Long ago, in a time when people didn’t know how to make clothes, a pandemic struck, leaving Kongkororo and her brother Kishikhoi as orphans after their mother passed away. Without parents, their lives became difficult and full of struggles. Where would they live? What would they eat? On top of that, they constantly faced threats from wild animals and other dangers.

Though the mother had passed away, her soul remained, unable to rest after witnessing the suffering of her children. Seeing their hardship, Folfol, their mother, became deeply sorrowful and worried. She could not help them physically since her mortal life had ended. Thus, she began thinking of ways to aid them. Ultimately, she appeared in Kongkororo’s dreams and taught her the skill of weaving, making Kongkororo the pioneer of clothing for humanity.

She also taught her orphaned son Kishikhoi (who possessed skills akin to the agility of a deer outsmarting a tiger) the art of survival. In dreams, Folfol imparted knowledge to Kongkororo, guiding her on how to protect themselves. Following her mother’s teachings, Kongkororo began applying what she learned.

Kongkororo and Kishikhoi lived in forest caves, always fearful of wild animal attacks. To help them survive, their mother, in a dream, told Kongkororo:
“Go to the Khirra tree. Under it, where your brother’s umbilical cord was buried, an allo (nettle) plant has grown. Cut it and bring it to your shelter. Use it to protect yourselves. If wild animals attack, call out ‘Kongkororo Folfol,’ and the allo’s thorns will fly at the attackers, keeping you safe.”

Kongkororo followed her mother’s advice, and they became safer from wild animal attacks. This method gave them significant relief. Similarly, if animals chased them, calling out “Kishikhoi” helped them escape unseen.

Folfol’s first child, Kongkororo, whose name means “a whirlwind that causes impact,” took responsibility for raising her younger brother after their parents passed away. Despite their hardships in the forest, Kongkororo cared for her brother and tried to protect him. Through her mother’s dream guidance, she learned to make clothes, which she and her brother began wearing. Hence, Kongkororo is regarded as the originator of clothing among the Sunuwar people.

Kishikhoi, Folfol’s son and Kongkororo’s brother, grew up under his sister’s care. Though he doesn’t play a prominent role in the story, he is depicted as Kongkororo’s companion in their difficult life. While Kongkororo received guidance from her mother in dreams to protect herself and her brother from wild animals and other natural calamities, Kishikhoi remained unaware of this.

They also suffered from the extremes of heat and cold. To combat this, Folfol appeared in Kongkororo’s dreams and taught her:
“Go to the Khirra tree. Under it, where your brother’s umbilical cord was buried, you’ll find allo plants. Cut them and bring them home. Dry the allo well, soak it, and pound it to extract fibers. Boil the fibers in a mixture of ashes and water, then dry them. After drying, spin the fibers into threads and weave them into cloth. Once the cloth is ready, sew it to make clothes. This will protect you from the cold and make you look presentable.”

Following her mother’s teachings, Kongkororo made clothes, which she and her brother wore. This not only protected them from the cold but also improved their appearance. This marked the beginning of clothing in the Sunuwar Kirat community.

Beyond this, Kongkororo is seen as a symbol of power. Calling her name invokes her protective presence, which is why the Sunuwar people utter “Kongkororo Folfol” in times of fear. The novel portrays Kongkororo as a skilled woman and protector, highlighting her role as both an innovator and a guardian.

Folfol is the mother of her daughter Kongkororo and her son Kiskhwai. The meaning of Folfol is causing harm through an outburst or impacting someone. Since their father had passed away earlier, the mother had single-handedly raised her children. One day, suddenly, she passed away, leaving her young children orphaned. After their mother’s death, Kongkororo and Kiskhwai had to endure a challenging and wild existence. They faced attacks from various wild animals and hardships caused by storms and gales. In such trying times, their mother began appearing in Kongkororo’s dreams at night, imparting knowledge and teaching them survival techniques to protect themselves. She taught Kongkororo how to prepare clothing to shield themselves from the heat and cold. Following her mother’s guidance, Kongkororo made clothes and started wearing them along with her brother. In this way, the human life, once covered only with leaves, transitioned into a more civilized life with clothing. 

Even today, the Sunuwar community regards Kongkororo as the pioneer of this skill. The novel “Folfol” centers on the educational dreams and their realization in reality, showcasing the story of this mother and daughter. It emphasizes that women are protectors, integral parts of creation, and also play a significant role as primary caregivers and organizers. In times of crisis, their role becomes even more crucial.

In fact, the central theme of the novel Kongkororo Folfol revolves around the educational dream of mothers and daughters, which has also manifested in the marketplace. Women are depicted as protectors, essential components of creation, and as the main administrators and caretakers. They play a crucial role in times of crisis. (From the novel Kongkororo Folfol, Origin of clothes by Sasi Mukdum).

1. Shelechi (Lacha): Initially, yarn was made from allo cotton. They would prepare their own herbal dyes and dye the yarn. Later, it transitioned to cotton thread and now to synthetic thread. Women used to make a small ring out of silver wire to create tassels on the lacha. However, these days, people who make such rings are no longer available, and raw materials are scarce, leading to its near extinction. Lacha is wound and tied on the head, forming a flower-like tassel on one side, making Sunuwar women not only look beautiful but also providing them with a form of jewelry.

2. Mundri: In the past, soldiers who went to fight in the Gorkha regiment would bring back gold. It was customary to give gold to family members. Diamonds brought from Malaya (Malaysia) were highly fashionable back then. Women wore nose ornaments such as karnaphul, madwadi, and bulaki. Even today, they wear mundri and patee mundri because gold is readily available.

3. Charani, Athani, Kampin: When India was under British rule, it was common for Indigenous youth from Nepal to be recruited for the army. When they returned after the war, they would bring coins such as the one rupee, fifty paisa, and twenty-five paisa coins. These were used by the Sunuwar women to make jewelry. This custom continues today, and these pieces, including Charani and Athani, are considered important and beautiful, especially during weddings or festivals. Women would wear these to adorn themselves, and the jingling sound from these ornaments would also serve as a sign of their love.

4. Punda: Kadeplwalo Mala
   This mala (necklace) is used as a protective charm, and every Sunuwar woman wears it. It includes white beads and is believed to have medicinal properties. When given to a woman in labor or when the placenta has not been expelled, it is ground and mixed with water, and it is believed to help expel the placenta. Additionally, this mala is believed to cure skin allergies and ward off evil powers. Sorul Punda mala is worn in clusters. It is believed that wearing this mala prevents discomfort and protects against negative energies.

5. Kotombechi Tale Bhoto
   This is an important garment for Sunuwar women and is worn exclusively by them. It is especially made using fabric from a skirt (Janu Fariya). The back part is crafted from this fabric, while the front and sides are made using velvet cloth. The bhoto has two pockets, and intricate embroidery patterns are sewn into them. The front ‘tale’ section is adorned with shimmering patterns, enhancing its beauty. On the right side of the bhoto, a row of silver coins is sewn, making it more attractive. There is also a version of Kotombechi for men, which is slightly longer and similarly adorned with silver pendants and made of velvet.
6. Lemphim (Cholo)
   In the past, the cholo (blouse) was made in a traditional style, but now it has evolved into the Chaubandi Cholo. However, Sunuwar cholos are distinct, with padded shoulders and decorative stitching on the sleeves. Women wear velvet or cotton cholos.

7. Kipsyur Fene
   This is a sash with embroidered designs of threads and beads on the edges. It is worn to cover the back up to the waist. Married women wear it with one side tucked in, while unmarried women wear it with a pointed end (Kaichimar). Its primary purpose is to provide warmth, and it is particularly beneficial for postpartum women.

8. Kipsyur (Patuki)
   Previously, this patuki (waistband) was handwoven with bars in blue, yellow, and orange colors. The edges were decorated with handwoven fringes. It was worn as a protective garment to prevent back pain and to keep air from entering the abdomen, making it ideal for long wear.

9. Gune (Fariya)
   In the past, this fariya (skirt) was handwoven on a loom. Bar Haat patterns like Kaiche Mar, Chhipa Gune, and Kamal Pokhari Gune were common. People would dye the fabric themselves and then wear it. Chhipa Gune fabrics were woven and brought to Bhaktapur for dyeing. Nowadays, Kamal Pokhari fabrics are rare, and only plain woven Gunnes are used.

10.  Lal Buish Kupni
    Red and white shawls (Pachhyuri) are worn exclusively by married women. These are traditionally given during weddings, symbolizing the union of a couple. The tradition of gifting red and white shawls to brides still continues. Red and white symbolize literature, creation, and love.

11. Jali Kupni
    This is a handwoven shawl adorned with various patterns or designs. It is delicate and often worn during fairs, markets, and festivals. This tradition of weaving Jali Kupni arose when unemployed soldiers (Laures) from the battalion began weaving them. Even today, it is a common practice to weave these shawls at home during leisure time.

12. Luje Bas
    This is essentially a container for storing needles. In the past, women were truly skilled and knowledgeable. They conceptualized this container to carry needles with them. It is made by cutting small sections of bamboo or cane and weaving them with needles, resulting in a beautiful design. A string is attached to hang it from the blouse for convenience. It is decorated with shiny beads and thread tassels to make it attractive. The needle and this Luje Bas are also regarded as protective charms.

A Sunuwar myth tells of a woman who, while grazing cattle in the forest, was mending her torn clothes. A bear attacked her, but when she pulled the thread while sewing, the needle struck the bear’s nose, causing it to flee and saving the woman’s life. This story emphasizes the protective nature of the needle. Even today, it is said that if a bear attacks, you should strike its nose with a needle. This is why needles are always carried in this Luje Bas. It is known by names like Tupe, Luje Gyo, and Luje Bas.

13. Chumrem
    This is a small purse used for storing money. It is made by weaving with needles. The mouth of the purse is tight, while the bottom is flared. It is designed as a drawstring pouch, where the tight part plays a vital role. The purse’s opening must allow the string to move smoothly; this ensures that the money stays secure and Lakshmi (the goddess of wealth) resides in the purse, preventing money from running out quickly. This belief makes the purse a symbol of prosperity.

The drawstring is adorned with tassels and decorative knots, woven meticulously with needles. The knots often have a shiny surface, symbolizing the purity of love. It is believed that the tighter the knot, the stronger the bond of love. Women used to weave these purses, sometimes incorporating the names of their loved ones, and would sing songs while gifting them at fairs or markets. Even if the loved one could not reciprocate the feelings, the purse, scarf, or pouch was kept as a token of remembrance. Men’s purses are smaller than women’s purses.

14. Basa
    This is another type of purse. It has a compartment for storing money on one side and is open and long in the middle. It is made of fabric, folded, and carried in the waistband or pocket. Its primary use was for carrying fire-starting tools like flint, striker, and white stones. Before the advent of matches and lighters, this was essential for starting a fire. It also has a drawstring with a long cord, allowing it to be tied and carried securely.

15. Chakmake Thaili
    This is a handwoven purse made with needles or crochet. It is crafted by blending colorful threads into intricate patterns. This is a highly popular type of purse used for carrying money.

16.  Kyong
    This is made from bamboo and is a wind instrument played by mouth. In the past, people played leaves or Kyong during gatherings, fairs, and markets. It was also a symbol of love exchanged among young men and women. Even today, Kyong is used to express emotions, joys, sorrows, and matters of the heart.

Women used to weave purses or scarves, embroider names, and patterns as tokens of love, while men made Kyongs or other handcrafted items like Sipringge Dokos (bamboo baskets) and Shiny Woven Strap (Mandre Chamki Namlo) to exchange as symbols of affection. The belief is that the more intricate the Kyong, the deeper the love it represents.

Kyongs are hung from the blouse’s neckline, and it is believed that carrying it close to the heart keeps love alive. This tradition strongly associates Kyong with love and romance.