant , none of
the respondents says the style is uninteresting.
151
5.FUNCTIONALITY/ WEARABILITY

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

66.7 % of the respondents answered that is very obvious , 25 % of the

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

6.FINIISHING QUALITY

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

41.7 % of the respondents answered that is excellent, 33.3% % of the

respondents answered that is good, 25 % of the respondents answered that
is average , none of respondents says the finishing quality is bad .
152
7.WEIGHT

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

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

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

1.LOOK

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

58.3 % of the respondents answered that is extremely attractive , 25 %

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

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

50 % of the respondents answered that is moderate , 41.7 % of the

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

3. COLOURS CHANGE

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

50 % of the respondents answered that is very suitable , 50 % of the

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

154
4.STYLE

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

50 % of the respondents answered that is extremely elegant, 33.3% of

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

5.FUNCTIONALITY/WEARABILITY

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

75 % of the respondents answered that is extremely obvious , 16.7 % of

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

155
6.FINISHING QUALITY

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

75 % of the respondents answered that is excellent , 25% of the respondents

answered that is good. None of the respondents says average , bad .

7.WEIGHT

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

33.3% of the respondents answered that is very light , 33.3% of the

respondents answered that is just ok. 25% of the respondents answered that
is moderate , 8.3% of the respondents answered that is extremely light.
156
Design- 8 :How Did You Find Two Tone Woven Bamboo Silver Earrings On The
Following Terms ?

1.LOOK

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

75 % of the respondents answered that is extremely attractive,16.7% of

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

2.SIZE

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

58.3 % of the respondents answered that is accurate ,41.7% of the

respondents answered that is moderate .None of the respondents says small,
very big, extremely big.
157
3.COLOR CHOICE

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

91.7 % of the respondents answered that is very suitable ,8.3% of the

respondents answered that is suitable.None of the respondents says
unsuitable, not at all suitable

4.STYLE

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

75% of the respondents answered that is extremely elegant ,16.7% of

the respondents answered that is very elegant 8.3% of the respondents
answered that is moderate .None of the respondents says elegant ,
uninteresting
158
5.FUNCTIONALITY/WEARABILITY

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

63.6 % of the respondents answered that is extremely obvious , 27.3% of

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

6.FINISHING QUALITY

Figure 273 : Chart showing the respondents perspective of Design –8 in finishing quality .
91.7 % of the respondents answered that is excellent ,8.3% of the
respondents answered that is good. None of the respondents says average
,bad.

159
7.WEIGHT

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

58.3 % of the respondents answered that is just ok, 25 % of the

respondents answered that is moderate , 8.3% of the respondents answered
that is extremely light, 8.3 % of the respondents answered that is very light
None of the respondents says heavy .

Design- 9 : How did you found Two tone woven bamboo silver ring on the
following terms ?

1.LOOK

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

50 % of the respondents answered that is extremely attractive , 25 % of

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

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

58.3 % of the respondents answered that is moderate , 33.3 % of the

respondents answered that is accurate , 8.3 % of the respondents answered
that is very big .None of the respondents says the size is extremely big, small.

3.COLOUR CHOICE

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

58.3 % of the respondents answered that is very suitable , 41.7 % of the

respondents answered that is suitable. None of the respondents unsuitable ,
not at all suitable.,
161
 4 .STYLE

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

50 % of the respondents answered that is elegant , 33.3 % of the respond-

ents answered that is extremely elegant , 16.7 % of the respondents answ-
ered that is very elegant. None of the respondents says moderate, uninteresting.

5.FUNCTIONALITY/WEARABILITY

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

50 % of the respondents answered that is extremely obvious , 41.7%

of the respondents answered that is very obvious , 8.3 % of the respondents
answered that is very obvious . None of the respondents says unsure.
162
6.FINISHING QUALITY

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

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

respondents answered that is good, 16.7 % of the respondents answered
that is average . None of the respondents says the finishing quality is bad .

7.WEIGHT

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

41.7 % of the respondents answered that is just ok 33.3 % of the respondents

answered that is moderate , 16.7 % of the respondents answered that is very
light . 8.3% of the respondents answered that is extremely light .None of the
respondents says the weight is heavy.
163
Design -10 : How did you found Two tone bamboo silver cuff bracelet on the
following terms ?

1.LOOK

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

75% of the respondents answered that is extremely attractive ,16.7 % of the

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

2.SIZE

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

58% of the respondents answered that is moderate, 41.7 % of the respondents

answered that is accurate. None of the respondents says the size is extremely
big ,very big,,small.

164
3.COLOUR CHOICE

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

90.9% of the respondents answered that is very suitable ,9.1 % of the

respondents answered that is suitable .None of the respondents says
unsuitable, not at all suitable .

4.STYLE

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

45.5% of the respondents answered that is extremely elegant , 36.4 % of the

respondents answered that is very elegant . 18.2% of the respondents
answered that is elegant. None of the respondents says moderate,
uninteresting.
165
5.FUNCTIONALITY / WERABILITY

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

50% of the respondents answered that is extremely obvious ,41.7 % of the

respondents answered that is very obvious .8.3% of the respondents answered
that is obvious. None of the respondents says unsure.

6.FINISHING QUALITY

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

the respondents answered that is excellent ,8.3% of the respondents answered

that is good. None of the respondents says average , bad .

166
7.WEIGHT

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

50% of the respondents answered that is just ok, 33.3% of the respondents
answered that is moderate , 16.7% of the respondents answered that is very
light. None of the respondents says the weight is extremely light , heavy.
CATEGORY- II: Overall ratings on a scale of 1to 5 , where is 1 is the highest and 5 is
the lowest.

Design - 1 : Braided Bamboo silver pendant

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

41.7% of respondents answered 3 on a scale of 1-5 , 33.3% of respondents

answered 2 on a scale of 1-5 ,25% of respondents answered 1 on a scale of
1-5, None of the respondents says 4,5.
167
Design -2: Woven Bamboo Silver Bar Necklace.

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

50 % of respondents answered 2 on a scale of 1-5 , 41.7% of respondents

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

Design -3: Woven Bamboo Silver Bar Pendant

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

58.3 % of respondents answered 2 on a scale of 1-5 , 41.7% of respondents

answered 1 on a scale of 1-5 . None of the respondents says3. 4,5.

168
Design -4 : Two Tone Woven Bamboo Silver pendant

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

75 % of respondents answered 1 on a scale of 1-5 , 16.7% of respondents

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

Design -5 : Woven Bamboo silver earrings

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

41.7 % of respondents answered 1 on a scale of 1-5 , 41.7% of respondents

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

169
Design -6 : Box Braided Bamboo Silver Earrings

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

25 % of respondents answered 1 on a scale of 1-5 ,41.7 % of respondents

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

Design - 7 : Woven ball rectangle Bamboo Silver Earrings

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

66.7 % of respondents answered 1 on a scale of 1-5 , 25 % of respondents

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

170
Design- 8: Two Tone Woven Bamboo Silver Earrings

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

66.7 % of respondents answered 1 on a scale of 1-5 ,25 % of respondents

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

Design- 9: Two Tone Woven Bamboo Silver Ring

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

50 % of respondents answered 1 on a scale of 1-5 ,25 % of respondents ans-

wered 2 on a scale of 1-5,16.7% of respondents answered 3 on a scale of 1-5,
8.3% of respondents answered 4 on a scale of 1-5 .None of respondents says 5.
171
Design -10: Two Tone Bamboo Silver Cuff

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

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

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

Category III -The opinion of bamboo silver price range i-e 800 – 2500 on the
ratings of Extremely High , Very High, Average , Just Right ,Very Low,

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

41.7% of respondent answered that is just right, 50% of respondent answered

that is average , 8.3% answered that is very low. None of the respondents says
that is extremely high, very high .
172
Category IV– Th respondents opinion with the collection whether its still
keeping traditional values .

Yes , The weaving technique used in this jewellery are based on Mizo
t aditio a d ate ials. A d it s a g eat a to keep t aditio al alues a d a
clever way to broaden its path.

Definitely, if dyeing can be done to have the mahogany look. They will be
more attractive and surely add value to the pieces because most of the Mizo
traditional baskets are smoked in the traditional heart.

Yes, it shows in the weaves and material used , the idea is brilliant and should
be promoted soon.

Yes. I think the collection still maintain its traditional value and yet very
practical for the upcoming market with its ethnic look .

Yes , ou ake out that it s ased o t aditio al te h i ues of ea i g

a oo, the o aid , the Cherzing te h i ue a d the o i atio of
burnt bamboo and inburnt bamboo all makes it very interestingly traditional.

The analysis of feedback shows that Two tone bamboo silver cuff bracelet
was the most highest ratings in terms of look , size , weight,
functionality/wearability , finishing quality , style and colour choice .When
asked about the price ranges of jewellery majority of the respondents
answered that is about average , while taking the the feedback most of the
respondents said they are willing to buy the piece ,once the production
started .

173
 8.4 OVERVIEW OF PRIMARY RESEARCH AND CONCLUSION

The primary research was carried out as the following steps, historian and
cultural experts were interviewed , Mizoram State Museum catalogue was
used as a visual guidance ,to make effective communication between the
researcher and the interviewee , though the origin of these jewellery are not
known and can not be traced due to the lack of written documents and
resources .But, It can be included within Mizo traditional jewellery as The
Mizo used and obtained them since very early time and grew up with them. The
photography of Mizo ornaments is done from Mizoram state museum .Then
craft retailers those who are responsible for distribution in the market were
interviewed ,simultaneously current Mizo jewellery available were
photographed . The artisans contact were collected from the government
department and non government organization handicrafts visited , artisans.
Then interview of the local artisans who were engaged in jewellery craft was
conducted , meanwhile the skill artisans who can work for proposed designs
were identified, then design development was carried out within1 month. After
the completion of prototype, product feedback from local designers was
conducted in order to learn and understand the attitude of target audience
towards the collection developed ( bamboo silver jewellery collection )and also
to make it sure that designs are still keeping the traditional value.

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

174
not aware the latest trends of international market, lack of proper
marketing of their products ,lack of quality control, lack of good quality
materials and finishing due to low price orders .Even though there is no proper
support from the state government regarding training, research and
development to provide innovative handicraft product . Also the government
did not provide sufficient money to contemporize the craft. So it is
recommended that the government should take more initiative to make the
artisans aware about innovative designs in jewellery craft sector ,with the help
of research and development activities, this will improve the quality, demand
and market of the Mizoram jewellery craft products.

175
CHAPTER – 9

9.1 LIMITATIONS OF THE STUDY

9.2 IMPACT OF THE PROPOSED RESEARCH WORK ON THE CLUSTER

176
9.1 LIMITATIONS OF THE STUDY

• An accurate and authentic origin of traditional ornaments are difficult to

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

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

• Bamboo treatment methods can be further studied to improve the

product quality and durability .

• The manufacturing cost is comparatively high due to the limit excess to

both skills craftsmen and raw materials .

• Some of the respondents were busy and did not have enough time to
respond the researcher.

9.2 IMPACT OF THE PROPOSED RESEARCH WORK ON THE CLUSTER

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

• It will empower artisans to further their own innovation.

177
REFERENCES
1. Lianhmingthanga .Material culture of the mizo.calcutta : Firma klm private
limited on behalf of Tribal Research Institure Department of Art &
Culture,1998

2. Parry,N.E . The Lakhers .Calcutta :Firma klm private limited on behalf of

Tribal Research Institure Department of Art & Culture,1932.

3. Chatterji, N.Puan : The pride of Mizoram. Calcutta :Firma klm private limited
on behalf of Tribal Research Institure Department of Art & Culture,1978.

4. Lalthangliana.B . New Delhi: Cultural Folklore of Mizoram: The Director ,

Publications Division. Ministry of Information and Broadcasting ,2005.

5. Shakespeare J. colonel. New Delhi.The Lushei Kuki clans: Allied Publishers

Pvt .Ltd ,1975.

6. Lalthangliana.B .Aizawl : A brief history and culture of Mizo. Mizoram

publication board .2014.

7. Boichhingpuii. Aizawl : Mizo La deh leh zethlan .Lois bet Print & Publication
2016.

8. Ranjan Mp, Iyer Nilam, Pandya Ghanshyam . NeweDelhi: Traditional wisdom

Bamboo and Cane Crafts of Northeast India .The Development
Commissioner
of Handicrafts, Government of India,1986.

9. Rosangluaia .R. S. Aizawl : Mizo thilhlui Thenkhat (Objects of Mizo

Antiquity). Tribal Research Institute . Mizoram. 1993.

10. Mizoram State Museum Catlogque. New Delhi : Mizoram state Museum
Department of Art & Culture Government of Mizoram .2008.

11. http://mizobamboo.nic.in/Mizoram bamboo Development Agency

.accessed
on 24.01.2017.

12. http://ignca.nic.in/craft155.htm .Indira Gandhi Nation centre for the crafts

( accessed on 28.01.2017.)

13. http://www.camelcraft.com/mizoram-handicrafts.html .( accessed on

2.02.2017).
14. Rani Punam, Singh vivek (Jan 2013 ) Traditional to Contemporary Indian
Jewellery volume 2 : issue 1
15. http://www.iaca.com/ . Indian and crafts Association (.Accessed on 12.04.
2017).
16 . http://www.utsavpedia.com/attires/jewelry/bamboo-jewelry/( Accesed
on 15.02.2017).
17. Liu .K .Robert (2012).Bamboo jewellery A sustainable Resource .ornament
35.
18. Julsrud,T & Denstadli J,M, (June 2014) . Adoption of transport related
innovations in the craft industry: Key theoretical approaches , Institute of
Transport Economics , TOI report.
19. Kapur, H & Mittar , S (october 2014 ). Design Intervention & Craft Revival .
International Journal of Scientific and Research Publications, Volume 4(
Issue 10).
20. Kumar,S & Dutta, N (2011). Weaving a knowledge tapestry oftraditional
crafts for modern fashion designers: an Indian experience . Art libraries
Journal ,p 17-24.

21. Gosh,Amitava (June 2012 ). Triggering Innovation And Creativity In

Traditional Handicrafts Sectors – An Indian Perspective .vol 8 (1).

22. Tung, F. –W. (2012). Weaving with rush: Exploring craft-design

collaborations in revitalizing a local craft. International Journal of Design,
6(3), 71-84.

23.https://www.guccitimeless.com/en/jewelry/collections/bamboo#lines/pink
gold(Accessed on 25.03.2017).

24. http://www.ornamentmagazine.org/the-workshop/2015/8/19/the
magicof- heatshrinking-light-volumetric-and-colorful-part-i(Accessed on
15.04.2017)

25. http://www.culturalindia.net/jewellery/types/jadau-jewelry.html(Accessed
on 26.04.2017)
GLOSSARY
Aizawl • Capital of Mizoram
Aiawt • A bamboo trap for fish and crabs .
Buhtlei • A rice stirrer made of bamboo or wood .
Chapchar kut • Festival observed while waiting for the cutting to dry.
Chawnglaizawn • A folk dance performed in the days of ‘Chawngni’
Cheraw • Bamboo dance
Chem • Dao
Chheih lam • A folk dance of Mizo
Chin • People of race who originate from chinlung.
Em • A kind of basket.
Job.s tears • Pingpih
Khhuallam • A dance of welcoming guest.
Kut • Festival.
Lai • A clans of Mizo tribe.
Lakher • Mara name given by the Lushei people
Lam • Dance
Lushei • A clan within the Mizo tribe (British name for Lusei)
Mara • A clans of Mizo tribe also known as Lakher
Mau • Bamboo
Mizoram • State in the North east India
Pawl kut • A harvest festival
Pehbuk • Tassels
Rallu lam • Ritual ceremony in connection with the head of enemy
Sakuh • Procupine
Saiha • District capital of Mara Autonomous District.
Sarlamkai • Dance dedicate to unnatural death by the Lushei
Thangchhuah • A status attained by good-hunter or very capable person
Thi • Necklace
Thhuam • Dowry
APPENDIX

I LIST OF CRAFT STORES VISITED.

II LIST OF GOVERNMENT OFFICE AND NGO VISITED.

III LIST Of LOCAL DESIGNERS VISITED FOR PROTOTYPE

FEEDBACK.

IV LIST OF PEOPLE INTERVIEWED .

V CRAFT RETAILER QUESTIONAIRE

VI PROTOTYPE FEEDBACK QUESTIONAIRE .

APPENDIX I
LIST OF CRAFT STORES VISITED

Sl. Name of Store Address Type of Jewellery Product

no Available

1. TL Handloom& Chanmari Beaded Jewellery - Necklace ,

Handicraft Aizawl Bracelet , Rings, Earrings
Mizoram& Metal ornaments – Belt
B-9 , New Bamboo – earrings , rings,
Market ,Aizawl bangles, hairpins .
Vakiria & Vakulchang.(Headress)

2. Dawli Hnamte R.K Market, Beaded jewellery – Necklace ,

Handloom & Aizawl, Bangles, Earrings,Rings
Handicraft s Mizoram Metal Ornaments- Belt,
Hairpin, Bangles
3. Zo Dawr Canteen Beaded Jewellery - Necklace,
Square, earrings , bangles
Dawrpui Bamboo jewellery - Bangles
Aizawl, Vakiria &Vakulchang(Headdress)
Mizoram
4. City Service Chanmari Beaded Jewelley -Necklace,
Aizawl, Earrings, Bracelet, Rings,)
Mizoram Bambo0 jewellery - Earrings,
hair pin, bracelet

5. M/S Zuali Bawngkawn Beaded jewellery _ Necklace,

Handloom Aizawl Earrings , Bracelet
Industry Mizoram

6. Lenbuang Ramhlun Beaded jewellery – Necklace ,

Handloom & Industry Peng earrings , Bracelet , Rings .
Handicraft Aizawl
Mizoram
7. Andrew Dawrpui, Beaded Jewellery : Necklaces ,
Collection Aizawl, Earrings .
Mizoram
8. Andrew Cane & Chaltlang Beaded jewellery- Necklaces ,
Bamboo Aizawl , Bracelet.
Mizoram Bamboo Jewellery - Earrings
,hairpin, Bangles, rings
Vakiria ( Headdress)

9. Zopar Variety Electric Veng, Beaded Jewellery : Necklaces ,

Store Aizawl Earrings ,Bangles .
Mizoram Bamboo Jewellery - Earrings ,
Rings .
10 Hnam Chhantu Upper Republic Beaded Jewellery : Necklaces,
. Pawl Aizawl Earrings , Bracelet , Rings
Mizoram Bamboo Jewellery : earrings ,
Bangles , Rings , Hair clip .
11 Zonunsang Chhinga Veng, Beaded Jewellery : Necklaces,
. Handloom Aizawl, Earrings, Bangles , Rings .
Mizoram
12 MAHCO Treasury Beaded Jewellery : Necklaces
. Square
Aizawl
Mizoram
13 Esther Vaivakawn Beaded Jewellery : Necklaces,
. Enterprise Aizawl Bracelet, earrings
Zo Kutchhuak Mizoram
14 K.V.I Board Sales Khatla,Aizawl Beaded Jewellery : Necklaces ,
. Emporium Mizoram Bracelet , Earrings .
15 The Ethnic Babutlang, Beaded Jewellery : Necklaces ,
. Warehouse Aizawl, Bracelet, Rings, Earrings.
Zarkawt Metal Ornaments : Belt ,
Mizoram Necklaces , Bangles
Vakiria ( headress)
16 Zo Loom Zarkawt Beaded jewellery : Necklaces,
. Mizo Traditional Aizawl Bracelets, Earrings .
handmade Store Mizoram
APPENDIX II
LIST OF GOVERNMENT OFFICE AND NGO VISITED
Sl. Name of Address About List of
no. Department Jewellery
Artisan

1. Bamboo Khatla, The Agency is headed by .1. Lalrokimi

Development Aizawl the General Body under Andrew Cane
Agency Mizora the Chairmanship of & Bamboo
m chief secretary to the Industry.
Government of 2.
Mizoram. Vanlalnghaka
Mawi Mawi
Cane &
Bamboo
Industry
3. Kaphnuni
K.Z
handicrafts
Industry
2. Directorate of Khatla It is one of the oldest NIL
Industries Aizawl departments of
Mizora Mizoram estd in 1972 .
m Their mission is to
accelerate industrial
development in
Mizoram by maximizing
investment, output,
growth, employment
and competitiveness
through development of
infrastructure, human
resource, incentives and
administrative network.
3. Office of Chaltlan Agency to implement NIL
Development g, various developmental
Commissioner Aizawl schemes at the central
Handicraft. level , to supplement
state’s activities in the
handicrafts sector .
4 Khadi Village New The Mizoram KVIB is a NIL
. & Industries Capital statutory Body by an Act
. Board Complex of Assembly , jointly
looked after by the Khadi
Aizawl & Village Industries
Commission Provides all
the funds Loan and
various Promotional
activities .
5 Hnam Upper Hnam chhantu pawl is 2.Vanlalnghak
. Chhantu Pawl Republic purely a voluntary NGO a
and it has no affiliation Mawi Mawi
Aizawl with any political party .It Cane &
was set up in march 1994 Bamboo
Mizoram . It was registered under Industry
the societies Registration 3.
Act , 18. T.Lalngaihliani
60 in 1995 4. Irene
Zosangpuii
5. Jenny
2 COD NERC ( Temple COD NERC is NGO NIK\G
. Centre For square, established in 1992, to
Community work with
Development Aizawl underprivileged in
Through Mizoram in the areas of
Network Mizoram livelihood enhancement,
Research , capacity building,
Training training, health education
Resource And and women
Mobilization empowerment.
And Capacity
Building)
3 MAHCO(Mizo Treasury It was set up in 1977 . NIL
. ram Apex Square MAHCO operated sale
handloom Aizawl depots at Treasury
Handicraft Mizoram square Aizawl .
Cooperative
Society LTD)
APPENDIX III
LIST Of LOCAL DESIGNERS VISITED FOR PROTOTYPE FEEDBACK

Sl Name Age Gender Name of Brand /Label

no
1. Hannah 27 Female Hannah Khiangte

2. Charlee 38 Male Heritage Mizoram (textile

Mathlena Crafts)

3. Engmawia 27 Male Escape Engmoia.

4. Stephanie 28 Female Icandy Designs .

Lathansangi
Halliday
5. Loicy 32 Female Looshye (the art of Fashion
Designing & Crafting)

6. Susan R Ralte 47 Female Ps Inc

7. T. Vanlalruati 33 Female Nupuii Tochhawng.

8. Hmunsiamthangi 25 Female Freelance (Textile Designer)

9. Isaak Tochhawng 24 Male Isaak Interior Design

10. Lalnunsiami 27 Female Siam Siami Design Studio
11. Jennifer 30 Female A’sre
12. Lalramhluii 42 Female Mahlui
APPENDIX IV
LIST OF PEOPLE INTERVIEWED

Sl. no. Interviewee Topic discussed

1. Name : Lalkfakzuali Current availability of Tribal research

Designation: Research publication in material culture and Mizo
Investigator. Tribal ornaments .No dedication book on
Institute,Aizawl.Mizora ornaments yet but few parts coulld be
m seen in material culture of the Mizo
Place : Aizawl, Chanmari Lalhmingliana ,Neperry , Mizo thil hlui
Date : 01/01/ 2017 thenkhat , (objects of Antiquity , R.S
Rosangzuala
2. Name : Aditi ranjan The scope of documenting and innovating
Designation : senior the Mizo jewellery .
faculty, national What would be the best approach for
Institute of Design. innovation In Mizoram jewellery craft
Ahmedabad . without damaging the cultural
properties/ emotional attachment .
Place : NID, Paldi, What would be important to add to the
Ahmednabad . jewellery craft to increase its value in the
Date: 31 /01 /2017 Mizoram market.

3. Name : B.Lalzawmliana The overview history of Mizo ornaments

Designation : Research
Investigator, Mizoram How it is linked with Their Lifestyle .
state museum , Aizawl
Place : Mcdonald hill,
Aizawl
Date : 6/02/2017
4. Name : Pu Rotluanga Name and meaning of each jewellery
Designation : Private collected
curator,Dinthar , Aizawl

Place : Bara Bazaar,

aizawl
Date : 7 /02/ 2017
5. Name : Deng khuma Name and material used in Mizo
Designation : Cultural ornaments using museum catalogue as a
expert visual guidance .
Place : Dawrpui
vengthar , Aizawl,
Mizoram
Date :14/02 /2017
6. Name : Sangzuala
Pachuau Role of Ornaments in early mizo society.
Designation : Professor, Make a reference to Folk story to
Department of Mizo , understand the value of Ornaments In
Mizoram University Mizo society.
Place : Mission veng , Possibility and meaning of jewellery
kawlthei Huan , Aizawl names , shapes, material and how it is
Date : 22 /02 /2017. made and used.
7. Name :C. Laitanga Traditional Ornaments of Mizo Tribe :
Designation :Director Usage, possibility to obtain .
(Retd), Art and culture How early Mizo people have maintained
Department ,Mizoram their livelihood to an understanding of
Place :Hunthar , Aizawl material evidence in ornaments.
Date : 24 , february , Possibility to measure the advancement
2017. of early people on the basis of the
material and equipment they acquire.

8. Name : B.lalthangliana Brief history of Mizo Origin,

Designation :President Settlement In Chin State and how they
, Mizoram Academy of entered Mizoram.
Letters .
Professor (Retd), Dated back to the time of early Mizo
Hrangbana College , settlement to comprehend how they have
Aizawl , Mizoram. possessed or discovered jewellery
Place :Chhinga veng, (materials , elements) .
Aizawl .
Date :25, february ,
2017.
APPENDIX V
CRAFT RETAILER QUESTIONAIRE

I am a student of NIFTMumbai ,department- Masters in Design, and currently doing

my Dissertation on “Innovation In Mizoram Jewellery Craft ”. I request you to kindly
fill this questionnaire below.
The aim of the questionnaire is to study the buying pattern, market cycle
(time) and quantity of demands and quality of the product currently available
in the local market.
Name _______________ Age ______ Gender ___________
Name of brand /store

1. 1.How long you have been run this store?

2. 2.Do you sell Mizo jewellery?
3. When have you started keeping in your store?
4. What is your price range in jewellery?
5. Who buys jewellery in gender?
6. Which age group buys mizo jewellery/ornaments most?
7. 20 -25
8. 26- 34
9. 35-44
10. 45- 54
11. 55- 64
12. In what purpose they mostly buy?
13. Which piece of jewellery is the most selling ?
14. What is your best selling season?
15. How many pieces you have sold in amonth/ week .?
16. Which piece of your jewellery is the high value to customers ?
17. Have u ever get any complaint from your customers
18. (in terms of material, design, colour, material, durability, price)?
19. What is the most frequent feedback you have received from customer?
20. Are you happy with the profit you have made ?
21. Did you export your product to other states/ country (with appox
quantitiy)?
If yes how did u maintained your export channel ?
22. Which item is the most exported items?
23 Which item is the most exported items.
24. What is your opinion of new product/design in jewellery craft?
what would be the scope in the market?
APPENDIX VI
CRAFT RETAILER QUESTIONAIRE

I am a student of NIFT Mumbai, department- Masters in Design, and currently

doing my Dissertation on “Innovation In Mizoram Jewellery Craft ”. I want a
product feedback for my prototype I request you to kindly fill this
questionnaire below.
.
Name _______________ Age ______ Gender ___________

Name of brand /Label _________________________________________

1. How did you find design 1( Braided Bamboo silver Pendant)

on the following terms ?

1.Look
•Extremly attractive
•Very attractive
•Moderate attractive
•Slightly unattractive
•Ugly
Comment ------------------------------
--------------------------------------------
------------------ 7. 5.Functionality / wearability
2.Size •Extremely obvious
•Extremely big •Very obvious
•very big •Obvious
•moderate •Unsure
•small Comment --------------------------------
•accurate .
Comment------------------------------ 6.Finishing quality
-------------------------------------------- •Excellent
-------------------------------------------- •Good
-------------------------------------------- •Average
------------------ •Bad
•Comment ---------------------------------
3.Colour Choice ---------------------------------
•very suitable 7Weight
•suitable •Extremely light
•unsuitable •Very light
•not at all suitable •Moderate
Comment………………………………… •Just ok
……..------------------------------------- •Heavy
----------------------------------------- Comment………………………………………
2. How did you find design 2 (woven bamboo silver bar necklace) on the
following terms ?

1.Look
•Extremly attractive
•Very attractive
•Moderate attractive
•Slightly unattractive
•Ugly
Comment ------------------------------------
--------------------------------
5.Functionality / wearability
•Extremely obvious
2.Size •Very obvious
•Extremely big •Obvious
•very big •Unsure
•moderate Comment ----------------------------------
•small ------------------------------------------------
•accurate . ------------------------------------------------
Comment------------------------------------- -----------------------------------------------
-----------------------------------

6.Finishing quality
3.Colour Choice •Excellent
•very suitable •Good
•suitable •Average
•unsuitable •Bad
•not at all suitable •Comment ---------------------------------
Comment………………………………………..- ------------------------------------------------
-------------------------------------------- ------------------------------------------------
-------------------------------
7.Weight
4.Style •Extremely light
•Extremely elegant •Very light
•Very Elegant •Moderate
•Elegant •Just ok
•Moderate •Heavy
•uninteresting Comment………………………………………
………………………………………………………
Comment ------------------------------------
………………………………………….
-----------------------------------
2. How did you find design 2 (woven bamboo silver bar Necklace) on the
following terms ?

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

2.Size
•Extremely big
•very big
•moderate 5.Functionality / wearability
•small •Extremely obvious
•accurate . •Very obvious
Comment----------------------------------- •Obvious
------------------------------------------------ •Unsure
-------- Comment ----------------------------
--------------------------------------
3.Colour Choice
•very suitable 6.Finishing quality
•suitable •Excellent
•unsuitable •Good
•not at all suitable •Average
Comment………………………………………. •Bad
.----------------------------------------------- •Comment ---------------------------
--------- ------------------------------------------

4.Style 7.Weight
•Extremely elegant •Extremely light
•Very Elegant •Very light
•Elegant •Moderate
•Moderate •Just ok
•uninteresting •Heavy
Comment ---------------------------------- Comment………………………………
------------------------------------------------ ………………………………
----------
3. How did you find design 3(woven bamboo silver Bar pendant) on the following
terms ?
1.Look
•Extremly attractive
•Very attractive
•Moderate attractive
•Slightly unattractive
•Ugly
Comment --------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
-------------------

2.Size
•Extremely big
•very big
•moderate
•small
•accurate .
Comment-------------------------------------------- 5.Functionality / wearability
---------------------------------------------------------- •Extremely obvious
---------------------------------------------------------- •Very obvious
-------------------- •Obvious
•Unsure
3.Colour Choice Comment ---------------------------------
•very suitable -------------------------------
•suitable 6.Finishing quality
•unsuitable •Excellent
•not at all suitable •Good
Comment………………………………………..-------- •Average
---------------------------------------------------------- •Bad
---------------------------------------------------------- •Comment -------------------------------
-------- -----------------------------------------------
----
7.Weight
4.Style •Extremely light
•Extremely elegant •Very light
•Very Elegant •Moderate
•Elegant •Just ok
•Moderate •Heavy
•uninteresting Comment………………………………
Comment -------------------------------------------- ………………………………………………
---------------------------------------------------------- ………
-------------------------------------------------
4. How did you find design 4 (Two tone woven bamboo silver Pendant) on the
following terms ?
1.Look
•Extremly attractive
•Very attractive
•Moderate attractive
•Slightly unattractive
•Ugly
Comment --------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
-------------------

2.Size
•Extremely big
•very big
•moderate
•small
•accurate .
Comment-------------------------------------------- 5.Functionality / wearability
---------------------------------------------------------- •Extremely obvious
---------------------------------------------------------- •Very obvious
-------------------- •Obvious
•Unsure
3.Colour Choice Comment ---------------------------------
•very suitable -------------------------------
•suitable 6.Finishing quality
•unsuitable •Excellent
•not at all suitable •Good
Comment………………………………………..-------- •Average
---------------------------------------------------------- •Bad
---------------------------------------------------------- •Comment -------------------------------
-------- -----------------------------------------------
----
4.Style 7.Weight
•Extremely elegant •Extremely light
•Very Elegant •Very light
•Elegant •Moderate
•Moderate •Just ok
•uninteresting •Heavy
Comment -------------------------------------------- Comment………………………………
---------------------------------------------------------- ………………………………………………
------------------------------------------------- ………
5. How did you find design 5 (woven bamboo silver earrings) on the following
terms ?
1.Look
•Extremly attractive
•Very attractive
•Moderate attractive
•Slightly unattractive
•Ugly
Comment --------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
-------------------

2.Size
•Extremely big
•very big
•moderate
•small
•accurate .
Comment-------------------------------------------- 5.Functionality / wearability
---------------------------------------------------------- •Extremely obvious
---------------------------------------------------------- •Very obvious
-------------------- •Obvious
•Unsure
3.Colour Choice Comment ---------------------------------
•very suitable -------------------------------
•suitable 6.Finishing quality
•unsuitable •Excellent
•not at all suitable •Good
Comment………………………………………..-------- •Average
---------------------------------------------------------- •Bad
---------------------------------------------------------- •Comment -------------------------------
-------- -----------------------------------------------
----
4.Style 7.Weight
•Extremely elegant •Extremely light
•Very Elegant •Very light
•Elegant •Moderate
•Moderate •Just ok
•uninteresting •Heavy
Comment -------------------------------------------- Comment…………………
---------------------------------------------------------- ………………………………
------------------------------------------------- ………………………………
……
7. How did you find design 6( box braided bamboo silver earrings) on the following
terms ?
1.Look
•Extremly attractive
•Very attractive
•Moderate attractive
•Slightly unattractive
•Ugly
Comment --------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
-------------------

2.Size
•Extremely big
•very big
•moderate
•small
•accurate .
Comment-------------------------------------------- 5.Functionality / wearability
---------------------------------------------------------- •Extremely obvious
---------------------------------------------------------- •Very obvious
-------------------- •Obvious
•Unsure
3.Colour Choice Comment ---------------------------------
•very suitable -------------------------------
•suitable 6.Finishing quality
•unsuitable •Excellent
•not at all suitable •Good
Comment………………………………………..-------- •Average
---------------------------------------------------------- •Bad
---------------------------------------------------------- •Comment -------------------------------
-------- -----------------------------------------------
----
4.Style 7.Weight
•Extremely elegant •Extremely light
•Very Elegant •Very light
•Elegant •Moderate
•Moderate •Just ok
•uninteresting •Heavy
Comment -------------------------------------------- Comment………………………………
---------------------------------------------------------- ………………………………………………
------------------------------------------------- ………
7. How did you find design 7(woven ball rectangle bamboo silver earrings)
on the following terms ?
1.Look
•Extremly attractive
•Very attractive
•Moderate attractive
•Slightly unattractive
•Ugly
Comment --------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
-------------------

2.Size
•Extremely big
•very big
•moderate
•small
•accurate .
Comment-------------------------------------------- 5.Functionality / wearability
---------------------------------------------------------- •Extremely obvious
---------------------------------------------------------- •Very obvious
-------------------- •Obvious
•Unsure
3.Colour Choice Comment ---------------------------------
•very suitable -------------------------------
•suitable 6.Finishing quality
•unsuitable •Excellent
•not at all suitable •Good
Comment………………………………………..-------- •Average
---------------------------------------------------------- •Bad
---------------------------------------------------------- •Comment -------------------------------
-------- -----------------------------------------------
----
4.Style 7.Weight
•Extremely elegant •Extremely light
•Very Elegant •Very light
•Elegant •Moderate
•Moderate •Just ok
•uninteresting •Heavy
Comment -------------------------------------------- Comment………………………………
---------------------------------------------------------- ………………………………………………
------------------------------------------------- ………
8. How did you find design 8(Two tone woven bamboo silver earrings) on the
following terms ?
1.Look
•Extremly attractive
•Very attractive
•Moderate attractive
•Slightly unattractive
•Ugly
Comment --------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
-------------------

2.Size
•Extremely big
•very big
•moderate
•small
•accurate .
Comment-------------------------------------------- 5.Functionality / wearability
---------------------------------------------------------- •Extremely obvious
---------------------------------------------------------- •Very obvious
-------------------- •Obvious
•Unsure
3.Colour Choice Comment ---------------------------------
•very suitable -------------------------------
•suitable 6.Finishing quality
•unsuitable •Excellent
•not at all suitable •Good
Comment………………………………………..-------- •Average
---------------------------------------------------------- •Bad
---------------------------------------------------------- •Comment -------------------------------
-------- -----------------------------------------------
----
4.Style 7.Weight
•Extremely elegant •Extremely light
•Very Elegant •Very light
•Elegant •Moderate
•Moderate •Just ok
•uninteresting •Heavy
Comment -------------------------------------------- Comment………………………………
---------------------------------------------------------- ………………………………………………
------------------------------------------------- ………
8. How did you find design 8(Two tone woven bamboo silver earrings) on the
following terms ?
1.Look
•Extremly attractive
•Very attractive
•Moderate attractive
•Slightly unattractive
•Ugly
Comment --------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
-------------------

2.Size
•Extremely big
•very big
•moderate
•small
•accurate .
Comment-------------------------------------------- 5.Functionality / wearability
---------------------------------------------------------- •Extremely obvious
---------------------------------------------------------- •Very obvious
-------------------- •Obvious
•Unsure
3.Colour Choice Comment ---------------------------------
•very suitable -------------------------------
•suitable 6.Finishing quality
•unsuitable •Excellent
•not at all suitable •Good
Comment………………………………………..-------- •Average
---------------------------------------------------------- •Bad
---------------------------------------------------------- •Comment -------------------------------
-------- -----------------------------------------------
----
4.Style 7.Weight
•Extremely elegant •Extremely light
•Very Elegant •Very light
•Elegant •Moderate
•Moderate •Just ok
•uninteresting •Heavy
Comment -------------------------------------------- Comment………………………………
---------------------------------------------------------- ………………………………………………
------------------------------------------------- ………
9. How did you find design 9( Two tone woven bamboo silver ring) on the
following terms ?
1.Look
•Extremly attractive
•Very attractive
•Moderate attractive
•Slightly unattractive
•Ugly
Comment --------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
-------------------

2.Size
•Extremely big
•very big
•moderate
•small
•accurate .
Comment-------------------------------------------- 5.Functionality / wearability
---------------------------------------------------------- •Extremely obvious
---------------------------------------------------------- •Very obvious
-------------------- •Obvious
•Unsure
3.Colour Choice Comment ---------------------------------
•very suitable -------------------------------
•suitable 6.Finishing quality
•unsuitable •Excellent
•not at all suitable •Good
Comment………………………………………..-------- •Average
---------------------------------------------------------- •Bad
---------------------------------------------------------- •Comment -------------------------------
-------- -----------------------------------------------
----
4.Style 7.Weight
•Extremely elegant •Extremely light
•Very Elegant •Very light
•Elegant •Moderate
•Moderate •Just ok
•uninteresting •Heavy
Comment -------------------------------------------- Comment………………………………
---------------------------------------------------------- ………………………………………………
------------------------------------------------- ………
10. How did you find design 10(Two tone bamboo silver cuff ) on the
following terms ?
1.Look
•Extremly attractive
•Very attractive
•Moderate attractive
•Slightly unattractive
•Ugly
Comment --------------------------------------------
----------------------------------------------------------
----------------------------------------------------------
-------------------

2.Size
•Extremely big
•very big
•moderate
•small
•accurate .
Comment-------------------------------------------- 5.Functionality / wearability
---------------------------------------------------------- •Extremely obvious
---------------------------------------------------------- •Very obvious
-------------------- •Obvious
•Unsure
3.Colour Choice Comment ---------------------------------
•very suitable -------------------------------
•suitable 6.Finishing quality
•unsuitable •Excellent
•not at all suitable •Good
Comment………………………………………..-------- •Average
---------------------------------------------------------- •Bad
---------------------------------------------------------- •Comment -------------------------------
-------- -----------------------------------------------
----
4.Style 7.Weight
•Extremely elegant •Extremely light
•Very Elegant •Very light
•Elegant •Moderate
•Moderate •Just ok
•uninteresting •Heavy
Comment -------------------------------------------- Comment………………………………
---------------------------------------------------------- ………………………………………………
------------------------------------------------- ………
 2.How much you rate them on a scale of 1 to 5 as overall ? where is 1 is the
highest and 5 is the lowest .
1 2 3
4 5

Design 1
(Braided Bamboo silver Pendant)
Design 2
(woven bamboo silver bar Necklace)
Design 3
(woven bamboo silver Bar pendant)
Design 4
(Two tone woven bamboo silver Pendant)
Design 5
(woven bamboo silver earrings)
Design 6
( box braided bamboo silver earrings)
Design 7
(woven ball rectangle bamboo silver earrings)
Design 8
(Two tone woven bamboo silver earrings)
Design 9
( Two tone woven bamboo silver ring)
Design 10
(Two tone bamboo silver cuff)

3.The bamboo silver ranges from 800 – 2500 , do you think prices are

• Extremely High
• Very High
• Average
• Just Right
• Very Low

4 . Do you think does it still keep traditional values