By HH Mohrmen
Nongtalang village is set to celebrate the Rongkhli Festival once again, but with a significant difference this time. Unlike previous celebrations, this year no actual tiger is involved, only the symbolic image and spiritual presence of the tiger will be honoured. The name of the festival is derived from two words: ‘Rong’ and ‘Khli.’ ‘Rong’ could very well be a borrowed word from the neighbors in the plains, meaning ‘color,’ while ‘Khli’ is a generic War Jaiñtia term for the tiger species.
Rongkhla, or Rongkhli, is a traditional tiger festival historically observed only when a tiger is accidentally killed. However, this year, the festival is being held to honour a tiger that passed away long ago. Traditionally, the festival serves not only as a way to pay tribute to a deceased tiger but also as an act of atonement for the clan associated with the individual responsible for the tiger’s accidental death. As part of this tradition, the clan is required to host the festival as a means of reconciliation, reinforcing the community’s deep spiritual connection with nature.
This year’s celebration holds immense cultural and environmental significance, as it is centered on the idea of reverence rather than hunting. No dead or living tiger is involved—only their symbolic image and aura will be present in the ceremony. This shift highlights the festival’s evolving role in modern times, where it serves as a catalyst for wildlife conservation rather than a justification for hunting. By commemorating past encounters rather than repeating them, the festival educates the community about the need to protect endangered species such as the Clouded Leopard, which is legally protected under the Wildlife Protection Act of 1972. The event fosters a deep respect for the tiger as a divine figure and instills a strong ethical code within the community to prevent hunting and harming of wildlife.
Historical Background of Nongtalang
Nongtalang is a border village on the southern slopes of Meghalaya, bordering Bangladesh. The village is located approximately two kilometers from the international border and is among the oldest villages in the War Jaintia region of West Jaintia Hills District. It is about 33 km from Jowai, the district headquarters and less the 100 km from the state capital.
The War Jaintia people, a sub-tribe of the Khasi-Pnar people of Meghalaya, have their own distinct dialect (also called War), which is barely understandable by the Pnar of Jaintia or the Khasi. Scholars of the Khasi language believe that the War Jaintia dialect of the Amwi area is the mother or origin of the Khasi language which is a branch of the Austro-Asiatic Monkhmer group of languages.
Nongtalang village has a population of approximately 10,000 (as per the 2001 census), with the majority following the Niamtynrai, the traditional religion of the indigenous people. The headman of the village also serves as the religious head or high priest (Lyndoh) of the Niamtynrai. To hold this position, the headman must belong to the Lyndoh rad clan. His tenure lasts as long as he retains the confidence of the Dorbar Kor, or the grand council of the village. Nongtalag eleka also has a Doloi who is from the Ϊawchibi/Ϊawchibijai clan.
Origins and Rituals of the Rongkhli Festival
The origin of the Rongkhli Festival is uncertain, but some believe it began as part of inter-tribal conflicts in which victors would carry home the heads of their enemies as trophies. Over time, this evolved into the symbolic use of a tiger’s head instead. Some speculate that the festival is linked to the Rymbui clan, who trace their ancestry to Ka Rymbai Bahkhla (Meaning “She who was carried by the tiger” or “The woman who was saved by the tiger who carried her on its back.”) However, this possible connection requires further study.
Legends suggest that the first settlers of Nongtalang village were U Shitang Rymbai and his wife, a woman from the Talang clan. In the village’s matrilineal system, the Talang clan became the religious and spiritual leaders. Priesthood in Nongtalang can only be passed from mother to daughter and maternal uncle to nephew.
Traditionally, if a member of one of the six major clans (Pohsnem, Lamin, Myrchiang, Bareh, Pohti, and Rymbui) caught a tiger, they were required to perform specific rituals to appease Kpong, the hunting deity. If a tiger was killed, it was kept in the village outskirts until the required ceremonies were completed. The village drummers would beat their drums every evening for a month before the festival began.
On the festival’s first day, a ritual called “ushering the tiger” took place, in which the deceased tiger was ceremonially brought into the village. The entire village would march in a procession, dancing to the sounds of drums and tangmuri flutes. The tiger’s body was displayed at Rymmusan, where men danced throughout the night to keep the tiger company.
On the festival’s final day, young men dressed in warrior attire gathered at Rymmusan playground to perform mock duels and warrior dances. The ceremonial tiger was carried through the village by a shaman and presented at the residences of religious leaders. The final ritual took place at Phlong Shep Shngai, where the tiger’s severed head was placed on a stick to ward off evil spirits. The remaining body was discarded, and the dried tiger meat was distributed to those who wished to partake.
Festival Schedule & Events
This year the festival commenced with a ceremony known as “Tdeh Bom,” which translates to “bringing out the drums.” These drums, which will be used throughout the festival, were sanctified by the elders of Raid Nongtalang in the presence of the Pohsnem Clan, who are hosting the event this year. Sources from Raid Nongtalang and the Pohsnem Clan confirm that the festival is scheduled for March 21, 22 and 23. On the first day, a ceremony at the ossuary will take place in remembrance of the deceased tiger, which also demonstrates that the animal is given the same honour as the deceased human being.
The celebrations will continue the next morning at the Pohsnem Clan’s house, featuring a performance of “Pastieh,” a traditional warrior dance. Young men from various clans, dressed in ceremonial warrior attire, will engage in mock duels. After the performance, the dancers and attendees will proceed to the residence of the Lyngdoh of Raid Nongtalang, where the warriors will once again perform their warrior dance.
From there, the warriors, accompanied by the public, will move towards “Phlong Shep Shngai,” the western fort of the village. Throughout the procession, the warriors will carry an image of the tiger, which will ultimately be discarded at the western fort of the village—symbolizing the removal of all evil and reinforcing the festival’s spiritual and cultural significance.
In the evening, young women from the village will participate in “Kaelang,” a traditional dance where they will be dressed in full ceremonial attire and regalia, dancing to the rhythmic tunes of flutes, drums, and the Chakudiah.
Rongkhli Festival as a Conservation Tool
Although rooted in age-old traditions, the modern adaptation of the Rongkhli Festival plays a crucial role in shaping wildlife conservation awareness. The festival has shifted from a historical act of penance for the accidental killing of a tiger to a celebration of life, reverence, and protection. By emphasizing symbolism over actual sacrifice, the event teaches younger generations about the importance of preserving biodiversity and co-existing with wildlife.
Furthermore, the Rongkhli Festival promotes sustainable traditions that align with conservation efforts, demonstrating how indigenous cultural practices can harmonize with modern wildlife protection laws. By embracing this new approach, the Pohsnem Clan and Raid Nongtalang set a vital precedent for cultural events to function as vehicles for conservation awareness, ultimately fostering a deeper connection between heritage, spirituality, and ecological responsibility.
Conclusion
The new embodiment of Rongkhli Festival of Nongtalang is a powerful blend of cultural heritage, spiritual reverence, and environmental consciousness. By transforming an ancient ritual into a conservation tool, the community has found a way to honour tradition while promoting ethical wildlife protection. The festival serves as an exemplary model of how indigenous traditions can evolve to meet contemporary conservation challenges, ensuring that the majestic tiger is revered rather than hunted. This transformation highlights the deep connection between culture and ecology, reinforcing the need to protect and respect the natural world for future generations.