(Celebrating the Monoliths-Cultural Treasures)
By Bymonmiralda B. Lato
A historical and cultural study of monoliths identify that the gardens of monoliths at Nartiang and Nangbah village are evidence that monoliths hold immense value to the Khasis and Jaintias. Pertinently, the residents of Meghalaya are preparing for yet another festival. But how is the Monolith festival different from the rest and why should people celebrate the Monoliths? The aim of this article is to revive the momentousness of the monoliths to the ethnic group of the region. Monoliths have their base in the culture and traditions of the people. Unfortunately, the numbers of Monoliths across the state have dwindled. Therefore, this article will not only create an awareness about the Monoliths but resuscitate the cultural implications of other elements that have been sidelined over the years.
“If we are to preserve culture, we must continue to create it.” It seems Johan Huizinga was in conversation with the Meghalayans when he insisted on that. Monoliths; echoes from the 16th century Meghalaya–reverberating today, will be celebrated in the month of March this year. Mawphlang and its Heritage Village will again be decked with the merriment and joy, after a hiatus of seven years for the ‘Monolith Festival.’ Yet in the laughter and revelry, let us not forget what these standing monoliths symbolise.
Monoliths are not endemic to Meghalaya. From the Khasis of North-East India to central India, Persia, the Crimea and along the north coast of Africa bordering the Mediterranean all have their own monoliths. But there is something unique about the monoliths of Meghalaya that set them apart from the rest of the world.
Three upright stones, each carved out of a single stone, called Maw Shynrang and a horizontally placed stone slab, Maw Kynthei, is what the monoliths traditionally consist of. The upright stones represent the son, the uncle, and the father–protectors of the family, clan, and community. Whereas, the nurturing woman, as a horizontally laid stone slab, rests within their protection. Notwithstanding the fact that the Khasis and Jaintias follow a matrilineal society, the ultimate authority and the responsibility of guidance lies on the men of the family.
Albeit doleful that most of the traditional monoliths have been dismantled owing to both natural and unnatural causes, the recently erected monoliths are no longer carved out of a single stone, but cemented and moulded from clay and stones. Meanwhile, the traditional art of stone sculpting is surreptitiously dying. One could still catch sights of monoliths scattered all over the state but the traditional monolith clusters of Nartiang village and Nangbah village of West Jaintia Hill District are unparalleled. Misinterpretations of culture and religious faith has crescendoed into people en masse believing that installing Mawbynnas or Monoliths are exclusively for religious purposes. However, installing them is intrinsic to the ethnic identity and culture of the Khasis and the Jaintias, irrespective of their religious faith. Correspondingly, the monoliths in Meghalaya fumes with a weight of tradition and old age practices that seeps out from each one of them.
To the ordinary eye, Monoliths might not reveal their intricate nuances. But to a Khasi or a Jaintia, the length and breadth, the number of stones set upright are crucial to identify the character of the monolith. For instance, Maw Shynrang are divided into two types – Mawbynna-Nam and Mawbynna-Niam. Therefore, if a set of Monolith has three vertical stones (Mawbynna-Niam), it is exclusively used for religious purposes. But, if more than three perpendicular stones are positioned in one set (Mawbynna-Nam) it stands for remembrance of a person or an achievement. Mawbynna-Nam, comparatively, are bigger than the Mawbynna-Niam. That is because they are set up solely for the purpose of perpetuating the legacy of a clan, or to signify a victory or a memorial. On that account, the size of the monolith is proportional to the love and honour of the concerned chieftain or clan. Thus, monoliths are not mere arbitrarily picked out pieces of stones assembled for beautifying the vicinity. They carry certain emotional value and important relevance.
The weight of the large Monoliths, carried from far off places and installed in their present locations, was borne by our ancestors – a depiction of their strength. The carvings and the sculpturing that encapsulate modern artists—depiction of their skill. Yet, certain European scholars writing in the 19th century, overlooking the meticulously crafted and ceaselessly produced monuments and artifacts, branded them as savages and barbarians. These mind boggling hand-made artifacts, that surreptitiously question the skill of modern technologies could surely not be the work of mere ‘savages’ and ‘barbarians’. These so-called savages led a life in harmony with nature. These ‘barbarians’ seeking to preserve their little feats, unintentionally yet successfully, made sure that their ancestry does not go down the drain. If not for the might of these ‘barbarians’, the region would have still been in the clutches of the European powers and they might still have looked at them as mere savages and barbarians.
The long trodden way of our ancestors that was once looked down upon for its eco-consciousness, is now looked up to by the modern environmentalists. From the utensils they eat to the baskets they carry, every aspect of the modern day ‘civilized’ man is an attempt to tread the path our ancestors paved. Substituting the plastic products with the ones made of bamboo and plantain leaves is a welcome step which also aids in reviving the indigenous culture. This would further assist in conserving the environment and promote healthy living. Pertinently, this year’s Monolith Festival will also feature various beautifully crafted handicrafts and handloom products along with various cultural performances ranging from folk dances, folk songs, music, crafts exhibitions and scrumptious traditional cuisines at Mawphlang.
The reason for choosing Mawphlang for this festival is also quite interesting. This heritage village is known for the sacred groves, divine forests; pure and forbidden to be tainted with either words or actions. This forest appeals for a mutual respect between man and earth (Ka Mei Ramew). Therefore, it aids in protecting the various plants and animal species that are endemic to the region. Indirectly, the reverence shown by the locals towards these forests aim to preserve the rich cultural heritage of the indigenous population. Hence, the sacred groves not only provide but also protect–the identity, culture, beliefs, and integrity of the tribals. Undoubtedly, hosting a Monolith festival in this venue will not only expose the attendees to the belief system of the Khasis and the Jaintias but will also set a reminder to the community, to have a propensity for sustainability and sufficiency. The sacred grove is a reminder that we eat to live and not live to eat. Therefore, one should be on the qui vive for their actions in the name of civility and modernity. While endeavouring for development is certainly a boon, this path should be accompanied with caution towards safeguarding the cultural heritage. Else, the state might progress, but at what cost? Without culture and traditions, we are nothing but second copies of the white world.
The traditional monoliths have dwindled in numbers. The memory of what they stand for and what they mean for the Khasi culture and community seems to be waning. Monoliths are not mere objects of aesthetics. They are not there only for us to merely adorn our social media accounts. Just like how a cornerstone forms the base of the house, these monoliths also form the base of our roots that set forth our identity as a community. Therefore, this festival, even though a recent innovation, aims at preserving the rich cultural heritage of the Khasis of Meghalaya. In the process of celebrating this new culture, we might actually preserve the one that we already have.
(The writer is PhD Research Scholar CHRIST University, Bangalore Department of English and Cultural Studies)