Session 106 summary
Personal journey
Alyen is from Kalimpong, but her father worked for the bank, and they travelled most of their lives all over India as her father got transferred frequently. What kept Alyen connected to her roots was that during every summer vacation, her family went to their ancestral home in Kalimpong. There, she witnessed the place always green, full of farms, many animals, and insects—it was full of nature, as though alive, and she could see it. Her relatives, including her grandparents, used to share folklores and stories with her, which brought her immense joy and magic in her life as a child. Hence, she says that her connection to her ancestry was mostly due to folklores and the environment she experienced during the holidays. This is an integral part, and she emphasizes it because she feels that, at this point, many people are living in cities. She doesn’t blame or say that it is a bad thing, but she has observed that, for her, there has always been a kind of disconnection when living in the city. In contrast, she recalls her experiences of interacting with insects, trees, and plants during her childhood in the countryside. She feels blessed to have had such deep experiences as a child, especially as someone who was drawn to magical stories, fairies, and nature. This curiosity about and connection to nature remained a significant part of her life, inspiring her designs.
Her stories and design work are always connected to nature. In her earlier works (2006-2019), her designs were consistently influenced by nature, whether it was in textures, forms, or motifs. One can notice her ongoing inspiration from nature, including forest spirits and other natural energies. She also drew heavily from the visual language of the areas she was in. Being hands-on, she often created most of her pieces by hand, especially during her time in Goa, where she worked on décor and other projects. She found inspiration from various tribes, not only Indian but indigenous tribes from around the world. She feels blessed to have worked on a wide range of projects in fashion, covering garments, accessories, furniture, printing, and décor. She has never been afraid to experiment because textiles are her preferred medium, and she feels most comfortable and happy working with them.
One of her works is inspired by the Miao tribe, a Chinese ethnic group. Over time, her textile art began to evolve. Three-dimensional flowers emerged on the fabric, along with branches, leading her to break away from two-dimensional designs. Texture was always present, and gradually, she transitioned to three-dimensional work. In 2012, she experimented with mud resist prints, which she utilized for the Garment Tree project. Her evolving style can be observed in pieces like the one depicting dancer faces, as she has been working since 2006, allowing her to develop a unique artistic voice. Sculpting with textiles has become her signature style and mode of expression. Unafraid to experiment, she ventured into creating lamps and even designed an installation for a restaurant in Goa. Utilizing upcycled fabrics, she crafted an installation that mimicked underwater movement with the help of lighting, inspired by falling leaves. Additionally, she established a small shop in Goa, with support from investors, where she showcased her work alongside crafts from Northeast India, which she collaborated on with local women. Her artistic journey reflects a deep understanding of nature’s forms, which she translates into her designs. She enjoys mimicking nature and continually seeks new methods to do so. Additionally, she often incorporates wire frames into her work.
Beginning of her solo journey
In her journey, storytelling became a significant aspect. There came a point when she embarked on her own path, residing in Goa, where she experienced a profound nervous breakdown. This event led her to question her identity and origins. Feeling deeply disconnected from herself, she recognized the necessity for a pivotal moment of self-reflection and reconnection. Consequently, she returned to her ancestral lands to rediscover her roots, blessed to belong to a tribe with a rich cultural heritage and stories. Throughout her journey, she encountered opportunities that supported her quest for self-discovery, including grants and encouragement from individuals who valued her voice and story. One such opportunity arose with Zubaan, where she contributed to an anthology focusing on ‘women of northeast.’ Her contribution, titled ‘Mayel Lyang,’ explored the theme of ‘women and work’ through textile art. Reflecting on it now, she considers it somewhat unfinished and naive, yet crucial to the beginning of her journey of reconnecting with her roots and acknowledging the disconnection she and many others from tribes or distant from their homeland experienced. ‘Mayel Lyang’ delved into how her tribe honored and lived in harmony with nature, aligning everything with the five elements. This theme served as the foundation for her storytelling. The Lepcha tribe, known as the Mutanchi Rongkup, translates to ‘the children of mother nature.’ They maintain a deep connection with Mother Earth, and all aspects of their lives are conducted with reverence toward nature. They have learned to honour and live in harmony with her, taking only what is necessary and giving back in return. Alyen delved deeper into her studies, as she felt she didn’t know enough herself. Through her artworks, one can trace her journey and the knowledge she acquired. “Mayel Lyang,” meaning the land of hidden paradise, represents the home of the Lepchas, whose lands are referred to as ‘Mayel Lyangs.’ In the first frame, she reads it as if narrating a story, symbolizing ‘home.’
“I think of home.
It seems like a lifetimes away.
I carry memories of it on my body,
Images of it projected into my work,
Constantly reminding me of something
I don’t seem to remember anymore.
I listen to its sound
I feel it in my soul
Somehow I have forgottenIts song and stories it told
I travelled farther away
Created images of it some more
In my quest to find meaning and purpose
I strayed from way back home
I lost myself completely
Broke everything I have known
I didn’t remember what I was looking for
Sunk deeper than ever before
Slowly I picked up the pieces
Tried connecting to the source
Searched for the wisdom of my ancestors
Began looking with the eyes of a new born
Finally I listened
To the call of Mayel Lyang and my ancestors
To the voice inside my soul
Though things were not the same anymore
I still make my way back home
The journey has been unforgiving and long
But I am here now
I pray with faith to bloom
To finally sing my soul’s song
And humbly stand in my truth
In Mayel Lyang the land Itbumu created for my ancestors
I found home
And realized I was carrying it within all along.”
A major part of what she shares revolves around how indigenous tribes, particularly the Lepcha tribe, are deeply connected to nature. Her journey began with an awakening prompted by an existential crisis, driving her to search for herself and her tribe’s stories. Additionally, given the current state of the Earth, with many elders passing away rapidly, she feels a sense of urgency to collect their wisdom and knowledge. She conducts interviews and research to present this information in a more contemporary and relatable manner, especially for younger generations who may feel disconnected. Through her own expression, she aims to share these stories and wisdom, fostering remembrance and honouring. While the phrase ‘it is so Lepcha’ often refers to something specific to her tribe, she has realized that the stories, knowledge, and wisdom extend beyond tribal boundaries. Although born into the tribe, she believes these narratives are universal, reminding people of their inherent connection to nature. She sees herself as a voice for Mother Earth through the lens of her tribe, and this is what she seeks to communicate.
Alyen’s second story, for which she applied for a grant, was a significant blessing as she successfully obtained it. The grant focused on women’s history, and Alyen’s project centered on her lineage of female shamans from her tribe. Her female ancestors were esteemed shamans within the tribe, a legacy she passionately embraces. This familial connection inspired her curiosity about shamanism and the concept of Muun. In the Lepcha tribe, the female shaman is known as the Muun. She received the grant from the Sasakawa Peace Foundation, Japan, and Zubaan for a research essay she had completed. Her research involved studying various male and female shamans of the tribe, as well as consulting with elders. Throughout her journey, she found that her personal questioning and exploration greatly enriched her work, allowing her to establish a more authentic and heartfelt connection to her research. She approaches this work with reverence and honour, treating it as sacred. In addition to writing the research essay, she created an installation accompanied by artworks. She exclusively utilizes upcycled fabrics for her installations. If she requires materials such as canvas, she may purchase them, but she refrains from buying fabrics altogether, relying instead on donations from family and friends. For one particular piece, the base is canvas that has been dyed with tea or coffee at least 8-9 times to achieve an aged appearance, reminiscent of a weathered manuscript. In the first frame, ‘Madness: a Doorway,’ Alyen depicts the nervous breakdown she experienced, which is often regarded as a sign of awakening in shamans worldwide. Known as the ‘shaman’s sickness,’ this phenomenon can manifest in various ways, such as madness or near-death sickness. In some cases, a shaman’s tongue may protrude, requiring assistance from a senior shaman to return to normal. The being portrayed in ‘Madness a Doorway’ represents the visions Alyen saw, which opened the door to other worlds. In Lepcha and other tribes, there exists the known world alongside spirits, energies of rivers, mountains, forests, and deities. Alyen utilizes wire frames extensively in her artwork, including in the moth and demon horns, which she fills with upcycled fabric scraps rather than polyfil. She employs various mediums, hand-painting certain parts and incorporating a 3D frame inside. She often dyes upcycled fabrics to achieve the desired tone, prioritizing the use of materials that best convey the intended feeling. This exploration led Alyen to delve into the ‘Lepcha Creation Story,’ and create the second frame of the beautiful narrative shared by indigenous tribes worldwide. According to this story, rocks and trees form the bones of our bodies, mud forms our skin, water constitutes our blood, wind provides our breath, and the sun and moon supply our body heat. Upon death, our bodies return to the elements from which they originated, emphasizing the deep connection between humans and the earth. This story holds significant importance in rituals and ceremonies, reinforcing the belief that humans are inseparable from the earth and should live in reverence to it. Alyen also found and depicted the story of ‘The birth ofthe first Muun and Boongthing’, the female and male shamans. The frame shows a demon known as ‘jung po panni,’ who, in ancient times, disrupted the harmony on Earth by devouring humans and absorbing their energy, becoming increasingly powerful. This created significant imbalance among beings, prompting the deities and the mother creator to intervene. Together, they decided to restore balance by creating the first female and male shamans, Muun and Boongthing, who were bestowed with divine powers. Muun and Boongthing descended to Earth and successfully defeated the demon, restoring balance. However, they made a solemn oath to return in every lifetime in human form to continue serving and maintaining balance on Earth, as per their vow. The piece is crafted using materials dyed with tea and coffee, resulting in a brown tint. In the next frame titled ‘The Way of the Muun,‘ extensive text and research are dedicated to exploring the various types of Muuns, each with distinct roles and responsibilities. The specific type Alyen has chosen to highlight is known as the ‘pildon muun,’ responsible for transporting the soul of the deceased to ‘Kongchen Kongchlo,’ which is Kangchenzonga, their place of origin and the source of their waters, as well as the dwelling place of their ancestors. Unlike a traditional concept of heaven, their ancestors rest in Kangchenzonga in ‘Kongchen Kongchlo.’ The process undertaken by this Muun is intricate and storied. In many instances, traumatic events, accidents, or scares may cause the soul to scatter and split into parts. One of the primary tasks of the pildon muun is to collect and reunite these fragmented soul parts, often placing them within a rock. In cases where part of the soul is submerged, such as in a drowning incident, the Muun relies on animal spirit guides or support. For instance, she may send a fish to retrieve the submerged soul part since she cannot enter the water herself. Additionally, she can dispatch a bird or another animal to various locations as needed. Each Muun has a unique connection to different animals, seeking assistance from animal spirits as needed. Once the necessary tasks are completed, the Muun’s role is to convince the spirit that it has departed the world of the living, as the spirit may not initially realize that it has passed away. For example, the Muun might take the soul to the riverbank and say, ‘Listen! You don’t leave any footprints. See! You have departed the world of the living.’ If the spirit remains unconvinced, the Muun might continue, ‘Step on this bamboo and notice it doesn’t make any sound. You have left the world of the living.’ If necessary, she might also point out, ‘Look at your reflection in the water. There is no reflection. You have left the world of the living.’ Depending on the soul’s stubbornness, the Muun may need to coax or persuade it to accept its passing. Finally, after all these steps, once the soul agrees and understands that it has passed away, the Muun becomes a vessel for the soul to communicate before it departs this world. She speaks to the living family members, delivering messages from the deceased. Finally, the soul undergoes a cleansing ritual in a sacred water body before being taken to the peaks of ‘Kongchen Kongchlo,’ where it is left with the ancestors. The next frame, titled ‘The Muun Away from Home,’ features an interview conducted with an aunt of Alyen’s during her time in Goa. This aunt, who happened to own a restaurant within walking distance of Alyen’s shop, played a pivotal role in Alyen’s life. She saved Alyen during a challenging period, guiding her onto a stable path, and continues to serve as a friend, mentor, and teacher. While not a traditional shaman or ‘muun,’ her aunt’s main role and path involve rescuing and aiding individuals who have strayed from their intended path, particularly in urban settings. In the piece, Alyen portrays her aunt’s embodiment of nature and Mother Earth despite residing in the city. The feminine form depicted symbolizes how her aunt channels the spirit and energies of Mother Earth to offer healing and assistance to those in need, even in an urban environment. This portrayal contributes to the cohesive flow of the artworks, with the exception of ‘Kongchen Kongchlo,’ which depicts a cityscape. Alyen’s intention is to illustrate how her aunt, although surrounded by urban landscapes devoid of visible nature, embodies the essence of Mother Earth and utilizes its healing energies to aid others, both on and off the spiritual path. Many people who are gifted and sensitive, as Alyen likes to call them, have seen her (the aunt) and visualized her as a goddess seated on a lotus. This is where the imagery of the lotus head comes from, as numerous individuals have envisioned her in this manner. The next frame, titled ‘The Pildon Muun in Tu-gong,’ recounts Alyen’s encounter with a traditional shaman in a place called Tu-gong, located in Kalimpong. This shaman comes from a lineage of male and female shamans spanning many generations within her family. Although she recognized her own gifts from a young age, by the time they fully manifested, she was already a mother with two children. Initially, she resisted accepting her gifts, fearing how she would balance her family life. However, attempting to block these gifts proved to be dangerous, as they are an inherent part of Mother Nature’s intention. Despite her efforts to suppress them, the gifts persisted, leading to potentially catastrophic consequences. Similarly, her brother, who was also a shaman, attempted to suppress his gifts and ultimately passed away as a result. Within a week of performing rituals to block his gifts, he passed away, illustrating the consequences of going against Mother Nature’s intentions. So, she accepted her gifts. In the art piece, Alyen depicts her as pregnant. For Alyen, she was very connected to the energy or vision of Mother Nature, much like she would have been because she was a mother herself, and then she surrendered. What is beautiful about her is that she doesn’t practice animal sacrifice, which occurred in the past. She believes that humanity has taken too much from nature and killed for their own gain. Instead of blood sacrifices, she offers flowers, fruits, eggs, etc. In a way, she embodies motherhood, which is what Alyen wanted to convey in her piece. The next frame, ‘An Old New World,’ is titled as such because Alyen is referring to nature, shamanism, tribes, and practices that might seem mystical, magical, and unbelievable, yet still exist today. When one Muun dies, another is born, symbolizing continuity. In this new world, where everything is so different, changed, and disconnected, there still exists this old world. Alyen aims to speak about the tribe and this old world that continues to exist through her work. She often feels like a bridge, seeking to connect the old world with the new and through stories, she endeavors to achieve this.
Alyen also shares the back panels of each art piece because while there is something happening in the visible world, there is also another narrative unfolding within Alyen’s mind, heart, and body, connected to the other frames but existing within the unseen world, in dreamtime, and in the spirit world. For each of the stories, she undergoes a very intense process of questioning, research, interviews, and internal reflection. This is because the message, for her, must be precise; she does not want to lose the essence of the old or the purity of the stories. So, she processes all of this internally and visually, considering colours carefully. For her, it involves a lot of thinking, writing, and rough sketching, followed by arranging everything in a cohesive flow. Design thinking has been instrumental for her in this process. It helps her brainstorm, sort, sift, sketch, and eventually bring everything together. She follows a personalized design process that aligns with her comfort level, honesty, and creative flow. Thus, her approach involves extensive internal exploration as well as external activities such as research, meetings, material collection, sketching, and colour selection. She believes it’s essential to capture the essence of what one is trying to convey, and she relies heavily on colours, proportions, and other visual elements. If she wants to depict fear or suffocation, for example, she considers the most effective ways to evoke those emotions in the audience, aiming for them to resonate as closely as possible with her own experiences. She also emphasizes the importance of individual voice and expression, acknowledging that interpretations can vary widely among viewers. Thus, her work reflects her own interpretation, visualization, and emotional response. She views this individual voice as something that develops over time through tuning in, listening, and discerning what feels right. Typically, she begins with rough sketches, often finding that the initial one captures the raw emotion most authentically. She may create additional sketches afterward but usually returns to the first one as it holds the true feeling, then refines it further. When Alyen works, she starts with the first rough sketch and then scales it up by hand. Being old school, she prefers hand-drawn, handmade, hand-done, and hand-dyed creations, as she believes her essence and expression come out more honestly and tactically this way. Next, she assembles the fabrics and elements, usually following her instincts as she works. If she feels the need to add or remove something, she does so freely, allowing the piece to evolve organically. Beginning with a base, she allows the creation to take shape as she flows through the process, giving herself the space for it to become what it is supposed to be.
She was once again fortunate to contribute to another story, this time without her artwork, and the illustrations were provided by Kayu. Collaborating with Girish Arora, she contributed to a story for the journal called HIMALAYA, the Journal of Himalayan Studies. Given the opportunity to share a narrative about the daily lives of the region, Alyen’s focus shifted towards depicting the life of people in the Lepcha community and the significance of water in their lives. Despite the time constraints—having only a month to work on this project—Alyen had already conducted prior research. In her spare time, she actively engages in meeting people and collecting stories, a passion she pursues even outside of project obligations. So, she had the foundation for this project. Meanwhile, for the past 14-15 years, she had been receiving visions of a water dragon. She would often sketch these visions, which appeared in various forms, including dreams. Initially, she didn’t comprehend their significance and disregarded them. However, at one point, she visited the confluence of two rivers, ‘Rongnyu’ and ‘Rong-eet,’ which are symbolically referred to as the female and male rivers, respectively. This location held great spiritual importance for her community. It was there that she finally grasped the message the water dragon was trying to convey, and she began to listen attentively. While this aspect of her experience may seem unusual to many, it is her reality. Her belief in the stories of her tribe, along with the spirits of water, mountains, and ancestors, shaped her perception. Ultimately, this experience not only influenced her personally but also enriched her creatively, aiding her in telling her story. So, the water dragon essentially serves as one of the storytellers in this narrative, conveyed through a muun and Alyen. As mentioned before, Alyen typically shares stories from her own journey because it somehow feels easier for her to do so. The story begins with:
“Greetings to you, my name means the shoot of a plant. I am a muun, a female shaman of the Lepcha tribe from the foothills of Kongchen-Chyu-Bee (i.e. Kangchenzonga.) Can I share the story of the worlds that we live in. From the deep whirlpool within a water dragon rises steadily. Reaching in, emerging gently, flowing. I hope that you will see and feel the dragon as I do. For ten years now the water dragon has spoken to me. I paid no heed. Didn’t listen. I still do not understand. But I feel ready now. She flows lovingly with immense strength and wisdom carrying tenderness love and nourishment and countless lifetimes of experiences and stories…”
What the narrator is trying to convey is that the water dragon is urging for healing; please listen to the stories being shared. The first story is titled ‘Remembering Teesta and the Water Dragon’. Through this narrative, there is also information about the tribe. The second story ‘Ice Origin’ states that the water dragon is one with Kangchenzonga and the rivers that flow from it. She is considered the child of the mother creator earth and of the Lepchas. “Rongnyu” is the name of the river. Lepchas believe that the first humans were created from the pure white snow of Kangchenzonga, and the two rivers flow from this; one is the male river and the other is the female river, both originating from Kongchen Kongchlo, i.e., Kangchenzonga. They have a sacred peak, a sacred lake, and a sacred cave that each clan worships and reveres. The lake is known to embody feminine energies, while the peaks embody masculine energies, and the caves represent the origins of their clans. So, each clan will have a lake, cave, and peak that they worship. What is beautiful is that they don’t necessarily have to adhere strictly to one aspect; for example, Alyen, being female with feminine energies, doesn’t solely worship the lake. If she feels more affinity to the masculine or needs help from masculine energies, she can also worship the peaks. The dragon travels with the two rivers as they descend from the mountains, and in the chapters, it is noted that there is a lot of processing involved to find the flow of the story. On this page, there are different stages or forms of personalities or characteristics of water, such as ice origins. When the Lepcha are born, they are born of the pure white snow, and when they die, it is believed that they return back to Kongchen Kongchlo and back to the snow. What that means is that they are connected to the mountain from birth to death, which is something Alyen wanted to share. In the next chapter, ‘Flowing Water Birth’, Alyen visited the river and the confluence of the two rivers, where she felt the presence of the water dragon, her ancestors, and the energy and spirit of the two rivers — the masculine and the feminine — as they converged. She sensed it there, and she was pushed further into confronting her fears and accepting the path she is on as a modern muun. The context is a little confusing and a little scary because things are not as they used to be. This experience prompted her to delve deeper into stories about the river. She went and met a boongthing – and she asked him about the rivers and how lepchas are connected to them. He said that when the two rivers started their journey downhill, a bird called Tut-fo guided the male river, and the Pumolbuum, which is a snake, guided the female river. They decided to meet at a confluence, which is a spot there. So, they came downhill. The male river, with the bird, reached earlier than the female river. While waiting, the male river got very angry and turned back in anger, pulling trees and mountains. He went all around the place, destroying things because he was very angry that the female river hadn’t arrived. This created a great flood, which is the great flood story of the Lepcha tribe. Another side story to it is that a bird helped the lepchas because the bird had seen what the male river was doing so the bird warned the people and asked them to go to a mountain called ‘moun-tun-don’ where they were saved from the flood. When the male river calmed down and came back to the spot the female river reached him and she asked him – “Thee sa tha?” which means “when did you arrive?” and that is where the name Teesta comes from. Alyen also found out that in terms of rituals, when lepchas were born, they were taken to the confluence of the two rivers and they were introduced to the river. Through the rivers, they were introduced to their ancestors, which is like they are all connected through the rivers. And they would know each one by name, which is something that doesn’t happen anymore — they don’t visit the rivers, they don’t have these rituals anymore. Through these stories, Alyen also wants to share the community’s connection to the rivers and how they were connected to the river. Another part shows how the dragon had been in hiding because everyone had forgotten about the rivers, and the dragon had been hiding, but the dragon is emerging now so that the dragon can share these stories, and this disconnection can be reconnected once again. The dragon feels the urge to reconnect and resurface so that these stories can be shared once again, and it can do so through the muun. The next chapter, ‘Whirlpool Union,’ delves into the experience of standing at the confluence, where two different-coloured waters merge and churn together, creating a whirlpool effect. This confluence symbolizes the merging of masculine and feminine energies into one. In Lepcha tradition, when people marry, they are introduced to the river, signifying their union in marriage. An oath is made, and the rivers, along with the ancestors, bless the newlyweds. This was a crucial point where, through the merging of the two rivers and the elimination of unnecessary elements, they flow together as one. During ceremonies with the shamans, it is often said, “May your union be as strong as that of the two rivers,” symbolizing the unity achieved as they become one entity beyond this point. In the chapter ‘Reflective water: life journey’ Alyen emphasizes how the water dragon used to travel alongside the rivers from their place of origin, gathering stories from forest spirits, animals, and ancestors. These memories were carried by the dragon and the water, passed down to humans, and reciprocally, our stories were shared with the forest spirits, animals, and ancestors. However, the accompanying image reveals the presence of a dam. With over 25 dams obstructing the river’s flow, the passage of memories has been halted, leaving the dragon without a path through the rivers. This prompts reflection on how we are disrupting the natural cycle, inhibiting the flow of songs, memories, and stories. In the chapter ‘Still Water: Bridges to Death,’ Alyen discusses how during ceremonies, such as those conducted by the pildon muun and the boongthing, the river serves as the first bridge to the afterlife. Specifically, the soul is guided through the river, particularly at the confluence of two rivers. The second bridge is found at the peaks of the mountain, where the clans are acknowledged. Even in death, their connection to the rivers persists. Without flowing rivers, their ancestors and those who pass away have no means to return to their forebears. Thus, disrupting this flow is detrimental. Additionally, there exists a ceremony known as the ‘life ceremony,’ which individuals can undertake at any time. During this ceremony, one shares their life story with the rivers and the shamans, followed by a ‘death ceremony’ in the river. The chapter ‘Raindrops: Nourishment’ is Alyen’s personal journey within the story. Initially, she was unsure of what was happening – she didn’t understand the messages from the dragon or the rivers. However, there came a moment of realization when she recalled the dragon, her ancestors, and the stories she had encountered. Whether through introspection or research, Alyen recognized the dragon as an integral part of herself, a storyteller guiding her through this specific chapter. This realization led her to remember the stories and understand how these memories are passed on.
The chapter ‘Vapour and Mist: Completing the Cycle’ explores the final stage of the journey. As the rivers merge into one and flow as the ‘Teesta,’ they eventually reach the sea and merge with the oceans. Through evaporation and condensation, they return to the cycle, flowing back to Kangchenzonga, the place of origin. Along their journey to the sea, they gather memories from other rivers, water bodies, animals, and water beings. These memories are brought back to Kangchenzonga, where they are stored, ready to continue the cycle anew, flowing once again from Kangchenzonga downward. It’s akin to a loop, a concept Alyen finds resonance with, as she believes that lives, the Earth, and even humans operate in cycles. This concept feels complete to her. These stories are gathered in Kangchenzonga, where more stories and memories are accumulated, continuing the cycle. What’s crucial here is that when a person is ready to listen, the dragon, the water, the animals, and the forest will once again share with us the stories they’ve preserved for generations, decades, and centuries. Finally, in the chapter ‘Ice: Wisdom and Rebirth,’ Alyen surrendered to the water dragon, her ancestors, and their purpose for her—to tell the stories of her people, the tales of water and rivers, and the spirits of nature and the forest. This is where she ultimately surrendered. The chapter ends with the poignant question: “Our water dragons are calling us, they remember us, but do we remember them?” In addition to the above projects, Alyen is also working on several children’s storybooks using textile art. She is also engaged in writing another book about the shamans of the Lepcha, Rai and Sunwar tribes. Alyen sees this work as her calling—to use her gifts to share the stories of her ancestors, of Mother Earth, and to facilitate a reconnection with them.
About the Speaker
Alyen Foning
Alyen Leeachum Foning is an artist/designer and independent researcher who uses her art medium to connect with her ancestral roots. She is a textile artist who has studied Textile and Apparel design at NID, Ahmedabad. Her works are inspired by Nature and indigenous world cultures. She also runs a design label-ALYEN FONING that believes in the power of Mother Nature, communities, upcycling and the skills of local artisans in creating contemporary and sustainable clothing and lifestyle products. Her label represents likeminded people coming together to create, collaborate, celebrate, empower and give back to society in small, yet conscious ways. Alyen has professional experience of weaving magic with textile art, clothing, textiles, printmaking, accessory designing, shoe designing, product designing, styling, Illustrations, Interior designing, lifestyle product designing, event décor, doll making, music, storytelling and research writing. She is currently taking the course ‘Fundamentals of Sewing’ for the 3rd semester Textile and Apparel Design students.
