Mizo music

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Mizoram is a region in India. Its folk music consists of vocals (singing) accompanied by traditional drums, gong and other native percussion instruments. There is also a long history of flute-playing which is now defunct.[ citation needed ] The drums are made from a hollow tree trunk with membrane made from cow hide and the gongs, made of brass, are very similar to those found in Myanmar.

Contents

History

It is difficult to trace the origin and to arrange the chronological sequences of the heritage of Mizo Music. However, some couplets were developed during the settlement of Thantlang in Burma, estimated between 1300-1400 AD. As recorded by B. Lalthangliana, the folk songs developed during this period were dar hla (songs on gong); Bawh hla (War chants), Hlado (Chants of hunting); Nauawih hla (Cradle songs) A greater development of songs can be seen from the settlement of Lentlang in Burma, estimated between late 15th to 17th Century AD. [1]

In precolonial times, the Mizos used the drum, gong and mouth organ made of gourd and bamboo as musical instruments. With adoption of Christianity, musical instruments other than the drum lost their appeal. The first Musical instrument to enter Mizoram was the mouth organ brought in by Mrs Fraser in 1907. Mr Vankhama, a well known composer was influential in popularizing the guitar in Mizoram. [2]

Classification

The Mizos have a traditional way of classifying their folk songs. A study of their folksongs on the basis of their own system of classification shows that the Mizos have about one hundred different types of folksongs. [3]

Musical Instruments

From time immemorial, the Mizo have been using different musical instruments. Even though we cannot date the origin, the "Mizo of Kabaw Valley during late 10th to 13th century AD had developed their music as nearly as they have done today". [4]

Khuang

Khuang (drum) is a Mizo indigenous instrument which occupies a very significant place in Mizo social and religious life. Khuang is a must on all occasions. It is made of hollow tree, wrapped on both sides with animal skin. The Mizo gives different names according to its size and length. The big sized one is called Khuangpui (Big drum), the middle one is called Khuanglai; and the small sized, Khuangte (little drum). If it is longish, they called it Kawlkhuang. As far as the history of Mizo is concerned it is commonly concluded that the Mizo ancestors started using drum as far back as when they sang and composed song. Lianhmingthanga believes that the Mizo had received drum from Chinese civilisation through cultural diffusion. The process of that cultural diffusion might have passed through the Burmese with whom the Mizo had a close cultural contact which took place from the middle of the 9th century AD until the end of Pagan period at the close of the 13th century AD. [5]

Darmang

Darmang is the smallest type of gong. It has no effect without other gongs or instruments, but it is used in the traditional dances to keep timing. All these gongs appear to be Burmese in origin, and therefore, it is tempting to conclude that Mizo got them from the Burmese while they were living in the Kabaw Valley during 9th to 13th century AD. [6]

Wind Instruments

The Mizo have six varieties of wind instruments such as Rawchhem, Tumphit, Mautawtawrawl, Phenglawng, Buhchangkuang, Hnahtum. [7]

Artistes

Classic Artistes [8]
Lallianmawia PachuauCFL HmingthangaLalṭanpuia TochhawngH. Lalṭhakima
C. LalrinmawiaK. LalchamlianaLiandailova ChhangteLalsangzuali Sailo
Female Artistes
DaduhiLiandingpuiiZoramchhaniSp-i
Mami Varte Vanhlupuii C. LuriVanlalruati
Male Artistes
Vanlalsailova Michael M Sailo Joseph Zaihmingthanga

Contemporary Mizo Artistes

Bibliography

Related Research Articles

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Owing to India's vastness and diversity, Indian music encompasses numerous genres in multiple varieties and forms which include classical music, folk, rock, and pop. It has a history spanning several millennia and developed over several geo-locations spanning the sub-continent. Music in India began as an integral part of socio-religious life.

<span class="mw-page-title-main">Mizo people</span> Ethnic group native to northeastern India

The Mizo people, historically known as the Lushais, are an ethnic group native to the state of Mizoram in India and neighbouring states of Northeast India. They speak the Tibeto-Burman language of Mizo, the official language and lingua franca of Mizoram. The state is the second most literate state in India, at more than a rate of 90%.

<span class="mw-page-title-main">History of Mizoram</span>

The history of Mizoram encompasses the history of Mizoram which lies in the southernmost part of northeast India. It is a conglomerate history of several ethnic groups of Chin people who migrated from Chin State of Burma. But information of their patterns of westward migration are based on oral history and archaeological inferences, hence nothing definite can be said. The recorded history started relatively recently around the mid-19th century when the adjoining regions were occupied by the British monarchy. Following religious, political and cultural revolutions in the mid-20th century majority of the people agglomerated into a super tribe, Mizo. Hence the officially recognised settlement of the Mizos became Mizoram.

<span class="mw-page-title-main">Mizo language</span> Tibeto-Burman language spoken primarily in northeastern India

Mizo is a Tibeto-Burman language spoken mainly in the Indian state of Mizoram, where it is the official language and lingua franca. It is the mother tongue of the Mizo people and some members of the Mizo diaspora. Other than Mizoram, it is also spoken in Meghalaya, Manipur, Tripura, and Assam states of India, Sagaing Region and Chin State in Myanmar, and Chittagong Hill Tracts of Bangladesh. It is mainly based on the Lusei dialect but it has also derived many words from its surrounding Mizo clans.

The Halam community are various tribes native to the state of Tripura in India. The name Halam was coined by the Tipra Maharaja. As per their oral tradition they called themselves "Riam", which literally means "Human being". And lyrically they also call themselves "Riamrai, Chepvon, Reivon, Longvon etc.". The Halam are further divided into 12 sub-tribes, namely Sakachep, Chorei, Molsom, Hrangkhol, Kaipeng, Kalai, Ranglong, Thangachep, Bongcher, Korbwng, Dab and Rupini.

<span class="mw-page-title-main">Biate people</span> Ethnic hill tribe of Northeast India

The Biates are an ethnic hill tribe of Assam, Meghalaya, Mizoram, Tripura and Manipur. Their language belongs to the Tibeto-Burman family. Spread over many parts of North-East India, they have a unique identity with a rich and distinctive history, culture, dialect and religious heritages. They are one of the oldest hill tribes of North East India especially among the Chin-Kuki-Mizo people. The term Biate comes from the word Bia-te. The word ‘Bia’ or ‘Biak’ means ‘speak’ or ‘worship’. ‘Te’ is a suffix denoting plurality. Hence, the two words combine to form the word Biate, which means worshipper.

Mizo literature is the literature written in Mizo ṭawng, the principal language of the Mizo peoples, which has both written and oral traditions. It has undergone a considerable change in the 20th century. The language developed mainly from the Lushai language, with significant influence from Pawi language, Paite language and Hmar language, especially at the literary level.

William Williams was a Welsh Presbyterian missionary to Khasi Hills, northeast India, in the late 19th century. He was a son of a ship captain in Nanternis, a small village in Wales. Following his father's footstep he became a sailor for five years. Then he took a profession in carpentry for two years. After graduating in theology from East London Missionary Training Institute he became a pastor. Pursuing his ambition he became a missionary of the Welsh Calvinistic Methodist Foreign Mission to Khasi people in India from 1887 until his death. He died of typhoid in 1892.

<span class="mw-page-title-main">Chapchar Kut</span> Mizo festival

The Chapchar Kut is a festival of Mizoram, India.

Zairema was a Presbyterian minister, and a pioneer in theology and literature among the Mizo people of northeast India. He was the first Mizo to obtain the degrees of BSc and BD. He died of cardiac problem on the morning of 17 December 2008 at his residence in Aizawl at the age of 91. He is best remembered as the "father of Mizoram Synod".

Edwin Rowlands was a Welsh Christian missionary in northeast India and Burma. He was a professional teacher, singer, composer, poet, translator and literary figure among the Mizo people. He was regarded as the most beloved of all British missionaries in Mizoram. He was more popularly known as Zosapthara. He made the major hymns in Mizo and Khumi which are still in use. He modified the original Mizo alphabet and his system became the standard in Mizo language. He created written language for Khumi people in Burma, and for Bhil people in Maharashtra. His literary works are the foundation of Mizo literature. He was the first administrator of education in Mizoram as Honorary Inspector of Schools. Despite objection from various corners he married Thangkungi, a Mizo girl.

<span class="mw-page-title-main">History of Christianity in Mizoram</span> Christianity in Mizoram

The history of Christianity in Mizoram covers the origin and development of all forms of Christianity in Mizoram since the British occupation at the end of the 19th century until Indian Independance. Christianity arrived due to British intervention in tribal warfare, raids of British plantations. The ensuing punitive British military expedition was called the Lushai Expedition of 1871. The subsequent annexation of the erstwhile Lushai Hills to the British Empire opened the gateway for British Christian missions to evangelise the Mizo people.

<span class="mw-page-title-main">Laltluangliana Khiangte</span> Mizo academic, playwright and poet

Laltluangliana Khiangte is a Mizo academic, playwright and poet of Mizo literature. He was the principal of the Serampore College and a former professor at Pachhunga University College and the North Eastern Hill University. He is presently serving as the senior most professor at the Department of Mizo at Mizoram University. He is a recipient of the Pu Buanga Award, the highest literary award of the Mizo Academy of Letters. The Government of India awarded him the fourth highest civilian honour of the Padma Shri, in 2006, for his contributions to Indian literature.

<span class="mw-page-title-main">Darkhuang</span>

Darkhuang, also known as Zamluang (Jamluang), is a large brass musical drum used as part of cultural activities of dance and festival revelry in the State of Mizoram in the northeastern part of India. It is a costly drum. Beating of this dar or drum or gong is known in the local Mizo language as "Darkhuang-Tum" and the central knob or boss is known as "Darkhuang-Tum Pawn". In ancient days it was an important musical instrument used to convey or exchange messages. It is also used to convey messages of mourning to distant areas and is therefore known as Zamluang. Since the last several decades it is used in the legislative assembly hall of the Government of Mizoram to take quorum calls of the assembly at its every morning and evening sessions. This gong's cultural usage is also said to be as a dowry gift demanded by the bride's parents, which is attested by the following verse.

Chawngvungi her price so high
I gave necklace hut they refused,
I gave a gong and they refused
They demanded our sacred gong,
Chawngvungi, her price unsurpassed"

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The culture of the Mizo people has been heavily influenced by Christianity during the colonial era of the British Raj and the rise of Mizo nationalism with the Mizo Insurgency of 1966-1986. Mizo culture is rooted in the arts and ways of life of Mizos in India, Bangladesh and Myanmar. Mizo culture has developed in plurality with historical settlements and migrations starting from Southern China to the Shan states of Burma, the Kabaw valley and the state of Mizoram under the British and Indian administrations.

<span class="mw-page-title-main">Mizo people in Myanmar</span> People of Mizo descent in Myanmar

The Mizo people in Myanmar, historically Burma National Lushais are Myanmar citizens with full or partial Mizo ancestry. Although various Mizo tribes have lived in Myanmar for past centuries, the first wave of Mizos migrated back to Myanmar in the mid-19th to the 20th centuries because of the Mizo National Front uprising.

Chheih Lam is a Mizo traditional dance originating from the Indian state of Mizoram during the early 1900s. It represents the spirits of happiness and joy, traditionally performed during a cool evening after the day's work was over with a round of rice beer. It is now a stage dance typically performed during Chapchar Kut.

Khual Lam is a Mizo traditional dance from the Indian state of Mizoram that is performed for guests. Nowadays, it is performed in every major Mizo cultural festival but still maintains the tradition of performing for guests such as the state Chief Minister, or government officials.

<span class="mw-page-title-main">K.C. Runremsangi</span> Indian folk singer

K.C. Runremsangi is an Indian folk singer. She has been called the "Queen Of Mizo Folk Song". Mizo is a language. She had made dozens of recordings and her awards include the Padma Shri in 2023 and the Sangeet Natak Akademi Award in 2017

References

  1. B. Thangliana, Mizo Literature, 1993, p.76
  2. Pachuau, Joy. The Camera as Witness. Cambridge. p. 37. ISBN   9781107073395.
  3. Lalruanga, A study on Mizo Folk Literature, unpublished tunes.
  4. B.Lalthangliana, History of Mizo in Burma, p.71
  5. Lianhmingthanga, Material culture of the Mizo, 1998, p.30
  6. B. Lalthangliana, History of Mizo in Burma, p.10
  7. K. Zawla, Mizo Pipute leh an Thlahte Chanchin, p.82
  8. Kathryn McKenzie, Chhinlung Magazine, Vol. II, 1986, p.19.
  9. "Femina's Fab 40: KC Runremsangi Is Dedicated To Safeguarding Our Culture | Femina.in". www.femina.in. Retrieved 5 December 2024.
  10. Vanlalawmpuia, C (2023). "Exploring the Pursuit of Happiness in SaiWanah's 'Ka Pa Khuma' and the Essence of Ikigai from Japanese Culture". Mizo Studies. XII (4): 615–623.