Singpho Maka: The Traditional Textile Patterns of the Singpho-Kachin Weaving Tradition

Among the most vivid expressions of Singpho cultural identity is the art of weaving — and at the heart of that art are the Maka: the geometric patterns and motifs woven into cloth by hand, passed from mother to daughter across generations. Each Maka carries meaning. Each has a name, a history, and a place in the ceremonial and everyday life of the community.

The Singpho people of Arunachal Pradesh and Assam share deep cultural, linguistic, and genealogical ties with the Kachin and Jingpo peoples of Myanmar. This shared heritage is nowhere more visibly expressed than in the tradition of Maka weaving — a tradition that stretches across the borders that colonial and post-colonial history drew through Singpho and Kachin territory.

The Fourteen Maka Patterns

Each pattern below is presented with its traditional name. Meanings may carry additional nuance and variation across different Singpho clans and regions.

1. Gwi Lahtin

Traditional Kachin textile motif found across Singpho and Kachin communities, characterised by its intricate interlocking geometric forms.

2. Hkakrit

A symbolic pattern commonly woven into bags and skirts, the Hkakrit motif is recognised by its bold, mirrored geometric figures.

3. Kaba Singkaw

An intricate design representing traditional heritage, the Kaba Singkaw features layered diamond and cross forms in vivid colour combinations.

4. Kanu

A classic pattern passed down through generations of weavers, the Kanu design is a foundational motif in the Singpho and Kachin textile tradition.

5. Kashun Magyi

A distinctive motif found in ceremonial attire, the Kashun Magyi pattern holds particular significance in ritual and festive contexts.

6. Labrang Bra Ting Hkrup

A complex weaving pattern that showcases the technical skill of the weaver, requiring a high level of precision across multiple colour threads.

7. Magwi Lahput

A traditional geometric pattern built from repeating angular forms, the Magwi Lahput is one of the most widely recognised Maka designs.

8. Nga Hpai Kawng Chya

A stylised motif drawing on elements from the natural world, reflecting the Singpho community's deep relationship with the forest and river landscape.

9. Ning Ni Lahpan

A floral-inspired textile design, the Ning Ni Lahpan brings softness and organic form to the otherwise geometric vocabulary of Singpho weaving.

10. Pasi

The Pasi is a staple pattern of Kachin and Singpho weaving — one of the most frequently produced and widely worn Maka designs across the community.

11. Rung

A bold pattern typically used in border designs and edge decorations, the Rung motif provides visual framing and definition to larger woven pieces.

12. Shaban Hpaw

The Shaban Hpaw carries symbolic meaning related to beginnings and openings. It is often used at the start of a textile or at ceremonial borders.

13. U Rawng Singgawng

A highly revered pattern with deep cultural significance, the U Rawng Singgawng is one of the most prestigious Maka in the Singpho weaving tradition.

14. U Ri Myi

The U Ri Myi — meaning "Eye of the Bird" — is a symbolic motif whose form echoes watchfulness, vision, and the spiritual world.

Preserving the Weaving Tradition

The art of Maka weaving is under pressure. As younger generations move to urban centres for education and livelihood, the time and space required to learn traditional weaving — a skill that demands years of patient practice — is increasingly scarce. Many elders who hold the deepest knowledge of pattern names, ceremonial uses, and dyeing techniques are aging, and their knowledge has not yet been fully documented.

SYO is committed to supporting the documentation and revival of Singpho weaving traditions. We are working with weavers, elders, and cultural researchers to record the names and meanings of Maka patterns in the Singpho dialect, document the contexts in which specific patterns are worn, and create resources that young Singpho people can access.

When we weave, we are not just making cloth. We are holding our history in our hands.