Carinthia B Nengnong and Doreen M Rapthap on the Beh-‘Sing Khalai dance of Umniuh-Tmar village south of Pynursla
SECOND YEAR students of Bachelor of Social Work, St Edmund’s College, went for a rural camp to Umniuh-Tmar village (76km from Shillong) south of Pynursla in East Khasi Hills district. Fifty-nine students accompanied by three teachers participated in the camp from July 1-6 last year.
Activities during the camp included workshops, participatory rural appraisals, eye screening and focused group discussions for youth, women and the elderly besides recreation. On the final night of the camp, the students organised and conducted a cultural programme in the evening. The local community also gave special performances, one of which is their famous Beh-‘Sing Khalai dance.
The rapid inclusive survey was also one of the most significant activities carried out by the students during their camp. From the interaction with the respondents, they found out that Umniuh-Tmar is very rich in culture, Beh-‘Sing Khalai dance being the most prominent feature.
The students’ effort in mobilising and establishing a rapport with the community made the villagers respond well. In return, as a mark of gratitude from the villagers, they participated in Beh-‘Sing Khalai dance that had not been organised by the Dorbar for the past few years because of a conflict among the village leaders. That evening, the villagers felt the richness of their culture and the gracefulness of the dance needed to be popularised and made known to the world beyond.
The dance comprised of ‘Shad Paidbah’ and the Beh-‘Sing Khalai. Shad Paidbah was the first dance in which people of different age groups from the community as well as from nearby villages participated. Beh-‘Sing Khalai took place before the sun set.
Before Beh-‘Sing Khalai started, some elderly men came to the ground and arranged the dancers in pairs (male and female). This is the most important part and it should not be taken lightly. These pairs should not belong to the same clan and when the dance starts, the performers should dance with their own partners. Children are not allowed to take part. Instruments include Ksing, Kynshew and Tangmuri are played by men of the community. The men lead the dance and take their female partners around the ground. During the dance, the male and female can talk to each other if they want to and the dance between them has to be synchronized.
Three judges rated the dancers on the beauty of their attire and synchronisation of the dance. The winner got a cash prize and other dancers received a consolation cash prize. Spectators pinned currency notes on the dress of the dancers – both male and female – they were impressed with.
The dance at Umniuh-Tmar was performed on March 29-30 this year after a long gap. The first day of the dance was open to resident of all neighbouring villages but the second day was specifically for the dwellers of Umniuh-Tmar. It was the BSW camp programme the previous year that provided a platform for the villagers to display their traditional essence again. The need to continue and practise it and hand it down to the next generation is important.
The social workers facilitated the villagers to come forward and showcase their culture and talent. The dance gave them an identity and filled them with pride, it brought about a sense of unity. Residents of Umniuh-Tmar and adjoining villages got together to practice, prepare the dresses and musical instruments to make Beh-‘Sing Khalai happen.
Indeed, Beh-‘Sing Khalai is the gift to the people of the seven huts and should be preserved to enhance their traditional knowledge.