AO

The Ao Nagas are renowned for their diverse crafting traditions deeply rooted in their identity and way of life. Among these, the use of bamboo, cane and other natural materials to create utility products is particularly noteworthy. Bamboo is an abundant resource in the region and serves as the cornerstone of their craft work and daily life. The use of bamboo was so integrated into their culture that one could find folk stories about the origin and development of this craft. With the abundance of bamboo and cane around them, the community naturally excelled in basketry. They have been skilfully transforming this natural material collected from nearby forests into intricately woven and solid household items. These objects crafted entirely by hand, are not only functional but also reflect the skill and precision of the artisans. Each item is designed for a specific purpose, with its name often derived from the function it serves, reflecting the practical and utilitarian focus of Ao craftsmanship.

Like all other, Naga tribes, The Ao community is also very fond of ornamentation. Their ornaments serve as markers of family background, social status and personal attributes. These intricately crafted adornments reflect their artistic sensibilities and cultural significance. Interestingly, the Ao men possessed more ornaments than their wives. As ornamentation was interlinked with activities like headhunting, it was mostly the men who used to be heavily adorned in colourful beads, feathers, bamboo and cane accessories. Their ornaments served multiple purposes ranging from decoration, acting as visual cues about the wearer's achievements and warring adornments that served as protection against the enemies dao attacks during head hunting and raiding activities.

Another aspect of Ao craftsmanship is pottery, a lesser-known tradition that was practiced primarily by women in select villages of the Ao tribe. Earthen pots were made entirely by hand without the use of a wheel. Although this craft has been in decline, it remains a testament to the ingenuity and resourcefulness of the Ao women who engaged in it. These unique crafting techniques and knowledge of material use showcase the rich heritage and exceptional skills of the Ao Naga community.

Basketry

In the Ao community, bamboo plays an integral role in their way of life finding utility as baskets, utensils, food, fuel, building material for houses, furniture and even used to make deathbeds. The making of various woven baskets and mats was a task performed by the men folk of the community. There is a lost story of the origin of this craft talking about a magician who revealed the art of basketry to the people. It is said that long ago there was a sorcerer, who was known to perform miracles. While he was alive, he told people that after his death if they opened his grave on the sixth day, they would discover something new. As prophesied, the people opened his grave on the sixth day after his death and found all the designs and patterns of basketry! From then on people started copying the patterns and making beautiful baskets. This folk tale reflects the deep integration of the craft into their cultural heritage, emphasizing their expertise in transforming the abundantly available material of bamboo into usable objects that serve multiple functions.

The bamboo household objects are meticulously crafted by hand, with each serving a unique and specific purpose. Traditionally, the names of these household objects were often derived from the function they served, emphasizing the practical nature of their design. The bamboo products made by the community were either intricately woven baskets or shaped and carved solid sections of bamboo fashioned into beer mugs, smoking pipes and utensils.

The process of making woven objects involves various steps like getting the raw material from the forests, cutting them into splints and weaving them in different patterns to form baskets. Kitchen wares of different forms are crafted for specific use like the Changkang which is a container to store dry food items, Shikang, a basket for storing meat and Anushikang, a basket for storing local food Anushi. Other than kitchen items, the craft of basketry also includes hats, head covers and baskets for fieldwork. Chi is a basket used to carry paddy from the field. It is a burden basket that is shaped like a cone. It is attached to a strap/band that crosses the carrier's forehead. Molok is a common form of basketry with a square-shaped base, woven in a diagonal pattern. It can be characterized as a multifunctional utility basket that is utilized in the kitchen, storage and even in the fields. Süramolok is a small variation of Molok used to hold the yarns while the weaving loom is being set up. Pakti is the biggest object crafted using bamboo strips. It is a twill-woven, flat mat that is used for laying out various items, particularly for sun-drying. Apart from these objects, shields of various sizes and shapes were used for warfare in the olden days which were woven by hand. Shield-making used to be a very specialized process, especially the crafting of its spine which unfortunately is a dying skill.

Reference :

1. Mungdang, A. K. & Ao Students Conference(AKM). (n.d.). Aor Kilung Oset, Indigenous Household Craft of the Ao Nagas.

2. Naga Institute of Culture, Govt of Nagaland. (n.d.). The Arts and Crafts of Nagaland. Shri M Alemchiba.

Ornament Making

The ornaments of the Ao Nagas are incredibly diverse, reflecting the unique identities of their clan, villages and social status. These traditional adornments are not merely decorative but carry deep cultural and symbolic significance, often tied to the materials used in their creation. Both men and women of this community are very fond of adorning themselves with various ornaments ranging from earrings, neck pieces, head gears, head bands and accessories for wrist, upper arm and ankle.

For Ao men, notable ornaments include:

• Shipuzuk: A striking necklace crafted from boar tusks, symbolizing bravery and prowess in hunting.

• Shirzuk: A bead necklace made from materials such as shell, bone, or semi-precious stones, reflecting wealth and tribal heritage.

• Nokleptsu: A hatchet holder made of wood or leather, often intricately designed, which served both functional and symbolic purposes, denoting the warrior's readiness for defence or ceremonial use.

• Khumpang: Armlets fashioned from ivory, indicative of social prestige and often worn during tribal gatherings or rituals.

• Tongkho: A traditional headgear adorned with wild boar fur and feathers of the Great Hornbill, showcasing a man's accomplishments and leadership in the community.

For the Ao women, ornaments once served as markers of social status, with specific designs and materials reserved for individuals of higher standing. Over time, these distinctions have faded, and today all Ao women embrace a variety of ornaments, each steeped in cultural heritage:

• Tongpang: Ear ornaments typically crafted from silver or brass, known for their intricate craftsmanship, symbolizing beauty and elegance.

• Aotsurzuk: A bead necklace often created using colorful glass, shell, or coral beads, representing femininity and tribal identity.

• Chuba Kup: A threaded necklace combining scarlet oval-shaped beads and flattened, cup-shaped silver elements. Once exclusive to women of high status, it is now a popular accessory for traditional events and dances.

• Kupok: Hair ties made from fiber or cloth, sometimes embellished with beads or silver, combining practicality with aesthetic appeal. 

The materials used in these ornaments were traditionally sourced from the natural environment. Boar tusks, ivory and Hornbill feathers were collected as symbols of the warrior, while shells, bones and semi-precious stones were traded or locally acquired. The use of silver and brass reflects the skill of local artisans and the influence of trade with neighbouring communities. These ornaments not only served as markers of identity and status but also carried functional purpose and ceremonial value, forming an integral part of Ao Naga heritage.

Pottery

The Nagas have long practised the craft of pottery, shaping earthen pots entirely by hand. Some villages considered this craft a taboo while in some other villages the craft was primarily practised by the women folk. In the Ao community, the Ao women of Changki, Japo and Longsemdang villages used to make pots for household use. In Changki reason, red and grey clay were mixed together by the potters instead of using one clay. The lump of clay is kneaded and rammed and carefully given shape with both hands, with left hand kept inside and right hand outside. Then the pot is placed under the sun to harden it a little and while it is still wet, the final form is given with a few tools. Any pattern that is to be imprinted is done at this stage.

The Ao Nagas also had specially designed tools which were used to give shape to the moistened clay mixture turning them into pots of various sizes.‘Yilongpo’ is an earthen jar made for storing wine. The storage of wine over an extended period would result in an infestation of insects resembling the Borer Beetle. The wine was kept in the jar for as long as the beetles appeared in it. ‘Alipo’ is an earthen pot used to cook rice and curry. It is designed in a way which prevents the flowing out of the food while being cooked. ‘Potsüro’ are earthen spatulas that are used to shape pots during pottery. ‘Puzüktsü’ are tools used to make various designs and patterns on earthen pottery.

Reference 

Mungdang, A. K. & Ao Students Conference(AKM). (n.d.). Aor Kilung Oset, Indigenous Household Craft of the Ao Nagas.

The Aos have a large variety of textiles used as wraparounds and shawls signifying gender, social status, marital status, and clan identity of the community as a whole. Earlier fabrics were woven in cotton, but now it is done with acrylic yarns.The women community body of Khensa village has documented 18 different varieties of textiles worn only in Khensa by the 7 clans who live there. Currently there are about 10 weavers in Khensa and the skills are not transmitted anymore. Of all the shawls worn by men, the warrior shawl, ‘tsüngkotepsü’ is the most gorgeous with many symbolic elements including animals and birds denoting courage, power, bravery, and wealth. The tiger signifies fierceness, the lion denotes the humility in kingliness, the elephant marks the strength and humility, Hornbill represents fame, mithuns reveal wealth of a man evidenced by the hosting of a mithun festival, the sun, moon and the stars represent the universal light of the days and nights. The body of the shawl woven in red and black stripes has a white panel in the middle containing these motifs. This white band used to be hand painted in the past but nowadays they are mostly woven. In the olden days it was worn by warriors who had successfully killed and collected the heads of their enemies. In modern times, it is worn only by the rich men who have sacrificed mithuns and have demonstrated wealth. A special shawl, ‘surem su’, was worn only by the rich families in the past as it used to be dyed in natural indigo. Natural indigo dyeing was a unique traditional skill specific to the Ao community which is now a lost tradition. Some women still own such indigo shawls which are part of their cherished heirloom. Apart from the traditional wear, some women also weave contemporary designs for local markets which can be worn by all women.