Festivals among the Zeliangrongs :: Part 1

Dr Budha Kamei *

Gaan Ngai Celebrations at BOAT, Imphal on January 07, 2012 :: Pix - Bullu Raj

There are no people without religion. The Zeliangrong people, too, are following a profound indigenous religion recognized as Tingkao Ragwang Chapriak. Tingkao Ragwang Chapriak is basically based on polytheism, worship of multiple gods however it emphasises to the worship of Tingkao Ragwang. The population of Tingkao Ragwang Chapriak in the three States is 30,000 souls approx [2011 Census] The present article tries to look into the festivals of Zeliangrongs.

Throughout the history of human culture, certain days or periods of time have been set aside to commemorate, ritually celebrate or re-enact, or anticipate events or seasons-agricultural, religious, or socio-cultural that give meaning and cohesiveness to an individual and to his religious, political, or socio-economic community. Because such days or periods generally originated in religious celebrations or ritual commemorations that usually included sacred community meals, they are called festivals.

Festivals are celebrated under different names but their functions are essentially the same. They unite people in a common exercise, thus strengthening the bonds between the participants. Festival rituals are meant to ensure the prosperity and safety of the group. Altho-ugh some festivals are celebrated primarily for worship and ritual, they are also a relief from daily toil and a major source of recreation for a large portion of the world.

All the major festivals of the world are linked with the rhythmic changes in nature and the course of the sun and phases of the moon. These ancient seasonal festivities, coloured by legendary or historical events, left their mark in symbols that have been incorporated into present religious observance. The universal theme of death and resurrection has its roots in the ancient myths of Rah, Tammuz, and Adonis.

For instance, among the ancient Egyptians, important celebrations were held in the month of October or November corresponding to the death of Osiris and again with his resurrection at about the time of the winter solstice. Connected with the celebration of the change in the seasons was the ancient Peruvian observance of four solar festivals annually, in addition to the ordinary feast at each new moon. In Europe during the period of Shrovetide and Lent, the passing of winter is dramatised by paraders dressed in fantastic and elaborate costumes who carry out and destroy the image of winter.

Festivals centering on seasonal renewal are found among all peoples of the world, both past and present.

Ancient people had many festivals, all of which were religious. Whenever they celebrated any good fortune they believed they had to share part of what they enjoyed with their gods. Their festivals were intended to promote a flourishing of nature, and fertility in humans and animals.

The ancient Romans celebrated a number of festivals which were diverse origin. The important festivals were the Lupercalia, a fertility festival, and the Ferelia, an annual public ceremony in honour of the dead. They celebrated a number of festivals with Gladiatorial shows. In this show, as many as 10,000 gladiatorial combatants were involved.

Knowledge of the primitive festivals of Greece has derived mainly from the epic poems of the Ancient Greek poet Homer. The Illiad has referred to a number of festivals, such as Panathenaca, the oldest and most important festival of Athens, held in honour of Athena, patron goddess of the city. They also celebrated a harvest festival. The Nemesia festival, it was held in honour of the dead, which probably originated in Asiatic ancestor-worship rituals. In commemoration of great historical events, the Athenians held festivals – such as the victory over the Persians at Marathon in 490 B.C. In celebration of festivals, they held athletic contests known as the Isthmian, Olympian, Pythian, and Nemean games etc.

The Hindus celebrated the Makara-Samkranti, a New Year's festival in the month of Magha [January – February] with fairs that continued for a month's duration, with much rejoicing. The Sri Panchami was a festival [Utsava] of seasonal renewal on the fifth day of Magha which symbolizes the ripening of crops. The Dewali festival, it was held in October at the end of the monsoon with light.

In Manipur, the Meiteis celebrate the Cheiraoba festival [New Year festival] on the first day of Manipuri lunar month of Sajibu, which falls in April every year. In this festival, a grand feast is arranged and offerings are made to household deities for wellbeing and prosperity in the days to come. Lai Haraoba is a great ritual festival performed annually in honour of their traditional deities. It usually takes place in Kalen [May] and continues for eleven to fifteen days or even one month. During the festival various rituals are observed in pleasing the gods.

In the last day of the festival, a ritual called Tanghkul Saba [a male actor playing the role of a Tangkhul] is performed without which Lai Haraoba festival could not be concluded. This ritual indicates the close cultural and historical ties between the two communities. Y.L. Roland Shimmi writes, "The culture is a proof to show that in the remote past the Meiteis were Tangkhuls, otherwise there is no reason that during the ceremony of Laiharaoba, a Meitei should dress like a Tanghkul Naga."

Mera Houchongba, an important festival of Manipur is celebrated every year in the month of Mera [October] as a mark of remembrance of the solidarity among the different ethnic groups of peoples in the state. In this festival all the village chiefs and people of the surrounding hills take part. Exchange of gifts between the king and village chiefs of the hills is the main ceremony of the Mera Haochongba which stands for oneness and one nation.

Like other communities of the world, the Zeliangrong people also celebrate festivals throughout the year based on the lunar calendar which is based on the progress of agricultural operations. Their joy of festival expresses through prayer and thanksgiving to God for good harvest and future prosperity. In the festival, ancestors of the family are also honoured. The social and cultural values, the aesthetic and creative senses, their love of beauty and color are expressed in the festivals.

Gangmumei Kamei, a renowned historian of India writes, "Festival is a vehicle of religion and the Zeliangrong religion is sustained by their colourful festivals accompanied by religious rites and prayers, dance and music and feasting during different months of a year". It is said that festival binds a religious group into a unity that transcends family and local ties.

R. Brown writes, the festive occasions among the Zeliangrongs are numerous, and are characterized by feasting, drinking, dancing and singing, and shouting Hoi without which no entertainment of any kind would be complete. The cry Hoi Hoi is a part and parcel of the festivals. Shouting Hoi denotes that they are intimating their joys towards Tingkao Ragwang.

The joy of life which is the mother of the will to live is sustained by the successive festivals. Each of the festivals is a sweet gift of God which is practiced with true religious faiths which makes human being a superior race and dominant creatures. Ngi, meaning festivity is multifaceted cultural phenomenon. The Zeliangrongs observes nine festivals in a year.

Some of the important festivals are discussed below. Among the festivals, Gin-ngi is the biggest festival of the people.

Gin-ngi

Gin-ngi, the greatest post harvest festival of the Zeliangrongs is celebrated in the month of December/January every year lasting for five days. "When the granaries are full, the landscape is dry, the whole village is free from all agricultural works and people turn to celebration, festivity and worship of Tingkao Ragwang and honouring of the dead". In this festival, fresh fire is produced so it may be described as a tribal New Year Festival. The whole culture, religion and social life are interwoven in the performance of Gin-ngi. Usually, the festival commences on the 13th day of the Manipuri lunar month of Wakching. It is a festival for spreading good will, peace and prosperity.

The first day is called Ngigangmei, coming of the festival. At the crack of dawn, an omen taking ceremony locally called Guhcheng Phaimei [ginger offering] is performed by an elder of Pei [village council] who officiates as priest at the abode of the upper village deity called Kaipi Bambu not to occur any untoward incidents during the festival. To the Zeliangrongs, ginger is considered sacred; it is used in many rites, sacrifices and also to ward off evils.

It is believed that ginger represents the fingers of the formless creator and Almighty God, Tingkao Ragwang. In ritual chants, ginger is not merely addressed as just 'ginger,' it is always addressed as Kachak Guhbung [golden ginger]. On return to Khangchiu the same elder offers holy wine to Tingkao Ragwang for safety and prosperity of the village. This is followed by beating of Khong [drum] by young boys. This act indicates the Gin-ngi begins.

Then, all the members of Khangchiu gather at the courtyard of Khangchiu where an omen taking ceremony known as Gaukpai Jaomei, [observation of pig spleen; Gauk means pig, Pai means spleen and Jaomei means observation] ceremony is performed offering a big pig to Tingkao Ragwang for wellbeing and prosperity of the village. The senior members of Pei are also invited in the ceremony. The spleen of the pig is removed and put on a plantain leaf which is placing on a Pantanglu, winnowing fan.

It is observed for the sign of good and evil that is to come in the following year. The omen is read as: if there is blemish on the spleen it is assumed as bad and there is nothing on it, is regarded as good sign. The victim is cooked and consumed by the members present with Naplao Hoi, an invocation to Tingkao Ragwang. Eating together of the pork meat cooked with the blood called Jeigan is a vow they make to stand as one in times of misery and happiness. Gin-ngi is inaugurated by the male members at a meal in the boys' dormitory.

Next, the boys will produce a new fire by the wood and bamboos friction at Danshanpung and the same fire will be distributed to every household of the village or several teams of youth will visit the individual families of the village to produce the new fire. Easy extraction of this fire is believed to be a sign of prosperity for the year. With the new fire they cook their food for the festival.

The Tingkao Ragwang Chapriak people believe that partaking of the foods cooked with the new fire will make them healthy, wealthy and wise. In other word, the lighting of this sacred fire signifies ritual consecration. It also denotes that one has entered a new era - a time of peace, prosperity and happiness. It is also believed that the blessed influence of the fresh fire will last throughout the whole year. The young boys will dig the village jumping ground where the sports of long jump and short put are to be performed.

In the afternoon, every male of Khangchiu wearing the best and colourful varied shawls [meant of their age], headgear and holding spears in their hands will march through the length and breadth of the village shouting Hoi - just as nations expose their strength, their power in land, water and air, show their cultural richness on a specific day, the procession is a grand show of their strength. This is called Hoi Gammei [Hoi procession] in local dialect. It starts from the Khangchiu after oblation of holy wine to Tingkao Ragwang.

The march will come to a halt when they reach at the Danshanpung, the village jumping ground where the young boys perform Taophai Danchammei, competition in stone throwing and long jump in the presence of the villagers. These sports will be introduced by the village chief [Nampou] or Nampei with a sort of religious hymns for wellbeing and prosperity of the village.

The winners of the sports are not given prizes but they are required to pay Shon[fees] for declaring and acknowledging their power and ability. Hoi procession will go back to the Khangchiu from the Danshanpung when the competition comes to an end. In local tradition every important event will begin and comes to an end with Hoi.14 Shouting Hoi is an invocation toward Tingkao Ragwang. Napkao ceremony [calling of paddy] is observed in every household offering a beautiful cock to Tingkao Ragwang as thanksgiving for the bountiful harvest.

Bronislaw Malinowski writes, at the time of festival the spirits of ancestors and dead relatives return and receive offerings and sacrificial libations, mingle with the survivors and rejoice the feast. In the evening of the day, rich tribute is given to all those who died in the previous year in the form of parting meal provided by families concerned to his or her friends.

It is believed that the departed soul does not leave the village until the parting meal is over. The grave is beautified and drinks and eatables are also placed on it as a way of sharing the meal with him or her. It may be interpreted as a farewell banquet – a send off one who is unwilling to go at the termination of which the deceased is formally but firmly shown the door. This is locally recognized as Ngidongmei.

At the nightfall, the elders of Pei who are at the rank of Ganchang and Banja will visit every house giving words of warning not to quarrel or speak ill words with each other during the festival. If there is any quarrel, the Pei will take stern action against quarrelling parties. This is locally called Saopak Danmei[warning message]. Every family prepares various dishes for the evening meal.

The unmarried boys and girls of Khangchiu and Luchiu will visit every member houses to enjoy the tasty foods. This is called Napcha Tukaronmei[dinning together]. On this particular day two married males of Khangchiu will be appointed as Tuna Munshinmei [in charge of girls' dormitory] and they will look after the affairs of Luchiu during the festival.

To be continued ....