By Sainkupar Syngkli
Ko Blei nongbuh nongthaw
Ko ba seng ia ka niam ka rukom
ia ki ksing ka pdiah,ka tangmuri
u dhulia dhutar
To nang iarap to nang ai buit to nang ai bor
Ma phi ban iar ia kiei kiei baroh.
With these words, the dhulia (musician) initiates an important festival from the Ri Bhoi district in Meghalaya.
Translated, these words mean,
“Oh, God the creator,
The founder of the belief and culture
The Ksing, the pdiah, the tangmuri
Of Dhulia Dhutar
Support us to expand our faith and everything
You have blessed us.”
Harvest festivals have been an integral aspect of most agrarian societies, which celebrate the soil… the very soil which promises us abundance.
Homowo (Ga people, Ghana), Chuseok (South Korea), and Niiname-no-Matsuri (Japan) are some harvest festivals from around the world. Closer to home, Bhogali Bihu (Assam) is a vibrant time.
The people of Ri bhoi too, celebrate a unique harvest festival that have passed down through generations – the Lukhmie (named after the Goddess of Wealth) – considered sacred and special for raid (village) Marngar – and celebrated once every five years in November, just before the harvest of the paddy from the field. 13 clans of the raid participate, with three performing the rituals – Kur Sohkhwai, Kur Majhong and Kur Sylliang.
People pay their respect to the goddess by collecting a stalk of paddy one day before the harvest and tie it in the Rishot Blei (a post in a hut where the stalk is kept, believed to be the abode of God) with a bamboo straw.
Rituals, adhered to
The clans are given a specified day to collect a stalk of the paddy. Further, they are instructed not to venture into the paddy fields, unless specifically told to do so by the raid.
On the year of the festival, they wait until it is over to harvest their paddy.
Interestingly, the Lukhmie festival only takes place on a Sunday. The Syiem of the Dorbar fixes the date, through a ritual. Once it’s fixed, he issues an order to the public to prepare the local brew, along with a date for the public to collect their paddy stalk.
The village elder asks three questions to the Goddess, which revolves around who will carry her from Ingsad (Queen’s palace) to Madan Shad Lukhmie and back; the direction from which she will be carried that can be either east or west; and the appointment of the person who will perform the main ritual for the festival.
And it Starts!
The festival commences from the Ingsad of raid Nongbah, until Madan Heh (also, Madan Shad Lukhmie), with the public waiting eagerly.
The Syiem of the raid, along with an elder and the sangot (similar to an announcer) play an important role in the rituals – they wake up early in the morning to invite the goddess to Madan Heh. Some elders take stock of the paddy collected before harvest and piled at Madan Heh for the ritual.
While the people wait at Madan Heh, other elders go to the Ingsad. The ksing (drum) and tangmuri (flute) are important instruments in the Lukhmie dance. The dhulia, along with the elders, ensure that the instruments are washed with water brought in a jar from Ingsad.
Only selected men of the clan can take the instrument. The Queen arranges the local brew for the dhulia, who invokes the blessings of God.
The role of the sangot is particularly interesting. He goes round the village to announce that a meeting has been called by the Syiem, ahead of the festival.
That even in the 21st century, rituals are followed in such a systematic manner reveals the importance of staying rooted to traditions. For any agrarian society, the soil sustains and nurtures cultures.
The Lukhmie festival is no different. After the initial rituals are done, the festival begins… one where they adhere to rules related to performance.
Setting the Tune!
After a brief pause, the Ka Phordol (a musical instrument) is played. The dhulia plays the instrument within the Ingsad. From here, everyone, including the dhutar, reaches the madan for the dance.
The Syiem carries the goddess Lukhmie from the Ingsad to madan. He hides his face with a white Ryndia cloth along with a stalk of paddy, given to him by an elder after a ritual.
A notable feature of this dance is the role played by the villagers. Their exemplary patience shows there is no rush to enter the madan. One wonders what they think of this endless wait, at the madan and Ingsad.
Once inside Madan Heh, the dhulia selects an elder to shout the botkhotha (similar to a declaration). They stand in a line on one side, and place the white cloths on another side. They kneel and formally welcome the Goddess.
Following this, the don (basket), rashi (similar to a knife) and the local brew bottle are covered with white cloth. Once again, this symbolic prayer points toward reverence of the soil.
The materials and a stalk of paddy are then carried to Madan Shad Lukhmie. Only a boy or man can complete this part of the ritual. Interestingly, for a matrilineal society, women cannot participate in this aspect of the rituals, unless virginal maidens.
Only the dhulia can play the traditional tune, wearing the traditional dress at the madan.
On reaching the khyrdon (gate) of the madan, animals (white goat and rooster) are sacrificed as the next part of the rituals commences. The elder begins the prayer to Lukhmie, requesting the goddess to provide the people of raid Marngar with wealth.
As per belief, the blood of the white goat should drop in the basket of the 13 clans.
Back to the Ingsad!
What follows next is the Shad Lukhmie, where all the clans participate in the dance. It continues until they reach the Ingsad from Madan Shad Lukhmie. Another ritual awaits…accompanied by music; at this point, only the dhulia can enter the gate of the Ingsad.
The elder performing the ritual should face the Ingsad. At this time, the Syiem should not show his face, given he carries the goddess back from the madan. Once again, an elder performs the botkhotha.
Water is spread to the thulih and phithalon (names of the sacred place).
While one elder asks, “Is there anyone here, we bring the goddess?”, another responds by stating, “We are here, who are you?”
Finally, Lukhmie is placed at a special place within the Ingsad. Now, the Syiem can take off the white cloths.
A Festival of Traditions!
Certain protocols have to be adhered to, in order to appease the goddess Lukhmie.
Slippers/shoes aren’t allowed, and people walk barefoot. Instead of trousers, men have to wear dhuti or the Jainboh.
Once the festival is over, the villagers can start their harvest on a Tuesday or a Wednesday. If they violate laws, they pay compensation to the raid Marngar, accordingly, with local brew, a pig and betel nuts.
Thirteen clans own the Raid Marngar – Kur Syiem-kuba, Kur Lyngdoh, Kur Sylliang, Kur Sohkhwai, Kur Damlong, Kur Majhong, Kur Pambah, Kur Giri (Diri), Kur Binong, Kur Barka, Kur Marwet, Kur Pator, and Kur Makdoh. Interestingly, the traditional Khasi belief allows the owners of the Raid to own special cemeteries where bones of the members of the clan are buried after the cremation.
Observing traditional dances is interesting in the context of globalisation.
With the world increasingly moving towards a certain degree of homogeneity, it is traditions that keeps us grounded, more so when cultural practices often face the threat of extinction.
What is wealth, then, in its truest sense? For those sharing close ties with the earth, it is also the continuity of a way of life.