Renaissance in the Darlong Ethnomusicology

    Throughout the human history, narration and oration had been the powerhouse of all cultural ethnicity. Nonetheless, one significant faculty which had never been either highlighted or given any importance is the ‘art of listening’. In fact, the faculty of listening had been carrying out the narratives and orature from age to age. On the other hand, listening cannot survive on its own without the support of memory. Thus, memory may be regard as a tool or even a mechanism to record, store, emulate, imitate and circulate the information absorbed (in conscious state, unconscious state or rather in a sub-conscious state). While talking about the art of listening, there is no denying the fact that music ever come along paradoxically. In the human prehistory, listening to recorded music was not possible. Music was then composed, sang and performed by the common men and women during their work and rest time, as well as rites and rituals. The effort of economic creation was often physical and communal. Physical labour often included singing by the workers, which served them several practical purposes such as reducing the boredom of repetitive tasks; keep the rhythm during collective workout while setting the pace of activities like planting, weeding, reaping, threshing, weaving and milling. Work songs frequently feature call and response structure that are designed to enable the labourers who sing them to coordinate their efforts in accordance with the rhythm of the songs. They are frequently, but not invariably, composed. In the American arm forces, a lively oral tradition preserves Jody calls (“Duckworth Chants”) which are sung while soldier on the march. Professional sailors made similar use of a large body of sea shanties. In leisure time, singing and playing musical instruments were common than today. Leisure time was one significant platform for such compositions in the past and production of folksongs was an inevitable accident. These compositions, performances and chants, ballad and other came to collectively form the so-called folk music. In modern time, with the rapid development of technologies electrically enabled music equipments has eclipsed the age old tradition while also modifying them into a new one.

 

            By the term folk music one may refer to the entire tuned narratives available in a particular tribe or a community. Some believe that folk music originated as art music that was changed and probably debased by oral transmission, while reflecting the character of the society that produced it. In many societies, especially in the preliterate ones, the cultural transmission of folk music requires learning by ears, although notation has evolved in some cultures towards the latter phase of their cultural revolution. Different cultures have different form of folk music dividing into a ‘folk’ music on one hand and of ‘art’ and ‘court’ music on the other. At other times, ballads and chants made during a performance of particular rites or rituals also give a culture a different genre of music. In the propagation of popular music genres, some traditional folk music becomes almost referred to ‘World music’ or ‘Roots music’. The International Folk Music Council definitions allow the term folk music can apply to music that “...has originated with individual composer and has subsequently been absorbed into the unwritten, living tradition of a community. But the term does not cover a song, dance, or tune that has been taken over ready-made and remains unchanged.”

            The post-World War II folk resurgence in America and Britain began a new field of music that came to be known as ‘contemporary folk music’ and the music brought an additional meaning to the term ‘folk music’. The contemporary folk music all together brought a new definition - newly composed songs, fixed in form and by known authors emulating some form of traditional music. The popularity of contemporary folk recordings cost the appearance of the category folk in the Grammy awards of 1959. In 1970 the term was dropped in favour of best ethnic or traditional recording (including the traditional blues)’, while 1987 brought a distinction between “best traditional folk recording” and “best contemporary folk recording”. Thereafter, they had a “traditional music” category that subsequently evolved into others. The term “folk”, by the start of the 21^st century, could cover singer song writers, such as Donovan from Scotland and American Bob Dylan, who emerged in the 1960s and much more. Scottish traveller Jeannie Robertson from a Aberdeen, made the recorded“I’m a man you don’t meet every day” version in 1961. She has changed it to make reference to “Jock Stewart”, one of her relatives, and there are no Irish references. In 1976 Scottish artist Archie Fisher deliberately altered the song to remove the reference to adopt being shot. In 1985, the Pogues took it full circle by restoring all the Irish references. These completed a process to where “folk music” no longer meant only traditional folk music.

            Traditional folk music often includes sung words, although folk instrumental music occurs commonly in dance music traditions. Narratives verse looms large in the traditional folk music of many cultures. This encompasses such form as traditional epic poetry, much of which was meant originally for oral performance, sometimes accompanied by instruments such as flute, gong, pipe instruments and many other traditional music instruments. Many epic poems of various cultures were pieced together from shorter pieces of traditional narrative verse, which explains their episodic structure, repetitive elements, and their frequent developments. Other forms of traditional narrative verse relate the outcome of battles or describe tragedies or natural disaster.  Thus, the triumphant song of ‘Deborah’ found in the biblical book of Judges, celebrate victories. Again, the song of David – the Book of Psalm of the holy Bible, celebrates the God’s greatness in all spheres.  Laments for lost battles and wars, and the lives lost in them, are equally prominent in many songs keeping alive the cause for which the battle was fought or lost. Hence, the traditional songs often also remember folk heroes such as John Henry to Robinhood. Some traditional song narratives recall supernatural events or mysterious deaths. Hymns and other forms of religious music are often of traditional and unknown origin. Western musical notation was originally formulated to archive the lines of Gregorian chant, which before its invention was taught as an oral tradition in monastic communities. Traditional songs such as green grow the rushes present religious lore in a mnemonic form as do western Christmas carols and similar traditional songs. Love poetry, often of a tragic or regretful nature, prominently figures in many folk traditions. Nursery rhymes and nonsense verse used to amuse or quite children also are frequent subject of traditional songs or ethno music (the term widely used in the 21^st century alongside traditional folk music). The Darlong traditional folk music is no exception to that facts discussed above.   

                    The Darlong traditional folk music transmitted by word of mouth through the tribe, in time, develops many variants because the transmission couldn’t produce word-for-word and note-for-note accuracy. As did other ethno music, the Darlong traditional folk music originated in the memory of the common men and women created during their day to day activities, across their journey to the present state of Tripura from their Sinlung age. Since the tribe endured a nomad life for many generations, singers and patron were hard to differentiate. Further, the study of Darlong folksongs lead to a conclusion that composers would composed their composition on the request or demand of their patron(more or less the chiefs, kings and queens) and the composition often take the name of the patron rather than the composers. Hence, in most cases the name of the singers or composers doesn’t come to light and are kept in the dark. However, there cannot be any denial on the purpose of the compositions at other times -  singing to served them several practical purposes such as reducing the boredom of repetitive tasks and keeping the rhythm during synchronised pushes and pulls while setting the pace of activities like planting, weeding, reaping, threshing, weaving and milling. In leisure time, singing and playing musical instruments were mandatorily common. Other forms of the traditional narrative verse relate to the outcome of battles, describes tragedies or loneliness of the beloved in absence of the lover;

Lamkhawzoi Hlȃ Ṭhuva eh mo ten’n di, Va mu eh sang eh mo thingler, Sil puan eh mo nei loi An tla sil sil eh Puan an chang. Hriami an di Va mu eh lai khum chunga Khamlu nei loi An chawnban kham lu’n an hmang. Ṭhuva ten di Va mu eh sing thinglera Sil puan nei loi An tla sil sil puan an chang Awi eh awi eh an tla sil sil puan an chang.

Translation Up on a tree I see a pair of dove Passionately in love Not having a linen to put on, They used their feathers as linen. I see a couple in love Lying on a bed cot With their heads on their arms, Not having pillows to lay their heads upon. A pair of dove have I seen In love high up on a tree Having no linen to cloth their body They used the beautiful feathers for it Oi...oi....used their beautiful feathers as linen.

Mourning for lost battles and wars and the lives lost in them, are equally prominent in the traditions. For instance, in the love story of Pangama and Ṭhuiṭlingi, we find how the former defeated the mortal world and entered the shrine of dead in order to rally with the beloved Ṭhuiṭlingi;

Berȇli Zâi Ki hang ngâia eh Pualvarual ṭlânga Ripuan ṭhaloiin zal tang ati Laipui khamlu in hmang tang ati Châwnbȃn khamlu in hmang tang ati Puisaikhâng ta le Hong bang ro ngân Chun ni zua sam hming hang sam maro Kuaibing dâia khaia don kiti Ṭlanṭla hnialtawl sam lo zȇl kiti Puisȃikhâng ta le Ni bân ni leng chun Chun ni zua sam hming hang sam maro Kei chu Chawnpuii sakawl tiro.

Translation As I  yearningly imagined, At the top of Pualvarual hill He must have been lying on a rotting linen, Must have used his gun as a pillow; Must have used his arms as a pillow. If you return With an elephant’s rib, Call not upon the names of your ancestors. I’ll be waiting with Kuaibing in hand, And hair neatly tied. When you chop the ribs of an elephant, Call not upon the names of your ancestor; Rather say that you are Chawnpuii’s man.

Here, one could understand the demand of a beloved from a lover who adventured far out into the terrifying Pualvarual hill. In addition, the tribe also has a nonsense verse with which the singers or the common folk had their wits knotted.

            The Darlong had a good number of verse composed in different dialects sung by distinguished singers. There are also claims saying, Lalkhawlȗra and Khawlianlala were the most well known composers of the past who had composed several Darlong traditional folk verses. In addition, there were composers like Vȃnhnuaithangi, Dȃrchuaithangi, Bereli and some others. However, except for Bereli, I do not hold the same view of Lalkhawlȗra and Khawlianlala being a composer but rather considered them to be a patronage. For instance, “Vȃnhnuaithangi, the then chief of Rivung clan had a large village on the present Longtarai Hill of Tripura between the Chengri and Kassalong rivers” (Mackenzie’s The North East frontier of India Pp. 308-309). Thus, songs composed under her patronage must have been credited to her name for the chiefs also called Dȃrhlaw in the vernacular. Similarly, the songs composed under their patronage of chief Lalkhawlȗra came to be called Lalkhawlȗra Zȃi and so alike.  The names of the original composers must have been wiped out as quoted previously. Besides Vȃnhnuaithangi, Dȃrchuaithangi, Bereli, Lalkhawlȗra and Khawlianlala, there are songs like, Tualvungi Hlâ, Ngavot Khawng Hlâ, Doni Zȃi, Thi Hlâ, Lamkhawzoi, Theitele or Inhnel Hlâ, Tlȃngte Belem Hlâ, Salu-ai, Vamawi Hla, Chongkuala Hla, Hrȃng Hlâ, Ngaibȃng, Hlâ Lêm, Bawl Hlâ, and Thiam Hlâ. No doubt, Thiam Hla is a sort of chant or recitation made in time of ritualistic performance.

            Alongside the verses, musical instruments played an important role in the ethnomusicology of the Darlong. Hence, there are songs which are categorized and sang with instruments such as Theitele Hlȃ or Inhnel Hlȃ, Ṭlâng Belem Hlȃ etc. However, the lyrics of the songs do not have any theme or intended subject giving every freedom to the composer or singers. Unlike the Theitele not every instruments had their respective songs, but they can be played along. The Rosem, Chongpereng, drums and bells are mainly played in time of dance like Riki Fa Chawi, Pȃrkam, Lȃmpalȃk, Fahrel Inkan etc. whereas the strings and the flute combination are especially organized while singing accompanied by Tuithei Khuȃng. The advent of Christian among the tribesmen and women paved way for the genesis of guitar melody in Darlong traditional folk music. The Darlong borrowed the melody of the guitar from the missionaries only to tune it into their own typical Darlong music. Following are the traditional musical instruments of the Darlong;

a. Flute                     b. Strings                        c. Bell                              d. Drum

i) Theitele           i) Chongpereng                   i) Dȃr-ribȗ                   i) Tuithei Khuȃng

ii) Tapual            ii) Ṭingṭang (guitar)           ii) Dȃrkhuang              ii) Khuȃng

iii) Rosem           iii) Kaikawng                     iii) Dȃr tengrep            iii) Seki Khuȃng

iv) Theikhang     iv) Guitar                            iv) Dȃr benthek

            One most significant characteristic of the Darlong folksongs is that of its conversational disposition. In most of the songs, one can see the presence of two singers either contradicting or debating each other over some issues. The orators or tellers and even the singers inculcated the art of tuned narratives technically while narrating in order to draw the best attention of his/her listeners through which the singers’ or tellers’ objective could be achieved i.e. to reach ‘the soul of the folk’. Indeed, many traditional singers are quite creative and deliberately modify the materials they learn. The Darlongs, without any doubt, are also lovers of festivities that perhaps paved the way for genesis of the tribe’s traditional folk music. Thus, a Darlong man sitting far in a mount with his beloved on his arm humming to him envies nobody in the world.

            The loss of traditional music in the face of the rise of popular music is a wide and wild phenomenon occurring almost at a uniform rate throughout the world. Unfortunate enough, the Darlong traditional music too had been reduced to victim of the espionage. Beginning from the year 1917, the Darlong witnessed waves of Christian influence coming from different directions. Thus, process of Christianization began as early as 1920. Besides, the tribe in course of their journey to settling in the present state of Tripura encountered ample of other ethnic groups that sway the culture to many extent. In other words, Darlong culture inclusive of customs, traditional folk music, rites and rituals had undergone a considerable change from thence;

            ...where is that glory, where that reverence now?

            Thy eagle pinion is chained down at last,

            And grovelling in the lowly dust art thou;

            Thy minstrel hath no wreath to weave for thee

            Save the sad story of thy misery! 

                                                              (To India-My Native Land- Henry Louis Vivian Derozio)

The bulky folk music of the people discussed lay astray in the dying generation. The strings had rusted; the flute has become silent, the chanting stopped and the narratives ditched and trampled over by the Christian gospel verses;

            I see the growth of my white hair increasing

            While I believe myself to be the zing

            But unable to the demanded thing

            That would save my house from threatening....

 Parallel to the dwindling of the traditional folk music, the tribe’s progress in global civilisation generated cultural regress and traditional evaporation with the passing of the tellers’ and speakers’ generation. The condition is further intimidating with the coming of the western education among the young generation as the traditional folk music is bargained to certain structured ‘gaze’ response to the fast growing western music. Consequently, the Darlong has libraries of Christian songs, reference and sermon books but not a book on the traditional folk songs or verses. As a matter of fact, the entire tribe (narratives, literature, traditions, customs, rites and rituals etc) had been unconsciously submerged by other cultural influences while being reduced to a mere ‘copy cat’.

            The Darlong traditional music had been lying dormant for almost a century today. With no professional speakers or rather practitioners, the notes of the folk music can only be found in scattered memory of the neglected aged men and women of the tribe. The condition is threatening when we come to learn that the memory of those dying men and women are only the sketchy part of the larger note. The lost suffered by the Darlong in terms of ethno music may have ample of probabilities. In view of it, the gradual disintegration of early cultural practices is one significant factor. Besides, the lack of awareness on cultural value and absentmindedness on the part of the tribesmen and women may also be other probabilities.

            Just when every hope seemed to wane, when a feeling of lost was hovering around the tribe’s ethno music there appeared a ray of hope in bringing about a renaissance in the Darlong ethnomusicology. This ray of hope ascended in the thought of the few intellectual think-tank surviving under the banner of CENTRAL YOUNG DARLONG ASSOCIATION (CYDA). CYDA has been the ‘Bukpui- traditional institute’ of present Darlong- the folk, by organising and conducting extravaganza festivals like ‘Darlong Youth Festivals’ and other activities. The vital objective of the organising body was to saw the seed of respectful self governance among the young minds which had and has always been the most momentous treasure that the tribe possessed until the present days. However, it was not until the late 2010 that a realization crept into the minds of the CYDA to bring about a renaissance and resurgence in the field of ethno music. Thus, the so-called ‘DARSINGER’ came into being. The first ‘Darsinger’ of the tribe was Mr. Malsawmkima Darlong, residence of present Deora village. The show was just what the folk needed at the particular circumstance that would ferry them across the river, independently having its harmonious rattle;

            Ngaibȃng Ṭlângpui

            A hnuai pialrem khur sunga

            A mawi darlei-lawn

            A chiar nghian eh... (Translation: through the tunnel lying beneath the Ngaibȃng mount runs a beautiful murmuring train on its harmonious rattle).

A couple of years later, ‘Darsinger Committee’ was formed under the supervision of CYDA. Given autonomous power, the committee decided to revitalize the ethno music. Initially, the supervising body did not come with courage in permitting the ‘Darsinger Committtee’ to include folksongs in the competition for the ‘Darsinger’ title. Eventually, CYDA decided to go with the proposal once and for all. As a result, presentation of folksongs was demanded from the ‘Darsinger’ title’s competitors marking the genesis of ethno music renaissance in the Darlong history. Stepping further, some competitors were even given an opportunity for audio/video recordings of folksongs irrespective of the genres. 

On the other end, Mr. Thanga Darlong, a residence of present Muruai village and the last surviving ‘Rosem- typical Darlong piped music instrument’ player was conferred the prestigious President’s Award for his contribution in the field of folk music of Tripura. At present, the ‘Rosem’ tune is being carried out by a young man viz. Lalsansuaka Darlong of Deora village under the shadow of the famous, Thanga Darlong.  In the year 2015, a proposal was made to the DHI, the Darlong Apex Court for observing a ‘Darlong Cultural Day’ on 28^th October (the very day when Thanga Darlong was conferred president’s award). However, the proposal was but rejected by the Apex Court.

            Muvân eh maw lȃi taka,

            Riang riaia thang eh maw vânzâwla.

            Lȃira eh maw ki chang ta,

            Riang riaia la eh khum chunga.

            Ki chun e maw ne chang eh?

            Ki zua eh,

            Nin hrâi lȇng ang ni chawi raw,

            Thangvân zawla.

(Translation; High up in the sky/ Sings a hawk in a pensive mood/ Lȃira is what I have become/ Sitting all alone on my bed cot/ Oh, tell me who you are?/ My mother or my father?/ Take me along as you fly across everywhere/ High up in the skies)

            As did the song, CYDA banged the tribe by organizing a ‘DARLONG IDOL’ (season-1) beginning from December 2015. The first audition was held at Darchawi where numbers of aspirant flunk to the spot in an attempt to try their respective luck. The concept of ‘Darlong Idol’ in fact was born at Sertlâng village during the Darlong Youth Festival Oct. 2015. The prize was then declared to be of one lakh rupees. The objective behind the initiative was to bring about ‘rise brother rise in the awakening skies – Sarojini Naidu’ sort of feeling among the young generations and also to provide a platform for those who ventured into the art of singing. In spite of all the fact, there was a huge debate internally among the committee members as why to what and how should the execution programming be? Should the terms and conditions applied in terms of voting, elimination and the round imitate ones from Indian Idol, American or other? Consequently, opinions and perspectives differ from member to member; discussions after discussion, meeting after meeting was held. Finally, the committee decided to form a drafting committee and the drafted terms and conditions would be accepted as final. So was it.

The first Darlong Idol was Miss. Roichanhlu Darlong of Boitang village. She, also holding the title of ‘Darsinger 2012’ is famously known for her songs like ‘Tiana Pi nih Pu’, ‘Lenglai’ etc. Besides being known far and wide among the Darlongs - the people, she is also an important member of the Evangelical Free church of India’s (EFCI) district choir group. Apart feom Roichanhlu, Remmawia of Muruai, Zovi Lalrinsangi of Deora, Zoremi of Deora, Lalropuii of Deora, Debori of Khawhreng, Chanthapuii of Boitang, Lalthangpuii of Boitang may be mention for their contributions in the field of folksongs. In the dying generation, Rev. C. Thuamdinga of Saibual kept on holding the string for surviving the age old songs. In fact, he also has number of compositions of folksongs to his credit.

                  Stepping further, in the mix of Covid-19, the Darlong tribe has been continuously engaging itself in the promotion and composition of vernacular songs (both gospel and non-gospel). In spite of the well-known fact that the pandemic brought about a curse around the world, the 'lockdown' period had been a blessing in disguise for the Darlong common men and women. In the pre-pandemic period, the Darlong tribesmen and women had almost nothing to sing and hum (so far as the love songs are concerned). Youtuber began to explore the unventured field resulting in the production of several music videos. One of the most popular hit was remake of a philipino music track by  a group led by Vannunsanga and lalnundika of Saibual Village. The song was entitled as 'Ki Lung Luasip Tu' As a result of it, the crew came to be popularly known as "TEAM STOP STOP STOP". Unfortunately, the team lost their most prominent vocalist, namely Thangsualiana of Khawhreng Village to illness. Besides, youtube channels like H&D Production, Rinsanga Darlong Official, JHR Production, Darlongtube, LRP Production, Gabriel Theofil Youtube and many others came up with good many superhit songs such as 'Salu Lam', 'Sinlung Nai', 'Ki Hnam Ke Zakpui No', 'Rosem', 'Darlong Nunghak', 'Nang Chai', 'Darsipai Hrat',  'Ki Liam Hma'n', ''Tonkil',  'Ki Phal Theino', 'Hlawmparual', 'Nunziamawii', 'Hmeltha Ki Dit Chem'  etc. folksongs such as 'Salu Lam', 'Hlawmparual', 'Tonkil', 'Bakvomtepu', 'Darlong Valrual', 'Darlong Thalai', 'Darsipai Hrat', 'Darkhawrua', 'Darzakimi Khawphaisat' and the likes. Parallel to it, theological songs are being continuedly composed and sung.

                 In the present context, the young Darlong boys and girls are even more engaging themselves in the task of promoting their respective composition resulting in the emergence of young talented singers. In fact, the celebration of Darlong Tharlak Kut 2021 was an evident exhibition of the renaissance in darlong music as a whole.  

Sung by Chanthapuii, Boitang;

Doni Zai Phailian ki va hmu khuma rual, A ṭha hi sil sil puan an chang; Hei heia heiha hoiha Zawnliana bengbe kha zuk en roi A kuma ṭla bengbe an chang Hei heia heiha hoiha. Dingni dȃng sip ro nen hlia ro, Chuan kin bȇl thlan a phȗl zawk lam; Hei heia heiha hoiha. Dongkorsi tui dȃr hȃi lȇnin, Ṭhaṭe insem laiin lawn ro; Hei heia heiha hoiha. Kin thlȃn chunga bel a phȗl zawk lam, Ṭhaṭe zȃi zȃp khan en vuang ro; Hei heia heiha hoiha. Tang ro tang ro an ṭuai ruȃi eh, Thlȃi thlȃk larn kawl a khum hma in; Hei heia heiha hoiha. Sappu siamrem chunga zari An ri der der thangvan zawla Hei heia heiha hoiha. Rualsa tinzȃi ei rȇl a ding Ṭhate’n nu nȃi an nui na ding Hei heia heiha hoiha. Zȃn thim khawpui a zing le a Ṭhaṭ takin nȃi an inna ding Hei heia heiha hoiha.

Translation A large paddy field have I seen, Smooth and beautiful as did a bed; Hei heia heiha hoiha. Look at the earrings of Zawnliana, It’s a fallen ones on the bed cot; Hei heia heiha hoiha. Shade me, shade me off the scorching sun Thus, my vessel would instead sweat off Hei heia heiha hoiha. Holding a bronze glass of Dongkorsi Come forth to share the water of it; Hei heia heiha hoiha. On our ‘Thlan’ split over my water vessel, Remove them by stealthily fanning it; Hei heia heiha hoiha Harder and try harder Before the sunken makes it way Hei heia heiha hoiha. The beautiful creation high above, Its sounding sounding up in the sky; Hei heia heiha hoiha. Come lets’ play our animal counting game,  To bring laughter for mothers and child; Hei heia heiha hoiha. The dark night has fallen once more, The children shall have their sound sleep; Hei heia heiha hoiha.

Sung by Lalropuii;

Tualvungi Hla Hui eh hui eh hui eh Hmana Zawlpala a thi Tualvungi’n a ruak va ral ro. Zawlpala don ding kiti, Hminzu hai lem mang ki thal Phunthli an a dong lam saw. Phunthli a don ding kiti, Turzu hai lem mang ki thal Zawlpala’n fam nan a hmang.

Hui eh.. Hui eh.. Hui eh Old pal Zawlpala passed away. Tualvungi go to anoint the body     I planned to welcome Zawlpala,      Taking apot of millet wine     But Phuntia became the lucky one.     I did planned to welcome Phuntia,     With a pot of poisonous wine along     And Zawlpala met his ill fate.

Sung by Zoremi

Lalkhawlur Zai

A chuni ne se sari an tia

Sekhat mana ka du na ve mo?

Kor kung muiin dar vȃna fe mo?

Ta ta lo la dȃrva  nivan duai

Sipa kipai doma sai ki vawr

Ki zȃi vawr sialin mi lo ngȃi raw la.

Sung by Suaroidinga of Muruai

Lalkhawlȗra Zâi Dawṭuanga zȃl eh, Vȃla ron tho la. Changselianin ki Kham hong ti raw. Changselian chu eh Khamna ki nei naw. Beṭhi sensiar ki Kham chang raw se. Beṭhi sensiar ki Kham ta hnung kha, Vȃlnamen khua kȃi la se kinti Baw-ar tenin kȃi la se kinti.

Translation You, one sleeping on the cot Get up and claim your girl, By placing a mithun as ‘Thilkham’. None I have to place as ‘Thilkham’ But my red earring beads. Once I place my beads, No man shall enter the house Not even a cock shall be allowed to do so.

Sung by Neikungpuii of New Lamkhuang

Bâwl Hlâ Ka mumangin eh Nuthȃi châwn bâna mi kai. Ai ang ka hang ṭhang le, Puisaingul tianga ka ṭlȗ, Ka hming pâr ang thang mo eh. Ka chel lo eh, Liandâng ka chel ngâi naw eh. Sehrang phur puk hlanin eh, Zoṭlâng kaia Liandâng ka chel ngâi naw eh. Kan khua phȃi khu eh, Romei sȗmin a bawm. Lo kiang lo kiang sela, Sakâwl kan ṭhȇn nâng ti ro. Lo ngâi, lo ngȃi tau eh, Kan khua chengrang ati eh. Hla kawlram lȃi ṭhlân i tum eh, Puisaingul ṭiang a ka ṭlȗ. Rovunin khua âwi che mo.

Translation I see in my dream, A lady pulling by my arm. When I woke up, I see myself falling upon the elephant I shot, My name bloomed as did the flowers. I can’t do ‘Liandâng’ I can’t do it. Carrying the wounded animal on my back, All across the ‘Zo’ hills, ‘Liandâng’ I can’t do it. Look at the view of my village How the mist clustered it. Let it clear, clear itself As did we search for a tiger. Listen, listen all of you, Our villagers will start to gun As you attempt to ran across Burma, I see myself falling upon the elephant I shot, And the triumphant song lullabying the days.