CRAFTS

The Chakhesang tribe, residing predominantly in Nagaland's Phek district, are renowned for their rich cultural heritage and exceptional craftsmanship. Traditional Chakhesang houses are built from wood and adorned with intricate carvings that reflect their cultural identity. These carvings also feature prominently on village gates. The motifs on the wooden carvings of houses and village gates often draw inspiration from nature, folklore, and tribal symbols, highlighting the Chakhesang’s deep connection to their environment and cultural narratives. One of the most notable expressions of this craft is found in the traditional houses of those who host the prestigious "Feast of Merit." These homes are richly decorated with symbolic carvings that represent the host’s social status and generosity.

Ornaments is a craft that holds significant cultural importance among the Chakhesang people. Their ornament is colourful, aesthetic and imbued with meaning. They symbolize values, social status and identity. The artisans craft these pieces using locally sourced materials such as beads, bones, feathers, cotton yarn, found objects and metal like brass. The meticulous craftsmanship involved in ornamnet-making shows the tribe's artistic sensibilities and their ingenious ways of using materials.

Bamboo basketry is another hallmark of Chakhesang craftsmanship, with artisans weaving a variety of baskets and containers for daily use and ceremonial purposes. These objects are woven utilizing techniques passed down through generations to create functional items such as storage baskets, sieves, and traditional head gears. The baskets are often characterized by their durability and intricate patterns, showcasing the practical nature of their design. Traditional houses are found to be lined with large granary baskets. One can also find many baskets suspended from a shelf above the hearth fire in the kitchen.

The Chakhesang tribe's expertise in wood carving, jewellery making, and bamboo basketry showcases a rich cultural identity and harmonious relationship with their natural surroundings. These crafts are integral to their daily life and ceremonial practices, embodying the tribe's artistic heritage and resilience in preserving traditional skills amidst a rapidly changing world.

Wood Carving

Chakhesang artisans are adept at wood carving. Through their wood carving traditions, the Chakhesang people have been preserving their heritage, blending artistry with function and celebrating their cultural identity. This skill is reflected in the traditional houses of Chakhesang built in honour of the host of Feast of Merit. These feasts not only strengthen community bonds but also grant the host the privilege of adorning their homes with unique and symbolic carvings, reflecting their contribution to the collective well-being. The houses are made out of logs, boards and bamboo as building materials. The columns and walls are highly decorative and used as an accessory to maintain a traditional look.  

Among the various motifs carved into the homes of feast-givers, the Mithun's head is particularly notable. It represents wealth and generosity, recognizing the host as someone who has provided abundantly for the community. Similarly, the carving of a pig’s head signifies the offering of pigs during these feasts, a traditional and vital contribution to the festivities.

One of the interesting motif is the carving of a woman’s breast, symbolizing nourishment and abundance. Much like a mother provides sustenance for her child, this carving signifies that the household is a place of plenty, where food, wine, and resources are always available. It highlights the generosity of the household, marking it as a beacon of hospitality and provision.

The house horn, another iconic feature placed atop the home, embodies strength and the homeowner's capability to provide for the community. It is a mark of respect and power, signalling the homeowner's earned status as a leader.

For those who have not hosted feasts, displaying these symbols is strictly forbidden, as it is considered shameful and thought to invite misfortune. This tradition reinforces the Chakhesang belief that true social status is not measured by wealth alone but by one’s generosity and dedication to cultural values.

Other than the use of wood in architecture, many utilitarian objects like large barrels used for storing wine or rice beer are also carved from wood. Long wooden tables were used for pounding rice and furniture like stools and chairs are also seen inside a traditional house of Chakhesang.

Ornaments

Ornaments holds deep cultural significance among the Chakhesang people, serving as a vibrant expression of their values, social status, and identity. Known for its colourful and aesthetic appeal, Chakhesang ornaments are rich in symbolic meaning. Artisans craft these intricate pieces using locally sourced materials such as beads, bones, feathers, cotton yarn, found objects, and metals like brass. The ornaments of Chakhesang are varied and can be categorized as men ornaments and women ornaments. The skill and precision involved in ornament-making reflect the tribe's artistic sensibilities and their resourceful approach to utilizing available materials creatively.

Many interesting ornaments are made and worn by the Chakhesang men. Phepa/Phekheru/Phida are ankle leggings made of cane and yellow orchid stems worn by the warriors. Pheso/Phikho are black dyed cane strings placed on top of the cane leggings. Khodatipa/Ruhatsu, is a necklace made with intricately woven cane and yellow orchid stem. Bepa/Bakha are wristlets of palm leaf and yarns. Boar tusk and elephant tusks are used to make neck collars like Munyikuti and armlets like Baothukha. The headgears of the men are made of bamboo, yarns or bear hair with an attached hornbill feather. Pilo/Ruluo is a bamboo headgear with woven yarns of red, yellow and green. Their noteworthy ornaments also include woven kilts with cowrie shells called Tusunie, Turha, a woven sash with decoration of feather and pleated leaves, Zhe or Dao (Machette) and Zeche, a dao holder attached with a belt. Other than this the men adorn themselves with bright beaded necklaces made of carnelian beads and glass beads.

The ornaments of Chakhesang women are also very diverse. The women adorn themselves with layered beaded necklaces and belts. Khuno/Kechekha/Chakho are ladies belts made of small multilayered beads. Thuvuma Piphu are feathered headdress worn by young women. Lapri/Nuri is a big round brass earring worn by married women. The women also wear conch shell neckalces and Bathsu/Tekhou/Tusu is a conch shell necklace for rich men’s children worn on the back. In this tribe, the women also wear a lot of metal accessories like brass bangles of different shapes like the Thuwi, Thuka, Thoudie and Thoubi and aluminium armlets called Zhithu/Nozhi.   

Source : Chakhesang Naga - Attires & Ornaments (2nd ed.). (n.d.). Chakhesang Women Welfare Society.

Bamboo Basketry

The Chakhesang Nagas are celebrated for their rich crafting traditions, which are deeply interwoven with their cultural identity. Among these, the use of bamboo and cane to create woven products stands out as a mark of their craftsmanship. Bamboo is abundantly available in their region and forms the foundation of their craftwork that plays an integral role in their everyday activities. With access to plentiful bamboo and cane from their surroundings, the Chakhesangs are naturally skilled in the craft of basketry. Artisans skillfully transform this into intricately woven and durable household items, collected and crafted entirely by hand.

The most impressive of these objects are the huge granary baskets woven with great care to store grains. These baskets are seen in a line in the traditional houses of the ‘Feast of Merit’ holder, as they are made with the purpose of holding the abundant grains with which the festival is hosted. Even in the kitchen many storage baskets, basket bags and bamboo shelves are seen some of which are hung over the hearth fire. These objects are not only functional but also serve as a testament to the artisans’ precision and expertise. Each item is thoughtfully designed for a specific purpose. Through their bamboo craft, the Chakhesang Nagas demonstrate an enduring legacy of resourcefulness, artistry, and cultural pride.

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 Angami people of Nagaland are renowned for their exceptional craftsmanship, particularly in basket weaving, beaded jewelry making, and wood carving. Their baskets are especially notable for their precision, design, and functionality, with the khophi being their signature basket. Typically conical in shape, the khophi features a woven head strap for carrying on the back and is equipped with a bamboo stand that allows it to stand independently. Made from locally abundant bamboo and cane, these baskets are woven with great skill, often taking weeks or even months to complete. The weaving process involves the use of simple hand tools, with the split bamboo and cane stored above the fireplace, which naturally darkens and fumigates the fibers. The intricate patterns and uniform tension in the weave reflect the dexterity of the Angami weavers. Though once a common practice in every household, basket weaving has become a rare skill, with only a few elderly artisans left to carry on the tradition. Today, many villagers purchase baskets from these remaining craftsmen, while others are sold as decorative pieces or gifts, often varnished for display.

In addition to basketry, the Angamis are skilled in creating beaded jewelry, a craft that holds cultural significance and is used for both decorative and ceremonial purposes. The Angami people make intricate necklaces, earrings, and bracelets, often featuring elaborate beadwork that reflects their identity and social status. Beaded jewelry is typically worn during festivals, rituals and other important occasions.

Wood carving is another traditional craft practised by the Angamis. They carve wooden items such as household tools, utensils and ceremonial objects, often decorating them with detailed patterns. The craft is deeply rooted in their cultural expressions and plays an integral role in both their daily life and spiritual practices, making it an important part of the Angami people’s artistic legacy.

Basketry

Basketry is one of the most distinctive and revered craft traditions among the Angami people of Nagaland. Known for their precision and skillful designs, the Angami basket weavers are celebrated for creating highly functional and aesthetically pleasing baskets. The most iconic and widely used basket in the Angami community is the khophi, which serves as the signature basket of the tribe. The khophi is a conical-shaped basket that flares outward at the top, designed specifically for carrying goods. It is equipped with a woven head strap for ease of carrying, allowing it to be worn on the back, and also features a bamboo stand with legs so that it can stand on its own when placed down. This combination of features makes the khophi a highly functional and convenient item for the Angami people, suitable for various tasks, from carrying agricultural produce to gathering materials in the forest.

The primary materials used in Angami basketry are bamboo and cane, both of which grow abundantly in the local environment. The split bamboo and cane are carefully stored on a rack suspended above the fireplace, where they are naturally darkened and fumigated through exposure to smoke. This process not only contributes to the natural dark color of the materials but also helps in preserving them. The basket-making process itself involves simple hand tools, which are typically used by men in the community. The precision of the weaves, the uniformity of the tension and the intricate patterns demonstrate the high level of skill and dexterity required to craft these baskets.

Basket-making is an art that requires patience and expertise. Depending on the complexity of the weave, it can take up to a month to complete a single basket. The patterns woven into the baskets are unique to the Angami people, often reflecting cultural symbolism and a deep understanding of natural material. The fine craftsmanship and attention to detail ensure that the baskets are not only functional but also visually appealing.

In the past, basket weaving was a widespread practice, with men from every household involved in crafting baskets for daily use. However, as time has passed, the number of artisans skilled in this craft has dwindled. Today, only a few elderly artisans remain who are capable of producing these traditional baskets. As a result, the skill has become rare, and many villagers now order their baskets from the few remaining craftsmen. Although the tradition of basket weaving is at risk of disappearing, the Angami people have adapted to changing times. Baskets are now also made for decorative purposes, often varnished and sold as showpieces or used as gifts, allowing the legacy of Angami basketry to continue in a new form while preserving its cultural significance.

Beadwork

The Angami people of Nagaland are also renowned for their intricate beadwork, which holds both cultural and ceremonial importance. Beaded jewellery is not just an adornment but a symbol of status, identity, and personal achievements within the community. The Angamis craft delicate necklaces, earrings, bracelets, and headpieces, often using colourful glass beads and shells. These pieces are worn during festivals, rituals and other significant events, representing social status and community ties. The beadwork designs are often complex, with motifs that reflect natural elements and colours that resonate with the individual's tribal affiliation, showcasing the artistry, technique and skill of the maker. The pieces are meticulously created, with beads strung together in specific patterns that are passed down as a lineage, keeping the craft alive as an essential part of Angami culture.

Woodcarving

Wood carving is another important craft tradition among the Angamis, integral to both their daily life and spiritual practices. Skilled artisans carve a variety of items, including household tools, utensils, ceremonial objects, and decorative pieces. Wood carving is an expression of creativity, often featuring intricate patterns and designs that reflect the cultural significance of the object. Carvings may be symbolic, depicting elements of nature or ancestral beliefs, and they often play a role in religious rituals or community ceremonies. The craftsmanship involved in wood carving requires great precision, as well as a deep understanding of the materials used. The Angami wood carving tradition continues to thrive, as artisans combine age-old techniques with contemporary influences to preserve and evolve this essential cultural practice.