Beading heritage and artistry together, Tangkhul Beads is a women-centred creative studio where traditional ornaments are meticulously handcrafted and hymns of folk melodies linger in the hilly district of Ukhrul in Manipur.
Tangkhul Beads began with Pamchuiwon Kashak Hungyo’s desire to own traditional Tangkhul Naga jewellery. Hailing from Zingsui village in Manipur and born as the second of eleven siblings, Hungyo recollects her childhood and the circumstances that shaped this desire.
“I grew up in a poor family where daily survival was a struggle. My community, though, is very culturally rich and I am proud of it. I had always wanted to wear and use our traditional items, but they are not easily available and are also very expensive. There was a time when I could not afford my traditional attire and jewellery,” she says.
This desire led Hungyo to observe, learn and teach herself the art of jewellery-making. Gradually, she began creating traditional ornaments for herself and the people around her. At the time, she had years of work experience in both the government and private sectors. However, dissatisfied with the work environment, she decided to quit her job.
Hungyo says she never intended to start a business of her own. In 2016, however, with very limited materials, she began making earrings and necklaces using colours associated with Tangkhul traditions. The idea of turning her craft into a business began to take shape at the Shirui Lily Festival in 2019, where she displayed her products for the first time.
Tangkhul Beads received an overwhelming response from members of the community and tourists alike, recording the highest footfall among all the stalls during the festival. Speaking to Ukhrul Times, Hungyo recalls how interacting with visitors and learning that they found her work different, unique and appealing helped her recognise its potential.
“It became crystal clear to me that I should continue what I was doing. I have never looked back since,” she says.
For years, Hungyo worked from her bedroom. After much perseverance and dedication, she opened her own studio on October 29, 2024. Her two sisters, Mashunphi Kashak and Soreila Kashak, joined her in the venture, and the team eventually grew to six employees, establishing Tangkhul Beads as a women-led business.
However, building a business in Ukhrul has come with its own set of challenges. When asked about the difficulties of starting and sustaining a business in the district, Hungyo pointed to the lack of a reliable raw material supply chain. Glass beads, resins, precious stones, bones and crystal beads are among the materials she works with, but their fragile nature means they often arrive damaged.
The ethnic crisis and the accompanying economic blockade have further disrupted the supply of materials, delaying deliveries and affecting workflow. Hungyo also highlighted the lack of suitable spaces for shops and businesses, along with the large security deposits demanded by landlords. These barriers, she said, prevent many business ideas from even getting off the ground.
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Despite these challenges, Tangkhul Beads has developed its own approach to traditional jewellery through different orientations and designs. The inspiration behind this blend of tradition and modernity lies in making cultural ornaments more accessible to everyday wear.
Reflecting on her designs, Hungyo explained that traditional jewellery is often expensive and worn only on special occasions. By incorporating modern elements into her designs, she hopes to encourage people to wear traditional ornaments more regularly rather than reserve them for festivals and important events.
This approach also comes from a concern about the changing relationship between the Tangkhul community and its traditions. Hungyo points out that Western clothing and fashion have become increasingly common, while many young people, she feels, are growing disconnected from their roots and no longer take the same pride in their cultural heritage.
For Hungyo, the purpose of her work is not simply to expand a business or measure its success through growth. It is also about passion, self-reliance and the dignity of labour. She believes that working independently and putting one’s skills to use can be more fulfilling and efficient than working under pressure. Rather than depending heavily on imports, she advocates greater creation and production from within the community.
For her, preserving heritage also extends beyond the ornaments themselves. The incorporation of folk songs into her work reflects a traditional way of life in which music and singing have long been intertwined with daily labour, leisure and community life.
Hungyo traces this connection to her grandmother, Changpuila Phungshok, who taught her the Hao laa, or Tangkhul folk music. These songs, she explains, are associated with different aspects of life, from working in the fields and eating meals to festivals, gatherings and death. Her grandmother knows these songs by heart and has passed them down through generations.
“We are working on an initiative to preserve all these folk songs. I believe our people are singing people. I have observed my grandmother, and she always sings from the moment she wakes up, to when she cooks, when she carries her grandchildren, and even when she sleeps. She cries and sings when she is sad, she sings when people die, and also sings while smiling when she is happy,” Hungyo says.
“This has been passed down to my mother and her siblings. I even remember singing folk songs with my mother while working in the paddy fields,” she adds.
For Hungyo, these memories reflect how folk music is not merely something performed on special occasions but a living part of everyday life. Just as traditional jewellery carries the identity and artistry of a community, these songs carry memories, emotions and knowledge passed down through generations. Her efforts to preserve both reflect a desire to keep these traditions relevant to the lives of younger generations.
Tangkhul Beads has received awards in recognition of its work, including the All Manipur Art, Culture and Sports Development Society Peace and Communal State Award in 2022, the Bharat Ratna Dr B.R. Ambedkar National Award 2026 and the Bharat Ratna Dr B.R. Ambedkar International Award 2026. The studio also won first prize in the folk song competition held during the state-level Shirui Lily Festival in 2025 and represented Manipur at the National Tribal Music Festival that same year.
Yet, preservation does not rest solely on the efforts of individual artisans or initiatives such as Tangkhul Beads. It also depends on the people of the community and the choices they make in their everyday lives. Even those who do not actively participate in preservation efforts can contribute by supporting local artisans and choosing to wear and use what is made within their own community.
In bringing together traditional jewellery, contemporary designs and folk melodies, Hungyo’s work is a reminder that heritage need not remain confined to the past or be brought out only on special occasions. It can continue to be worn, heard and practised in everyday life, passed from one generation to the next, one bead and one song at a time.
