An attempt to trace the
early origins of Mizo music has yielded evidence suggesting the emergence of
certain musical forms during the settlement of Thantlang in Burma,
estimated to have taken place between the 13th and 14th centuries AD. According to B. Lalthangliana’s
records, this period witnessed the development of folk songs that encompassed
various themes, including Dar hla (songs featuring gongs), Bawh hla
(war chants), Hla do (chants associated with hunting), and Nauawih
hla (cradle songs). It is worth noting that these early musical expressions
primarily reflect individual experiences, lacking the philosophical depth or
rational attitudes towards life often found in later forms of Mizo music
(Lalthangliana 1993,76).
The Mizos eventually
established themselves in what is now Mizoram during the late 17th century. The pre-colonial period, spanning the
18th and 19th centuries AD, marked a significant era in the
history of Mizo folk literature and music (Thanmawia, 2024). Prior to the
British annexation of the region, the Mizo community had inhabited the
present-day Mizoram for two centuries, and during this time, their folk songs
evolved in terms of quantity, form, and content. These songs exhibited a higher
degree of linguistic refinement and musical sophistication. Furthermore, many
songs from this period bore the names of their composers, underscoring the
development of individual authorship in Mizo music.
8.1 Traditional Songs:
The Mizos have traditionally classified their folk songs
using an indigenous system that encompasses approximately one hundred distinct
song types (Lalruanga, 1984). However, according to RL Thanmawia these songs
can be broadly categorised into ten primary classifications:
8.1.1 Bawh Hla:
This category includes chants or cries uttered by
warriors upon their return from successful raids. The purpose of chanting Bawh
Hla was to assert their dominance over the enemy and inform their community
of the successful raid. Only the warrior responsible for killing the enemy had
the privilege of chanting Bawh Hla.
8.1.2 Hlado:
Chants or cries raised by hunters to celebrate successful
hunting expeditions. Hlado chants could occur on the spot, on the
journey home, before entering the village, or during celebratory gatherings.
Anyone who witnessed a successful hunt could participate in chanting Hlado.
8.1.3 Thiam hla & Dawi hla (Invocation & Incantation):
These verse forms were reserved for use by priests and witches during ceremonial rituals.
8.1.4 Dar Hla:
These songs were instrumental in nature, and intended for musical instruments rather than human voices. Dar hla, meaning ‘song for the gong,’ represents the most prominent category within this classification, featuring songs associated with various instruments, with the gong being the most popular. These songs typically consisted of three musical notes.
8.1.5 Puipun Hla:
These songs were inspired by merry and festive occasions and were particularly popular among the Mizo people. They were often sung in conjunction with dancing during festive events.
8.1.6 Lengzem Zai:
Love songs, named after the theme of love. These songs
lacked a distinctive form but were categorised based on their thematic content.
8.1.7 Songs named after Tribes:
Some song forms were named after specific tribes, such as
Sailo zai and Saivate zai.
8.1.8 Songs named after Villages:
A subset of songs bore the names of villages, like Lumtui
zai and Dar lung zai.
8.1.9 Songs named after modulation of the
voice:
These songs were named based on the modulation of voice
or sound, exemplified by names like Kawrnu zai, Zai nem, Vai zawi zai, and
Puma zai. For instance, Kawrnu zai was named after the gentle and
low voice of a cicada known as Kawrnu.
A significant portion of Mizo folk songs bore the names of individuals, often referencing both the original composer and the melodic tunes. Some songs were named after beautiful women or tribal heroes. The first six categories primarily featured individual expressions, while the remaining four were meant for group singing. Although some songs could be sung individually, the essence of Mizo folk music typically lay in collective performances accompanied by music.
The major themes prevalent in Mizo folk songs include war, hunting, love, nature, and patriotism. Love songs occupied a central place in Mizo folk music, reflecting the natural affinity of the Mizo people with the elements of nature. These songs often employed symbolism through birds and animals as messengers of love. Likewise, hunting songs celebrated the role of successful hunters, referred to as “Pasaltha,” who were highly esteemed in Mizo society. These songs revealed the social and domestic implications of hunting.
War chants and songs were significant due to the frequent conflicts the Mizo people faced, either in battles with neighbouring tribes or inter-village warfare. A unique practice in Mizo warfare was the trampling of the enemy’s dead body, symbolizing the conqueror’s victory. The chanting of war-chants, such as “Bawh hla,” served to dispel fear related to the enemy’s soul, ensuring its safe and peaceful passage to the afterlife (Zawla 2011, 82).
Patriotism was evident in songs named after villages, where individuals expressed their deep affection for their native places and emphasized their might and other positive attributes. Such songs aimed to boost the morale of warriors and discourage potential raids by other villages.
An essential characteristic of Mizo folk songs was their self-sufficiency within each stanza or musical couplet. Each couplet or triplet conveyed its own message, reflecting a typical structure found in folk songs. Mizo traditional music was closely associated with dance and drama, serving as an integral part of their cultural expressions.
8.2 Traditional Music Instruments:
Throughout their history, the Mizo people have utilized a
diverse array of musical instruments. These instruments, however, present challenges
when attempting to trace their precise origins. It is suggested that during the
late 10th to 13th centuries AD, while residing in the Kabaw
Valley, the Mizo community developed a musical tradition that laid the
foundation for their contemporary practices (Lalthangliana 1997, 71). These
traditional Mizo musical instruments exhibit simplicity and rudimentary
characteristics compared to other Indian musical instruments, representing a
departure from modern musical equipment. RL Thanmawia categorized the musical
instruments of the Mizos into three primary groups: Striking Instruments, Wind
Instruments, and String Instruments.
8.2.1 Striking
Instruments
These instruments are predominantly used during festivals
and dances. Notable examples include various types of Khuang and Dar,
along with instruments like Bengbung, Seki, and Talhkhuang.
- Khuang (Drum): Khuang
instruments, crafted from hollow tree trunks covered with animal skin, hold a
significant role in Mizo social and religious life. They are categorized by
size and length, such as Khuangpui (Big drum), Khuanglai
(Middle-sized drum), and Khuangte (Little drum).
- Dar (Gong): Brass gongs are another prominent category
of Mizo musical instruments. They come in various sizes and sets, examples
include Darkhuang, Darbu, and Darmang.
- Bengbung: This instrument, reminiscent of a xylophone,
features flat wooden bars that produce musical notes. It is typically played by
girls during leisure.
- Talhkhuang: Similar in construction to Bengbung
but larger, this instrument comprises curved wooden pieces of varying depths,
producing different notes when struck with a wooden hammer. Talhkhuang
is used for specific occasions, such as during the erection of memorial stones.
- Seki: Seki involves beating the hollow
horns of domesticated mithun cattle to provide timing cues during traditional
group dances.
8.2.2 Wind Instruments
Mizo culture features six types of wind instruments which
are - Rawchhem, Tumphit, Mautawtawrawt, Phenglawng,
Buhchangkuang, and Hnahtum.
- Rawchhem: Resembling a bagpipe or sheng, Rawchhem
features nine small bamboo pipes or reeds inserted into a dried gourd.
Musicians control sound production through finger placement while blowing into
the mouthpiece.
- Tumphit: Tumphit consists of three bamboo
tubes of different sizes and lengths tied together. Musicians blow into the
open ends to produce notes based on tube length.
- Mautawtawrawt: This bamboo trumpet comprises various bamboo
tubes of different sizes joined together. Musicians blow into one end to
produce distinct musical notes.
- Phenglawng: A bamboo flute, Phenglawng initially had
three holes producing three distinct sounds, similar to flutes used in other
Indian musical traditions.
- Buhchangkuang: Another type of bamboo flute, constructed
from reeds or paddy stalks, was primarily played by girls.
- Hnahtum: Mizo boys fashioned simple indigenous
musical instruments from various tree leaves, creating unique sounds by blowing
on folded leaves.
8.2.3 Stringed Instruments
The Mizo musical tradition includes three types of
stringed instruments: |ing\ang, Lemlawi, and Tuiumdar.
- Tingtang: Resembling a fiddle or violin, tingtang
features a single string and a bamboo shaft fixed in a hollow gourd. The string
is made from Thangtung, the fiber of the Malay Sago palm, and the gourd
is covered with a dry animal bladder.
- Lemlawi: Although belonging to the Jew’s harp family,
Lemlawi differs in shape and size. It is constructed from small bamboo
pieces and produces sound when manipulated in the mouth.
- Tuiumdar: Crafted from bamboo, Tuiumdar
features three strings, each producing distinct notes. Musicians play it
similarly to a guitar.
In summary, the traditional Mizo music and the associated
array of musical instruments serve as invaluable repositories of cultural
heritage and historical narratives within the Mizo community. Over the course
of centuries, these musical expressions have undergone gradual transformations,
encapsulating a range of thematic motifs encompassing love, warfare, nature,
and patriotism. The multifaceted nature of Mizo music, spanning from vocal
chants to intricate instrumental compositions, extends its influence beyond
mere entertainment, permeating into the realms of rituals, communal
celebrations, and assertions of cultural identity.
Despite the ostensibly uncomplicated and
rudimentary designs characterizing traditional Mizo musical instruments, their
cultural significance remains profound. These instruments, spanning striking
percussion devices like drums and gongs, wind instruments exemplified by the Rawchhem,
and stringed instruments typified by the tingtang, each occupy a
distinctive niche in Mizo society and historical context. Even amidst the
introduction of contemporary musical elements driven by modern influences,
these traditional instruments continue to command a unique and cherished role
within the hearts of the Mizo populace.
From a broader
perspective, the enduring presence of Mizo music and its associated instruments
attests to the indomitable spirit of a community deeply entrenched in its
cultural lineage. This cultural dynamism manifests as a harmonious amalgamation
of tradition and adaptation, reflecting the ever-evolving tapestry of their
cultural identity. The enduring legacy of Mizo music and its instruments
resonates as a living testament to the Mizo people’s commitment to preserving
and celebrating their rich heritage, thus ensuring its perpetuation for
generations to come.
Lalthangliana, B. History of Mizo in Burma. Aizawl:
Zawlbuk Agencies. 1997.
B.Thangliana, Mizo Literature, 1993 P.76
Lalruanga. A Study on Mizo Folk Literature, Unpublished
Thesis, Gauhati University. 1984.
Lianhmingthanga. Material Culture of the Mizo, 1998.
Thanmawia, RL. Heritage of Mizo Traditional Music.
https://mizoram.nic.in/about/music1.htm accessed on 27th Jan 2024
Zawla, K. Mizo Pi Pute Leh An Thlahte Chanchin. first
Published in 1964. Aizawl: Lalnipuii at Lengchhawn Press, 2011.
Dr. Malsawmdawngliana and his wife, Dr. R. Lalsangpuii collaborated on the excellent "Windows to the Past: Cultural Heritage of the Mizo" recently published by South-Eastern Book Agencies, from which this chapter is extracted. The book offers a comprehensive delineation of the Zo ethnic tribes' cultural heritage and traditions, including history, craft heritage and traditional practices. I have little doubt the book will prove to be be a useful and invaluable handbook for anyone interested in researching Mizo cultural history.
I also express deep appreciation to the authors for allowing me to publish this extract here.
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