Adornment and Identity: Traditional Ornaments of the Mro

The Mro community of the Chittagong Hill Tracts demonstrates a rich ornamental tradition that reflects their deep aesthetic sensibility, cultural continuity, and indigenous craftsmanship. Both Mro men and women wear ornaments made primarily from silver, copper, and aluminum. While some ornaments are handcrafted by the Mro themselves, others are commissioned from local artisans based on traditional or personalized designs.

Symbolism and Usage

Adornment in Mro culture is not merely decorative—it is integrally tied to identity, ritual, and social status. Large ear piercings, floral adornments, and even blackened teeth are seen as aesthetic practices that reflect Mro ideals of beauty. Blackening the teeth, for instance, is a unique custom achieved by applying a soot-based resin from burnt bamboo and heated machetes, which requires abstaining from sour foods to maintain the stain.

The practice of growing and styling long hair further distinguishes gender identities: women wear their hair in buns at the back, while men tie theirs at the front or above the right ear.

Categories of Ornaments

Head Ornaments (Lumem)

Si Lumem: Headgear made from coins (typically quarter or half-taka pieces) arranged in circular patterns and worn during ceremonial dances and weddings.

Sidan & Keng Sidan: Hairpins made from coins and colored beads, often shaped to resemble marigolds, securing women’s hair buns during festivals.

Kap Per (Needle Garland): Worn by both men and women, this elaborate ornament is made from over a hundred sewing needles strung together with wild tree bark fiber and used during ritual dances.

Kapso: Decorative aluminum pins featuring colorful beadwork, mimicking the look of blooming orchids.

Nason Srot: Intricate enamel combs cast from molten aluminum and sometimes made of hardwood; visually resemble aircraft propellers.

Kengring Lumem: A red bead headband worn exclusively by married women as a symbol of marital status.

Ear Ornaments (Ramseng)

Tai Ramseng: Large silver earrings with detailed engravings resembling baskets, worn exclusively by women.

P’ato: Decorative floral earrings made from brightly colored threads and aluminum, popular among both men and women.

Kengpon: Beaded earrings mimicking wildflowers, worn mainly by men.

Nga’pung Ramseng: Circular gold or silver ear ornaments for men, crafted by professional local metalworkers.

Neck Ornaments (N’ng-or)

Tingsui: Beaded necklaces made of silver, highly valued and often gifted to daughters at marriage.

Kengleng: A long cascading necklace made from 60–70 silver coins, reaching from neck to knees.

Kengklok & Kengbuk: Beaded necklaces crafted in complex patterns; the Kengbuk resembles the form of a cobra and requires significant time to produce.

Kengfa: A waist-length bead ornament sometimes worn as a necklace, often elaborately designed.

Arm Ornaments (Bongkom)

Harkoi: Intricately engraved silver armlets worn by women, usually designed and customized by local artisans.

Kwoaise: Bangles made by melting old utensils, often engraved with motifs like cucumber seeds or snake heads; worn by both men and women.

Kengke Bongkom: Beaded armlets worn by men, particularly during youth gatherings, crafted in vibrant designs by women.

Tai Kwoaise: Silver bangles specifically worn by men.

Waist Ornaments (Kekom)

Roakom (Waist Beads): Considered a rite of passage for adolescent girls, this silver girdle is crafted by twisting thin silver wires into net-like chains.

Langse: A copper wire waist ornament worn mainly by married women, made by twisting the wire into coiled patterns.

Si Mumprut: Waist adornment made from coins attached to copper plates and strung on thread, used by young women during ceremonial dances.

Foot Ornaments (Khokkheng)

Tai Khokkheng: Solid silver anklets with hollow designs and internal copper beads that produce a jingling sound, often engraved with animal motifs.

Kri Khokkheng: Copper anklets designed with natural motifs like vines and snake skins, often featuring twin snake heads at both ends.

Cultural Transitions and Decline

While the Mro people continue to cherish and wear many of these traditional ornaments, some are now at risk of decline due to economic hardship and the influence of mass-produced modern accessories. Items like the Wan Cha (traditional breast cover) and Korma (handwoven blouses for men and women) are becoming rare as synthetic garments replace time-intensive handwoven ones. Yet, many Mro still strive to preserve their adornment heritage by using forest flowers, customizing metalwork, and incorporating indigenous craftsmanship into modern usage.

Mro traditional ornaments are not only expressions of beauty but also repositories of cultural memory, gender roles, craftsmanship, and communal identity. As symbols of heritage, they hold immense anthropological and artistic value that deserves deeper appreciation and preservation. The Mro community’s ornamental tradition offers a compelling lens through which to explore broader themes of indigenous resilience, identity, and cultural transformation.