Jaintia Tourism Festival begins

The week long tourism festival organise by the Jaintia Tourism and Environment Society (JTES) in collaboration with the District Administration and partner NGOs will start with an inaugural function on the November 1 and followed by a carnival or road show and food festival. Then at 4 PM in the evening people will be treated a musical extravaganza in the form of a beat contest.

The first part of the programme on the second day of the festival is a cultural programme at Khliehriat followed by fishing, boating cum wine festival at the famous Sajar Niangly Lake. In the evening another dose of musical treat called down memory lane will offered to the people. The third day of the festival will include cultural programme, archery, fishing, kite flying and fire balloon flying competition at the strikingly beautiful Syntu Ksiar with Kiang Nangbah memorial stone on the backup. In the evening there will be another musical concert organise by the All India Radio, Jowai.

The fourth day is a special day in the sense that simultaneously two programme in being organised on two special locations, a Boating, swimming competion entitled War Jaintia festival at Jarain another programme is cultural cum water sport at Iooksi on the Kupli river. In the evening a special comedy show called the great Jaintia laughter challenge will be held at Iawusiang, Jowai.
The fifth day has a pack programme which will start with a Nature and cultural tour to many tourist spots of the district, and then in the afternoon a festival of flying colours will held at the Ialong park followed by an evening of thousand lights cum musical night at the same venue. The last day of the festival is the closing ceremony cum fashion extravaganza at the district library auditorium, Jowai.

Jaintia: Nature’s Own Land Beckons

Jowai town now wore a festive look even if Christmas and New Year day is three weeks away. Thanks to the annual tourism festival brand named Discover Jaintia 2008, the festive spirit is already in the air in the town in particular and the district in general. The third edition of the week long Discover Jaintia beginning on November 1, is organised by the Jaintia Tourism and Environment Society in collaboration with the District administration and other partner NGOs.

The festival adds festive spirit to the beautiful tourist spots of the district and this is the best time to visit such places. From Shillong one can visit Nartiang by taking left on reaching Ummulong. Nartiang is famous for the Monolith Park which has the largest collection of dolmen and menhir in one place and the park is also famous for the tallest and largest monolith believed to be erected by the giant u Mar Phalangki. While in Nartiang don’t forget to visit the famous Durga temple believed to be about 300 years old and a Shiv temple adjacent to it. The erstwhile Jaintia kings are believed to performed human sacrifice in the Durga temple in the days of the yore. From Nartiang one can return back on the same road to hit the National Highway 44 again and head towards Jowai. After traveling for few minutes before reaching Jowai one will see to the left; the magnificent Thadlaskein lake also known as Sajar Niangli lake; believed to be dug by Sajar Niangli and his followers with the edge of their bows only.

In Jowai there are many places to visit, the Tyrchi fall which is again only few minutes’ drive from Thadlaskein lake is another important tourist spot, but before one decide to decent down to have a view of the majestic fall one should remember that there are more 300 steps to the lower part of the fall. On reaching Jowai; one can drive to Syntu Ksiar and enjoy the beautiful view of Myntdu river, believe to be the guardian angel (ka tawiar takan) and the memorial tomb of u Kiang Nangbah, or one can also travel to Ialong which is about 6 KM from Jowai where the famous Ialong sacred grove is located.

On the second day, stating from Jowai one can travel to Muktapur which is 50 KM from Jowai ad a frontier village on the Indian side of the Indo-Bangla border. On the way one can stop and visit Thlumiwi falls and the ancient stone bridge. Then proceed further and stop at the Jarain pitcher plant lake for a while. If you want to see a living pitcher plant, you can stop at Myrkein where the small reserve forest of the Jaintia Hills Autonomous District Council is located. On reaching Amalrem about 28 KM from Jowai, to proceed to Muktapur one should take extreme left and after traveling for few minutes you will see to your left a huge sign post indicating the location of the Krangshuri falls. This again is a unique spot which has many features in the one ecosystem. Then the next stop will be at Syndai where the Rupasor the ancient bathing ghat of the Maharanis of the erstwhile King of the Janitia kingdom. Few metres down one can see the Umpubon river and in the river there is a sculpture of an elephant carved since time immemorial. Syndai also have another sculpture of “u Khmi” earthquake and to see this sculpture and the cave; one has to take the path near the river which leads to Syndai village. Syndai cave is considered to be people friendly cave.

For people with a knack for adventure, one can drive to Elaka Nongkhlieh and visit the exotic caves recently discovered and mapped by the Meghalaya Adventure Association, but a word of caution, this caves are not for amateurs. For serious cavers one can contact the MAA in Shillong. Nature loving people tempted by the wild, one can seek the help of the Divisional Forest Officer incharge of wildlife division to trek on the three protected area or the reserve forest of the district. Of the three; Narpuh is easily accessible though it is more than 60 KM from Jowai, but it is assured that it worth taking the effort.
So what else are you waiting for, pack your bags and baggage and hit the road Jack, nature is calling and Jaintia beckons.

Kopati goddess praised for bountiful harvest

(Jaintia’s Thanksgiving Festival)
The Niamtre People (people who still adhere to tribal animist religion) of the Raij Raliang in Jaintia hills today lay to rest the goddess Kopati in a colourful religious festival held at Raliang. The Kopati puja is a harvest and thanks giving religious festival which is being celebrate by the tribals of this area after rice which is the main crop of the people is harvested.

The three days festival which was started on November 26 reaches its crescendo on the second day which is the 27. The ritual on the second day begins with a ritual in the wee hour of the morning followed by the warrior dance at the sacred grove of the Raij (state comprising of several villages) Raliang. After the warrior dance; the goddess was then taken to the river Umiurem to be laid to rest.

The final journey for the goddess started from the house of the Sutnga clan which is the “ksoh blai” or the keeper of the goddess. The goddess was carried by the wamon (priest) from the Sutnga clan accompanied by the people of the Raij under the leadership of Chawas Lyngdoh the dalloi (governor) of the Elaka Raliang. The dalloi along with the pator (chief of staff) and other dignitaries of the Elaka bate goodbye to the goddess before it crossed the boundary of the village.

The procession continues and then the Harmuid and the Laram along with the drums under their command also has to bate farewell to the goddess. The remaining of the procession along with the beating of the two remaining drums; proceeds on a long and arduous journey of more than 5 KM towards the Umiurem River. After walking for several hours; passing through hills and vales and walked by the harvested paddy field, the processions finally reached the river. On reaching the river bank, everybody took their shoes off before proceeding towards the altar. The wamon then immersed in the river bunch of flower and simultaneously the Wasan-noh-blai released a dove in the middle of the river. The pigeon crossed to the other side of the river and that is a good sign that the god(s) has accepted all the sacrifices and offerings provided by the people.

After the goddess was immersed, the wamon along with his helper arrange for the offerings which include rice, sugarcane and other fruits and vegetables. The offering was offered on the altar and later it was then shared among those who were present in the ceremony. The sharing also symbolized that people can now use or partake the newly harvested rice, fruits and vegetables.

The puja Kopati is the last religious rites of the Elaka Raliang, it is people way of expressing gratitude to the gods for the plentiful harvest this year, it may be mention that people are forbid from partaking new rice, fruits and vegetables before the puja was performed. Its only after the offering was first offered to the goddess, that the people of the raij can enjoy its blessings.

Under the Elaka (state) Raliang there are 5 raij, the raij Raliang, the raij Khonchnong, raij Ynniaw Kmai, raij Ionglang and raij Lapne. All these raij has a role to play to make this religious festival a success.

The last part of the programme was the warrior dance performed by the elders of the different clans of the raij and the climax of the festival was the warrior dance between C. Lyngdoh the dalloi versus the Firstly born Synnah the pator of the Elaka. The festival which started yesterday will continue till tomorrow.

The third day of the festival consist of many more rites and ceremony like “choo daloi” escorting the daloi and the fourth day will be the final day which is called “hiar rep Langdoh” or the priest symbolic act of starting the cycle of farming again after the harvest.

Symphut: The Dead Ghost

My Parents has a Tea stall then at Iawmusiang the Main market of the Jowai, and because our Parents were pre-occupied in the Shop, they didn’t really had time to prepare meal for us at home. So every morning, noon and evening we had our morning meal, lunch and Dinner in the shop. This suits me well because for a boy of my age, having the opportunity to go to the market and spend time at our shop is nothing but a wonderful opportunity. More so, Teashop in Jowai till today served as a chat room for those who have interesting topics to discuss especially politics. It came to pass one day, while I was having my meal in the shop, I overheard people saying that a Man had disappeared from his home and the whole town was looking for him. I was a young boy then about 10 years old and Jowai was still a small sleepy hamlet. Curious as any boy of my age, I eve dropped when ever I over heard people congregated and spoke about the sudden and mystery disappearance of the Man. The whole of his locality went searching for him but to no avail. It was only after few days that he was found in the forest in the suburb of the Town. The man was found sitting on the edge of a steep. Eyewitness stated that he was in a state of Trance and had it been that he was in his normal self, he would have fall down.
During our childhood, we were forbid to wear our clothes in side out, we were told by our elders that it is a taboo less we would be carried by the “SYMPHUT” (Suit Tynjang in Khasi). I am not sure whether Symphut was a kind of Ghost or a kind of animal, but one think I was sure was that Symphut if at all it is a ghost, it is a not a bad ghost, it never harm or injured its victims. During our Childhood incidents of some body being carried by the Symphut occurred quite frequently. We were told that Symphut can change itself to a Goat and lured its victim. It was said when somebody is being carried away by the Symphut, one will be in a state of trance, never to feel hungry, pain or even losses one’s sense of fear. Symphut was one of the phenomenon that every child dreads even to think of. It is said that female are more prone to fall victim to Symphut than their male counterpart. Legends have it that when Symphut left somebody after carried (kidnapped!) somebody away; one is always left in an odd or awkward position. For example a girl was found on the top of the tree, or at the fag end of the branch of a tree, a position that she would never have been able to reach has it been that she was in her normal self.
Whenever there was an incident of somebody being carried by Symphut, It becomes a talk of the village, and because Symphut is supposedly a good ghost, he never harm his victim and therefore there is no tragic end to the story, people love talking about the incidents albeit with awe. Symphut is a ‘wonder’ that is peculiar only to the people of Khasi and Jaintia Hills and it was very popular during our childhood. What strikes me is my Children aged 10, 8 and 6 respectively seldom heard about the Symphut phenomena anymore, they even heard the name the first time when I asked them whether they have ever heard about the Symphut. Symphut has gradually slipped from our mind, where has it gone I never know. Whether it has disappeared like the foxes that used to steal chickens from our coop, and dreadfully howl from a hill where the Jowai Circuit house now stand, or did it just disappeared with the advent of Civilization and light? I just don’t know. Whether Symphut is a reality or just myth that I will never know but one thing I know, oh how I hate to remember those spine chilling howls of the foxes on those moon lit night and how we like to talk about the incident when somebody was carried away by the Symphut. Oh! the romance of the good ghost, a ghost that did no harm to its victim. Symphut in our childhood is a reality, but a reality that seems to gradually fade away.

Noh-sa-kyriat: A Sowing Fest of a Different Kind

Imagine oscillating on a giant Seesaw made of an 18 feet tree trunk, which is placed on a bigger pine tree trunk, and over 7 feet high. It is indeed a very huge seesaw and the most gigantic one that I perchance had ever seen. No, I am not talking about Disney Land or about a seesaw in any one of those entertainment parks, this is not a child play either; this is the annual Seesaw fest that the people in certain area of Jaintia Hills still practice till date. In the local Pnar parlance, it is called “Noh-sa-kyriat” which literarily means playing seesawing. Traditional belief had it that, since time immemorial before going to their field for sowing rice (Rice is the main staple diet of the people) in their paddy fields people would celebrate a kind of Festival to pray God or gods for the seeds to be put on the Mother Earth and for a bountiful harvest in the season.
To appease the Deities rituals were performed early in the morning of the first day and then in the after noon, villagers would collect at the village playground to take part in the Seesaw fest. As the appointed time arrived, people from all walks of life young and old alike gather around the two seesaws erected in the middle of the playground. When it is all set; elderly ladies! (yes elderly ladies) were helped to climb the 7 feet tall giant seesaw and were pushed up and down by men to the merriment of the people present. One after another daring couple of ladies in their traditional fineries join in the seesawing and was help tilting up and down by men of the village.
The traditional attire of Pnar ladies consisted of a black and white jainsem called ‘Khywang’ wore round waist-down with a golden muga with two red stripes ‘Muka’ tied from one side of their shoulder down like a Jainkyrshah. And to add more colour ladies also wore a red blouse with ‘Paila ksiar’ and gold locket bedecked their neck. The traditional costume would remain incomplete if a woman failed to adorned golden bracelets festooned with precious stones in both of her wrist. The seesawing goes on till the ripe Sun kissed the hills on the western horizon one last good night kiss.
The next day is the last day of the Sowing Fest is the ‘Chad Sukra’, or it can be called a day of Joy and Merriment. The day consisted of a Cultural dance by young lads and beautiful damsels of the village. The traditional dance consisted of some dance that was rarely seen even by people from Jowai, these are the ‘Chad Kti’, ‘Chad Myrwa’, ‘Chad Rwai’ and of course the usual plate dance or ‘Chad Pliang’. These entire dances were performed to the tune of the music played on the backdrop by the local artist. And talking of synthesizing music, the village people of Jaintia has done that long time ago. The musical instrument consists of a Harmonium, Tablas, local instruments and even a Clarinet, the music blends harmoniously to the folk song that was played for the lasses to perform their dance. And that is not all the whole community join together not only in cheering to the music, but applauds the dancers too. When asked how come the Harmonium, the Tabla and et all were incorporated to the instruments used by village people in the remote part of the District? The answer was perhaps since the yester years of the mighty Jaintia Monarch, which ruled Jaintia also had part of the plain areas in its dominion. Influence of Plain People’s culture in the day-to-day life of the tribal people particularly the Pnars of Jaintia is still very prevalent till date.
The Traditional Sowing Festival is being performed by the people belong to Elaka Nangbah, namely Nangbah village, Mukhla and even Ialong village which is now in the Elaka Jowai, but was once upon a time it was historically part of Elaka Nangbah. Recently Raij Nangbah and Raij Ialong celebrated Seesaw Fest respectively but Sad to say, that the tradition is dying. History has it that in the olden days even Jowai folks used to perform what they called “Chad Mih Iaw” but for reason not known it was stopped. If it is not for the effort to revive the tradition by the organization like the Sein Raij of Ialong Village, Sein Raij of Nangbah Village and the Sein Kyntu Niamtre Khad-Ar-Dalloi, the traditional Seesaw Fest, Chad Mastieh (Warrior Dance) Rong Kusi and other alike tradition would have died a natural dead like a fallen leaves in the Autumn only to fossilized in the layers of history.

Bamphalar: The Anuual Theatrical Festival Of Jowai

Come May and June and the Jowai Town’s folk will once again celebrate yet another festival extravaganza. The lesser-known Festival of the town is a sort of month-long theatrical festival known to the local people as Bamphalar. The ancient Khasi-pnar is not known to possess any particular artistic inclination. Except for our monolith, our blacksmith, our Lyrnai Pottery and few sculptures scattered here and there, our artistic heritages would have been blank. Though we lack in the other artistic trait like painting, sculpting etc, yet we are proud that we still keep the unique theatrical heritage that we inherited. The origin of the festival is very recently according to woh Chaimon Pyrbot an elderly man of Iongpiah, locality. In my interview with him sometime ago, woh Chaimon is of the opinion that the people of Jowai borrowed this art from their neighbours in Shilot (now Sylhet), with whom they had a very good trade relationship in the times gone by.
Bam Phalar, derived its name from the last part of this festival- the community feast after the two or three days dramatic extravaganza. The month of April, May and June are the hay days for those with any theatrical talent in the locality, it is a time to prepare themselves to perform yet another drama in the local Community hall known as Yungwalieh (literary meaning white-house). The origin of the Yungwalieh is also very unique to this area alone. The denizen of this District has traditionally had this community hall since time immemorial. The Yungwalieh serves as a community hall where the community will meet for various reasons and the same time it is also use for Bamphalar, particularly for staging the dramas. Now the newly construct community hall in Localities like the Loomiongkjam, Iongnpiah, Tympang Club and Tpepale designed their hall for multipurpose uses. The Halls were designed in such a way that it combine in one a theatre and an indoor stadium. In the past almost all the localities in the town organise their own Bamphalar, old localities like the Chutwakhu, the Mission Compound and I still remember in the mid seventies; accompanying my parents to watch a drama in our local Yungwalieh at Iawmusiang. Sadly now only few localities took the trouble to organise Bamphalar and stage their dramas. To be precise now only locality like the Panaliar, the Loomiongkjam, Iongpiah Loompyrdi, Lumkyrwiang, Chilliangraij, Lulong and Tpep-pale regularly celebrate Bamphalar.
Bamphalar are normally scheduled to start on the Market day, still a payday in the local culture and it depends on the locality or the dong, how many drama would they staged. By mutual understanding it is arranged that each locality would organise their Bamphalar on the market day of the week in the span of these two months, so there is no chance of one locality’s Bamphalar clashing with the other. Normally Bamphalar is a three days affair, in which the local theatrical troupe will present their drama on the first two nights and the third and the last day is the big day of community feasting together (Bamdoh). It is a common practice now that the troupe of the locality will stage a serious drama on one night and a comedy on another night. Both the comedy and the serious dramas staged by the troupe, the story line will always depict the present cultural scenario of the society. There were times when the locality would also stage a drama on a historical and legendary figure of the community, like that of Kiang Nangbah, Lo Ryndi, Suna Raja and many other legendary figure of the area. But locality would very rarely perform this kind of drama; now a typical drama stage by any locality would contain the popular Bollywood block buster masala, a bit of gyrating dance, a bit of action and a lot of romance in the air. For the convenient of the local daily labourers, the drama normally started at 8 (eight) o’clock in the evening and would finish at around 1 to 2 o’clock in the morning. There were times that the drama will go on till the dawn of the new day.
The Bamphalar not only serve as a stage or an opportunity for those members of the local artist to showcase their talent, but it is also a great fund raising occasion for the locality. Dramas stage now a days always hit the box office and with tickets fare costing Rs. 100 and above,this naturally enables the community to raise a lot of fund. To me it is a treasure of literature, I often wonder what happen to the script of the drama that was staged, I doubt if the locality would have any mechanism to preserve these huge literary treasure. Just imagine if one locality would present two dramas in a year and there are 9 (nine) Dongs, which still organise their Bamphalar, how many drama would we have? In total we have 18 dramas a year and not to mention of the songs that goes to be part of a drama to make it a perfect Bollywood production. Of late with the advent of generation next in the locality, scripts of the dramas are now type in the computer and preserve well by the young artist.
It is very inspiring to learn that even though all the actors, the dramatist, the comedian, the dancers has spend their time and energy to present to the audience the best drama, yet they did this all for free. Nobody charge any fee for performing or involving in organising the drama; all did it voluntarily and for the love of their locality and of course the art. For weeks together they spend their time and energy yet its all for free.
Although there are those localities that stop organising Bamphalar, I personally see no threat of this tradition fading away with time. In the localities that still organise this yearly event, the theatrical festival is still alive and thriving. Actors, Dramatist, Comedians et al still spend their leisure time in the evening of these three months practicing and preparing each day for the D day. This dramatic event will still last, because the generation next of each locality not only enjoy performing in the stage, but are now using other modern dramatic gadgets to improve their presentation. The last drama of Iongpiah Loompyrdi club, even use Computers and LCD screen to improvise the dramatic-effect on one of their drama. The move to improve their presentation is also drive by the competition spirit among the locality. In their effort to perform the best drama, the troupe of the locality will try their level best to out do the others.
Not only these few localities in Jowai that still actively organise Bamphalar, but villages like Mihmyntdu, Sabah, Nongtalang and many more still organise their own annual Bamphalar.

Chhoh-ñia : The traditional lamentation of the War Jaiñtia People

(Paper presented by H.H.Mohrmen at the Seminar on Folklore and Oral tradition organized by the Sahitya Academi on the 24th and 25th April 2006 at Chutwakhu, Jowai.)

War Jaintia are the people living in the southern slopes of the state in the border with Bangladesh. Perhaps it is not wrong to say that “The War” (as they are commonly known in the District) is a community which still follows traditional customs which is unique to this particular group of people only. Choh-ñia is one such tradition that I seldom encounter elsewhere in Khasi Jaiñtia other than in the war Jaintia area. Even among the war, only those who live in certain areas follow this tradition. As far as I know, apart from the inhabitants of Nongtalang Village, others who are still practicing this customs are inhabitants of Lamin its neighbouring village and to some extend those who are residing also arround Khonglah and Nongbareh area. The reason for discontinuance of practicing the heritage is due to the fact that apart from the areas mentioned earlier, almost the whole War Jaintia region the population in other villages are predominantly Christians, resulting in the natural decrease of the indigenous religion. The other hypothesis could well be due to the fact that the villages which practice chhoh-ñia falls under the jurisdiction of the Daloi Nongtalang and as we all know that in the context of Jaintia Hills, traditions differ from one elaka to another or from one region to another. The case in point are the festivals known as Pastieh celebrated by the people of Elaka Shangpung and Raliang, is not celebrated by the people in Jowai or Tuber etc. which celebrates Behdieñkhlam instead. On the other hand the War Jaiñtia celebrates Rong Kusi, Rongkhla and other festivals. The inhabitants of Padu village too practice chhoh-ñia even though Padu now falls under the jurisdiction of the Elaka of Daloi Jowai. From time immemorial Padu was part and parcel of the elaka Nongtalang. One may question how then Padu became part of Elaka Jowai. Perhaps it is not out of place to mention here that Padu ‘annexed!’ itself to Elaka Jowai after the famous battle known as the “Thmi thhat khier.” We have a near accurate translation in Pnar (Ka Thma jed kper) or the battle that torn or broke the fence. As legend would have it; the famous battle was between the people of Nongtalang village and those of Padu, which ultimately led to the two to part ways forever. However the Padus keep chhoh-ñia and other Nongtalang tradition in tact as a token of its origin.
In Nongtalang Chhoh-ñia is also known as ‘Khae-na-salon.’ To define Chhoh-ñia, it is a kind of Lamentation; because it is normally performed when death occurred in the particular family. It is also in someway similar to chanting because it was sing to its own unique and melodious tune. And in all this lamentation and chanting there is a golden thread that go through this fabric and that is story-telling.
Chhoh-ñia is normally performed on two occasions, when death occurred in the family and on the occasion when the bones of the deceased are kept under the clan’s ossuaries. In War Jaiñtia dialect we say Chhoh-ñia is performed “ti ae ah i-jia i-jot ti sni” and during the “lum shyiang” time. The other reason of performing Chhoh-ñia is also to console the family which met with the unfortunate demise of their near and dear one; in our war-jaiñtia dialect we say “tju pyndot pynsyang.”
Chhoh-ñia is enerally performed at night and at the bereaved family and it continues till the dawn of the next day. Chhoh-ñia is also continued to be performed at the cremation ground and ends till the cremation ceremony is over. It begins soon after the bereaved family perform ritual of offering food to the deceased, I think this is akin to ‘ka siang ka pha.’ In Nongtalang they call it “Tai tji, tai tjia. Kae nguuh Prai nguuh shyem.” The offerings consist of food which the deceased use to take while he or she was a toddler. In war-jaiñtia dialect we call the typical food offered as “ka hi piah bae i-ji ladia. After the ritual, rice beer called “Ra” is given to one of the “Chyrkiang” elder present in the place and his role is to “Phriah” make an announcement. The announcement is not only to call upon the people present to listen to the Chhoh-ñia but it is also the occasion when the bereaved family announce the price for the team who perform the best Chhoh-ñia. Yes, in almost every Chhoh-ñia there is a competition. One may also question what the competition is all about or what is so competitive about Chhoh-ñia? Remember Chhoh-ñia is also storytelling occasion; the stories are of wide variety which includes the many popular folk tales and legends of the Khasi Pnar were narrated in a chant. So the competition is on the ability of the team to narrate accurately the legends and folktales that was jointly decided for competition. Traditionally the Chhoh-ñia will begin with folktales of the origin of the clan that the deceased person belongs. So if the dead person belongs to a Lamin clan, then the competition will on who can narrate the most accurate story of how the “Iawbei” of the Lamin name “Iawchibidi” started from Iapngar then proceed till she reach Umngot. The competition is divided in to different parts “Lyngkhot” so it could be from Iapngar to Umngot, or from Umngot till she reach the present domicile of the family. Similarly if the demised person belongs to Lyngdoh Talang clan, the story of how their Iawbei started from their place of origin; again depend on the agreement of the piece for competition. Likewise if the competition is on the popular folktales or legends, the competition will be on the specific part that has been agreed upon. The most popular legend and stories used in a typical Chhoh-ñia are Stories of the “Iawbei” of the different clans, the generations of the Jaiñtia monarch from Li dacha to the last, the king who change his intestine and others.
The competition is not merely an entertainment, it is not to be taken lightly by either the bereaved family who hold the competition or the “Nong chhoh-ñia,” it is the duty of the “Man-ñiew” the maternal uncle of the family to hire the judge who received the highest respect in the village, and considered to be the best in the business. I was told that a particular; village seldom perform chhoh-ñia anymore because of the non-availability of judges who can really do justice to his duty. Very recently in Nongtalang judges and even Nongchhoh-ñia was hired from Nongbareh because of the non-availability of the same in the village.
Any body can take part in the Chhoh-ñia and the only criteria needed are; that one needs to have knowledge of all the popular folktales and legends and of course the talent to chant. Chhoh-ñia has it own rhythm and it is normally performed by three people – a leader and two of his colleague to “Pyndon pyntoh,” meaning to follow in chorus the last syllable of the sentence to add flavour to the chanting. For instance if the leaders conclude the first line with “tewan” then in a beat unique to itself, the two colleague will jointly repeat in chorus “tewan” after him. Obviously, Chhoh- ñia is also a store house of folktales and legends; it is perhaps one of the few oral tradition that is being performed in public.
By now I think one may say that there is nothing related to lamentation in Chhoh-ñia. Well, it does not begin unless there is bereavement in the family and of course the placing of bones in the family ossuaries. A typical Chhoh-ñia begins with “Hai re hai/ Ah bea-rom ϊae tea-wan…” which referred to the occasion- the dead of so and so which is very unfortunate. This line is referred at a regular interval, to express the regrettable incident.
Chhoh-ñia is a lamentation mixed with chanting and story telling. It is rather unfortunate to mention here that Chhoh-ñia is rather a dying art, now because very few people can chant Chhoh-ñia in Nongtalang and when I say few I mean the number dwindled to the extend that they can be count on the fingers on both your hands. If Sahitya Academy can be of any help on the matter I would be willing to extend my support and co-operation to revive this dying art including another unique tradition called “Long Hai.”

I extend my sincere gratitude to the following for being generous enough to spend their time and energy in sharing their thoughts and experiences on the subject with me, I shall always remain grateful to :-

1. Chui Lamin pohlynjar, Daloi Elaka Nongtalang,
2. Siang Bareh, Myntri Dorbar Nongtalang,
3. Khyllaw Mychiang, Nongthang juprew (tymmen thangbru)
4. Plielad Lyngdoh, Ex. Headmaster Sohkha Secondary School. (Recipient of the National Award for Teachers)
5. J.F. Pohsnem for introducing me to the elders.
6. H.L.Giri Revenue Officer (JHADC) for giving more input to the paper.
7. P. Lyngdoh for correcting the draft of this paper.