Villages

Spiti Valley Architecture
Antique home in Mane village, Spiti | Photo: Kimberly Moyle

Spiti Valley Architecture

Himkatha

Spiti valley’s villages are home to a relatively intact vernacular architectural tradition. Rammed earth Tibetan-style architecture dots the awe-inspiring landscape through a series of scattered settlements. The intelligent bio-climatic design has enabled the local people to inhabit this harsh landscape for thousands of years. Surrounded by snow capped peaks on all sides with the Spiti river meandering along the wide river valley, the region has gained a reputation for stunning scenery and is now a popular tourist destination. The influx of tourism however is bringing rapid changes both economically and culturally. Economic development is welcomed, however, the loss of precious cultural heritage through the destruction of traditional architecture is of concern.

The traditional architecture of the region evolved to make use of abundantly available resources for construction along with an in-depth understanding of their thermal properties. Materials were combined with intelligent design to ensure the creation of living spaces that provided optimum thermal comfort to residents throughout the changing seasons. All of which required a thorough understanding of the natural world around them. The shift towards modern industrial systems of construction can be seen as a rupturing of that direct connection with nature. Construction materials are now purchased from stores and sourced from distant lands. The knowledge on how to use them is sought from architects and engineers. The traditional wisdom of elder Master Artisans is on the brink of being lost as people transition to the industrial system. Now is the time to reflect and consider whether it is the right path.

Architecture is an expression of culture and in Spiti Valley, it reflects Spitian culture whilst identifying their inclusion in a much larger Tibetan ethnic community scattered across the Trans Himalayas in the region now known as India and Tibet. Historically, however, for almost 900 years they were connected as part of the great Tibetan Kingdom of Guge.

Materials & Construction Methods

Spiti Valley is classified as a hyper-arid desert wherein precipitation is predominantly received as snowfall in the winter. Trees are scarce and as a consequence timber is used sparingly in construction. Stone and soil are found in varying abundance and are employed using different construction techniques according to their prevalence in a specific location. In the lower Spiti Valley, in Nako village, stones are prolific, and timber is more accessible from the forests of nearby Kinnaur. Here homes are typically made of stone masonry with mud mortar and often incorporate ornate timber balconies or sunrooms. In the villages of the upper regions of the valley such as those in and around Kaza rammed earth is dominant and the use of timber is much more frugal. Pin Valley experiences higher levels of snowfall and as such their homes feature dry stone masonry on the ground level. To prevent damage to the home from snow melt. The arid desert climate in combination with scarce timber availability has resulted in the use of flat mud roofs across the entire region. Rammed earth as a construction method requires very little water compared to other earthen construction techniques such as adobe or cob, It is no coincidence that this is the favored technique in this desert region. The use of adobe for the building fabric can also be seen, though infrequent as it is recognized as being more labor-intensive.

View of a narrow alley in Nako, Kinnaur | Photo by Kimberly Moyle

Seasonal Migration Indoors

Typically homes are large and spread over multiple levels. Seasonal migration within the home occurs as an adaptation to the extreme climatic variation experienced between summer (+30°C) and winter (-30°C). In the summer months, families inhabit the upstairs portion of their homes. Larger windows on this level allow for the penetration of the bright summer sun and views of the fields outside. A large room known as a Makang (summer room) is the summer socializing space where cooking and entertaining take place side by side.  Ceilings are typically higher and families may have separate rooms for sleeping.

In the winter the entire family migrates downstairs to one room known as the Yokang (winter room). For the entire winter period, the family will sleep, socialize, cook, and eat together in this one room. Cooking and heating occur simultaneously on a Tandoor that takes center place in the room.  Efficient use of scarce timber resources for heating is essential and this practice has evolved in response. Cohousing with animals in adjacent rooms is another design aspect that takes advantage of the natural warmth produced by the animals, generating warmth inside the house whilst at the same time providing shelter and protection for the animals from the extreme climate outdoors.

Bio-Climatic Design

The need to survive the harsh winters in this remote location has seen the evolution of a highly intelligent system of bio-climatic design. Traditional homes have been constructed with a deep understanding of the regional climate as well as the specific site conditions. Certain design elements can be seen replicated in homes throughout the entire valley. Where possible homes are located on hillsides with a south-to-southwest facing orientation in order to take advantage of passive solar gains. Winter rooms have lower ceilings to ensure the precious heat generated remains close to the inhabitants. In the oldest of homes, winter rooms do not have any windows, instead, they would have a single ventilation point in the ceiling through which both light and smoke would enter and exit respectively. In more modern homes small windows are common. The northern aspect generally receives cold winds, as such openings on this wall are avoided. Wall thickness is generally between 18 and 24 inches. The thick thermal mass provides a thermal lag preventing the extreme cold from being transmitted inside the home.

Traditional house in Spiti Valley | Photo by Kimberly Moyle

Case Study of a 150-year-old Home in Kwang Village, Spiti

Located in Kwang village on the southern bank of the Spiti river directly opposite the main town of Kaza Sonam Tashi’s ancestral home provides an excellent example of intelligent bio-climatic design. The following case study will be used to demonstrate key elements incorporated to ensure the highest level of thermal comfort for the occupants.

The Yokang is located in the center of the ground floor and is insulated from the extreme cold outdoors on all four sides by a series of rooms. On the northern side is the Thaah, a cavity of a few meters occupying the full height of the home. This is utilized as storage for fodder such as dry grass and crop residue. Serving the dual purpose of feeding the livestock through the winter whilst also providing excellent insulation to the Yokang. The western side of the house was used for housing livestock during the winter. Strategically chosen according to the westerly sun trajectory, providing warmth for the animals, in turn, the warmth generated by the animals provides yet another layer of insulation to the inner Yokang.

The main entrance and stairwell to the first floor are housed on the southern side as is the Chak-sa the traditional dry toilet system, with the catchment on the ground floor in a sealed room accessible only from the exterior of the house. The eastern side incorporates a small room for making aarak – the local alcohol made from barley, next to which is a granary room accessed only from a hole in the first floor above, it is utilized for storing barley grains. To the south of that lies another small room used as a nursery for young livestock. Being surrounded on all sides the central Yokang does not have any windows to the outside. The only ventilation comes from a single hole in the center of the

ceiling used for both daylighting and ventilation for the tandoor. Before the introduction of modern time keeping devices, the beam of light projected through the ventilation shaft was also used to tell the time. Limited ventilation to the exterior ensures the least amount of heat loss.

The first floor is home to the Makang and the Zot (store room).  Both of these rooms are located on the western side. The zot on the northwestern corner is traditionally used for storage and the Makang on the southwestern side as a summer living room and kitchen. The area directly outside the southwest room was also used as a kitchen with a cavity for storing dried animal manure, a precious fuel source for cooking and heating along with timber. The dry toilet room is located on the southeast corner of the house. On the eastern side running between the fodder storage and the Chak- sa (dry toilet) is the Kanmo, a covered sitting area with the western side fully open to the uncovered central courtyard. This space was often used for recreation, to enjoy the warm summer sun, for drying grains, and for sleeping outdoors on warm summer nights.

Development & Change

Despite having such a sophisticated and rich architectural heritage there is currently a mad rush for modernity that is taking place in Kaza the main town in Spiti. A reinforced cement concrete (RCC) home is viewed as a sign of social mobility, and cement plasters are a fashion trend. The last five years have seen significant change throughout the valley. The tourism sector is booming. So is the construction industry as people race to take advantage of the short but hectic summer season that at its peak struggles to cater to all of the tourists passing through. In Kaza the main town, traditional earthen homes are being torn down and replaced with multistoried RCC buildings. Pride in traditional architecture is being lost as some desire to show their success and social mobility through their capacity to build a modern ‘Pukka’ Ghar or Hotel just like those in the cities.

Most people are all too aware of the unsuitability of RCC structures to the extreme cold. This has led many to a hybrid system with an RCC frame and mud block infill. However, the durability of RCC under extreme climate is questionable. Already cracking and powdering of cement are visible on areas exposed to freeze and thaw cycles of snowmelt. This leads to the question: what if this grand experiment with cement fails? Where will all of that waste material go in this pristine, yet fragile mountain landscape? One of the most astounding aspects of traditional architecture in Spiti is its recyclable and biodegradable nature. It is normal for an old house to be torn down only for all of the materials to be reused once again in the new house. Rammed earth is considered to be even stronger the second time around. In the dry climate of Spiti even Tillu  (timber beams ) and Thap, the shrubs used in the flat mud roofs remain in good condition even after 60+ years of use, and may be reused in the new build. Even if they can’t be they offer a good source of fuel for the fire. Nothing is wasted.

Sustainable construction with a low ecological footprint was mastered by the people of Spiti centuries ago. The world has a lot to learn from them. Sadly, as the younger generation moves towards industrial materials and hybrid systems the traditional wisdom honed over centuries and handed down over generations is at risk of being lost. Now is the time to learn from the experienced elders and ensure this precious intangible cultural heritage remains alive and not just a pretty picture captured in vintage photos of a time long ago.

RCC based construction in Spiti | Photo by Kimberly Moyle

References
Auer, C.E., 2017. Measure for measure: Researching and documenting early Buddhist architecture in Spiti. Revue d’Etudes Tibétaines, 41, pp.181-201.
Joshi, P., Phartiyal, B., & Joshi, M. (2021). Hydro-climatic variability during last five thousand years and its impact on human colonization and cultural transition in Ladakh sector, India. Quaternary International, 599, 45–54. https://doi.org/10.1016/j.quaint.2020.09.053.
Sharief, A. et al. (2022) “Landscape use and co-occurrence pattern of snow leopard (Pantherauncia) and its prey species in the fragile ecosystem of Spiti Valley, Himachal Pradesh,” PLOS ONE, 17(7). Available at: https://doi.org/10.1371/journal.pone.027155

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Kinzin Racho

Kinzin Racho

Himkatha

Watch a 200-year old ritual performed in Rangrik village on the third day of Spiti Losar (Spitian New Year) remembering the village deity who appeared as a magnificent ibex. Kinzin Racho Halema meaning, the splendid horns of the ibex, is the song sung across Spiti valley in the first week of the Spitian New Year.

स्पीति लोसर (स्पिटियन नव वर्ष) के तीसरे दिन रंग्रिक गांव में एक शानदार आइबेक्स के रूप में प्रकट हुए गांव के देवता की याद में मनाया जाने वाला 200 साल पुराना उत्सव देखें। किंज़िन राचो हलेमा जिसका अर्थ है, आइबेक्स के शानदार सींग, स्पिटियन लोसर के पहले सप्ताह में गाया जाने वाला गीत है।

Singer: Yangchen Dolma
Additional footage: Tanzin Thinley and Kesang Chunit
गायक: यांगचेन डोल्मा
अतिरिक्त फ़ुटेज: तंज़िन थिनले और केसांग चुनिट

1200 702 Himkatha
Tepang – the Pride of Kinnaur
Kinnauri Tepang | Photo: Anuradha Miyan

Tepang – the Pride of Kinnaur

Himkatha

Nestled amid beautiful gigantic mountain ranges, Kinnaur is one of the most picturesque districts of Himachal Pradesh. Owing to its geographical proximity to Spiti and having been historically part of Rampur Bushahr, Kinnaur inhibits the unique cultural amalgamation of Buddhists and Hindus. One of the defining features of people living in Kinnaur is their vibrant traditional dress and the unmistakable headwear Kinnauri Topi which forms an integral part of the whole attire. The headwear is colloquially called “Tepang” or “Khunnu Tiwi” and is different from the Himachali Topis of Shimla, Kangra, Kullu, and Chamba. The design variations and the aesthetics of this headwear represent different parts of Himachal where it is worn. The Bushehri (Rampur region) cap is plain maroon in color with the same design as the Kinnauri topi, the Kulluvi (Kullu-Manali) topis have vibrant multicolored stripes, and the Kinnauri Topi has unique green velvet color and the ones worn in Kangra is a deep saffron color.

Made up of local wool yarn with velvet green stripe, it is adorned with beautiful wildflowers among which the bright white colored flower seed called “Chamakha” ( oroxyllum Indicum) is preferred among locals. The flower is not indigenous to the region and is mostly found in the lower Himachal region like Mandi, Palampur, Bilaspur, Nalagarh, etc. The usage of Chamakha flower seeds became popular in Kinnaur because of the flower’s resilient qualities – once plucked from its pod, the flower seeds don’t get spoiled and can last for years without getting dried.

Kinnauri Tepang

The Chamakha seeds are split open from their’s pod and a bundle of seeds called “Dalang” is strung together on a green, and red thread and is fixed on the Tepang. Apart from that, the cap is also accessorized with peacock feathers, marigold flowers, or the dried petals of the rare Himalayan Brahma Kamal (Lotus). However, the use of Chamakha flower seeds as well as the Brahma Kamal is decreasing as these flowers are endangered.

Kinnauri Tepang forms an integral part of their identity |  Photo: Tanzin Palkit

In the olden days, the Tepangs were domestically made at home by all households but the weaving tradition has become less popular nowadays and it is woven only in a few cluster villages like Leo, other parts of Hangrang valley, Pooh and Reckong Peo. Unlike Kinnauri Shawl and other traditional dresses, the handweaving tradition of Tephang disappeared among general people and is now kept alive among a handful of skilled artisans and weavers. In recent years, machine-made Topis are also getting more popular in Looms and handicraft centers in Lower Himachal. However, the difference between handwoven and machine-made topis is so stark.

There’s a huge difference in terms of material, quality, technique, appeal,  garment feel, and usability. The handwoven Topis, although takes a long time to make and is more labor intensive, the overall usage and desirability isare higher due to warmth and durability. A topi once woven can last for years till its natural wear and tear, while the usage of machine-made topis is more popular among non-locals and tourists for it is also treated as a souvenir. The native Kinnauri people always prefer the handwoven ones for it has far more value than their materiality.

The use of Tepang is ubiquitous across all villages of Kinnaur and locals people take great pride in wearing it. The local communities lovingly refer to it as their crown, symbolizing communal pride and prestige, and they believe it upholds their indigenous cultural values. It is worn both by men and women on a daily basis and during festivals, ceremonies and occasions, people heap it with all kinds of floral adornments. There’s also a tradition of gifting Tepangs to one’s special guest and during weddings as ceremonial gifts. The use of Tepang has percolated so deeply in the collective consciousness of Kinnauris that it not only holds significant cultural value but is also seen as a defining part of their identity.

“One of the defining features of people living in Kinnaur is their vibrant traditional dress and the unmistakable headwear Kinnauri Topi which forms an integral part of the whole attire.”

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Spiti’s Handwoven Traditional Clothes

Spiti’s Handwoven Traditional Clothes

Himkatha

Clothes and identity are closely related: traditional clothes of a region reveal a lot about its geography, physical environment, climatic conditions, and cultural practices. The high altitude and cold weather conditions in Spiti have led to distinct clothing attributes of its people. Since most of the families are agro-pastoralists, the livestock people breed gives different kinds of wool like yak wool, sheep wool, and goat and that forms the natural source for most of the attire worn by the people. In the olden times, people wove handcrafted attires and ornaments from scratch but with increasing access to market and trade, wide varieties of fabrics and garments are available and the clothes designs are adapted with time. Let us share about some of the traditional clothes of the region:

 

Spitian Ghoey | Photo: Rabhi Kunga

1. Reygoi or Ghoey
Ghoey is a thick full-length robe worn by Spitian men. In the olden days, men would wear Ghoey made up of woolen material but with time, robes of thin fabric like cotton also became popular which is called Rey (thin cloth) ghoey (to be worn). The style of the robe resembles the Mongolian robe which overlaps on the right side and is buttoned from the left shoulder. Men usually wear a thin shirt or plain trousers to pair with it and the robe is finally secured by a wide belt around the waist made up of woven threads called Keera. These robes come in neutral shades of brown, maroon, dark blue, and black. With changing times, access to fabrics like silk and velvet has increased so a Ghoey can also be made up of silk, velvet, and other multicolored synthetic fabrics.

Spitian traditional dress: Sulma, Tsadar and Reygoi | Photo: Radbhi Kunga

2. Sulma
Sulma is a long voluminous traditional gown worn by Spitian women. It has a round neck and long sleeves. The dress flares downwards with multiple pleats which is why it is called Sulma which means; to gather, to fold, to fold into pleats. A thin undershirt is worn underneath and the Sulma is tied with a waist belt called Keera. The dress is fairly wide around the leg, making it comfortable for walking or working in the fields.

Spitian men wearing Reygoi. Photo: Rabhi Kunga

3. Bhal Sutan
Sutan is woolen or cotton trousers worn both by men and women in Spiti. It is made up of thick woolen fabric called “Nimpu” procured from the local sheep hair. The fabric is woven on a backstrap loom or foot loom, which can then be stitched into trousers of the desired style. Nimpu Sutan or bhal Sutan (woolen pants) is primarily worn under Sulma by women and under Reygoi by men. With changing times, Spitian women popularly wear it with a matching Salwaar or Suit.

4. Lokpa
Lokpa is a thick cloak-like garment worn by women. It is hand-strewn with sheep skin turned upside down with elaborate woven designs on the front. The local name Lokpa (meaning: to turn over) is reflective of the intricate process with which a seamstress makes it. It is extremely warm and is perfect for harsh weather conditions. The thickness of the garment also cushions the wearer’s back while carrying a heavy load on the back like firewood or fodder for livestock. Sometimes, newborn babies or even lamb kids are wrapped in the garment to provide warmth and comfort.

5. Lingzey
Lingzey is a traditional handwoven shawl worn by women on the back. It is one of the most vibrant and elegantly designed shawls woven by women on the loom and comes in a wide variety of colors and patterns. The base color can be red, white, or black where elaborate symbolic geometrical designs are handwoven. Motifs inspired by nature are common like local flora or fauna or religious motifs like stupa and swastika (to protect the wearer from evil spirits) or motifs of precious stones. Lingzey is worn during special occasions like marriage, ceremonies, festivals, rituals, or while visiting Rinpoches.

6. Tsadar
Tsadar is a plain woolen shawl worn by women on a daily basis. It is thin, light weighted compared to Lokpa, and is woven on a handloom called Khaddi. It is made up of goat or sheep wool and is usually found in toned neutral colors like beige, grey, off -white and black. It is the most functional piece of clothing and can be worn over Sulma or even drape babies in it. In the olden days, it was said that women were not allowed to go out bareback, wearing a Tsadar symbolizes one’s respect for the person you are visiting.

Lingzey - the multicolored shawl with traditional designs

“Since most of the families are agro-pastoralists, the livestock people breed gives different kinds of wool like yak wool, sheep wool, and goat and that forms the natural source for most of the attire worn by the people.”

Spitian bride wearing Lingzey (multi colored shawl) Lokpa (thick hand strewn green cloak) Sulma (brown gown ) and Tiwi (hat)

7. Tiwi
Tiwi is worn both by men and women. Traditionally, Nambu (yak wool) is the base fabric with which it is made and has goat or sheep skin lined underneath. Cotton or wool fabric is sewn inside for warmth with matching silk brocade. Golden or silver zari designs or threadwork can be supplemented depending on the need.

8. Lham
Lham refers to footwear worn by people in the high Himalayan region or more suitably to the boots worn in the nomadic region. Originally it was made up of yak hides but with time, it is adapted to canvas, jute, or cloth material. Lhams are decorated with rich embroidery and exquisite designs of dragons or snakeheads. The material, color, and fabrics used to make Lham showcase the craftsmanship of the creator. Men’s Lham is knee length and comes in handy while treading snowy mountains. It is worn with Ghoey-shan (Silk robe) by men and women wear a slightly smaller frame with Sulma. The usage of Lham has gone out of daily use and is now worn only during festivals or special occasions.

The garment and material used to make the traditional attire of Spiti symbolize the optimum use of local resources and fibers available regionally. During festivals and special occasions, this is adorned with elaborate pieces of jewelry like the vibrant turquoise Perak, the pearl-made Uldik, the Silver Docha, Dhikra (brooch), Khinyur, and Pitsup. Our traditional dress represents close cultural affinity with the Western part of Tibet and forms a big part of our cultural heritage.

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The Art of Weaving in Lahaul’s Upper Valleys
"Phang" - Traditional spindle | Photo: Rigzin Dorjee

The Art of Weaving in Lahaul’s Upper Valleys

Himkatha

In the higher Himalayan region, weaving is an ancient craft and forms an integral part of people’s lives. In Lahaul, weaving signifies a retreat into slower, simpler times amid icy cold weather when the farming works are at its lowest. There’s a saying in local folklore attributing weaving as visual art that reflects stories about people, their communities, and their place in the universe. It symbolizes the value of creation, interconnectedness, and rejuvenation. Weaving requires profound discipline and dexterity to untie complexities; it involves crossing two threads the warp and the weft, one vertical, and one horizontal, one stretched tight, the other intertwining the first. To produce a textile, the two threads need to be bound together otherwise, the weaving work will remain fragile. Hence in ancient Buddhist belief, a weaver is akin to a problem solver, someone who is adept at bridging silos and bringing greater connectedness.

Weaving is a traditional skill that’s passed down through generations and is practiced with great vigor in our village. Of the many products that are woven, Tsug-den (Tibetan rug) weaving remains the most popular with its elegant design and high pile, plush feel. In our village, the handwoven woollen carpets are called Tsug-thu or Tuk-tuk in villages around the Darcha side in Lahaul. Tsug-dens are unique handwoven carpets, that are woven on a backstrap loom called “Khaddi”. It is an extremely slow, time-consuming process, that involves a lot of hard work as each bit of the work is done manually – from livestock herding to wool shearing to cleaning, carding, spinning, and yarn making and finally weaving, the process can stretch up to a year.

Photo: Sherab Lobzang

Most families still keep livestock and the wool is shorn around March or April month. Wool from a single sheep is sufficient to make one pair of Tsug-den. It is then sorted and cleaned to remove any impurities, and further processing of wool is done in Shamshi in Kullu valley in Himachal. We take wool gunny bags in bulk and get them carded and de-haired before we bring them back for spinning and yarn making.

Spinning is done mostly during winter and much like agriculture, it is collaborative work involving a group of women. Wood-made traditional spindles called “Phang’‘ are used for spinning and great care is taken to get consistent, smooth yarn. The base of the weaving is done with cotton threads on a metallic or wooden loom Khaddi. The handspun woollen yarns are weaved in a knotting system where one thread is interwoven with the other on a loom. Once a row of knots is complete, a rod is hammered against it to tighten the row below. A weaver uses the blueprint of a woven carpet to weave complex designs and to ensure accurate shape, size, and alignment of the carpet. Black, white and beige sheep wool is used for tsug-den while the rare white yak hair is used for Challi (woolen quilt).

Motif of Snow Lion and Khorlo - a traditional design on a Tsugden

The elaborate designs and motifs on the carpet are inspired by lives in the higher mountains of Tibet and often nostalgically evoke themes of nature and the environment. Motifs of birds, flowers, and mythical animals are quite common- dandelions, native birds, Druk (sky dragon), tiger, ibex, leopards, snow lions, and yaks can be seen beautifully woven on the carpets along with motifs that have special religious, cultural significance like the mandala, four elements of nature (earth, fire, water, space), the Buddha’s vajra, Swastika and depiction of the precious stones Dzi and Gau (amulet). The motifs on the carpet are not mere designs but have larger symbolic meanings to it for eg: the depiction of the crane motif on Tsug-den symbolizes good luck, Yak motifs are reminiscent of nomadic life, dandelions, birds, and clouds depict one’s closeness to nature, the vajra is symbolic of Buddha’s enlightenment, tiger stripes symbolizes one’s prestige and wealth, while snow lion and sky dragons represent mythical creature from traditional folklore and phoenix is a sign of auspiciousness.

 “There’s a saying in local folklore attributing weaving as visual art that reflects stories about people, their communities, and their place in the universe. It symbolizes the value of creation, interconnectedness, and rejuvenation.”

Most families in Lahaul and other higher Himalayan regions own simple domestically produced Tsug-dens and it remains one of the most functional pieces of the item which comes in really handy during harsh winters. The usage of natural fiber and natural vegetable dyes also enhances the overall aesthetics of Tsug-den and it is one of the practical pieces of a garment whose luster, and sheen increases over the years with usage. One of the most appealing characteristics of the Tsug-den-making process is that it is the result of resource utilization in the most natural way. The entire carpet is handspun, hand-carded, naturally dyed, and handwoven where nothing goes waste and the final product lasts for decades, some even passed down to generations. One of the greatest wealth a woman can inherit from her parents is the traditional handwoven carpets, rugs, and quilts along with handwoven shawls. Weaving is not just a craft, it holds ample of material, and cultural value and the artwork on woven Tsug-den is symbolic of values, beliefs, and mysticism beyond our comprehension.

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The Sheep of Himalaya
Photo: Anuradha Miyan

The Sheep of Himalaya

Himkatha

Handloom and handicraft are an age-old tradition in Kinnaur (H.P) and have their roots in the ancient trade routes. The intricate designs and colorful patterns differentiate Kinnauri handcrafted shawls- making them a much-coveted textile product in India. However, the bulk of its history, symbolism, and contemporary relevance remains obscure. A history of textile production reveals interesting facts about the local environment, different modes of living, and cultural exchange. The Silk Road is the most famous trade route dating back five thousand years. Another lesser-known trade route connecting India, Tibet, China, and Central Asia is called the “wool road” which passes through Kinnaur and Kullu in Himachal Pradesh. The strategic location of Kinnauri weaving communities settled along the trade route inspired many weaving traditions across different states as well as took cultural inspiration from their trading affairs. Some of the most famous motifs and designs on the Kinnauri shawl bear a resemblance to Central Asian designs. The journey of wool trade and weaving traditions was truly iconic and drastically changed the destiny of the Himachali textile trade. Today, Himachali handloom stands amongst the foremost contributors of state revenue along with tourism and agriculture.

Traditional Kinnauri shawl and Topi worn by the bride and the groom

Growing up in Kinnaur, I saw my elders weave, knit, spin, and make yarn. Most women and young girls in my village knew how to weave and they owned the traditional weaving machine called “Khaddi”. Wool weaving and handicraft became indigenous to the region because of the cold weather conditions and women picked up the skill and nurtured it passionately. Most of the weaving, yarn-making, spinning, and knitting work happens during winter and the process is more collaborative. Since women made garments for self-consumption, it is common for one or two artisanal families to work together especially if it is a large-sized product like a carpet or a woolen quilt. I have always been passionate about handicrafts and after finishing my higher studies (MBA), the zeal was renewed all over again. I observed that although the women of my village – Labrang in Pooh tehsil of Kinnaur are skilled artisans, their products were used only locally within different villages of Kinnaur. There was no handicraft center in our village and given the difficult terrain, the market remains inaccessible to us.

I took a leap of faith and started “Sheep Of Himalaya” in 2019 with just two artisans from my village. The prime motive was to bring some visibility to Kinnauri handcraft on an international level and showcase regional craftsmanship.

Agriculture and cultivation of apples in our village orchards are primary vocations for most people but many women still rely on handicrafts as a secondary occupation to earn for themselves. When I broached the idea of building a clothing brand showcasing our traditional attire, there was a bit of reluctance from many artisans for they feared uncertainties. I took a leap of faith and started “Sheep Of Himalaya” in 2019 with just two artisans from my village. The prime motive was to bring some visibility to Kinnauri handcraft on an international level and showcase regional craftsmanship. While the artisans would weave mufflers, stoles, and shawls with vibrant Kinnauri designs and knit sweaters and socks, I would find market avenues for us. For me, the process proved a bit challenging as there were no established Kinnauri brands and our products were often mistaken for Kulluvi products which have better brand visibility. I took to social media to build a unique handicraft brand for Kinnaur and to connect with people who appreciate the labor of love.

Photo: Anuradha Miyan

Over the years, the enterprise found its feet as more artisans joined us in our journey from neighboring villages like Spillow and Kanam. We are now a proud all-women’s team with twenty-five artisans who are involved in the handcrafted and handloom business during our spare time. Kinnauri handicrafts and handwoven attire require dexterity that can be perfected only through patience and meticulous care while weaving.

To make a shawl, each thread is carefully pulled through the reed (part of the weaving loom that resembles a comb) and installed on a loom that forms the base for an entire textile to be woven. It is one of the most complex and laborious processes that an artisan undertakes. Given the complexity of designs, it can take up to three months to finish a shawl and it can cost around twenty-five thousand rupees for a single shawl. Widely known for their intricacy and finesse, Kinnauri shawls are unique and reflect indigenous designs. We use five key colors to design our attires – red, white, yellow, green, and blue which symbolize five elements of nature- earth, water, fire, air, and space. The elaborate geometrical and floral designs have strong symbolism and many of the motifs woven have religious significance like the representation of stupas in the border design of a shawl. Since many families are into livestock rearing, raw wools are sheared locally from goats and sheep for making yarn and weaving but in recent times, we have also started procuring Angora and Merino wool from Ludhiana.

Photo: Anuradha Miyan

Balzanu Pona or Pullans (grass slippers) is another traditional wear that is slowly disappearing from daily use and in fact, there’s only one artisan left in my village who can skillfully make it from scratch! The footwear is made out of fibers procured from the bark of wild bushes. The upper portion of the Pullan is handknitted with goat wool and is adorned with colorful patterns while the lower portion is made of hemp or Bhang fiber (Cannabis). We make all kinds of traditional wear including Kinnauri shawls, stoles, mufflers, sweaters, Pulla (socks), and Kinnauri topi (hats). It didn’t take us long to sell products online via Instagram/Facebook and soon we were getting international orders! We further expanded our product range and started making children’s wear, cushion covers, diary covers, and pouches – all while retaining our unique Kinnauri designs.

All the women artisans who are associated with us rely primarily on their traditional looms and work from their homes which at times, proves a bit challenging as they have to juggle agricultural work, and domestic works at home and are able to undertake handicraft works only during their spare time. I have been pleading with the H.P handicraft and handloom department in Shimla to open a handcraft center in Kinnaur so that it is easier for weavers and other artisans to organize for a mutually exclusive vision, gain training, exposure, procure raw materials, and boost the entire value chain. We have capable and hardworking artisans who are passionate about their work and with the right market opportunity and assistance from the government, they will soar high.

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Traditional Farming in Spiti

Traditional Farming in Spiti

Himkatha
After the snow melts on the high peaks around the villages of Spiti, the hard working people start their annual summer works - livestock are taken to the grasslands for grazing and people get busy preparing for agriculture season. Barley, potatoes and green peas are cultivated in the month of May and the crop is harvested at the end of August. It is then the valley gets a shade of green on its barren brown mountains.
Spiti receives very less average rainfall. The locals can not depend on rain for irrigation. The solution for this was found centuries ago and is still in practice. The melted snow water from the glaciers flows down in the valley and is directed through kulhs (water channels) to the fields.

This process takes hours of hard work. The villagers, mostly women, start curing the fields in the month of June when the small stems of green pea plants can be seen in the fields.

In old days, people cultivated only barley and black peas for self- consumption, but around 1960s, the H.P govt. started promoting the cultivation of green peas, potatoes and other cash crops. In recent years, the region is gaining keen interest on cultivation of sea-buckthorn; the wonder berries rich in vitamin C.
The concept of organic farming, which has become well known in the last decade, is not new to Spiti. Crops like black pea and barley still remain free from any chemicals. So the next time you have Sampa (local Spitian barley flour), you can be certain of its purity!
The green peas of Spiti are sold at a premium when they reach the market but people face the problem of connectivity. There is a major delay for the crop to reach the markets.
Despite many problems, the people of Spiti live with happiness and pride. They will be more than happy to have you as their guest. When my friend and I were trekking through distant villages, we tried to offer them money as a token of our gratitude for their amazing hospitality. No one accepted it and yet they asked us to come back again. We soon found a way to thank them. After saying bye to them, we would put the money in their pockets and run away!
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Reviving Organic Apple cultivation in Shalkar (Kinnaur)
Photo: Mayank Pathak

Reviving Organic Apple cultivation in Shalkar (Kinnaur)

Himkatha

Kinnaur valley in Himachal Pradesh is well known for their apple cultivation. These high hills provide ideal climatic conditions for apple crops with the requisite chilling season in the winter. An apple variety known as Malus Pumila is a widely grown cash crop in the entire Upper Kinnaur valley. Shalkar village in particular is known for growing organic apples that’s much coveted for it’s sweetness and crunchiness. However, organic cultivation hasn’t always been the default practice in the village. This change is inspired by one man’s zeal and subsequent community resilience for better farming practises.

Photo: Karam Singh Negi

Perched at the altitude of 3200 metres, Shalkar is one of the last villages of Upper Kinnaur region before Spiti valley starts. There are over 110 households in the village – most of them dependent on apple cultivation for livelihood. While apples produced from other districts of Himachal ripen by July, the Kinnaur apples grown at a higher altitude start ripening around mid September or sometimes stretching till November hitting fruit markets across the country just before winter. The apples produced here are bulk transported to neighbouring metropolitan states where it is sold at a premium rate. Like many apple producing regions, the farmers here use chemical fertilisers and pesticides for bulk production. The usage became particularly more popular in recent years. In Kinnaur, It begins during the flowering season and continues till harvest. Use of chemical pesticides like Tefgor, Malathion, insecticide like Rogor, Durmet and a wide range of fungicides like Lethal, Kashstin, Majestic became quite handy for farmers seeking higher yield.

Earlier, many farmers do not use pesticides and fertilisers; most of them cannot even afford these but in recent years, the chemical spraying has increased from doing twice in a year up to spraying seven times in a year. The rampant usage of pesticides deeply bothered Karam Sing Negi – a cultivator from Shalkar village. He became conscious of the long term health and environmental hazards of pesticides and was determined to find an alternative. He gradually minimised the use of harmful pesticides and other chemical fertilisers in his own orchard.

The apple worm | Photo: Chunnit Kesang

For a farmer whose livelihood is entirely dependent on his orchard produce it was a risky move but for Karam Singh, there’s no greater satisfaction than reviving natural ways of farming his ancestors practised for generations. Transitioning his orchard for organic farming wasn’t easy – it needed a slow but consistent approach. He started minimising heavy chemical inputs and used only animal manure, human waste and other biodegradable waste suitable for it. For the initial few years, there was no prominent change and the yields were low. But he kept moving on with the same approach – his land needed to heal and the soil, the plants needed to reach its natural equilibrium.

Photo: Mayank Pathak

Hearing his approach, His Holiness Lochen Tulku Rinpoche (Highly revered spiritual leader) advised everyone in the village to follow the same path. Rinpoche also shared Karam Singh’s concerns regarding long term ecological damage. Adopting natural ways of farming will not only restore damaged ecosystems but also will help avoid killing of small insects and microorganisms. Convincing everyone else in the village to avoid using pesticides and chemical fertilisers was challenging. Shalkar village comprised both big Zamindars as well as marginal farmers. The villagers had an internal community meeting regarding it and there were various opinions/reactions regarding it. Few agreed with the idea while others were concerned about low yield and low productivity which could eventually impact their own livelihood as apple orchards were subject to a lot of pests and diseases. After much discussion, everyone in the village unanimously agreed to avoid chemical fertilisers in their orchards. The villagers even hosted a religious ceremony seeking blessings from local deities for good harvest. Lochen Rinpoche inaugurated the “Jinshak” ceremony by scattering ash and manure in the apple orchards of Shalkar village and advising everyone to revive traditional farming practises. For the first 3-4 years, the apple yield from Shalkar village dropped drastically. With dwindling yields, there were many uncertainties – some farmers even struggled to pay school fees for their children. However, their resilience paid off when the apple orchards of Shalkar village slowly recovered and started bearing luscious apples again!

Photo: Karam Singh Negi

With passing years, the villagers experienced improved yield from their orchard and noticed the apples from their village are different from neighbouring Kinnaur villages. Apples grown in organic farms in Shalkar have a distinctive sweet, crunchy taste with a natural waxy exterior which even gained preference among bidders who are involved in large scale apple export business. The villagers are working towards organic certification which will help them gain due recognition in the market. This story of organic farming and community led change in a small himalayan village shows it is possible to grow pristine apples without harmful pesticides.

1368 912 Villagers of Shalkhar
Reflections on farming life
Photo: Panma Gyatso

Reflections on farming life

Himkatha

I was born in Hango (11,500 ft) which is a remote village in the Hangrang valley of Kinnaur. I am 72 years old and have spent my life in this village as an agro-pastoral farmer. Agriculture is very important to us. When I look back, I now realise that some of my most treasured memories of my village are related to agriculture and food. One of my favourite and most vivid childhood memories is from the time chulli (apricot) season arrived. Our village did not have any chulli trees, so our elders would go to the nearby village of Leo and get chulli for us. When they arrived, all the children of the village would run to the common ground to grab as much as possible in our little hands. Women would also find time during the day to enjoy chulli with each other under the winter sun. Relishing chulli was a communal affair. The seeds were saved to make prized chulli oil (750 ml for INR 2000/ USD 27).

Photo: Panma Gyatso

My other happiest memories are of the festivities and celebrations we had after the harvest. Until a few years back, we had an isolated winter in Hango. So we had to work really hard during the summers to ensure we had enough grains to survive the harsh winters. After gruelling work in the short summer season, the celebrations were especially sweet. Our harvest back then was of barley, potatoes, black peas and cheena/chize (local name). Cheena & barley were used to make flour for thukpa (soups) and salma (local bread). During the festivities we would make various dishes like tolopa, chulipanting (sweet apricot). Communally preparing and eating added exponentially to the taste of these dishes.

Barley was and continues to be used for making local alcohol like chhang and arak. No one, now, grows cheena. The seeds are also very hard to come by. It has completely vanished. Black peas & barley cultivation has also reduced and mainly taken over by the cash crops like green peas, apple, cauliflower etc. Due to increase in connectivity with the outside world, wheat and rice which were only heard of back in my days, have now become staple food. Salma, tolopa, chulipanting etc which were favorites of all age groups are now hardly prepared.

With our generation most of the traditional dishes are also fading away. I am hoping that we can slowly shift back to our traditional crops, as they grow best in our landscape, with focus on apricots for better economic gains. This way we will be able to ensure sustainable growth from agriculture.

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Agricultural Practices in Spiti Valley
Photo: Prasenjeet Yadav

Agricultural Practices in Spiti Valley

Himkatha

“Ney yotna chukpo sam, nor yotna mak”
“Those who have barley are rich, not the ones with money”
Spitian Proverb, Anonymous

Ever since my childhood days, I was very curious to know about the agricultural practices of Spiti valley – traditional crops we grow and how farming happens in a cold Himalayan desert. Like any Spitian youngster growing up I used to help my family with agricultural works whenever I am at home for holidays or during the peak harvesting season but I never got the opportunity to help them for the whole season. But last year, due to an ongoing pandemic, when I came home, I realized it was a good opportunity for me to understand agricultural practices first hand. I helped my family through whole process right from scattering ashes in the snow covered fields to prepare the field for ploughing to cleaning dried-up water canals before harvest season to helping during peak season of ploughing and harvesting. I also wanted to learn about the history of agriculture in Spiti valley and the elders in my family shared some interesting insights with me.

Photo: Lobzang Tandup

Traditionally, the people living in this valley grew barley and black peas for sustenance. They used barley grains to make Sampa (flour) or Arak (traditional alcohol). They also used barley and black peas to barter it with traders from Changthang who in turn would give Lena (Pashmina) and Khullu (Yak wool) in the 1960s however, things started to change in the valley. People started growing cash crops like green peas and potatoes as access to outside markets improved due to development of key roadways. Now, barley and black peas are grown only for self-consumption and are only a small share of the total agricultural production.

Agriculture in Spiti lasts only for six months. It’s the most crucial time for all the farmers. Although the sowing season starts only in April, the preparations start months before. The seeds are either procured or developed and stored safely during the winters. When the snow first melts around mid-April, the farmers plough their fields with the best resource they have – Yak or a pair of Dzo and seeds are scattered by hand, but these days people use tractors, ploughing machines and even tillers are used. Ploughing the field is a two person job, but sometimes the whole family can be seen in the fields helping out the parents. In Spiti, one’s family, relatives and friends are one’s greatest resources. Farming is very communal in nature. Everyone helps each other and sometimes even 3-4 families work collectively.

Photo: Lobzang Tandup

The system of communal farming helps ease the burden of marginal farmers who do not own Yak – they collaborate with Khangchen households (Zamindar family), borrow Yak for ploughing the field and in turn repay through their labour. Yaks are an effective but an expensive farming asset and not everyone can afford to buy and maintain them. The system works because it is based on a reciprocal relationship between Khang-chen (Big Zamindar) and Khang-chung (Small farmers) households and resource and labour are shared communally. Sometimes, the members of the Khang-chen household lend a piece of land for a few years to the Khang-chung household for farming. They do not have to necessarily repay through capital but the Khang-chung family can repay the benevolence through their labour works in the Khang-chen family – for instance, they can help the Khang-chen family during ploughing and harvesting season. This system is called “Shey” in Spitian.

The relationship between people, wildlife and nature go beyond utilitarian aspects. It is heavily influenced by cultural values and local practices around it. For instance, many Spitian households have unique names for their agricultural land which is a helpful marker of identification of one’s land and also carries meaningful ecological symbolism: “Chup- ja” (water-bird) is named for agricultural lands that resemble the shape of long-necked water cranes. “Ti-rik” is named for lands that resembles local barley-flour delicacy, “Dorgya-ma” is named for agricultural lands which is full of stones or pebbles owing to its hilly terrain, “Yur-yok” is referred to lands located beneath a water canal and “Phe-kak” (meaning half in Spitian) is often given to agricultural lands of “Khang-chung” families (small farmers) who gain their land after ancestral subdivision from Khang-chen family (big zamindari household).

There are a lot of farming songs and prayers that people hum while toiling in their fields. Farmers sing particular songs at every step. The songs have rich meanings related to farm works, weather conditions and comprises of odes and incantations towards local deities pleading for bountiful harvest. “Om Mani Padme Hung” – the holy Buddhist mantra is chanted while ploughing which symbolises farmer’s gratitude and compassion for Yaks and Dzos who toil so hard in our fields. “Laso- ho” is chanted in merriment to ease the stress and fatigue of animals when they plough in harsh weather.

As soon as the ploughing is done, the farmers wait for the first crop or sapling to grow a little before the cycle of irrigation begins (Yurma). This period is usually after 40 days from the day of sowing. Water is a scarce resource and there are local systems of water distribution and management called “Chu-rey” (water turns) entirely handled by women of the village. A group of women is appointed to take charge for the season to ensure timely, equitable distribution of water to each household. The Khang-chen (big zamindar) households have more access to water resources – they have frequent water-turns (chu-rey) and more water is allotted in their canals for irrigation. They also have more authority in decision-making as they are the original tax-payers of the land and have earned that right historically. Owing to scanty precipitation, irrigation becomes a daunting task – women get busy with watering works (Yurma) for over 2 months till the crops are fully ripe.

Photo: Lobzang Tandup

The green pea crop gets ready around June in low-lying villages (Kaza, Tabo, Rangrik, Pin) and August in villages in elevated regions (Demul, Komic, Langza, Hikkim, Kibber and Chicham) . These crops are then transported and sold in Delhi and other nearby states. The produce from Spiti is considered of highest quality as the farmers do not use any insecticide, pesticide or weedicide in their fields. Instead they only rely on animal and human waste as manure. The sweet taste of green peas from Spiti valley is the result of unique farming techniques and hard-work of the people who do not give up despite harsh conditions and scarce resources.

The cropping patterns of green peas and barley are different. Green pea, although is the primary source of livelihood for the farmers, requires much more work and tends to consume more water. Barley is a traditional crop of Spiti that is favoured more by farmers due to its low input requirements, better adaptability to harsh conditions and is considered drought/disease resilient. Barley crops and black peas (kala matar) can be harvested later around August-September when the work around green-peas is done. The remaining grass residues are collected to use for fodder or as a livestock feed for animals during winter.

Most Spitian households own a flat ground near their agricultural field called “Ul-tak” where separation of straw and barley (Khu-yuk) are done, cut grasses are brought and flours are grinded. The grains are finally stored in village. A group of women is appointed to take charge for the season to ensure timely, equitable distribution of water to each household. The Khang-chen households have more access to water resources – they have frequent water-turns (chu-rey) and more water is allotted in their canals for irrigation. They also have more authority in decision-making as they are the original tax-payers of the land and have traditional go-downs/storage called “Bhang” for better preservation.

Agriculture is the lifeline of Spitians and it is not just a livelihood means for us, but a way of life. Our tradition, cultural values and regional ethos revolve around agrarian practices. Many local Spitian proverbs (pera) are reflective of that knowledge. I am sharing few as recounted by elders:

Nyima dot la mata, Dotpa chung la mata
Do not rely on the sun’s warmth nor your appetite. This proverb talks about the importance of being alert, active and prepared when one is undertaking any agricultural work. When one leaves home in the morning for the field, a farmer has to be ready for any unpredictability – nor the pleasant heat of sun or one’s appetite at that point can be relied on.

Soye me phung, nyal phung
There will be agricultural loss not when you eat but when you sleep/laze around.

Ley betna, sey nyong
If you work hard, there will be a bountiful harvest.

Ney yotna chukpo sam, nor yotna mak

Those who have barley are rich, not the ones with money.

I am not an expert in farming or possess rich knowledge but I would like to share some suggestions, the ecosystem in the trans-Himalayan region is very fragile. Excessive focus on cash crops like green peas won’t be sustainable for the long run. We need to incorporate traditional crops like barley as well as black peas which are more suitable to local conditions. We should think about long term ecological sustenance and food security for the entire community. Cooperative societies, local management should work in a collaborative manner to fetch fair prices to our farmers. Youngsters should realize that although modern farming and technology are easier and more convenient, nothing beats natural farming technique and indigenous knowledge of the people.

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