Weaves woven by Boros in
Kokrajhar, Assam
Spoken for
Asagi and Baisagi were two sisters who were adept at weaving. If one sister depicted a scene of nature- hills, flowers, birds, "oh look at that flower", the other sister used to weave the same. These is how it is believed that motifs of Boro weaving tradition came to be. To this day, Boros are always close to nature and try to incorporate whatever they see as part of it.

Agor - flower design
Hajw - hill design
Kankrikola - a type of gourd "bhaat karela”
Parrow Megon - pigeon's eye - name of a flower

These are some of popular Boro weaving motifs. Any booti or phuta or flower motif has a common name, Agor.

I got an opportunity to work with Indigenous Boro or Bodo tribe, another variant of Kachari tribes of Assam. Bordering Meghalaya hill regions, Bodo tribe has become an interesting confluence of other communities, including Garo and traditional Ahoms. Hindu and Christian beliefs too walk parallel, and only become visible during the festival celebrations. The term Boro is believed to have been adapted from a Tibetan word that associated its meaning to “human” in general, but “man” in particular, lending this tribe its characteristic patriarchy. When women weave and earn their livelihood in a tight patriarchy system, it is more than just being an artisan. They are survivors. Retaining their cultural weaves in the midst of constant adaptations to changing society also deserves credit. It is for their resilience and strength that Bodo women are most famous. Second to that, is their weaving.

These days, many young Bodo women are compelled to leave their homes and find weaving jobs in neighbouring states. Local weavers demand way more money for their effort than Bodo weavers. They sometimes have to work for little money and poor living conditions. As soon as they get married, they are brought back home and they begin their life as a householder.

In the middle of chaotic fight for existence at many levels, including struggle for Bodoland, Bodo weavers with their resilience have kept the traditional loom going. I hope they continue going the traditional route instead of giving in to quicker alternatives of Jacquard looms. Their traditional garments, Dokhona and Bodo Aronai have already been compromised to Jacquard looms to some extent.

Buyer Empowerments

Indigenous textile product, Involves traditional handloom weaving
One of a kind wearable textile. To contrast the weaves of Boro tribe, I created borders to let the colours emerge and speak for themselves.
Weather/ Mood
Pleasant- okay for summers to nippy evenings
Not fragile
Dry Clean only; Needs “Airing” in shadow, not direct sun
Ready to wear
Mill spun mercerised cotton yarn with Azo-free dyeing
Grassroots production. Weaves made by artisan at home in available time- supporting farming lifestyle.
Casual, elegant, comfort
Fabric: Cotton sourced from Salem, Tamil Nadu.
Stitched by Gurmel Singh, Jalalabad, Punjab.
Beadwork by Param, Bathinda, Punjab. 
Imperfections in the weaves reflect handmade
Irregularity in the dyes reflect natural process
Innocent spots in the textiles reflect being homemade
A work of nature cannot be sterile and error-free
A choice to still buy what we make is a step
Towards supporting original culture
Of people
Of nature
Of craft

A celebration of humanness.
Mora Collective 2024
designed by: MIDTOAN