By Rupsa Marak
Folklore is one of the most intriguing and immersive aspects of culture should one be keen to explore it, presenting the customs and deities in an intricately woven manner, therefore, making for an engrossing learning experience.
This time, we are going to explore the Garo culture through a famous story passed down from one generation to the other – a story describing how the battle between heaven and the underworld started.
The Garo tribe, before British colonisation, was inherently pagan or, in their language, Songsarek. The colonisers were mostly successful in whitewashing our history, but the ways of the old world still live deep in the rural areas of the northeast. While most of the written literature of the Garo tribe is lost to time, their oral history is still thriving.
This particular story is well known in the Garo community, and I can only hope my translation does justice.
Misi sakni nonoa, Saljong Tasin’ me·chika,
A·ningni dedrangni pantena,
Chiningni su·drangni mandena;
Nono cha·sengna, sese man·pana
Namchik dongtimna, kawa dongpana…
…
Chinange ganange re·angjokna, jokangjokna
Saljong Tasin Me·chik, which roughly translates to “Ten thousandth niece of the god of harvest, Misi Saljong,” was a woman of unearthly beauty.
Before we delve into her story, here’s a brief introduction of Misi Saljong and why she is important – she was a generous and benevolent god, who blessed the people with a good harvest every year. Being of the god’s descent, she (Saljong Tasin Me·chik) was a sight to behold.
She had taken a fancy to a man from the underworld. To marry him, she descended from the heavens. Back in the day, Cha·senga was one of the important customs, where a woman would live with her suitor’s family before marriage to help in the daily chores of the household. She was ready to endure all the hardships that came in the way of her and her desired man, including harsh words from her sister-in-law and mother-in-law.
Gitokrengo kabake
Pakkolo wensalpake…
…
Ripok siksa, Do·katchi ripokko,
Rikwareng biding chane rapako,
Gitok grengna ma·ate patanga;
Ka·bak dingding suake gananga.
On her way to her suitor’s place, she took the finest aged wine covered by a brass gong, wrapped in silk cloth propped on her back, and aided by a walking stick.
She chose the most expensive white cloth reserved for the most important of occasions, to represent the purity of her body and soul. She wrapped herself in the cloth, twirling it from her neck, chest, and waist. Her hair was done up partly in a bun, and the rest let loose, adorned with red thread interwoven in her hair to make them look like berries. She wore the traditional necklace made with precious stones called Ripok Do·katchi, silver ear piercings called Naderong and earrings called Sisa.
Her complexion was neither too fair nor too tan, ‘perfect’ according to the people. She was of the perfect stature, her lips plump and red, her mannerisms polite and admirable. She indeed looked like she belonged to the race of the gods.
A·ningni dedrangni me·ara;
Chining su·drangni pantea,
Misi sakni nomilko, nono cha·senggipako
Saljong tasi anoko, namchik dongtimgipako,
Ang’ jik ong·ja ineming sromgope cha·jokna…
…
A·ningni dedrangno bobil dingna nangjok,
Chiningni su·drangko ginnal rikna sokjok.
After ensuring everything was well prepared, she set off to her suitor’s place. She was confident that she would be accepted by her to-be husband and in-laws. Upon her arrival, the man refused to acknowledge her as his lover, denying her affection. She pleaded with him to listen to her and reciprocate her love, but in vain. She met a brutal end when the family of the man she desired slaughtered her, cooked and ate her flesh, not leaving even a piece behind. When the news of the brutality reached the heavens, the gods were rightfully infuriated. Because their precious child was murdered so viciously, they could not let it slide. Thus, the enmity between the heavens and the Underworld commenced and remains so even today.
While the story doesn’t end well for the protagonist, it is still a goldmine of cultural information. The clothes and accessories worn then, the cultural rites, beauty standards, ethics and morality – are all captivating to anyone who comes across it. While the translation may not have been perfect, the piece of reference was the poem “Saljong Tasin Me·chik” written by Monensing R. Sangma.
It is important for us to be informed about the culture of minorities, which is overlooked most of the time. This is only one of the many equally intriguing stories from the Garo tribe, which deserve more attention. Considering these stories are passed down orally from the older generations, there are inevitable variations of the same story.
While the intention of this article is to usher the readers into the realm of the Garo culture, preserved for centuries, it is also a reminder that rather than looking at history from the western lens, which reduces the narrative to a racist perspective – “a primitive way of living” – we should be proud of our culture. Perhaps it is time to go back to our roots for important lessons in life.