By: Ma Aung Marma
Marma is an ethnic group indigenous to Bangladesh. The Marmads have the second-highest rank among the tribal population.
The majority of Marmas live in Bandarban’s Khagrachhari and Rangamati districts.
However, Marmas live in Cox’s Bazar, Patuakhali, and Barguna districts.
‘Marma’ is etymologically derived from the word ‘Mraima’. The Marmaras have Mongolian ancestry and practice Buddhism. Patriarchs coexist peacefully within Marmara society.
They have a strong passion for dancing, singing, and entertainment. The Marma society exhibits a plethora of diverse traits.
Main occupation of Marma
Marmaras exhibits a strong work ethic. The Marma tribes primarily engage in agriculture as their primary occupation. They practice virtual farming on the Zoom platform.
Jhum farming, also called slash-and-burn agriculture, is a specific agricultural practice commonly employed in mountainous regions.
People commonly refer to ‘Jhum Chasha’ using specific terminology. ‘Jhum farming’ is a type of shifting cultivation.
This crop is primarily grown in forested areas using slash-and-burn techniques. When the fertility of the ground in a particular location diminishes, agricultural activities are relocated to new places with more fertile soil.
This agriculture takes place in mountainous regions. This gardening approach allows for the production of various crops at different periods throughout the year.
Women are responsible for both agricultural and domestic labour. Groups of fish engage in collective hunting of crabs in the river. Some individuals earn their living by producing garments and cigars.
Currently, Marmara is pursuing a degree in education. They enrol in educational institutions such as schools, colleges, and universities to pursue their studies. Employment and entrepreneurship are also thriving.
Weaving practice of Marma tribe
While the Marmaras may not be as actively engaged as the Chakma and Manipuri tribes, many participate in weaving alongside their jump farming activities. Historically, the Marmaras cultivated and processed cotton to produce the yarn used in their textile production. Historically, the initial stage of textile production involved the gathering of cotton.
Initially, we extracted the cotton from the pods and transported it to the residence for purification. We then evenly distributed it on a mat and exposed it to solar drying for two to three days.
After extracting the cotton seeds from the desiccated cotton, the cotton underwent additional softening.
Using a small piece of bamboo, the yarn was manually twisted into a compact shape, which was then twisted with a tool known as a screw. Finally, a spinning wheel spun the yarn.
The next step in the spinning process involves dyeing the yarn with natural colours. Blue leaves steep in an earthen pot filled with water for approximately 48 hours, achieving the blue colour.
The process of boiling the bark of the Kal Gab plant yields the Kal colour. The dye plant uses its root to produce red dye.
The combination of mango bark with turmeric is used to produce yellow dye.
Therefore, the procedure for producing yarn follows the conventional approach.
However, today, individuals in the garment manufacturing industry purchase the majority of their yarn from commercial markets.
After producing the yarn, the Chakma and Manipuri tribes use their looms to make textiles.
While there may be slight differences in weaving techniques and cloth patterns across different tribes, there is a general similarity in how they weave and create textiles.
Marma dress
In 1972, Lore Konijtok described Marma women’s apparel as exquisite, vibrant, and handcrafted.
Their attire consists of a waistcloth and a checked cloth draped over the chest, but on festive occasions, they adorn themselves with vibrant silk jackets.
Marma girls don traditional attire consisting of a ‘death’, a garment from the waist to the knees, a collarless jacket called a ‘barista ungi’, and a turban or headscarf.
Currently, Marma women wear blouses with Burmese print instead of ‘Rankai’, which is commonly worn by other women.
Marma males can wear traditional Bengali attire or prefer western-style trousers, blouses, and suits.
Past and Present of Marma Weaving
In 1972, Lore Konijtok described Marma women’s apparel as exquisitely crafted, vibrant garments fashioned by hand.
Individuals wear a fabric over their waist and a plaid fabric over their chest.
At notable events, they don vibrant silk coats. Marma girls don traditional attire consisting of a ‘death’, a garment that extends from the waist to the knees, a collarless jacket called a ‘barista ungi’, and a turban or headscarf.
Marma women have adopted the practice of wearing shirts with Burmese print thamis instead of their counterparts’ traditional ‘Rankai’ shirts.
Marma males can wear traditional Bengali attire or prefer western-style trousers, blouses, and suits.
However, a few of them are still somewhat engaged in the textile industry, following in the footsteps of their ancestors.
While the majority of Marmas have abandoned the practice of producing their garments, a significant number continue to sustain their families by crafting shawls (known as “ramma” in Marma), blankets (referred to as “puchoo” in Marma), and towels based on market demand, which they subsequently sell in the marketplace.
Reasons why Marmads withdrew from weaving
The Marmad weaving industry is experiencing a decline in its condition compared to other weaving industries, primarily due to the influx of complex clothing produced by modern mills.
However, the Marmas differ in this aspect, as they are equally aware of and committed to preserving their traditions, unlike the other tribes. Consequently, the marma loom is on the verge of extinction.
Several factors, including the surge in yarn dumping, diminished demand, inadequate support from both the governmental and commercial sectors to preserve the traditional craft, cultural assimilation towards Bengali dress, and a shift in attention towards alternative occupations, have contributed to the decline in the market share of marmaweavers.
Despite the Marmaras discontinuing their weaving activities due to diverse socio-economic circumstances, the team (Chakma, mug, lower portion of Marma girls’ attire) remains highly sought after in Bengali society.
The inhabitants of the plains produce salwar kameez, shirts, and fatwas by cutting fabric from handloom or textile materials. Many fashion firms continue to preserve traditional Thai motifs and create sarees using delicate threads.
We use these textiles to craft salwar-kameez and fatwa garments.
In conclusion, if the Marmaras had received government or private assistance, they might have maintained their weaving business, akin to the Chakma and Manipuri communities, even in the face of socio-economic collapse.