By Heather Cecilia Phanwar
Wahkhen, a village under Pynursla civil sub-division, is not unknown any more. Located 48 km away from Shillong, the village has earned an identity for its musical connection.
A thatched hut made of wood (iing), is the pride of the village. It is Rojet Buhphang’s school where he teaches 100-odd students how to make as well as play traditional musical instruments.
Buhphang, who has been selected under the Guru Shishya Parampara Scheme by the North East Zone Cultural Centre in Dimapur, started the school with six friends in 2002. A few villagers gave their land for constructing the humble music school.
The 45-year-old music maker has been playing Khasi instruments since childhood. “I always had the urge to learn how to play all kinds of musical instruments. But nobody taught me. I learned by seeing the elders in the village play these instruments. There used to be a dance festival in our village during our childhood and we would play music for a whole week,” recollects Buhphang. He is the first person in the family to take up music as profession.
Buhphang, who is an instructor at Martin Luther Christian University and Mairang Presbyterian College, plays all instruments except maryngod (Khasi violin). He has travelled to Tamil Nadu, Delhi and Madhya Pradesh to conduct workshops under the aegis of Sangeet Natak Akademi.
“Helen Giri (renowned singer and musician) helped me get the recognition,” says Buhphang.
Giri was instrumental in starting the school and now helps the team in the village in the capacity of an advisor. Among other founder members, only Komih Khongjirem, besides, Buhphang, is actively involved in running the school that started with 60 students.
Buhphang makes ksing shynrang, ksing kynthei, duitara and other instruments. He also makes duitara souvenirs when orders come. The musical instruments are made from the wood of jackfruit tree that is procured from Khatar Shnong Sohra.
Buhphang teaches how to play ksing shynrang, bom, tang muri and beslie, among other instruments.
“Maryngod is the only instrument that we don’t teach here,” he says.
The minimum age for joining Wahkhen music school is six years and there is no upper age limit. “In fact, six-year-olds and a little older than them comprise a large chunk of students,” the teacher smiles.
Explaining the process of learning, Buhphang says those who perform well are grouped together according to the instruments they play. It is a year-long course and is free of cost.
Classes are held on Sunday mornings from eleven o’clock. Three more instructors help Buhphang in running the school. The small hut cannot accommodate all and some have to sit outside.
Buhphang says the duration of each class is two hours but sometimes it continues till late evening. “It depends on the students whether they want to stop or continue,” he says.
With the number of students increasing, Buhphang is thinking of holding classes in separate groups.
Musical instruments hang from the nails on wooden beams inside the dark hut. Buhphang sweeps the floor before inviting the visitor inside. He tries to switch the light on but realises there is power cut. “Erratic supply of electricity is a big problem in our village and sometimes there is no power for a week,” he says apologetically.
Despite the recognition, the village continues to face power crisis. However, electricity bills are high even if there is no power for weeks, he informs. This affects the school and Buhphang’s work to a great extent.
Buhphang often holds workshops on invitations from the Arts and Culture Department and requests from friends. There are two more persons in the village who make musical instruments.
The music instructor says getting the scheme from the cultural centre will help him develop the school.
Under the scheme, Buhphang has to train a selected group of students in playing Khasi musical instruments for which he will get fund. “I have chosen four students – three boys and a girl, all below 25 years of age — from my village. The scheme will not only help us to delve deeper into traditional music but also encourage more youngsters to come for training. I am lucky to get the scheme,” he says.
Buhphang, who is also a dedicated farmer, says he is planning to start a school in Shillong. “People in the city have less knowledge about our Khasi instruments. I am glad that I am doing whatever I can to preserve our culture and traditions. If our plan goes right, I would want people in the city to come to the school and experience it. We will try our best to carry further our culture. We are a generation where we follow others’ culture and forget ours,” the musician says.
Wahkhen’s fame and recognition of Buhphang’s talent are prompting other villages in the War area, like Wahlyngkhat, to collaborate with the musician “so that the knowledge of traditional instruments is preserved”.