Threading Narratives

Gross National Happiness (GNH) Index, a term and policy developed during Bhutan’s previous monarch’s reign, covers tangible measures of quality of life that are meant to impact economic development. With its population of approximately 700,000, and fiercely protective land rights (no foreign ownership), tenets of measuring GNP in Bhutan has also resulted in the admirable support of cultural diversity and resilience, which is equally weighted against the other eight domains; psychological well-being, health, education, time use, good governance, community vitality, ecological diversity and living standards.

The story of weaving (thagzo) in Bhutan is a testament to its cultural diversity as its people continue to celebrate and wear traditional dress with rich regional variety. Here, budding – albeit challenged – social enterprises are revisiting traditional and natural dyeing. Over a span of a few days, we were privileged to see this art distilled through discussions with curators. Our immersion into thagzo begins at Le Meridien Paro, surrounded by lush landscapes and crystal-clear water – a key ingredient for quality weaving. The valley of Paro offers quiet encounters with fresh produce, baby yak wool shawls akin to cashmere and boutique textile shops. From here, the journey leads to weaving studios in the old capital of Punakan, numerous other boutiques in Thimpu, a host of temples with magical lineage, a visit at the Royal Textile Museum.

Weaving is one of the 13 traditional arts and crafts of Bhutan, being a source of economic benefit and enhancing national pride and identity. The process takes place informally in the homes of women in rural communities, allowing them to gain valuable income. Textiles are also produced in studios, mostly in urban centres of Thimpu and Paro, although a select group have their persona weavers.

Being distinctly feminine, weaving is intertwined with mysticism. Many customs are carried out prior to the start of a project to avoid negative energy and to secure successful production. This relation to mysticism can be seen in the dyeing process also. The belief that strangers must not observe or know about the dyeing recipes reflects sensible concern. Some weavers will burn chilli during the dyeing process to create acrid smoke and keep strangers at bay.

Textiles have a long history in Bhutan, and are closely tied to Buddhism. Its rich motifs and patterns usually contain religious associations. While written records are scant, the oral traditions prevail and the story goes that a 13th-century queen had encouraged weaving. Her own exceptional talent left a legacy and advanced the heritage of textiles and weaving.

The Wangchuck dynasty of the 20th century further intensified the importance of weaving, with many influential queens and princesses becoming role models – being proficient in the art themselves – and promoting weaving, right up to the establishment of the Royal Textile Museum in 2001.

A large variety of materials are used in order to cultivate Bhutanese textiles, including nettle fibres, cotton, silk, sheep’s wool, yak hair and yak wool. The surge of important materials has led to a far greater selection of materials available in Bhutan, with more available choice for weavers. As a rule, Bhutanese textiles are particularly notable for their bright colours, motifs and patterns, though natural dyes create more subtle and dreamy shades. These textiles generally reflect advanced methods and techniques of weaving. Patterns are varied and diverse, ranging from the simple to the highly elaborate – the latter often taking years to complete.

There are three main pattern groups: plaid, warp and weft. Plaid patterns involve the crossing over of alternating colours in the warp and weft, forming plaids. Warp patterns are formed by alternating supplementary warp threads with the weft threads remaining the same. And weft patterns are the most complicated and labour-intensive of the patterns, and thus the most famous and the most expensive.

With the revival of traditional dress and woven textiles, Bhutanese now comply with a decree to wear their national dress in public spaces, such as temples. This was largely in reaction to modernisation and the impact of globalisation in Bhutan. In order to preserve and emphasise its national identity against these changes, textiles became even more significant to society. Steeped in tradition, with strides to create a relevant and sustainable textile culture, the art of weaving here in Bhutan promises good fortune and beautiful wear through private and public collaboration.

Images courtesy of Bhutan Textile Museum, Colours of Bhutan and Le Meridien