By HH Mohrmen
Try and picture any the Pnar or War festival and the first thing that comes to the mind are colours. Bright colours of yellow, bright red and white are dominant colours in the festivals. No wonder the festivals are also called Rong which in the War dialect means colours. The other term that the War and Pnar people of Jaintia Hills use for festivals is Tamasa and although both Rong and Tamasa are borrowed words from the plain, yet the use of the term Rong for festivals is popular amongst the War who lives in the southern slopes of the district. In the hills or the Pnar area the term used for festivals is Chad which means dance; hence we have Chad Behdieñkhlam, Chad Shukra, Chad Pastieh by the Raliangs and Shangpung while the Nongbah and the Ïalong celebrate ka Nohsakyriat.
The traditional Pnar male attire comprises of a white turban, a white Sula miej which means a shirt, a Putoi or a black waist coast and a white Ïusleiñ or a dhoti. The only ornament men wear is u Kynji which is a chain made of silver worn across the shoulder down to the waist. Some men also wear Kyndiam or earrings on both the ears. But the riot of colours come from the women’s attire. In the highlands the women’s traditional outfit comprises a black and white Ïusem similar to the sarong and over it a golden Muka or muga which they wear like a jaiñkyrshah with a bright red blouse. The black and white Ïusem are called Khyrwang and Thohsaru depending on whether it is striped or black chequered. Some women are bedecked with a golden or a silver crown on their heads but generally the female ornaments comprise of u Paila ksiar which is necklace made of round gilded balls woven alternately with red coral beads, u Loket or a necklace of gold adorned with beautiful precious stones. On their hands they wear golden bracelets or bangles.
The traditional dress of the War men is simple and comprises of a head gear Kea Rasuh which is a simple Turban that one wraps around one’s head. The back of the Rasuh is adorned with an item made of stick and birds’ feathers similar to the head gear worn by the Garos. They also wear a white shirt and waist. Instead of pants or dhoti the War men wear a pleated frock-like-dress which is unique to the War culture. Some men also wear golden earrings and the silver Kynji across their shoulders. The head of a female dancer is decorated with a paper flowers made of bright coloured paper tied to a stick. The stick of flowers is then tied to the hair band of the female dancers. The female wear two bright pieces of coloured Jaiñsem which resembles the Khasi Jaiñsem and which is also decorated with colourful ribbons. All the ornaments worn by female dancers in both the Khasi and Jaiñtia hills are similar with the Paila Ksiar (coral & gold necklace) as the main ornament.
Unfortunately among the War people of Jaiñtia hills today the colours of these Rongs (festivals) are waning. Some of the Rongs have disappeared altogether and people have not performed them for many decades now. The Rongkhli or Tiger festival of Nongtalang was last performed a few years ago, while the Rong Pyrtuh, Rong Phor and others have not been performed during our life time. The War Jaiñtia people used to be the repository of culture and tradition but unfortunately even Nongbarehrim which one considers to be the granary of tribal knowledge is gradually losing its hold on all these important heritages. The only Rong that is still popular amongst the War people is the Rongkusi but even this is losing its sheen. Rongkusi is still being celebrated by villages like Nangbarehrim, Nongabareh lyntiar, Lamin, Padu, Darang and Khonglah but the question that people ask is, ‘for how long?’
In Nongbarehrim a few weeks back the festival was celebrated in a lacklustre manner and an impromptu Focus Group Discussion I had with the organisers does not give any reason to be hopeful either. Welling Pohlong the Secretary of the Dorbar Chnong and the man behind the show lamented that in the entire village there are only two men who can play the Tangmuri (a kind of horn instrument) or blow Pet Bhuri and they are all above fifty years old. Juwan Lamin who is the Secretary of the Sengkyntu Sengraid War Jaiñtia said that even the number of men who can really play the two types of drums used in the Rongs are dwindling. The types of drums used are ‘ka Bom’ which are big in size and upright and ki Seng which are elongated and can be beaten from both sides while the Chakudiah is made of bamboo.
Juwan Lamin said the tune of the Bhuri for different dances varies and there are different steps for Pastiah or the male dance and Kealang which is female dance but the youngsters now find that some of the tune and the dance steps are difficult to perform. More often than not, although Rongkusi is not a religious ceremony as such, yet people who have converted to Christianity refrain from taking part in either the Pastiah or the Kealang. Shining Suting another organiser of the Rongkusi in Nongbarerim said that they had invited everybody to take part in the Rong, but very few turned up for the occasion. One is given to understand that even those who joined are mostly young people of Nongbarehrim who still follow the Niam Tynrai (indigenous faith).
Lahkmen Rymbui the MLA who represents this area knows very well that the War people have lost many traditions like Chohñia and Longhai and they have also lost many traditional games like Rah Shmia Mar or Kearai Shmia mar. They also have many indigenous food which is unique to the region only and which need to be preserved and promoted. Director of Arts and Culture Wilfred Nongsiej who was present at the Rong also express his unhappiness at the decline of the way even Rongkusi was performed. Nongsiej who was earlier posted in different capacities in the office of the Sub Divisional Officer Amlarem Civil Sub Division agreed that the traditions and cultural practices in the area need to be preserved.
Juwan Lamin is feels that the need of the hour is to start a centre where young people can be trained to play the Bhuri or beat the different kinds of drums and also teach the different forms and steps to Pastiah and Kealang. The few elders who still play these traditional instruments can be the master trainers who can help teach the younger generation how to play the different instruments.
In conclusion it is heartening to know that the MDA government is planning to organise a mega festival called the Meghalayan Age festival with an estimated cost of 4.5 crore rupees in West Jaiñtia hills district. But what about our own Rongs and festivals? What has the Government done to preserve and promote our rich culture and tradition? Of course organising a mega festival will help promote tourism in the state but this is a one time show only. What happens in the entire year. How can we provide sustainable employment to the people or artists who are engaged in performing these Rongs? We can only attract young people to train in the different aspect of the Rongs if that can provide employment for them.
In Meghalaya, Culture and Tourism are like two sides of the same coin. In fact the two are inseparable. It is about time we stop selling Meghalaya just as a sight-seeing destination. It is time that culture is also incorporated in the package and space is created in which tourists can experience our cultures too. Regular shows can be organised at the different tourists spots where the artists can perform. This also helps create alternative livelihoods for them. This will not only help preserve and promote our culture but we also help create employment for the artists and sustain our traditional cultural practices.