book test 16

["The Nyishi Community follows a burial practice where deceased During the death ceremonies, a Mithun sacrifice takes place, individuals are buried in family-owned land near the homes. As with the participation of invited villagers. Families unable to parts of these rites, the dead is supplied with two pots of rice procure a Mithun for sacrifice are granted the option to substi- and beer for train fare to the land of the ancestors called orum tute it with a pig or a hen. where the spirits dwell and carry on with their work that they had in this realm before they die yet again and move on to the Post burial, a tower of bamboo and wood is erected over their next realm. grave, with the revered Mithun Horn placed atop, symbolizing a lasting connection with the departed. In case of the death of an infant, the body is encased in a wood- en coffin made out of two hollow pieces of logs fastened to- These rich customs and traditions demonstrate the Nyishi\u2019s gether, one atop the other, with cane ropes and joints sealed by deep respect for the departed, while fostering a sense of unity damp clay to prevent seepage, and half buried with the elon- and reverence within the larger societal framework. gated end of the coffin inserted into the earth, while the re- maining portion, with the infant\u2019s body respectfully contained within, remaining visible above the ground Dobum Village | 36","Traditional Festival (Nyokum Yullo) Dobum Village | 37","The Nyokum festival is an annual celebration in the Nyishi tribe, The head priest, known as Nyubh, determines the number and symbolizing the unity with nature and the significance of a types of offerings required. Instead of permanent structures, bountiful harvest and well-being for humankind. The term they use millet seed beer and rice paste. \u2018Nyokum\u2019 translates to \u2018Nyok,\u2019 signifying \u2018land,\u2019 and \u2018Kum,\u2019 rep- resenting \u2018togetherness.\u2019 It takes place on February 26th each The Nyishi attire for the festival is traditional and includes cot- year and involves invoking celestial forces, particularly the pri- ton robes (eri) for men and finely draped cotton apparel (par mary deity, the Nyokum goddess. ej) for women. They adorn themselves with bead jewelry, in- cluding earrings, neckpieces, and headdresses made of finely The Nyishi people hold strong beliefs in numerous deities and scraped bamboo. spirits present on Earth, with the afterlife believed to reside in Oram Nyoko. They perceive these spirits and deities in all aspects The main day of the festival sees a ceremonial procession where of nature, from mountains and crops to rivers and household villagers gather at the procession ground. Women, clad in tra- items, whether benevolent or malevolent. The key to prosperity ditional attire, joyfully sing and dance their way to the ritual and happiness lies in maintaining harmony between humans, ground. The head priest (Nyokum Yullo Nyibu) chants hymns deities, and nature. near the place of worship (Uyus Ako). At the ritual ground (Nyokum Hapa), bamboo poles with fowls (Tori) are placed on Whenever natural calamities like floods, droughts, or untimely the Nyokum altar, alongside sacrificial animals like Mithun and deaths occur, it is believed to be a result of displeasure from goats. Men and women dance (Buya) in a chain around the the deity. To protect themselves from evil spirits and ensure prayer altar, singing traditional songs (Nyokum bo tapa debe). well-being, the Nyishi perform propitiatory rituals, including the Nyokum Yullow. During this time, men also engage in mock fights with short swords and shields made of animal hide while the During the festival, the Nyishi people use bamboo poles known priest continues chanting hymns. The festival culmi- as \u2018Dapo\u2019 rather than traditional idols for worship. They con- nates with the ritual sacrifice of goats, Mithun, and fowls. struct a prayer structure called \u2018Yugang\u2019 and offer sacrifices of The horns of Mithuns displayed in Nyishi houses sym- animals like goats, cows, and Mithuns to the deities. Chickens bolize respect and social prestige within the community. are also hung on the Yugang. It is a vibrant and graceful festival that showcases the marriage of traditions and spiritual beliefs of the tribe. Dobum Village | 38","Food The dietary preferences of the Nyishis revolve primarily around their locally grown agricultural yields, namely rice, millet, maize, and yams. Rice holds a significant position as a staple food, complemented by meat and vegetables such as pumpkins, goyengs (pumpkin leaves), and mekum (cucumbers). The majority of their meals consist of boiled food, with meat being boiled with a small amount of salt, devoid of oil or spices. Leafy vegetables and grated ginger are used for garnishing. On special occasions, the meat is either roasted or smoke- dried and preserved in bamboo baskets for future consump- tion. The Nyishis have a particular affinity for smoked meat, such as Mithun meat, which is stored in bamboo hollows placed above heat for drying and smoking. Dobum Village | 39","Fig. No. 2.28 Apong Glass Fig. No. 2.29 Fermented Millets Fig. No. 2.30 Apong Glass In terms of beverages, the Nyishis offer Apong, a fermented drink made from millet or rice mixed with yeast, to guests visiting their homes. The process involves soaking or boiling the millet or rice, allowing it to cool, and then mixing it with dry yeast (oppop) at the desired temperature. The mixture is then stored in a clean, dry container with a lid, left undisturbed for several days, and even- tually distilled. This intricate process of drying, smoking, fermenting, and filtering, takes around a month or longer to complete. Apong is served at room temperature in bamboo glasses or bamboo shoots, offering a malty, sweet, and po- tent taste. Rather than tea or coffee, the Nyishis extend a warm welcome by offering their visitors the local brew, Apong. Dobum Village | 40","Fig. No. 2.31 Agriculture A Nyishi woman in a Paddy field The Nyishi people practice various agri- Dobum Village | 41 cultural activities to sustain their liveli- hoods and meet nutritional needs. Shifting cultivation, once predominant, involved clearing land, burning vegetation, and cultivating crops before moving on to another area, maintaining soil fertility. Nowadays they utilize different cropping systems for optimized output, including sole cropping, mono-cropping, and mul- tiple cropping. Winter prepares them for Jhum cultivation, with mixed crop- ping maximizing harvests.","Fig. No. 2.32 Paddy Field Concerned with environmental conservation, the Nyishis are Among the major crops grown by them are rice, maize, millet, shifting to sustainable water cultivation. They have begun to potato, ginger, mustard, off-season vegetables, and large carda- practice wet rice cultivation, home gardening, and agroforestry mom, which provide them with staple food sources and poten- for steady produce and additional income. tial sources of income. Dobum Village | 42","Fig. No. 2.33 A Nyishi woman with Egin basket Basketry The people of nyishi tribe are trained in the art of making Bopa and bamboo and cane-based bas- kets . These handicrafts are the trademark of Nyishis artefact since ages. The artisans collect raw materials from the forests and use their skills and handmade tools to carve beautiful traditional baskets. It takes around 15 days of hard labour to complete a single basket and even more to carve out a Bopa. Both these items are of huge demand in the market, contributing to the economic ben- efits of the people who sell them. Dobum Village | 43","Fig. No. 2.34 A handmade mud pot Pottery Nyishi women are skilled in this craft, the legend is that Abo Takam was the first Nyishi potter and from him, the art passed on to the women. The process involves pounding a specific kind of art called dekam on a big stone with a wooden ham- mer. When it turns into powder, water is mixed and it is hammered till it gains the required soft- ness. Clay lumps are taken home. The woman sits with a piece of gunny bag, or fiber blanket spread over her thighs Dobum Village | 44","TYPES OF BASKETS Harcha Basket (Fig. No. 2.35 ) Nara Basket (Fig. No. 2.36 ) During festivals, the Harcha basket takes on a spe- The Nara basket is one of the notable creations of the Nyishi cial significance. It is specifically used for serving tribe. Its flat shape and carrying mechanism through two apong, a traditional rice beer, which plays an inte- shoulder straps make it a practical and versatile container. gral part in the tribe\u2019s festive celebrations. The slightly concave outer surface not only provides extra space but also offers natural protection against rain. Dobum Village | 45","Dungsing Basket (Fig. No. 2.38 ) The Dungsing basket serves as an essential stor- age container for rice within the Nyishi tribe. With rice being a staple food in their culture, the Dungsing basket plays a pivotal role in preserving and organizing their grain supplies. Opphi and Paka Baskets (Fig No. 2.37 ) Huch Basket (Fig. No. 2.39 ) The Opphi and Paka baskets are specifically designed to In the past, the Huch basket had a specific purpose cater to the transportation and storage of meat during in the Nyishi tribe. It was utilized as a measuring the tribe\u2019s marriage ceremonies. These baskets play tool for rice, enabling accurate portions for vari- a crucial role in ensuring the successful execution of ous culinary and dietary needs. their cultural practices and rituals. Dobum Village | 46","Fig. No. 3.1 A student working on a loom About the cluster | 47","CHAPTER 3 AB UT THE CLUSTER About the cluster | 48","Fig. No. 3.2 An artisan working on the loom About the cluster | 49","The Dopik Multipurpose Society Weaving Unit is a clus- The pricing varies based on raw materials (eri, muga) ter of ten skilled artisans located in Dobum, Arunachal and design complexity. Pradesh. Established in 2012, the unit is committed to preserving and promoting the traditional art of weaving. To enhance productivity, the unit requires bobbin ma- chines, powerlooms, and improved transportation. Their Operating with efficient transportation, the artisans products, including jackets, shawls, and contemporary source yarn from Guwahati and produce intricately de- items like churidars and bags, find markets in villages, signed fabrics. They specialize in men\u2019s motifs like bump, Assam, Arunachal Pradesh, and emporiums. hambiya, dumchi, tama, and women\u2019s motifs such as dump- ing, juhu, jinjab, madoli, luch, and rayni. The Dopik Multipurpose Society Weaving Unit cel- ebrates rich cultural heritage, blending tradition with With meticulous craftsmanship, one Gale takes a week to innovation to create exquisite fabrics admired\u00a0by\u00a0many. produce, while plain designs require 3-4 days. About the cluster | 50","Fig. No. 4.1 Eri yarn and bobbin Raw Materials & Tools | 51","CHAPTER 4 Raw materials and to ls Raw Materials & Tools | 52","Fig. No. 4.2 Fig. No. 4.4 RAW MATERIALS Bobbin with cotton yarn Eri yarn The weaving process utilizes various raw Fig. No. 4.3 materials, including Eri Silk Yarn, Acryl- Bobbin with cotton colored yarns ic Yarn, Muga Silk Yarn, Cotton Yarn. Raw Materials & Tools | 53 Acrylic yarn is commonly favored in cos- tume production due to its superior light and color fastness compared to cotton. The yarn ply used in this process typical- ly ranges from 0 to 2 ply. Cotton yarns are often preferred for their natural feel and breathability, making them suitable for various textile applications. Silk yarn, prized for its luxurious sheen and delicate texture, is also used for manufacturing various textiles. The silk yarn used in this process are\u00a0Muga\u00a0and\u00a0Eri. Fig. No. 4.5 Bobbin with acrylic yarn","Fig. No. 4.6 TOOLS Spinning Wheel Taan lumden (Spinning Wheel) Fig. No. 4.7 A spinning wheel is a machine used to convert Spinning tool fiber into thread or yarn. Its primary function is to combine and twist fibers together to form Fig. No. 4.8 thread or yarn and then gather the twisted thread Bobbin on a bobbin or stick for use as yarn\u00a0in\u00a0the\u00a0loom. Fig. No. 4.9 Taping sankyo Shuttle It is a slender bamboo stick used for winding yarns and using them as throw shuttle in weav- ing\u00a0processes. Seho (Bobbin) A bobbin or spool is a spindle or cylinder, on which yarn, thread, wire, tape, or film is wound. Some bobbins come with flanges as well. Opu mannan (Shuttle ) Raw Materials & Tools | 54 A shuttle is a neat and compact repository for the holder that contains the threads of weft yarn while weaving with a loom. Shuttles are thrown or passed back and forth through the shed, be- tween the yarn threads of the warp, to weave in the weft.","Types of silk Eri silk, also referred to as Endi silk or Errandi silk, encompasses a variety of silk fabric derived from the cocoon of the domesticated silkworm species Samia ricini, commonly known as the Eri silkworm. The cultivation and weaving of this wild silk hold deep roots in the life and culture of the people residing in North East India. The term \u201cEri\u201d is derived from the Assamese word for castor, \u201cera,\u201d as the silkworms feed on the leaves of the castor oil plant. Eri silk is considered unique as it is obtained without following the traditional process of killing the silkworm inside the cocoon. The Eri silkworm completes its life cycle, breaks free from the cocoon, and emerges as a moth, leaving behind an empty cocoon which are collected and meticulously unraveled and spun without causing harm to the silkworms. This production process is known as non-violent or Ahimsa silk production. Eri silk is a resilient and durable fabric with a slightly coarse textured surface. The fabric typically has an off- white or creamy hue, but it can be dyed to achieve various shades. Eri silkworm Eri silkworm spinning cocoon emerged as a around itself moth from cocoon (Fig. No. 4.11) (Fig. No. 4.12) Eri silkworm Eri yarns made feeding on by spinning the castor leaves cocoon (Fig. No. 4.10) (Fig. No. 4.13) Raw Materials & Tools | 55 ERI SILK (Rearing Process)","Fig. No. 4.14 Muga silk (Sourced from the internet) Muga silk is derived from the cocoon of the silkworm species Antheraea assamensis. These delicate silkworms are sensitive to pollution, making them and their silk yarns exceptionally rare. To extract Muga silk, silkworms are reared on a specific diet of Som leaves. After spinning cocoons, the silk threads are carefully hand-extracted from the cocoon using a process called \u201caikand.\u201d The threads are then spun into yarn to create luxurious Muga silk fabric. Approximately 1000 cocoons yield 125 grams of silk. Muga silk is renowned for its sheen and natural color which may vary from rich golden yellow to light brown depending on the season. It is highly durable, possesses strong tensile and longevity. It offers excellent thermal properties, providing warmth in cold weather and coolness in hot weather. The fabric is naturally resistant to pests and fungi, requiring minimal chemical treatments during production. With its unique golden luster, Muga silk is prized for its opulent appearance. It is suitable for various climates and offers comfort to the wearer. The fabric\u2019s longevity makes it an heirloom piece, often outliving its owner. Raw Materials & Tools | 56","Fig. No. 5.1 Woman working on a backstrap loom Looms| 57","CHAPTER 5 Lo ms Looms | 58","Fig. No. 5.2 Ruekio- Used as a warp beam which is held high with hooks Top view of a backstrap loom Neni Lomi- Used as an extra warp beam to detect the error in the interlocked warp Looms| 59 Rubung- Served as a lease rod Nini Sankyo- These are herald sticks used to regulate the threads Taap- Also called reed helps to tighten and set the gap in between the threads Putul - Used to keep the woven cloth stretched horizontally to avoid folding Gagar - Used to tie the weaving back strap belt Gaetah - It is the back strap belt that helps to create the necessary tension in the loom by stretching legs against the foot rest","Fig. No. 5.3 Backstrap loom BACKSTRAP LOOM The backstrap loom (Rubung Ruekio) is primarily composed of sticks, rope, and a strap that is fastened around the weaver\u2019s waist, from where its name is derived. The simplicity of its design enables nearly anyone to possess a backstrap loom and set it up in almost any location, be it indoors or outdoors. By utilizing the backstrap loom, the weaver can produce fabric through simple weave. The weaver proceeds by encircling both sticks with a lengthy thread, known as the warp thread. One stick is affixed to the weaver\u2019s waist, while the second stick is held by the weaver\u2019s feet or secured to a post or tree. The tension of the warp threads is maintained by the weight of the weaver\u2019s body. Following an up-and-over, down-and-under motion, the weaver threads pass through the warp thread using a tool fashioned from animal bone. Gradually, a narrow strip of fabric begins to take form, which can then be stitched together with other strips to create garments. Looms | 60","Fig. No. 5.4 JACQUARD LOOM Jacquard Loom While the term \u201cJacquard\u201d is a Looms| 61 broad term used for the addition- al control mechanism responsi- ble for automating the pattern- ing process, \u201cJaquard loom\u201d is much commonly used to refer to the combined system of the loom and the Jacquard machine which serves as an attachment to the loom, to streamline the production process of intricate patterned textiles such as bro- cade, damask, and matelass\u00e9. Operated by means of a \u201cchain of cards,\u201d this machine utilizes a continuous sequence of punched cards, with each card containing multiple rows of holes, where a complete card corresponds to a single row of the design being produced.","Fig. No. 5.5 Fly Shuttle Loom FLY SHUTTLE LOOM The key characteristic of the fly shuttle loom is its incorporation of a shuttle that traverses horizontally across the loom, transporting the weft thread (horizon- tal thread) through the shed (an aperture formed by the raised and lowered warp threads). The weaver propels this shuttle back and forth, enabling faster weaving in compar- ison to traditional handloom techniques. In order to generate the shed, the weav- er manages the movement of the warp threads (vertical threads) by manipulating a series of harnesses or frames. By selectively raising and lowering specif- ic harnesses, the weaver creates an open- ing through which the shuttle can pass. This mechanism speeds up the interlac- ing process of the weft and warp threads, leading to the creation of the fabric. Looms | 62","Parts of Loom Heddle Frame ( Nini Sankyo) Heddle frame contains wires Treadle ( Che channan) or threads with eyelets, which These are the pedals responsi- serve to secure the warp yarns ble for controlling the formation in a\u00a0fixed\u00a0position. of the weaving structure as the weaving process progresses. Warp beam (Taan Telennan) The warp beam, commonly re- Pulley ferred to as the weaver\u2019s beam, Heddle pulleys serve as functional is a stationary component locat- tools designed to facilitate the motion ed at the rear of the loom. The of the heddle, an integral component warp sheet is wound onto the of the loom responsible for segregat- beam during the weaving pro- ing alternating warp threads to allow cess. the passage of the shuttle which car- ries\u00a0the\u00a0weft\u00a0thread. Reed ( Taap) The reed resembles a comb or frame featuring numerous vertical slits. It is used in separating and spacing the warp threads, guiding the shuttle\u2019s motion across the loom, and pushing the weft threads into their designated positions. Looms| 63","Slay Heddle shaft It is a part of a loom responsible It refers to a component or structure used in weav- for carrying the reed and exhib- ing machines to control the movement of warp yarns iting oscillatory movement be- during the weaving process. It plays a crucial role in tween the harnesses and the fell the formation of patterns and designs in woven fab- of the cloth. rics. The harness system allows individual warp yarns to be lifted or lowered selectively, creating the desired Temple interlacement with weft yarns. A temple is a tool used on a loom to maintian the width and enhance the edges of the\u00a0wo- ven\u00a0fabric. Punch card Cloth Beam (Eaj Telennan) A sequence of cards (each cor- The cloth beam, also referred to as the cloth responding to a weave row) roller, plays an important role in the weaving controlled the threads raised process as it serves as a repository for the wo- to produce\u00a0patterns. ven fabric, with the cloth neatly wound onto it. Positioned beneath the front rest, the cloth beam facilitates the smooth and organized han- dling of the woven cloth. Looms | 64","Fig. No. 6.1 Jacquard Loom Looms| 65","CHAPTER 6 Pr cess Process | 66","Looms| 67","PRE PROCESS Process | 68","Fig. No. 6.2 Fig. No. 6.3 Fig. No. 6.4 Eri Silkworm Eri Cocoon Tagosan leaf 1. REARINGHaving sufficient provision of food plant leaves for the silk- worms is important.As soon as the worms hatch they begin feeding. The young worms are fed tender leaves (Tagosan). In later stages, the leaves are adjusted according to the ma- turity of the worms. Unlike other silks, pertan (Eri ) thread is never reeled but is spun like cotton. The cocoons are then boiled and then worked with fingers for extraction. Looms| 69","2. HAND SPINNINGHand spinning is a traditional technique used to obtain yarn by twisting fibers sourced from Pertan (Eri Silk) cocoons. It involves the use of a simple tool called a spindle. The proce- dure involves taking a small lump of extracted Pertan (Eri Silk) fiber, from which a small amount of fiber is drawn out and twisted to create a long and twisted Pertan taan (Eri Silk yarn). Process | 70","Fig. No. 6.5 Bobbin 3. BOBBIN WINDING After spinning, the taan (yarn) is wounded on a small cylin- drical roller in a process called seho (Bobbin) Winding. In this, Taan Lumden (spinning wheel), a bamboo cylindrical stick structure planted firmly on the ground for stable spin- ning is used. The taan (yarn) is wrapped around the taan lumden (spinning wheel) in a circular motion to prevent it from tangling, after which it is transferred to seho (bobbin). Looms| 71","Fig. No. 6.6 Winding 4.DIRECT WARPINGThe direct warping technique involves using a single color for the warping process. It is primarily applied when preparing the warp for single-ply yarn and for designs where the base color re- mains monochromatic. This base color serves as the foundation for the later application of extra weft techniques. Process | 72","Fig. No. 6.7 SECTIONAL WARPING Warping Drum A saho tuginnan (creel) refers to a frame of square or Looms| 73 rectangle section pipes and iron channels on which the feeding threads or yarn bobbins are arranged in vertical columns on either side with five rows of an equal number of white and black bobbins for making the pomo gale. A single rotation of the drum spans a length of around 3 meters. In sectional warping, warp yarns are organized into sections called yarn bands with each having the same warp density as that on the taan telennan (weaver\u2019s beam). The warp yarns are then wound onto a large hollow drum made of wooden planks, band by band until all the yarns are wounded successfully, after which, the yarn sheet is transferred onto the weaver\u2019s beams.","5. SIZING Fig. No. 6.8 Sized Warp Yarns Sizing is an important preparatory process in weaving. It involves the Process | 74 application of a thin film of adhe- sive and binder on the taan (yarn) surface for better weavability of taan (yarn). The quality of sizing determines the performance of the Ej mannan (loom) and influences the fabric\u2019s overall quality. The sized yarn in the unit is brought from the state of Assam.","Fig. No. 6.9 6. DRAFTINGDrafting\u201d refers to the process of Drafting passing the end through the eye of a heald wire or harness, according Looms| 75 to the draft. The manual drafting, is a two person job with one partic- ipant, designated as the \u201creacher,\u201d selects and presents the ends for the subsequent drawing process while the the \u201cdrawer\u201d pulls the selected ends through the eye of the heald, effectively inserting the yarn. The process is repeated until the entire drafting of the warp sheet is com- pleted.","7. DENTINGDrafting\u201d refers to the process of Fig. No. 6.10 passing the end through the eye of Denting a heald wire or harness, according to the draft. The manual drafting, Process | 76 is a two person job with one partic- ipant, designated as the \u201creacher,\u201d selects and presents the ends for the subsequent drawing process while the the \u201cdrawer\u201d pulls the selected ends through the eye of the heald, effectively inserting the yarn. The process is repeated until the entire drafting of the warp sheet is com- pleted.","Fig. No. 6.11 PROCESS (Weaving) Weaving After the stages of rearing, spinning, and preparation of the Looms| 77 eaj mannan (loom) for the desired design, the weaver positions themselves in front of the eaj mannan (loom), where the warp thread is situated. By stepping on the che channan (treadle) , the weaver facilitates an interlacing of the warp threads tied to the designated heald shafts. This up-and-down movement of heald shaft creates a shed through which the opu mannan (shuttle) can pass. The weaver then passes the opu mannan (shuttle) containing the weft thread through the shed and catches it on the other end of the eaj mannan (loom). The taap (reed) is moved back and forth by the weaver to keep the weft thread in place and maintain the strength of the weaving, ensuring no gaps be- tween the weft threads and thus a continuous grid pattern. This process is known as beating and continues as the che channan (treadle) change until the desired design is achieved.","Fig. No. 6.12 Extra Weft Extra Weft Technique An extra weft structure involves using one weft yarn to weave the ground cloth, while an additional weft is intermittently in- serted to create decorative patterns on the cloth\u2019s surface. The ground cloth typically employs a simple weave like plain or twill to complement the extra weft, although other structures can also be utilized. Process | 78","Weaving Process ( BACKSTRAP LOOM ) Weaving starts by tying the loom to a fixed spot with a cord or rope. Then, bars are added to hold the threads going up and down, called warp. Shed rods are put in to make sure the warp threads cross nicely, making a space called the shed. Next, a heddle rod, called the Ninisankyo, helps lift some warp threads through the shed. To let the threads go side to side, a batten called the taap is moved carefully, making gaps in the warp for the weft threads which also helps keep the weft tight. A tool called a shuttle, carrying the weft thread, is moved skillfully back and forth between the warp threads, making a pretty pattern. The weaver also uses a belt called Gaetah to adjust the tightness of the warp\u00a0by\u00a0leaning. Looms| 79","Fig. No. 6.13 Weaving on a backstrap loom Process | 80","Fig. No. 7.1 Himba motif shawl Motifs | 81","CHAPTER 7 m tifs Motifs | 82","Motifs | 83","Pomo Jinjab Juhu Himba It consists of black and This motif is the imitation It is a bell-shaped motif de- The himba motifs are se- white strip motif arranged of Jinjab ornaments worn rived from the ornament of ries of mirrored chevron alternatively. It is originat- by the Nyishi women. Nyishi\u00a0 tribe inspired from patterns that are present ed from east Kurung kumey Junghang. as vertical stripes, with a district. single dotted line between two patterns. It represents the shells present on the belt\u00a0of \u00a0the\u00a0dao. Motifs | 84","Bump Bump Madoli\/Putu Dumchi The motif is a long strip The motif is a long strip It is a diamond shaped motif It is inspired from the head- with multiple alternating with multiple alternating- derived from traditional jew- gears of the Nyishi men. x-shaped symbols arranged diamond shaped symbols ellery worn by Nyishi wom- It contains two circles in parallel lines sometimes arranged in parallel lines en. joined\u00a0at\u00a0the\u00a0edges. accompanied by diamond sometimes accompanied by motifs when found on Parhej diamond motifs when found (shawl)\u00a0and\u00a0Gale. on Parhej (shawl)\u00a0and\u00a0Gale. Motifs | 85"]