Why design must lead the way for Naga Crafts – Kevisedenuo Margaret Zinyu explains
The Tribal Design Forum (TDF) is making an effort to revive traditional tribal crafts through a three-day bootcamp at The Heritage in Kohima. The event, which began on October 2, has attracted participants from diverse tribal communities, including the Santhal, Munda, Oraon, and Khariya tribes from Jharkhand and West Bengal; the Lepcha from West Bengal; the Khasi and Garo from Meghalaya; and various Naga tribes from Nagaland.
Senior members of the TDF, Sudhir John Horo and Anupam Purdy, outlined the forum’s goals in an interview with Mokokchung Times (MT). “Our aims are to create a very inclusive ecosystem for creative professionals from various tribal backgrounds, and to explore the role of art, culture, and technology for their respective communities,” Horo stated.
“We wish to contribute to the tribal community, but many are unsure where to start. TDF provides that starting point,” Purdy added.
Kevisedenuo Margaret Zinyu, Founder of Woven Threads, a textile designer and TDF coordinator, also shared her insights with MT. “There’s a widespread misconception that design is just about creating beautiful things, like fashion. But design is really about problem-solving,” she said, clarifying the role design plays in bridging tradition and innovation.
Zinyu highlighted how tribal crafts in Nagaland have lagged behind, particularly due to a lack of market-driven design interventions. She expressed disappointment that the state had not yet recognized the value of designers in craft-related projects.
“Nagaland is yet to create an ecosystem because it is still very bureaucratic. Tourism in Nagaland never integrates crafts into practice, and as a designer, I have never done a design-led project in Nagaland, although I’ve worked on many in other states through NID (National Institute of Designs),” she said.
She pointed to Meghalaya as an example, where the Departments of Industry and Tourism have collaborated to empower tribal communities by promoting craft production. According to Zinyu, Nagaland could benefit from a similar approach but has yet to take meaningful steps in that direction.
Addressing the market challenges for traditional crafts, Zinyu explained how many products created by master weavers remain “too traditional” and often fail to appeal to modern consumers. “A design can be a catalyst connecting craft to the market, and ultimately to the economy,” she said. Zinyu emphasized the importance of finding market-ready solutions that adapt traditional designs without losing their essence.
She further pointed out that many traditional craft projects in Nagaland often overlook the role of design, which affects their market potential. “Funds are given for projects, but why don’t they consult a designer or get a designer so that we can innovate and find markets?” Zinyu asked. According to her, these projects often fail to become sustainable industries due to a lack of market foresight.
Zinyu highlighted that many craft projects funded in Nagaland are short-lived because they lack design and a strong market strategy. “Why can’t they hire a designer who can help create a product that not only preserves traditional skills but also meets modern demands?” she asked, adding that this failure to innovate has caused many projects to become repetitive and ineffective.
She explained that innovation through design could turn traditional skills into thriving industries. “For instance, our women are skilled in weaving, and men excel in bamboo crafts, but we’ve ignored these skills. Instead, our skill training has shifted elsewhere, and now most of our youth do not want to engage with traditional crafts,” she said.
“When we ignore our own place and our own youths…our youths are all exported for hospitality, beauty and spa because there is no traditional life, skill training or added values,” she added.
Zinyu noted that the absence of such initiatives is leading to economic leakage, where Nagaland ends up as a consumer of its neighboring states’ goods. “Nagas are largely consumers, and the economy lands up benefiting other states,” she lamented.
She highlighted how Naga waistcoats, once handwoven by local artisans, are now largely produced by non-Nagas. “Who is making these traditional waistcoats today? It’s often not Nagas themselves,” she pointed out, underscoring the risk of cultural misappropriation when traditional crafts are no longer produced by their own communities.
She also shared an example of how the indigo craft, once practiced by the Ao Naga tribe, has been lost due to a lack of practice. “Indigo was a popular craft among the Ao Nagas, but it has now disappeared because it is not practiced. I now have to outsource indigo from West India, like Kutch in Gujarat”.
Margaret’s Woven thread focuses on natural fibres like cotton and she strives to stay away from polyester. Zinyu’s Woven Thread is now focusing on place-based skills and region-specific crafts to build a sustainable industry in Nagaland. Her Woven Threads initiative, which has expanded to Noklak, Meluri, Kohima, and Tuensang, is already working with artisans to focus on raw materials and region-specific designs.
Zinyu also stressed the need for Nagas to take ownership of their own creative industries. “We get appreciated outside the state, but rarely within it. It’s only after we receive recognition outside that our people begin to value our work. That’s not fair,” she said, pointing out the potential for Nagaland to develop its own vibrant craft industry if it embraces its traditional skills and integrates modern design elements. She lamented that design is often looked down in the state.
Dr Vizovono Elizabeth, a speaker at the bootcamp, also touched upon the importance of youth engagement. She remarked on the timeliness of the theme “Tribes in Transition”, particularly in addressing the challenges faced by young people.
“This initiative is happening at a critical juncture, where outside influences are impacting us. Many young people today are confused about how to move forward while staying rooted in their traditions. This is one way we can go ahead with the world while still holding on to our roots,” she told MT.
As the TDF bootcamp continues, Zinyu’s and TDF vision for the future is clear: tribal crafts need innovation, market focus, and collaboration with designers to thrive. The hope is that these efforts will inspire a new generation of tribal artisans and designers to carry their heritage forward into the modern marketplace, turning traditional crafts into sustainable, thriving industries.
Day-2 Highlights
The second day of the Tribal Design Forum Bootcamp, currently underway at The Heritage, Kohima, was centered on art, technology, tourism, and fashion.
The session commenced with a welcome address by Margaret Zinyu. Following this, Dr Vizovono Elizabeth provided participants with a historical and contemporary overview of Kohima, offering essential insights for those attending from other states. Anungla Zoe Longkumar also shared her thoughts on the anthology of Nagaland.
In the second session, Arak M Sangma, a clay artist from Meghalaya and the founder of A Kakki Studio, showcased the Garos’ culture through clay. He presented a detailed explanation of the connection between the Garos and clay, making the session engaging and creative through a workshop with the participants.
The third session featured a presentation by architect Ankur Chandran from the Kamla Raheja Vidyanidhi Institute for Architecture and Environmental Studies in Mumbai. His topic, ‘Forest in the Project,’ focused on the Aarey Forest. Using augmented and virtual reality technology, participants were given a unique opportunity to experience the lifestyle, art, and culture of the Warli tribal community residing in the Aarey Forest of Mumbai.
Gopal Krishnan from Dakti Craft, Meghalaya, presented on the Meghalayan Age project. He explained how design interventions and government support are economically empowering the tribal communities of Meghalaya through the project in Delhi, providing them with international representation.
Subsequently, a panel discussion on tourism was held, with participants including Veyielo Doulo from the Nagaland government’s Department of Tourism, Rida Goteph from Dakti Craft, Rohan K Abraham from India Trail, and Anupam Purti from Rumbul. The session was moderated by Dr Anugrah Pandi. The panelists shared their views on sustainable tourism and design interventions, while Doulo provided insights into the government’s efforts and plans for tourism in Nagaland. The panelists also addressed questions from the participants.
The second day concluded with a fashion show showcasing the ethnic collection of fashion designer Daniel Syiem. The show was made even more special by the presence of Kuvelu from the Tetseo Sisters as the showstopper.
