CONTENT

INTRODUCTION

1st para: Meaning, translation, definition- size, material, purpose of usage 2nd para: places visited- Thenzawl and Aizawl, geographic location, population, language spoken, general lifestyles of the people, brief reason why I have chosen the two places- why it being a hub for weaving, factual number of weavers.

HISTORY Brief intro- division of the Mizo history according to political events.
Pre-British Expedition

1st para: Myths of origins of the Mizos- migration, social structure/stratification-the then existing social hierarchical system, religious beliefs and superstitions- Panthesim 2nd para:lifestyle and of the people-agriculture and animal pasturing, shelter and clothing of the people, purpose of weaving- to cloth oneself and family, how puan was worn, similarity of wardrobes- men wearing puan then,men honoured with symbolic puans, pre weaving and weaving techniquessimple and natural.

Post-British Expedition

1st para: Birth of Lushai- adoption of the Roman script, religionconversion to Christianity, westernization- introduction of the blouse and puan worn as a bottom garment, men wearing trousers 2nd para: Purpose of weaving changed- market, mechanization- import of frame looms, changing face of the Puan- diverse colour palette and patterns

Mizoram : An Independent State

1st para: Literacy rate shot up- women giving up weaving for white collar jobs, the indigenous colour palette of the puan adopted as the symbolic colour theme for all social and political associations. 2nd para: rise of small-scale weaving industries- employing the Burmese refugees, use of graph paper- peak of pattern experimenting.
Contemporary

1st para: Living traditions and customs in association to the symbolic puans- occasions, consistent demand of puan- puan as an evergreen garment for women 2nd para: loin loom- a silent surviving tradition, trends VS traditionreviving old patterns, traditional patterns as trends, home weavers- who, why and when do they weave, their approach towards patterning and colour sensibilities.

PROCESS

Brief intro- original process- spinning, dying and weaving, conditions of change in the work rhythm, division of process and techniques according to history
Pre-British Expedition

Brief into: lifestyle- women in agriculture, household chores and men in hunting, carpentry, other social activities simultaneously involved while preparing various stages of puan- smoking pipe, singing, household chores, mothering children, simple living- subsistence mode of production, other social activities simultaneously involved-smoking pipe, singing, household chores, mothering children SEASONAL WORK CYCLE CHART working hours- dusk to dawn, work according to climatic conditions, festivals- celebrations of harvests/agriculture

PRE WEAVING Ginning: cotton harvest, tools and materials- mechanisms, different stages of ginning- where and when cotton was prepared- inside homes, work spaces Spinning: tools and materials, work space- outside homes, working time- under sunlight, body postures, tools- mechanisms Dyeing: raw materials- organic, where they were sourced from, colour palette, tools, making dye-baths, preparation duration- combing, washing, drying

Warping: work duration- morning till afternoon, labors- family members, number of people involved, warping pattern WEAVING Weavers- women and girls, weaving structures- plain weave, extra weft, simple patterns- inspirations, for whom?
Post-British Expedition

Brief intro: change in the face of puan- import of yarns, varied colour palatte and patterns Post Independence and Contemporary Brief intro: industrialization- imported frame looms, establishing mills, weaving as an employment, dying number of subsistent weavers PRE WEAVING Scouring: labour- individually done at homes, materials from kitchenvessels, maida Warping: labour- families get together to work, family safeguarding tradition

WEAVING Working duration- keeping up with church services, families, chores, purpose of weaving- for whom, following trends, posture, working condition- using window grills to set up loom and for sufficient sunlight

CLASSIFICATION OF PUANS Social beliefs and sayings, age old tradiotions, description of prominent puans, symbolism- patterns and inspirations, colours, changing face of puan, men-the beholder of puan, also a reflection of status CHURCH: PROTECTOR OF THE PUAN Bing the highest authority- mindset of the people, puan being considered as the most formal attire, puan suiting the attire as a Sunday dress, tradition equating to the classification of elegance, value- the art of the craft

CONTENT
INTRODUCTION HISTORY y y y y Pre-British Expedition Post-British Expedition Mizoram : An Independent State Contemporary

PROCESS y y Pre-British Expedition SEASONAL WORK CYCLE CHART

PRE WEAVING Ginning Spinning: Dyeing Warping: WEAVING

y y Post-British Expedition Post Independence and Contemporary

PRE WEAVING Scouring Warping WEAVING

CLASSIFICATION OF PUANS CHURCH: PROTECTOR OF THE PUAN