Neten Dorji

Pemagatshel—Nima Seldon, a 50-year-old artisan from Thongsa village in Chongshing, is a master weaver of cotton cloth, known locally as Mongan Khamung. Despite her skills, she fears for the future of her craft. Like many in her community, she learned this tradition from her parents, but today’s younger generation shows little interest in carrying it forward, threatening the survival of this time-honoured art.

Nima Seldon is among the few families in Thongsa who still produce traditional cotton items to sustain their livelihoods. Located north of Denchi, the village is about a 45-minute drive from town. Many artisans have abandoned this labour-intensive craft for easier alternatives, such as weaving with imported materials.

“It is not easy to weave cotton cloth; it is an arduous and lengthy process,” Nima explains. “With the scarcity of cotton in recent years, we haven’t received fair value for our efforts.”

For centuries, women in Thongsa have skillfully extracted cotton fibers, spun them, and woven traditional garments such as gho, kira, Toe-gho, and table covers. To create these various items, they developed lightweight spinners that allowed them to spin thread while managing household chores or walking.

Reviving the culture of cotton cultivation has helped proliferation of cotton weaving culture

“Every household was expected to weave cotton clothing. Besides making garments for their families, people also wove items for sale,” says Tshering Peldon, a 40-year-old local resident. “Sometimes, we even gifted them to relatives.”

There are two types of gho and kira—plain and colored. The locals use natural dyes, avoiding artificial coloring. However, weavers express concern that not many people are aware of the benefits of wearing cotton clothing.

Process

The process of making clothes from cotton is labor-intensive. Farmers cultivate cotton plants in their fields, often practicing shifting cultivation to enhance their harvests.

After harvesting, they use a tool called kreshing to separate the seeds from the cotton. To soften the cotton, they employ a tool known as likhang, which resembles a bow. Next, the cotton is spun into thread using a spinning wheel called sondaring.

The thread is then dyed in various colors using natural materials sourced locally. These dyes are derived from plants such as joong (known as yonga in Dzongkha), yang shaba (Yang leaves), and zim shaba (Zim leaves).

Namkha Wangmo explains the dyeing process: “We have to boil the cotton with these materials and ashes. Then, we apply our knowledge of primary colours and mix them to achieve other desired colours. Such knowledge has been passed down from our ancestors,” she laments.

Weaving

The kamthagma products are woven using traditional Bhutanese techniques on looms. The materials needed to weave cotton cloth are similar to those used for any type of fabric weaving.

In the past, women in the community would gather to weave together, as working alone at home often felt monotonous. “We used to sing tsangmo to pass the time and overcome the boredom,” recalls Shacha Peldon.

When asked if there are specific songs associated with cotton weaving, she explains that there are none. Instead, the tsangmo reflects elements of nature. The women continue to sing or engage in other activities based on their mood and interests while weaving.

Today, interest in cotton weaving among the younger generation is dwindling. However, the elders remain optimistic about the future of their age-old tradition. They note that the Agency for the Promotion of Indigenous Crafts (APIC) is providing support by introducing machines that separate seeds from cotton, significantly reducing the time required for this labor-intensive process.

Support

Thongsa Chiwog Tshogpa, Kelzang Jigme, noted that the recultivation of cotton and machine support from the Agency for the Promotion of Indigenous Crafts (APIC) have revitalised the cotton weaving culture. “When rural people receive support from such organisations, not only do the elderly become more interested, but the youth also step forward to learn their age-old tradition of weaving,” he said.

According to the gewog administration, reviving the culture of cotton cultivation has reinvigorated the traditional weaving practices in the area.

Chongshing Gup Pema Dorji emphasized the community’s longstanding connection to cotton farming and textile production, stating, “For generations, the Thongsa community has farmed and produced textiles from their cotton fields.”

He recounted that in 2011, only four elderly women were still growing cotton. However, thanks to APIC’s support, that number has increased to 18 growers, ensuring the tradition continues into the future.

Moreover, the community has received training in dye-making and color mixing. As a result, residents have begun weaving a variety of garments, including sertha, mathra, adang mathra, pangtse, and pangtse Thakra. The cultivation of cotton and the art of weaving have been practiced since ancient times, with knowledge of these crafts passed down from parents to children.