Longyi

A longyi (; ) is a sheet of cloth widely worn in Myanmar (Burma). It is approximately long and wide. The cloth is often sewn into a cylindrical shape. It is worn around the waist, running to the feet, and held in place by folding fabric over without a knot. In ancient times, lethwei fighters would hitch it up (paso hkadaung kyaik) to compete. This folding technique is still being used in modern days when people play chinlone.

History

The modern ''longyi'', a single piece of cylindrical cloth, is a relatively recent introduction to Burma. It gained popularity during British colonial rule, effectively replacing the ''paso'' and ''htamein'' of precolonial times. The word ''longyi'' formerly referred to the sarong worn by Malay men.

In the precolonial era, men's pasos used to be a long piece of called ''taungshay paso'' () and unsewn. Alternately the ''htamein'' was a long piece of cloth open at the front to reveal the calves, with a dark strip of cotton or velvet sewn on the upper edge, a patterned sheet of cloth in the middle and a strip of red or white cloth sewn below, trailing on the bottom like shorts train. Paso was commonly worn by men in 19th century Burma and Thailand. The amount of cloth in the paso was a sign of social status.

A western visitor to Rangoon in the 19th century wrote:

Visiting Amarapura, Henry Yule described the pasos and their equivalent for women, the htameins, as "the most important article of local production", employing a large proportion of the local population. The silk was imported from China. He wrote:

However, with the onset of colonial rule, Lower Burma and urban areas more readily adopted the ''longyi'' worn in the Malay and Indian style, which was considered more convenient to wear.

Design and style

In Burma, longyis worn by males are called ''pahso '' (), while those worn by females are called ''htamein'' (, or ''htamain''). Strictly speaking, they are not unisex attire, as the way they are worn as well as the patterns and makeup are different between the genders.

Men wear the modern paso by making a fold on either side in front and tied by tucking them together at the waist just below the navel. Women, on the other hand, always have a three cubit one finger span length but again unsewn in the old days like men's. They are worn wrapped around with a single broad fold in front and the end tucked in on one side or folding back at the hip and tucking into the opposite side of the waist, usually topped with a fitted blouse worn just to the waistband.

Hemlines rise and fall as the fashion of the day dictates although they are unlikely to go up above the knee. Longyis are generally sold unsewn but nowadays they are available ready to wear; htameins may even be sewn like Western skirts. Untying and re-tying a longyi is often seen in public with both genders, women much more discreetly than men.

Patterns and fabrics

Men's pasos are generally stripes or checks apart from plain colours and may be worn upside down or inside out with no difference. Women's htameins have a black calico band called ''a htet sint'' (, ) for the waist; they wear more multi-coloured and floral patterns, too.

Cotton is the basic material but all sorts of fabrics, both imported and home-grown, may be made into longyis. Tootal, georgette, satin and crepe have been made into htameins. Indonesian batik, although very expensive, have been very popular for decades; outfits of batik () of the same design top and bottom were very popular in the 1980s.

For ceremonial and special occasions wearers use their best silks; the most elaborate ones are known as ''acheik'' (, ), a beautiful and intricate wave or houndstooth pattern in several colour combinations from the weavers of Amarapura. They are worn especially at weddings, almost invariably by the bride and groom in matching colours. The poor may keep aside some traditional silks for special occasions.

In ancient times silks generally were worn by royalty and courtiers, the royal pasos and htameins richly embroidered with gold, silver, pearls and precious stones. Modern reproductions of these may be seen on the stage at ''zat pwè''s (theatrical performances).

Ethnic and regional weaves and patterns are plenty and popular. There are Rakhine longyi, Mon longyi, Kachin longyi, Inle longyi, Zin Mè (Chiang Mai) longyi, Yaw longyi, Seikkhun longyi, Dawei longyi and more.

Silk pasos, but not ''acheik'', that men wear for special occasions are called ''Bangauk'' (Bangkok) paso. ''Kala'' (Indian) paso are often longer and are worn by taller people; ''Kaka zin'' refers to a broad check pattern of black, brown and white worn by Indian teashop owners. Mercerised longyis from India are popular as the fabric is more durable.

Image:Acheik htamains.jpg, Acheik htameins, a private collection
Image:Kachin longyi.JPG, Kachin longyi with tartan design

Versatility and convenience

The longyi suits the climate as it allows some air to circulate and keeps cool in the hot sun. Silk is unique in keeping warm in the winter as well as cool in the summer.

The longyi is versatile. Men often tuck the lower portions of their pasos at the top by bunching it in the front then passing it up between the legs round the back to the waist, known as ''paso hkadaung kyaik'' and, rather like the dhoti, usually for climbing and sporting activities instead of changing into shorts or trousers. Soldiers in ancient times wore their pasos in this manner either on their own or on top of a pair of trousers.

In rural areas men are often seen with a folded paso on one shoulder either for use when bathing (''yei lè'' — — longyi) or for use as a cushion for a carrying pole on the shoulder or a heavy load on the back. Women, when they bathe, simply wear their htamein higher by tucking it just under the arms to cover their breasts before removing the blouse; they may be seen using the htamein as a buoy in the river by trapping some air in and secured underneath by the hands. They use a man's paso or another piece of long fabric, rolled and coiled as a cushion on top of their heads to carry water pots, firewood, baskets and trays; it is the street hawker's customary way of carrying wares.

Changing is done simply by stepping into the new longyi and pulling it up, at the same time loosening and dropping the old one, or the new one can be pulled over from the head down. However, even when in private, women change without removing all their clothes. Instead, they will wear one htamein while changing into a new one. A woman may be seen pulling her htamein up bit by bit as she wades deeper and deeper into a river without getting it wet. It is merely a matter of lifting it up in the bathroom or in bed for that matter. Washing and ironing cannot be simpler as they are cylindrical pieces of cloth, easily hung, pressed, folded and stacked with a bare minimum use of wardrobe space.

Lethwei

In ancient times, traditionally Lethwei fighters would hitch up their longyi to compete in matches. Fighters would put it up as "shorts" called ''paso hkadaung kyaik'' to be able to use their legs and kick. Nowadays, in Lethwei matches fighters wear shorts which arbor a ''flag'' reminiscing of the longyi ancient days.

Image:Paso hkadaung kyaik, Ngahtatgyi Buddha, Yangon.JPG, A statue wearing a ''paso hkadaung kyaik''
File:Bodleian Ms. Burm. a. 5 fol 162.jpg, Watercolour painting from 1897 depicting a 19th-century boxing match. All fighters wear longyi and Htoe Kwin tattoos.

See also

* Dhoti

References

14.Amitav Ghosh (2002) ''The Glass Palace'' pp 25,

External links

Myanmar Fashion from Myanmar Image Gallery

{{Lethwei

Skirts
Burmese clothing