Khong: Its significance in Zeliangrong culture
- Part 1 -

Dr Budha Kamei *

Gaan-Ngai celebration at Namguilong, Imphal east on January 28 2013 :: Pix - Daniel Chabungbam

Introduction: The Zeliangrong, one of the natives of Northeast belong to the Mongoloid racial stock and speak the Tibeto-Burman language (Grierson, 2000: 477). Tradition says, the Zeliangrong people originated from a cave called Mahou Taobei; they moved to Makhel and to Ramting Kabin, and then to Makuilongdi, a big round village, Senapati District of Manipur. From Makuilongdi, they migrated to different directions: to the south, north and west.

As the Zeliangrong are “Tibeto-Burman, they must have lived with other groups of the same family in south West China before 1000 B.C and migrated to eastern Tibet, Upper Burma, then moved into Irrawaddy valley, Malaysia and Indonesia, and they returned southward and entered north East India through Manipur river, and some tracts of Indo-Burma border to their present habitat (Kamei, 2004: 28).” The present article is a humble attempt to look into the Khong (drum) as musical instrument and its importance in Zeliangrong culture.

Methods and Materials: The data have been collected from available primary and secondary materials of published works and also from selected well informed informants of the Zeliangrong community. It is an ethno-historical study.

Result and Discussion: No scholar has so far been examined the traditional drum and its importance in Zeliangrong culture on the basis of available sources. Some local scholars record the Zeliangrong musical instruments in their works. So, systematic study and treatment of the subject matter still await within a wide canvas. Culture is the unique quality of man which makes him separate from the animals. The maxim that “man is a social animal” may be redefined as “man is a cultural being.”

Edward B. Tylor defines culture as: “That complex whole, which includes knowledge, belief, art, morals, law, custom, and any other capabilities and habits acquired by man as a member of a society (Tylor, 1903:1).” Culture has both material and non-material expressions. The non-material culture does cover thought pattern, institutions, the behavior and love of beauty expressed in dress, costume and ornaments, system of religious belief and moral law, the love of life as expressed through the festivals, and dance, song and music. Every society has a culture of its own.

So, also the Zeliangrong have their culture. The Zeliangrong culture has greatly been enriched by their religious ceremonies, great annual festivals, beautiful dances and their diversely classified songs. Their conservatism comes out of their sense of pride in the superiority of their culture in relation to others (Kamei, 2004: 302).

Music: Music is one of the medium of thought through which feelings, sentiments, emotions and ideas are expressed. The Concise Oxford Dictionary defines music as “the art of combining vocal or instrumental sounds (or both) to produce beauty form, harmony, and expression of emotion (Allen, 1992: 781).”

It is often called the universal language because its meaning and appeal are largely the same for people everywhere. It may be vocal or instrumental. It unites, binds and touches everyone. It is believed that music is as old as the world. The love of music by the Zeliangrong people is evidenced from the types of songs sung at different occasions. They sing their folk songs in time of festivals, great ceremonies and other socio-cultural functions with or without instruments.

In the distant past, boys and girls learnt songs from the senior members while sleeping in their respective dormitories namely Khangchu, bachelor’s dormitory and Luchu, girl’s dormitory. They also learnt how to play various musical instruments (Interview report). Unfortunately, the younger generation is neglecting such traditional songs including the use of musical instruments. This part is highly regrettable.

Musical instruments: The musical instruments of the Zeliangrong are drum (Khong), gong (Senmu), cymbal (Senkhiang), mithun horn (Goichei), harp (Nrah), etc. They have cultural values.

Drum: Of all the musical instruments, the drum is one of the most popular instruments used by almost all the peoples of the world. Such musical instruments are of different kinds and shapes; some are big and some are small. Khong is the indigenous drum of Zeliangrong. The songs sung during Zeliangrong festivals and dance without beating a drum sounds so dull and monotonous. That is why, the drum is considered as the leading musical instrument.

Process of Drum making: A seasoned wood (prepared from a typical kind of Ngai tree) is cut off at least about two feet and three inches long with its circumference about two feet (Interview report). Both the ends are made little smaller than the middle portion and therefore, it does become an oval shape. After this, a thorough hole is made as big as possible enable to produce enough musical sound. This is called Khongthuimei.

The two big mouths of the drum are then covered by cow’s skin which is purposefully arranged for this instrument. The cow skin is then put round the holes tightly and stitched with the cane fibre carefully. It becomes very hard when the skin is dried. Again, a cane belt is tied up from right to left, to enable to carry the drum conveniently on the shoulder of the drummer.

The Zeliangrong people keep at least three to five drums in every village. According to tradition, the drum is made by the members of Khangchu at its premises and it is kept in the Khangchu itself (Interview report).

Types of drum: Among the Zeliangrong, there are two types of drum, namely Maoginakhong, a small drum, which is mainly used by the old men in Nanu-ngai, ear-piercing festival and Khongpui, large drum; (Khong means drum and pui, large). Khongpui is commonly used in different socio-cultural occasions of the people (Interview report).

Functions of drum: The functions of a drum are manifold. It is used in different socio-cultural functions such as festivals, dance, hoi, hoing and great ritual ceremonies etc. In the past, drum was also used as medium of sending messages to the village community and to the neighboring village. It is believed that the techniques of drum beating (Khong Baimei) of the Zeliangrong originated from the times of Amang Zoulumei.

Men learnt it from the gods and creatures. In dancing, the rhythm of the drumbeat Gin-chong, Gin-chong, Gin-chong is generally used. The peculiar types of drumbeating of the Zeliangrong are Meikao Khonglon, Shenthao Khongthao, Goidou Khonglon, Jandan Khonglon, Tingthin Khonglon, Meithei Khonglon, Choumongding Khonglon etc (Interview report).

(To be contd)