A cultural panorama showcased the dances of Ri Bhoi, says Sumar Sing Sawian
IT IS not only hopping, stepping and jumping, light footed, yet also graceful, the young artistes dancers of Ri Bhoi, coming for different village and settlements, to perform in the Cultural Panorama – an imaginative impulse of the Arts & Cultural Department of the government of Meghalaya, under the leadership of its director, Matsiewdor War Nongbri, on April 25. The objective was to identify and collect the rhythmical motions, under a common platform, in a picturesque setting by the Marngar lake, a potential tourist spot 5 km from district headquarters Nongpoh.
The dancers, artistes, musicians known as Dhulia, started trickling and trooping into the Marngar venue, attired in multi-coloured bright costumes, having specific motif and designs (Puid khmat), which are hand spun sporting organic colouring of nature itself derived from the leaves, roots and barks of plants and trees, produced and woven by the women folk in their homes. Each piece of garment has a story behind, based on folklore and Legend and the motifs also identifying clans of the different Raijs and clans, having geometrical patterns, floral and animal theme. The costumes also depict the rich eri silk culture called Ryndia, which has caught the eye of the world beyond. London-based top international models have fallen in love with the traditional Ryndia, which is also a prestigious shawl of men and women draped around shoulders on important occasions.
The dancers perform according to the clan structure of KUR, based on the matrilineal system of society, representing the different Raijs being the administrative units of the State or Hima, based on democratic governance of the entire Ri Hynniewtrep land or Seven Huts, having a deep rooted belief that the Hynniewtrep people descended from their celestial abode through the golden bridge (Jingkien Ksiar), atop the sacred U Lum Sohpetbneng peak, the celestial umbilical peak, situated at Raij Mawuh in Ri Bhoi:
The Cultural Panorama with a dance performance called ‘Shad Lukhmi’ by young artistes from the host Raij Marngar. The girl dancers are virgins, implying the sanctity of the dance paying reverence to Lukhimi or Lukhimai, the deity representing the paddy crop, being the staple food of the people, which also sustain the economy of each village of the Raij, being an agrarian society.
Various rites and rituals are performed in the Lukhimi festival during the pre-harvest season, offering thanksgiving to Lukhimi who is also regarded as a household deity – Ka Blei Iing. There are other polytheistic deities like the spiritual guardian Ki Ryngkew Ki Basa, yet all belonging to the divine order, being part and parcel of the fingers of only one supreme divine creator U Blei.
Another prominent dance is Shad Domahi of Raij Kharpati, related to the onset of the spring season, which correspond to the coming of the seasonal new year of the four seasons. This includes the washing and bathing of the cows and buffaloes, after a long toil of these domestic animals, especially in the sowing period of paddy.
Shad Kynrup Khla is interestingly all about tigers, also presented by Raij Marngar. ‘Kynrup’ means to jump and pounce, the dancers like tigers, jump over one another making an attempt to pounce and catch each other. Tigers are animal which are very closely associated with not only Raij Marngar, but also in most parts of Ri Bhoi and also Jantia Hills. The transformation of a person into a tiger is a legend and also a practical art, which is a mystery, that is difficult to explain. The tiger is therefore ingrained in the Hynniewtrep people, in their day to day lives, which had caught the interest of the Zurich University of Switzerland to research into the transformation of a person into a tiger, which is known as Lycantrophy.
Other fascinating dances include the Shad Rah Kynthei of Raij Nonglyngdoh, meaning the lifting of maidens from the waistline while dancing, Shad Pliang or the plate dance of Raij Bhoi Lasa and Shad Dongkhuner, the sifting and pounding of rice and others.
Paddy being the principal crop and rice the ataple food of the people, Ri Bhoi is therefore known as one of the important rice bowls of Meghalaya, having vast paddy fields and rolling low hills, extending to the northern plains of Assam, in the heart land of the Khasi people and ancient settlers including the Tiwa, Lalung, Karbi, Domahi, presenting an age-old integrated milieu of the various ethnic groups, a culture which cannot be detached from the everyday way of life, the rites and rituals of religious practices and belief, which are deep rooted, yet adapting to the change of time, towards economic advancement and enlightenment.