WEAVING IN MEGHALAYA
HIGHLIGHTS OF RYNDIA
UNIQUE WAY OF WEAVING WITH RYNDIA
WEAVER’S STORY

WEAVING IN MEGHALAYA

Weaving with Eri, Muga, & Mulberry

Meghalaya is a treasure trove of exquisite hand-woven textiles that exhibit its abundant cultural legacy showcased by its amazingly talented craftsmen and craftswomen.

Silk, especially, occupies a distinctive niche among the State’s crafts, as the assortment of silk fabrics on display would attest, each with a distinct character of its own, qualities that resonate with the soul of its people.

Silk is precious, like gold: eternal, sustainable, regenerative. Meghalaya produces four types of silk: Eri, Mulberry, Muga, and Tassar
“Ryndia” is the Khasi name for eri, named after the ryndia (castor) plant that nourishes the eri silkworms. Called the Peace Sik, or Ahimsa Silk, eri is beloved of the people and cherished by all and can be worn with a clear conscience because its manufacture is without brutality, meaning the extraction of its yarn is without cruelly boiling the silkworms and killing them, unlike other silks. Eri’s texture isn’t as smooth as mulberry and muga, but it has the feel and behaviour of wool. Its yarn is the only one that’s spun, not reeled.

Mulberry silk has excellent value for its fine texture and elegant sheen, and the Khasi women never fail to proudly drape themselves with mulberry silk “dhara” on festive occasions.
Muga is the exclusive golden silk, extra- luxurious and the most expensive, and it is also the most difficult to produce. Muga silkworms thrive outdoors, feeding on the leaves of mostly the Som or the Soalu tree. The outdoors is fraught with danger from the elements and predators, and the rearers must keep constant watch to mitigate harvest loss.

Tassar is the wild silk from different species of silkworms reared outdoors. It is challenging to produce, and so does not have many takers.

Weaving in Meghalaya dates back hundreds of years. As everywhere else, the art of weaving in Meghalaya also connects generations, the present tied to their ancestors along with their knowledge and wisdom, making members of the human community that keeps the customs, cultures, and traditions alive. This connection keeps the art alive and helps prevent the community from getting caught and mesmerized in the intersections of quick-fix and instant solutions offered by modern and emerging technologies.

HIGHLIGHTS OF RYNDIA

The Traditional Fabric of the State

If ever there’s an all-weather, vegan, no-cruelty silk, it’s the fantastic “ryndia” or eri silk from Meghalaya, a splendid fabric called the “Ahimsa” – peace – silk for strikingly endearing reasons. Below are some of the highlights of this much-valued fabric that rates high as a fabric of necessity in the festivities of the State.
  • Ryndia or Eri Silk is an exclusive heirloom and traditional fabric of Meghalaya, whose fibres come from the cocoon of the domesticated eri silkworm, Philosamia ricini. It is part and parcel of the rich textile heritage of the people, embedded in their culture.
  • What’s noteworthy is that its production is the exclusive domain of women who work in tandem in a community effort.
  • Ryndia is a favourite of both men and women, especially on festive occasions. Ladies look classy in their adorable checked ‘thohriaw stem’ wraparounds and shawls or ryndia ‘jainsem’ while the gents look suave with a ryndia shawl draped over their jackets. On indigenous religious occasions, Khasi gentlemen would drape a ryndia shawl around their neck, sometimes with a ryndia turban as headgear.
  • Extracting silk filaments from cocoons entails boiling them just before the pupae are mature and turn into moths, killing them brutally. In eri, however, the pupae first emerge as moths and then the cocoons go to the boil.
  • To make yarn, eri fibres are spun, not reeled, like other silks. Spun because eri fibres are short and disjointed, while other silk fibres are continuous, attaining lengths of even a kilometre long, and so are easily reeled.
  • Eri’s short fibres are somewhat like wool, and the fabric behaves like wool. It is light, woolly in texture and soft to the touch, and eri garments keep the wearer cool in summer and warm in winter.
  • Versatile and durable, eri lasts for decades if properly cared for. Any other fibre, for example, cotton or wool or even metal, blends seamlessly with it as embellishment.
  • Eri yarn comes out in a natural shade of white but it also can take a faint reddish hue. Even in its natural colour, red and the white eri looks and feels premium, exuding elegance, but customers can opt for colours of their choice which would then necessitate dyeing.
  • Traditional dyeing of eri fabrics in Meghalaya is always with dyes from naturally available mineral and vegetable sources such as lac, iron ore, and turmeric. Now there are other sources and dyers of Umden-Diwon cooperatives, for example, have discovered about thirty-one other colour sources from plants and herbs that yield astonishingly breathtaking shades.
  • Organic colours fade quickly, so dyers mordant or fix the colours using certain locally found fruits, leaves, and barks of trees that help colours stay fast for longer.
  • Meghalaya’s eri weavers use traditional, hand-held and hand-operated, age-old, and time-tested equipment to spin the fibre into yarn. The process is painstaking and time-consuming and the product may not be as smooth as machine-spun yarn, but it preserves tradition without compromising sustainability. Equipment being traditional, the investment is minimal and within easy reach and affordability at the grassroots level. Produced traditionally, eri provides not only a fabric of high fashion dimensions but leaves behind near-zero carbon footprints.

UNIQUE WAY OF WEAVING
WITH RYNDIA

Khasi & Garo Hills

With a mastery passed down through generations, Khasi and Garo weavers of Meghalaya traditionally weave their exquisite eri or ryndia silk fabrics in distinct styles, unique motifs, and captivating designs on simple apparatuses made locally with wood and bamboo that take only a day or two to construct.
The floor, or loin loom, is a versatile piece of equipment that can be set up anywhere quickly, and the weaver works sitting or squatting on the floor. The Garos now have a raised loin loom where the weaver sits comfortably on a stool.
Another improvement is the frame loom with a flying shuttle that not only quickens production but enables weavers to achieve more remarkable finesse and detail in their masterpiece dakmanda, dakchari, jainpein, jainspong, shawls, stoles, and other ryndia fabrics.

WEAVER’S STORY

Its Impact On Livelihood
The age-old tradition of weaving with ryndia in Meghalaya truly deserves recognition as a game-changer in people’s livelihood and economic well-being.
Deeply intertwined with the community’s essential agricultural activities, this art is pivotal in augmenting income while maintaining a delicate balance in environmental, social, and cultural sustainability.
Eri weaving has profoundly and positively impacted families’ livelihoods, significantly boosting their collective incomes.
Deeply intertwined with the community’s essential agricultural activities, this art is pivotal in augmenting income while maintaining a delicate balance in environmental, social, and cultural sustainability.
Copyright@ 2024 Department of Textiles Sericulture All Rights Reserved.
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