Ukhrul: Easternlight’s towering masterpiece, serving as the centerpiece, is the buzz of the town. Titled “An Ode to Raivat Kachon” and “Khom,” these two monumental digital artworks, spanning 20×40 feet, are being installed in preparation for the Tangkhul Baptist Gospel Quasquicentennial and Quinquennial Fellowship (TBG125). With over 20,000 attendees, delegates, and guests expected, the four-day mega event is set to commence from April 4th to the 8th. Preparations, underway since early March, have set the town in a bustling motion as it gears up to host the mega event, with all hands on deck!
The monumental artworks take center stage, each weaving a narrative rich in tradition and symbolism. As Christianity ushered in Westernization, the Tangkhul Naga tribe culture today faces dilution amidst rapid modernization, risking loss of identity. Traditional attire and intricate weaves on bright shawls emerge as potent symbols against this dystopian future. Aligning with this theme, the art’s resonance with the Quinquennial Fellowship sets a harmonious tone of cultural and religious unity that perfectly complements the occasion. The artworks have turned heads and captured attention both at the venue and on social media, generating early positive acclaim well before the event’s commencement during the Installation phase.
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The first piece, titled “Ode to Raivat Kachon (Shawl),” pays homage to the iconic Raivat Kachon shawl, also called “KAMEO RAIVAT KACHON,” revered for its versatility and role in bridal ceremonies and special occasions within the Tangkhul Naga tribe of Northeast India. With intricate motifs and designs embroidered in highly stylized forms, this shawl serves as a testament to Tangkhul grandeur and identity. The artwork serves not only as a visual representation of cultural richness but also as a call to preserve Tangkhul heritage, advocating for proper measures to preserve the identity. This comes in light of the Government of India’s recognition through Geographical Indication (GI) tag No.371, officially acknowledging the Raivat shawl as Meitei’s Saphee-Lanphee shawl.
In the second piece, “KHOM (Collection),” the essence of unity and common identity is brought to life through a fusion of design motifs from Tangkhul textiles. Inspired by the traditional textiles known as “CHONKHOM,” meaning “shawl” and “collection” respectively, this artwork embodies the power of collective heritage. Drawing from motifs such as RA PANG, RAMIK, PHORREI, PHORRA, PHORTHING, RASHIM, URI-URA MAKHA, RIKSI PHOR, SEIKHUM, the artwork symbolizes the strength found in unity, echoing the diverse tapestry of Tangkhul culture.
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The common element featured in both artworks is the backdrop: the traditional Tangkhul house, known as Haoshim, it highlights the Amei kharar shimsak style with the distinctive SHIMCHI (upward-pointing edge) adorned with intricate carvings like MISHAN SHIMLAKSHAN MACHUT, LENGCHEN KAFA MANUIREI, SILUIKUI, KARKAORAN, and LEISHILEIYA. The Shim is divided into two sections, distinguished by black and white colors, symbolizing the transition to Christianity and the subsequent responsibilities left to fulfill.
Together, these artworks serve as vibrant reflections of the Tangkhul culture, blending tradition with contemporary expression to create a visual tapestry that celebrates the richness and diversity of this vibrant community.
“I have not done anything of the like; it was indeed a very challenging task, drawing at such large proportions and especially with the deadline of only a few days at hand. Coordinating with the printer also presented another obstacle. Fortunately, Sachiri Enterprise assisted me in achieving the print meticulously without any hindrance,” said Zimik, reflecting on the technical and logistical challenges faced during the process of creating the enormous print. It is noteworthy that Sachiri Enterprises facilitated the large print in Ukhrul.
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The Tangkhul Baptist Gospel Quasquicentennial and Quinquennial Fellowship (TBG125), marking 125 years of Tangkhul’s Baptist gospel ministry and commemorating a century and a quarter of Christianity in Ukhrul, will be held under the theme “In the Fullness of Time.” Organized and hosted by the Tangkhul Baptist Churches Association (TBCA) at its headquarters in Ukhrul from April 4th to April 8th, 2024.
Fashion designer and illustrator Easternlight Zimik, hailing from Ukhrul, Manipur, graduated from NIFT, New Delhi. Spearheading a movement to elevate traditional textiles and handloom in mainstream fashion, Zimik’s creative journey is epitomized by the Kashan (Mekhala) Journey Collection, an extension of the debut SHIM collection. This collection serves as a platform to showcase the intricate skills of weavers on a broader scale, integrating their identity into larger cultural narratives. Zimik is passionate about preserving and safeguarding the rich tapestry of traditional textiles, celebrating art, and advocating for more representation. Notably, the intricate patterns featured in the collection are meticulously woven, crafted, and embroidered by women weavers from Ukhrul. He is vocal about promoting and empowering local weavers, ensuring they receive credit for their creativity.
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