| 101

Traditional Costumes ofGaro and Khasi Tribes

of Meghalaya

| 102

THE AUTHORS

————————

MAMONI PROBHA BORAH, daughter of Sri G.K Borah and Smt. Niru Probha Borah, has done herschooling from Arunachal Pradesh and Assam. Shecompleted her Graduation and Post Graduation fromAssam Agricultural University, Jorhat, Assam. Now,she is serving Department of Textile and ApparelDesigning, College of Home Science, CentralAgricultural University as Assistant Professor. She has

cleared JRF, Indian Council of Agricultural Research NET and Union GrantCommission NET. She has written many manuals, leaflets, folders,booklets, many research papers, articles in different journal.

BIJUMONI BORAH is working as Lecturer inDepartment of Commerce (Management) inBongaingaon College. She has completed her schoolingfrom Arunachal Pradesh, Degree from LakhimpurCommerce College, Assam. She has completed her M.Com, and M.Phil from Dibrugarh University, Assamand secured first class first position. She is pursuing herPhD from Gauhati University, Assam. She served as

lecturer in Department of Commerce (Management) in PragjyotishCollege, Gauhati, and in Kokrajhar Commerce College, Assam. She haspublished many research papers.

Traditional Costumes ofGaro and Khasi Tribes

of Meghalaya

Mamoni Probha Borah

Bijumoni Borah

2014Regency Publications

A Division of

Astral International Pvt. Ltd.New Delhi – 110 002

| 104iv

© 2014 AUTHORS

Publisher’s note:Every possible effort has been made to ensure that the information contained in this book is

accurate at the time of going to press, and the publisher and author cannot accept responsibility forany errors or omissions, however caused. No responsibility for loss or damage occasioned to anyperson acting, or refraining from action, as a result of the material in this publication can be acceptedby the editor, the publisher or the author. The Publisher is not associated with any product or vendormentioned in the book. The contents of this work are intended to further general scientific research,understanding and discussion only. Readers should consult with a specialist where appropriate.

Every effort has been made to trace the owners of copyright material used in this book, if any.The author and the publisher will be grateful for any omission brought to their notice foracknowledgement in the future editions of the book.

All Rights reserved under International Copyright Conventions. No part of this publicationmay be reproduced, stored in a retrieval system, or transmitted in any form or by any means,electronic, mechanical, photocopying, recording or otherwise without the prior written consent ofthe publisher and the copyright owner.

Cataloging in Publication Data—DK Courtesy: D.K. Agencies (P) Ltd. <docinfo@dkagencies.com>

Borah, Mamoni Probha. Traditional Costumes of Garo and Khasi Tribes of Meghalaya /

Mamoni Probha Borah, Bijumoni Borah. p. cm.Includes bibliographical references (p. ).ISBN 9788170359142 (Hard bound)

ISBN 9789351300793 (International Edition)

1. Garo (Indic people)—Clothing—India—Meghalaya. 2. Khasi(Indic people)—Clothing—India—Meghalaya. 3. Garo (Indicpeople)—Jewelry—India—Meghalaya. 4. Khasi (Indic people)—Jewelry—India—Meghalaya. 5. Ethnic costume—India—Meghalaya. 6. Ethnic jewelry—India—Meghalaya. 7. Dressaccessories—India—Meghalaya. I. Borah, Bijumoni, joint author.II. Title.

DDC 305.800954164 23

Published by : REGENCY PUBLICATIONSA Division ofAstral International Pvt. Ltd.– ISO 9001:2008 Certified Company –81, Darya Ganj, Near Hindi Park,Delhi Medical Association Road,New Delhi - 110 002Phone: 011-4354 9197, 2327 8134Fax: +91-11-2324 3060E-mail: info@astralint.comWebsite: www.astralint.com

Laser Typesetting: Classic Computer Services , Delhi - 110 035 andPrinted at: Salasar Imaging Systems, Delhi - 110 035

PRINTED IN INDIA

Acknowledgement

Authors offering their thanks and gratitude to DrGabriel Taye, Smt. N.P Borah and Sri G. K Borah for theirunconditional support, encouragement and guidance. Weowe our grateful thanks to Mahananda Borah and AnandaKumar Borah for helping in collecting information. Authorsalso grateful to all those who have contributed so much tobringing out this book. We indebted towards the museumof Shillong and Tura for creating knowledge base for fineexecution of this book by providing information,documentation etc. We also, thankful to Central agriculturalUniversity, Imphal, Manipur, India.

Mamoni Probha Borah

Bijumoni Borah

Preface

The traditional costumes of India are very beautiful,colourful and attractive. The North East India is full ofdiversities in tribes, languages and dialects, customs andtraditions. Traditional Costumes of Garo and Khasi Tribesof Meghalaya portrays the glorious and beautiful historyof both tribe costumes. Meghalaya, the land of cloud issituated in North East of India is the abode of threematrilineal tribes namely the Khasis, the Jaintias and theGaros. The changing attire reflects the demands of time,society and dominant paradigm of aesthetics. India and itspeople provide some of the most striking and colorful sight.Attire, adornment and decoration play a vital part in bothmaterial and spiritual aspects of life. Here, dress andornament do more than simply protect and enhance thebody they nourish the soul. In the last few decades manytraditional societies have been witness to rapid change and

| 110

westernization. Costumes are an important adjunct of one’s’personality. The first impression as well as racial self uponhis/her physical appearance which largely rest on thecostumes and at the same time costumes is an excellentembodiment of their sense of beauty. Costumes whatevermight be its origin serves as a symbol of the role and statusof the individual in society and it obtain for the wearer therewards of recognition and identification costumes mustalso be obvious to anyone interest in humanity, is a markedcharacteristic of any culture. Costumes of a community ornation are an essential aspect of its cultural heritage, a mirrorof the time, and the people of that particular community.The tribal costumes bring up a life some picture of the tribe.Some of the traditional costumes are almost extinct withchange of time. Therefore, we have made an attempt torestore the traditional costumes of Garo and Khasi tribesthrough this book. One can get information about thedifferent traditional costumes and ornaments used by thesetribes. This book will paints clear and lucid picture oftraditional costumes and ornaments of both tribes. We havealso tried to reveal features that would contribute to thereader’s understanding the traditional costumes of Garoand Khasi tribes of Meghalaya.

Mamoni Probha Borah

Bijumoni Borah

x

Contents

Acknowledgement vii

Preface ix

List of Plates xiii

List of Tables xxi

1 . Introduction 1

2 . Traditional Costumes of Garo Tribe 7

3 . Traditional Ornaments of Garo Tribe 3 9

4 . Traditional Costumes of Khasi Tribes 5 3

5 . Traditional Ornaments of Khasi Tribes 7 7

References 9 9

List of Plates

Plate 1a: Garo men in their traditional attire. 4

Plate 1b: Tree house (Borang). 5

Plate 2: Traditional attire of Garo women. 9

Plate 3: In traditional attire for Wangala festival. 9

Plate 4a,b: Gandu makal. 10

Plate 5: Pendra. 11

Plate 6: Turban used by Nokma (villageheadmen). 11

Plate 6a–c: Different types turban used by Garos. 12

Plates 7-8: Head gear (Kotip) of Garo male. 13

Plate 9a: Bark cloth (Simpak). 13

Plate 9b: Coat with elephant teeth. 14

Plate 9c: Coat with sleeves. 14

| 114

Plate 9d: Traditional Garo male coat withtraditional motifs. 15

Plate 10: Traditional Garo bag (Jalonga). 16

Plate 11: Traditional female Ganna Re-king instripes form. 17

Plate 12: Traditional Ganna reking used bywomen in daily use. 18

Plate 13: Traditional Reking made in loin loom. 19

Plate 14: Traditional Reking decorated withporcelain beads. 19

Plate 15: Kilne ba.ra Dakmanda for Garowomen. 20

Plate 16: ‘Dakmanda’ of Garo female. 21

Plate 17: Daksari of Garo female. 22

Plate 18: Traditional waist band used by Garowomen in early days. 23

Plate 19: Traditional shawl of Garos. 24

Plate 20: Traditional shawl of Garo tribe. 25

Plate 21: Traditional Gando used by Garofemale. 26

Plates 22-23: Traditional white colour turban wornby Garo female. 27

Plate 24: Chunni worn by Garo women. 28

Plate 25: Traditional head gear of Garo women(Kotip). 29

Plate 26: Morang jasku in red colour atraditional costume of Garo women. 30

Plate 27: A traditional purse (jengbong) of Garofemale. 31

xiv

Plates 28–29: Traditional costumes of Garo tribe inWangala and hundred drums festival. 32

Plate 30: A special dance in death ceremonyto fled away the ghost. 33

Plate 31: Traditional Wangala dance of Garotribe of Meghalaya 34

Plate 32: Borang (A tree house used by Garotribe of Meghalaya). 35

Plate 33: Garo men in his traditional atireand Garol old man playingmusical instrument. 35

Plate 34: Garo men playing traditional drumin Wangala festival. 36

Plate 35: Garo kids singing song and dancingin their traditional consutmes. 36

Plate 36: Garo men and women in their dailyattire and traditional constumes. 37

Plate 37a-b: Traditional necklace Rikgitok. 40

Plate 38: Nariki earring of Garo women. 41

Plate 39: Nadongbi nr sisha (earring). 42

Plate 40: Nadirong (earring of Garos). 42

Plate 41: Traditional earring of Garo women(Natapsi). 43

Plate 42a-b: Traditional ornaments of Garowomen (Jaksan). 43

Plate 43a-c: Different types of Ripok (neckless) ofGaro tribe. 44

Plate 44: Jaksil hand ornaments wear by GanaNokma. 45

xv

| 116

Plate 45a: Hand gear (Santok) of Garos. 45

Plate 45b: Hand gear (Sangong) of Garos. 45

Plate 46: Traditional waist band of Garo female. 46

Plates 47–48: Head gear of Garo tribe. 47

Plate 49: Traditional hand gear of Garo female(Dome Kodap). 48

Plate 50a-h: Different types of traditional ornamentsRipok Do. Katchi of Garo female. 49

Plate 51: Head band of Garos. 50

Plate 52: Traditional leg ornament Jasrangworn by Garo male. 51

Plate 53: Traditional necklace of female(Sillet ting). 51

Plate 54: Traditional attire of Khasi tribe. 54

Plate 55: View of Khasi Hills. 55

Plate 56: Khasi women and men intraditional attire. 57

Plate 57: Pushara Jainsem a traditional dressof Khasi women. 58

Plate 58: Ka Jainsem a traditional dress forwomen. 59

Plate 59: Sohrees Shella a traditional dress ofKhasi women. 61

Plate 60: Muga Synteng a traditional costumeof Khasi women. 61

Plate 61: Typical traditional costume Dhara ofKhasi women. 62

Plate 62: Ryndia Tlem a traditional shawlworn by Khasi men. 63

xvi

Plate 63: Traditional costume (Sopti Mukhmor)of Khasi women. 64

Plate 64: Ryndia stem a traditional shawl usedby Khasi women. 64

Plate 65: Wrapper (Jain Pein) for Khasiunmarried girl. 65

Plate 66: Jympong a traditional jacket ofKhasi men. 66

Plate 67: Turban (Jain spong) used byKhasi male. 68

Plate 68: Jain boh (Dhoti) a traditionalcostumes of Khasi male. 69

Plate 69: A traditional shirt of Khasi men. 70

Plate 70: Ribbon used by Khasi male to tieRyngkap. 71

Plate 71: Jainteh Syngkhai used by Khasi men. 71

Plate 72: Khasi boy and girl in traditional attire. 72

Plate 73: Khasi women performing Shad SukMyseim dance. 72

Plate 74: Khasi men, women and children intheir traditional constumes. 73

Plate 75: Khasi men performing NongkremDance. 74

Plate 76: Khasi men playing musical instrument. 74

Plate 77: Khasi women performingKa Pom-Blang Nongkrem Dance. 75

Plate 78: Sai Khyllung a traditional ornamentof Khasi women. 78

xvii

| 118

Plate 79: Mahu (Armlet) a traditionalornaments of Khasi tribe. 79

Plate 80: Mahu (Armlet) a traditionalornaments of Khasi tribe. 80

Plate 81: Taj Rupa a armlet used by Khasi tribe. 81

Plate 82: Synkha a traditional bangle of Khasiwomen. 81

Plate 83: Head gear of khasi women (Pansngiat). 82

Plate 84: Lynkyreneng ksiar a traditionalornaments used by khasi women. 83

Plate 85a–c: (a) Ksiar Kynthiar Shkor (b) Soh Shkor(c) Ksiar Kynthei Shkor. 84

Plate 86a-d: Different types of necklace (Pailaksiar)used by Khasi women. 85

Plate 87a-c: Locket kinjri Ksiar(b) Paila(c) Kinjri rupa. 86

Plate 88: Thuyia (Feathers) a traditionalheadgear of Khasi men. 87

Plate 89: Konopad a traditional ornaments ofKhasi men and women. 88

Plate 90: Kynjiri rit a traditional ornaments ofKhasi men. 89

Plate 91: Kynjri Tabah a traditional ormanets ofKhasi men worn in chest. 90

Plate 92: Kynjri Syngkai a ornaments wornin waist. 90

Plate 93: Different types of Ryngkap usedby male. 91

Plate 94: Sympiah a hand ornament usedby Khasi men for dancing. 92

xviii

Plate 95: A small Khasi girl in her traditionalattire. 92

Plate 96: Kinjri tabah used by children. 93

Plate 97: Mahu used by children. 93

Plate 98: Sai Khyllong used by children. 93

Plate 99: Konopad. 94

Plate 100: Rupa ksiar. 94

Plate 101: Traditional ‘Shad Suk Mynsiem’ danceperformed by Khasi tribe. 97

Plate 102: Mastieh Dance (war dance). 97

Plate 103: Shad Kiewing Dance. 98

Plate 104: Nongkrem Dance of Khasi Tribe. 98

xix

| 1Introduction

1Introduction

Meghalaya, the land of cloud is situated in North Eastof India. The literal meaning of Meghalaya in Sanskrit isthe “Abode of Clouds,” a very apt name considering thatMeghalaya is almost perpetually covered in thick cloudsthe whole year through. It became a separate full state on21st January, 1972. It is bounded by Assam on the northand east and by Bangladesh to the west and south. It hassince been divided into nine districts. Meghalaya isconsidered as one of the most beautiful state in India.Broadly, Meghalaya can be divided into two zone – TheKhasi-Jaintia hills region and the Western Zone i.e. Garoregion.

Meghalaya is a small hill state in the N.E region of Indiais the abode of three matrilineal tribes namely the Khasis,the Jaintias and the Garos. The first two tribes are verysimilar to each other and both use Khasi as written language

| 2

though the Jaintias have their own dialect. About 81 percentof the population in Meghalaya consists of the tribal. Thestate is mostly spread on a mountainous region5. The Khasis,Jaintias and the Garos are completely different backgroundand racial stock. The Khasis-Jaintias who like to callthemselves collectively as Hynniewtrep meaning the sevenhuts are believes to originally belong to the Mon-KhmerAustro-Asian stock of races from the Far East Asia.

The Garos who are also known as the Achiks, on theother hand claim to have migrated from the northern region,from the land of Garo land in Tibet and belong to the Tibeto-Burman stock. The Garos who make up about 30 per centof the population of the state are different from their sisterKhasis, Jaintias in their origin and traditional beliefs andpractices. The Garos, are one of the largest group of tribesof North-East and are widely scattered7. Garo Hills districtsare the western most part of the Meghalaya plateau, thegeological history of which has to be explained in relationto the total structure of Meghalaya plateau has indeed acheckered evolutionary history and is a fragment of thesuper-continent of Gondwana and contains within its bareface the marks of peneplanation which ranges from preCambrian to recent periods.

Khasi is a generic term for various tribes and sub tribesthat inhabit the Khasi and Jaintia Hills. They inhabit theKhasi and Jaintia Hills of Meghalaya and its northern slopeupto the Brahmaputra Valley and the southern slope rollingto the Surma Valley. The term Khasi was probably given tothis community by the peoples of plains. Another opinionin this matter is that the term Khasi was derived from aword Khyriem of the same language, which literally means

| 3

people from the west.

The Khasis of the Khasi Hills do not have their ownscripts although they have many dialects. The Khasis arewell built, nourished and muscular. They are yellowish greypeople with short stature. The Khasis are the people of theirown religion cultural and traditions which form their richheritage. The Khasi men and women wear elaborate theirritualistic dance performances. The women use goldencrown on head, floral plumes, and gold beads around theirnecks, which are very large and intermingle with longchains hung with coins.

Khasi society is still reeling under the impact, trying tostand as single identifiable group in a sea of diverse racesand culture without being assimilated by the more dominantgroup. The British initiated modern dress, a variety ofcosmetics, clothing materials, soaps, etc. In olden days Khasimale wore of sleeveless coat or Jymphong, which is agarment leaning the neck and arms bare, with a fringe atthe bottom and with a row of tassel across the chest. Themale in rural areas wears a cloth peaked cap with ear flaps.As regard to the female’s dress, the old traditional dress isstill worn though some modification by the youngergeneration in urban and rural areas4.

The changing attire reflects the demands of time societyand dominant paradigm of aesthetics. Popular culture isanother important influence which produces significantalteration in dress. A major source of inspiration is televisionand cinema. Migration and urbanization are the other forcesto play, which contributes to the modification in traditionalcostume3. The study of Indian textiles and costume is anindependent discipline. It is not merely the copying of

Introduction

| 4

pattern created by the designer, but the study of the conceptof pattern which reflect the artistic mood of the designerdealing with decorative design.3 India and its peopleprovide some of the most striking and colorful sight. Attire,adornment and decoration play a vital part in both materialand spiritual aspects of life. Here, dress and ornament domore than simply protect and enhance the body theynourish the soul. In the last few decades many traditionalsocieties have been witness to rapid change andwesternization.

According to Gerald Heard cited by Bhandari V. 2004,an early twentieth century writer on the sociology of dress,costume may be classified into two main categories –gravitational, which depends on the natural fall of thematerial made into clothing; and anatomic whichirrespective of the natural fall is based on cutting andshaping the garment according to the lines of the body. In

Plate 1a. Garo men in their traditional attire.

| 5

India, everyday attire is usually combination of both theseforms2.

Costumes are an important adjunct of one’s personality.The first impression as well as racial self upon his/herphysical appearance which largely rest on the costumesand at the same time costumes is an excellent embodimentof their sense of beauty. Costumes whatever might be itsorigin serves as a symbol of the role and status of theindividual in society and it obtain for the wearer the rewardsof recognition and identification costumes must also beobvious to any one interest in humanity, is a markedcharacteristic of any culture. Costumes of a community ornation are an essential aspect of its cultural heritage, a mirrorof the time, and the people of that particular community.The tribal costumes bring up a life some picture of the tribe.

Plate 1b. Tree house (Borang).

Introduction

| 6

The traditional costumes of Meghalaya are verybeautiful and were embellished with beautiful intricatedesign. The colours, motifs and design used by the weaversof Meghalaya are very attractive and beautiful but nosystematic study was carried out relating to the traditionalcostumes of Meghalaya. Most of the tribes and sub tribes ofthe races maintain their own costumes, traditions andlanguage. Weaving design in the hills is almost in path ofgradual breakdown, indigenous designs have lost theirpurity through addition of flowers, animals and otherornamentations. A very little study and research has beendone on traditional costumes of Meghalaya especially ofGaro and Khasi tribes.