Tag: khasifolktales

  • The Origin of Lightning

    Mynhyndai eh, mynba ki sim-ki-doh, ki khniang ki puit, ki mrad ki mreng baroh ki dang ïakren bad ïasngewthuh kawei ka ktien, la don ka hima-bah jong u laiphew mrad laiphew mreng baroh. Baroh ki ïashong ïa-im ha ka suk ka saiñ, ka jingïaieid ïabha bad ki ïaleit ïawan ruh ryngkat. Kim tip kata ka ïashun ïapen, ka ïakajia majia, ka ïadait ka ïapyniap para ki hi.

    Ha kawei ka sngi, u Shakyllia, u Diengkhied bad u Risang haba ki dang ïa ïaid knmih shnong khmih thaw, ki wan poi hajan kawei ka lympung, ha kaba u khun bynriew u ïashad ïamastieh shisien shisnem. Kine baroh lai ki la sngew shohmynsiem ïa kata ka leh u bynriew bad ki la ïapyrkhat ba kan long kaba sngewbha bad itynnat lada kin lah ban pynlong kum kata hapdeng u laiphew mrad baroh. Kumta haba ki la leit phai, u Diengkhied bad la ka shaw-shaw, u Shakyllia bad la ka tangmuri, u Risang bad la ka ksing, ki la ïaput ïatem haduh ba la sawa ka khlaw baroh kawei.

    Kane ka tem ka put basngewtynnad, ka la pynkhih ïa u laiphew mrad baroh ban wan ïapeit bad ïasngapkai. Katto katne na ki, ki la ïaong ba haba ki la don ki nongput nongtem kiba kum kita, balei ba kim lah ban pynlong sa ka shad ka kmen, kumba leh lem u bynriew?

    Kumta ki la ïabuh ïa uwei uba kham-nang kham tip ka talat kam shane shatai, bad uba kham tbit ruh ha ki kam sngewbha. Une u long u Pyrthat. Ma u pat, ban leit pyntip ïa ka hima sima baroh kawei ban long kum kata ka phur ka siang, u la shna kawei ka nakra kaba lah ban ïohsngew shaduh jngai bah, bad u la tied da kata kyndung shi kyndung bad step bad sngi. Ynda kata ka ïa ka la poi, u laiphew mrad phew mreng baroh u la ïawan poi ha ka lympung kaba la khreh lypa hangta ha khlaw. Baroh ki la ïa riam ïa beit da ki kup-ki-sem tyngkai, ki ïarkhie bad iphuhmat.

    Ka Shrieh ka la pynsad pynkhyllong bha ïa la ki khun bad ka la rkhie phuhmut phuhmat haduh ba ka dam sa ka khmut ka khmat. U Sñiang ruh u la sum la sleh jriang bad u la ïaid wiat-samrkhie haduh ba la ang shynded sa ka khmut, kum ka shata. Ka Dkhoh ka la sad la khyllong bha, bad ka la nap tang ka peit ït haduh ban da plaid ki irmat bad byrie. Bad u Dkhan pat uba la rkhie ïap-ang ïap-ler ïa ka, u la dam la rit sa ki khmat. U 'Labasa bad u 'La-thapsim, ki la sei da ki khor ki khriam bad ki la kup la deng baroh shirynïeng.

    Te, haba la sdang ka put ka tem, ka ksing, ka tangmuri, ka lympung ka la shit ir. Ka kmen ka risa kum kata ym pat ju don. Ha kata ka por la wan pol u Kui, u phong u kup da ka khor ka khriam khyrwang, kaba phyrnai na khlieh ha kjat bad u la rah ruh la ka waitlam rupa kaba u la phah shna khnang na ka bynta ka shad ka kmen. Tang shu poi tiap ha lympung, u mastieh ir, u pynshad wait sha kadiang bad sha kamon haduh ba u paid peitkai u la shoh biej thiaw bad u ïarisa shaw shi shaw. U Kui pat u la sngewsarong sngewmeng haduh bym lah ong shuh.

    Haba la shong thait u Kui, u Pyrthat u la ïapankai ïa ka wait jong u ba un khalai kai shipor. U Kui u la sngewbynnud ban ai, ïoh u Pyrthat un shad kham bha ban ïa u bad ïoh baroh kin ïaroh. Kumta u la kren da rapjot da kumne kumtai, hynrei um banse ban ai, haba baroh baroh ki ban ia u ba u dei ban ai, namar ka jingheh jingkhraw jong kata ka shad ka kmen ka long na ka jingtrei shitom jong u Pyrthat. Te u Pyrthat, u tang shu ïoh ïa kata ka wait, u king-u-mastieh, haduh ba la i biria hi khait. Baroh ki la ïarisa bad ïaroh ia u.

    Hynrei hapdeng kata ka jingïarisa, u Pyrthat u tied u talaiñ shane shatai ïa kata ka wait haduh ba u laiphew mrad baroh bad baheh bad barit u la sheptieng ym don pyrthei shuh bad u ïaphet sakma. Hapdeng kane ka jingkulmar, u Pyrthat, u kiew de soit sha sahit bneng, u rah jyndat bad ksing bad wait. U Kui u la sngewsih shibun ba u la duh noh ïa la ka wait, bad u ïai pyrshang ban ïoh kiew sha sahit ban ïoh knieh biang na u Pyrthat uba la shukor ïa u.

    Naduh kata, sa mih ka jingïashun ïabitar hapdeng u laiphew mrad baroh.

    In the early days of the world, when the animals fraternised with mankind, they tried to emulate the manners and customs of men, and they spoke their language. Mankind held a great festival every thirteen moons, where the strongest men and the handsomest youths danced “sword dances” and contested in archery and other noble games, such as befitted their race and their tribe as men of the Hills and the Forests—the oldest and the noblest of all the tribes.

    The animals used to attend these festivals and enjoyed watching the games and the dances. Some of the younger and more enterprising among them even clamoured for a similar carnival for the animals, to which, after a time, the elders agreed; so it was decided that the animals should appoint a day to hold a great feast.

    After a period of practising dances and learning games, U Pyrthat, the thunder giant, was sent out with his big drum to summon all the world to the festival. The drum of U Pyrthat was the biggest and the loudest of all drums, and could be heard from the most remote corner of the forest; consequently a very large multitude came together, such as had never before been seen at any festival.

    The animals were all very smartly arrayed, each one after his or her own taste and fashion, and each one carrying some weapon of warfare or a musical instrument, according to the part he intended to play in the festival. There was much amusement when the squirrel came up, beating on a little drum as he marched; in his wake came the little bird Shakyllia, playing on a flute, followed by the porcupine marching to the rhythm of a pair of small cymbals.

    When the merriment was at its height U Kui, the lynx, arrived on the scene, displaying a very handsome silver sword which he had procured at great expense to make a show at the festival. When he began to dance and to brandish the silver sword, everybody applauded. He really danced very gracefully, but so much approbation turned his head, and he became very uplifted, and began to think himself better than all his neighbours. Just then U Pyrthat, the thunder giant, happened to look round, and he saw the performance of the lynx and admired the beauty of the silver sword, and he asked to have the handling of it for a short time, as a favour, saying that he would like to dance a little, but had brought no instrument except his big drum. This was not at all to U Kui's liking, for he did not want any one but himself to handle his fine weapon; but all the animals began to shout as if with one voice, saying “Shame!” for showing such discourtesy to a guest, and especially to the guest by whose kindly offices the assembly had been summoned together; so U Kui was driven to yield up his silver sword.

    As soon as U Pyrthat got possession of the sword he began to wield it with such rapidity and force that it flashed like leaping flame, till all eyes were dazzled almost to blindness, and at the same time he started to beat on his big drum with such violence that the earth shook and trembled and the animals fled in terror to hide in the jungle. During the confusion U Pyrthat leaped to the sky, taking the lynx’s silver sword with him. U Kui was very disconsolate, and has never grown reconciled to his loss. It is said of him that he has never wandered far from home since then, in order to live near a mound he is trying to raise, which he hopes will one day reach the sky. He hopes to climb to the top of it, to overtake the giant U Pyrthat, and to seize once more his silver sword.

    The Khasi folktale about the origin of lightning has for its protagonists the animals of the forest participating in a dance that would change their lives. The Khasi and English versions that have been used here have been abridged from Ki Khanatang u Barim by H. Elias, S.D.B and Folktales of the Khasis by Mrs. Rafy.

  • Ka Sohlyngngem bad u Rynñiaw

    Ka Sohlyngngem and U Rynñiaw were deeply in love with each other and would meet in the shade of tress in the forest. Ka Sohlyngngem was a beautiful bird who belonged to a poor but hard working family. U Rynñiaw, on the other hand, was the son of a well-privileged family and the "King of the Kingdom of Shade'' (Tales of Darkness and Light by Janet Hujon). The parents of Ka Sohlyngngem did not wish that she marry U Rynñiaw because of the difference in wealth between the families. As the sorrowful end of the story goes when Ka Sohlyngngem tells him, U Rynñiaw is distraught but not wanting to cause pain to her parents, decides to say goodbye and leaves Ka Sohlyngngem. Till today the cries of Ka Sohlyngngem are heard singing of her lost love.

    "Ka Sohlyngngem" da Primrose Gatphoh

    1. Ka Sohlyngngem ka thei bhabriew.

    Ki ong naduh hyndai;

    U sim Rynñiaw ka ri dymmiew,-

    Iap mat-u 'rang kynsai.

    2. Jar-Jar ka trei ka khun ki briew,

    Ba duk ba bylla sngi;

    Ka nang ban thaiñ ban suh syntiew,

    Kam nang ki 'tien lorni.

    3. U sim Rynñiaw, u khun binong,

    Ïa ka bunsien u ruwai :
    Hajan jong u ka brai ban shong;
    Ka sngap, -ka ioh thiah thai.

    4. Ar ngut ki ïaid sha lum sha wah,

    Ki shong hapoh dymmiew;
    Harud ki um sangam dait thah,
    Sha bym ïohsngew ki briew.

    5. Ka 'lei-lapmat ka wiat samrkhie,

    Ki khun mariang bha dur :
    Ha pdeng duriaw jingieit ki kie,
    Ki Paro-blei shi jur.

    6. Ki 'tien-sai-iong, ki 'tien-sai-saw,
    Ar ngut ki teh jutang:

    Ym don u syiem, ym don i mraw,

    Ban sngap ban ap jutang.

    7. Ki kmie ki kpa ka Sohlyngngem,

    Kim mon pynhiar synjat:

    Jingieit jong ka- -ka dom, ka rhem,

    Ka iam, ka khuslai sat.

    8. "Ko Khun" ki ong "Yn lei phin kwah

    Ioh un lehbeiñ lehkhoh

    Namar ma u u khun riewspah,

    Ma phi ka khun ba poh!"

    9. "Hu-hu ka ud ka pait dohnud,

    Namar u Syiem Rynñiaw :

    Ka phet kylleng ka wad ka bud,

    "Hu-hu Hu-hu' ka piaw.

    10. "Ko Ieit,' ka ong, '"dohnud ka pang :

    Eiei, ngam nang pyrkhat:

    I mei i pa, iap-iap ki khang,

    Bad phi ban shong ryngkat.

    11. "Jingieit jong phi ia nga la biang,

    Bad phi nga hun nga suk:

    Im-im ia phi ki ring 'sai syiang:

    Ki mon para ba duk."

    12. "Oh kumta pleng | Nga ruh ngam kwah

    Ynnai, – pynsngewsih lei !

    Hynrei, ko Ieit, ia nga to shah,

    Ngan doh khadduh-Khublei!"

    13. Kumta u piam, u doh, u dait;
    Junom ka iai kynmaw :
    Te, slem u-bat, um lah pyllait;
    Ki ummat ksiar ki jaw.

    14. Te soit u siang la ki sner diar;
    Shapoh lawbah u ruwai :

    "La pait, la pait ka Khuri Ksiar,

    La wai, ko Tiew-Pathai !"

    15. Ka Sohlyngngem ka shoh bieit ngaiñ,

    Shano kan ïashem pat !
    Mano ban sop, mano ban spaiñ:
    Badno kan shong ryngkat !

    16 "Hu-hu!" ka iam, "Hu-hu!" ka ud,

    "Hu-hu!" ka win ka khlaw :

    "Hu-hu!" "Hu-hu!" ka khot pangnud,

    'Hu-hu,! ko Syiem Rynñiaw !'

    17. Ka ngiah ka ruwai, ka shad, ka kmen,
    Ka keiñ ka put ka tem :
    Ha 'Iaw sangam ka shong rieh tngen :
    Ka ud, -ka pang shadem!

    18. Ka Thei-Iap-Saw ka khuslai sat,
    Ha thwei sangam ka miet ;
    La khap ka khmat, ka dem pyrkhat,-
    Ka Khuri Ksiar Jingieit !

    "Ka Sohlyngngem bad u Rynñiaw" is a story marked by love, sorrow, loss and absence. 🖤🤍🖤🤍

    🟡 As stated in Tales of Darkness and Light (2018) by Janet Hujon, Ka Sohlyngngem is the Ashy Wood Pigeon and U Rynñiaw is the Greater Racket-Tailed Drongo.

    🟡 The Khasi poem "Ka Sohlyngngem" is written by Primrose Gatphoh in his book Sawdong Ka Lyngwiar Dpei (1977).

    🟡 Pictures 2 and 3: Google

  • U Niang Raja

    In the past, in the Jaiñtia Hills there was the Kingdom of Sutnga. Besides the Kingdom of Sutnga, there was also the smaller kingdom known as the Kingdom of Madur Maskut which was ruled over by the Malngiang kings. The Malngiang king was Mailong Raja. Mailong Raja had a brother called Niang Raja who was a most trusted aid and adviser to the king. Niang Raja was also strong and brave, being extremely skilled in the art of warfare.

    The King of Sutnga was afraid of Niang Raja's prowess and wanted to kill him. A group of his soldiers had captured Niang Raja, cut his body into pieces and threw it into a gorge but the next day, Niang Raja was seen walking as if nothing had happened to him. Nobody knew the secret to Niang Raja coming back to life and this disturbed the King of Sutnga. Finally, after much deliberation, his ministers and him devised a plan to lure Niang Raja by using a beautiful woman. Thus, a search was undertaken to find the most beautiful maiden in the land. When they found her, the King of Sutnga promised that if she was able to discover the secret of Niang Raja then she would be gifted with money and her family would also be gifted with land. The maiden was dressed in the finest silk and gold, so that she would catch the attention of Niang Raja.

    Sure enough, one day when Niang Raja was in the market, he saw the beautiful maiden and was besotted by her. He sent his men to ask her who she was and where she came from but she would not tell them. Finally, Niang Raja talked to her himself, praising her beauty and as they talked he fell in love with her. Consequently, Niang Raja and the woman were married and she fulfilled all her duties as wife to a prince. Niang Raja loved his wife deeply and trusted her completely. She started to notice that he never took a bath at home and would go on long walks that stretched for hours.

    One day, she told him of her fear that he walked around with no attendants or soldiers with him. She then started to weep inconsolably. Seeing his wife in distress, Niang Raja told her that he went on his walks so that he could bathe in the river and when he did he would take out his intestines to wash them and dry them on the rocks. He told her that his power and the secret of his life lay in his intestines. So, with the knowledge of Niang Raja's secret, the men of the King of Sutnga waited for Niang Raja to arrive at the river. This would be Niang Raja's last bath. While the prince was in the river, they chopped his intestines, killing Ning Raja in the water instantly. Thus, with Niang Raja out of the way the King of Sutnga conquered Madur Maskut and the kingdom came to be known as Sutnga-Madur Maskut.

    The story of U Niang Raja tells of ambition, intrigue, the supernatural and betrayal. The events of the story capture the imagination and we are engrossed by the secrets of the past.

    Reference: 'Khasi Myths, Legends and Folktales' by Bijoya Sawian (2010).

  • Around the Hearth: Khasi Legends (Folktales of India) by Kynpham Sing Nongkynrih

    The back cover of Around the Hearth: Khasi Legends (Folktales of India) reads thus:

    "It is believed that the only way the Khasi people could learn of God’s word was by passing on the stories of their forefathers. The alphabet of the great Khasi tribe of North-East India was born as late as in 1842, when Thomas Jones, a Welsh Presbyterian missionary, introduced the Roman script to form the essentials of the Khasi written word. But long before the white man came, the Khasis knew agriculture. trade, commerce and industry. And they were also masters of story-telling.

    Theirs was a society of great wisdom and civilized conduct at a time when brute force held sway. For theirs was a culture that worshipped God through respect for both man and nature. Perhaps that is why Khasi stories always begin with ‘When man and beasts and stones and trees spoke as one…'

    How did the great story-telling tradition of the Khasis survive so long without a script? Putting together myths and legends peopled by deities and poor folk, speaking trees and talking tigers, the sun and the moon and everything below—bilingual poet and writer Kynpham Sing Nongkynrih describes how fables of love and jealousy, hate and forgiveness, evil and redemption inform the philosophy, moral principles and daily activities of his community even today."

    Around the Hearth: Khasi Legends (Folktales of India) written by Kynpham Sing Nongkynrih (2007) is an important and significant book which documents Khasi folktales in English. With the publication of this book, the Khasi oral tradition can now reach a larger audience in India and all over the world.

    Published by: Penguin Books India

    Cover painting: @benedictskhemlang

    Illustrations: Pankaj Thapa

    👉The book is available online on amazon.in

  • Ka Syiem Jitlakhai

    U Maw Shyllaitbit lies to the west of the town of Mustoh and it is a huge rock that can be seen from parts of Shella District. It is believed that this was where the Queen-Goddess Jitlakhai lived along with her subjects.

    Queen Jitlakhai was an extremely beautiful woman, whose hair was golden in colour, long and enchanting. Queen Jitlakhai used to bathe in the Umbloi river and her hair being very long, flowed downstream and reached the plains. It so happened that her hair was found by a fakir. He was taken aback by the golden colour of the hair and its mind-boggling length! The fakir rolled some of the hair and took it to his king. The king was baffled and determined to find the woman to whom the hair belonged. He thus prepared an army with soldiers, elephants and tigers. The king followed the Umbloi river upwards till he reached Shella. But when he reached Shella nobody told him about where Queen Jitlakhai was. There was a deep trench between Shella and Mustoh which the King wanted to cross. The King schemed to bribe a poor man into telling him where Queen Jitlakhai lived. The man took the King to where the Queen lived.

    On seeing her subject, Queen Jitlakhai appeared and it was then that the King asked her to marry him. She refused his offer of marriage and when the King saw that she would not relent, his soldiers held her by force hoping to take her away. At that moment Queen Jitlakhai screamed and prayed. It was then that she turned into "rngai” which can be translated as an apparition or a ghost. Instantaneously her castle also turned into stone. It was from then onwards that people called this rock "Maw Shyllaitbit". To this day the appearance of a metal door can be seen on the rock. People believe that Queen Jitlakhai turned into "rngai” and no one has ever seen her since.

    "Ka Syiem Jitlakhai" is an engrossing Khasi folktale that tells the story of a queen with long golden hair. 👸

    Reference: 'Ka Jitlakhai' written by E. Weston Dkhar (1978)

  • Literature and education among the Khasis: Excerpt from E. Weston Dkhar

    The following are two excerpts from the introduction of the book Primary Education in the Khasi and Jaiñtia Hills: Its Socio-Cultural Roots and Early History (1993) written by E. Weston Dkhar and published by Sevenhut S. Enterprise, Shillong.

    Regarding the education of the people we have but one traditional version explaining why the ancient Khasis failed to possess a written literature. According to tradition, the Khasis had a book or literature. While crossing the river to meet God for instruction in certain rites and duties, the man of the Plains or U Dkhar (as the Khasis generally call him), tied the book on the crown of his head, while the Khasis swallowed it to preserve it in his belly and that was the simple reason why he did not have a written literature. This version has close resemblance and similarity to the traditional version of the Tribes of Rwong and Lisu inhabiting the North-Eastern part of Indo-Burma, adjacent to the Red Chinese, who had long been isolated from the rest of the world by mountain barriers and thick forests. In explaining why they failed to possess a written literature, they too relate that long ago they had had in possession a book written on cow-hide; but it was eaten up by a hungry dog while an old man, the custodian, was drying it in the sun: and that explains why they failed to have any literature at all.

    Some writers assume that this entire absence of literature clearly suggest a long period of isolation from more civilized races. The statement in all probability holds little truth: for, the Khasis since time immemorial had intermingled with other civilized races of India either through commercial activities or political contacts. The absence is absolutely due to the fact that the Khasis believed wholeheartedly that it was just the same thing for him to have the book in his belly as in his hand. Moreover, our forefathers had a peculiar belief that "We Khasis are a special people: others must read to understand, while we have an infallible guidance from within.'' They went also to the extent that “We Khasis need no education, as we have 'Swallowed' all knowledge.”

    The Khasis had for a long long time acquainted themselves with the knowledge of many different branches of arts and sciences. with the handicap of not knowing about the art of writing and reading they yet marvellously advanced in the science of astronomy, medicine and metallurgy. Regarding astronomy, the Khasis of yore created a number of interesting stories about the stars and heavenly bodies like the sun and the moon. The story of the Sun and Moon and their subjugation to periodical eclipse, is one of the most interesting. Naming of some stars was also attempted at, for example, U Lur Mangkara – Pole Star, U Lur Step – Morning star, U Lurdihduma – Comet, U Lur Ruhsyiar – The Great Bear, Ka Lynti Phan – Milky Way, U Lur Tynriew – Little Bear etc. Sometimes they forecast the weather with the help of some stars as their barometer. In the field of medicine they discovered many wild herbs and natural substances which cured many kind of diseases. Besides, they knew the art of weaving and spinning, and the art of erecting monuments, monoliths, memorial stones and cromlechs.

    Since time immemorial the Khasis were highly advanced in monographic literature. One can witness the monographic pictures on the rock at Dainthlen Falls where the Khasis are believed to have killed a huge demoniac python long time ago which had created a great havoc in the history of the Khasi race. At the Durbar (Assembly) at Synrang Jyrteh, believed to be the meeting place of, many nations and nationalities, it was decided to cut the python into pieces and each one would eat his allotted share of the python's flesh so that the creature instantly died according to an oracle. To celebrate the victory they carved on the rock pictures of that grand occasion, which remains intact even today.

    Continuing with the story of how the Khasis lost their script, here are excerpts from the introduction of the book Primary Education in the Khasi and Jaiñtia Hills: Its Socio-Cultural Roots and Early History (1993) written by E. Weston Dkhar and published by Sevenhut S. Enterprise, Shillong.

    The excerpts discusses the significance of the story of the lost script and the innate knowledge and wisdom of the Khasis, with monographic pictures appearing on the rock at Daiñ Thlen Falls, Sohra.

    E. Weston Dkhar is a prolific author of several books focussing on Khasi folklore and history.

  • U Sier Lapalang by Janice Pariat

    Shall I tell you the story of Sier Lapalang? As with every folktale, there are many versions. My nanny's would be brief – "the young stag didn't listen to his mother and see what happened to him?" While others are infinitely more detailed.

    At the foothills of Ri Khasi lived Sier Lapalang, noblest animal of his race, pride of his mother's heart. He grew up protected, loved, his every whim indulged, until one day he began to grow weary of the plains, and his mother's constant counsel. He wished to explore the hills, and find there his favourite delicacies. Despite all warning, of hunters and fierce warriors, Sier Lapalang left.

    At first, all went well. He wandered deep into the strange country, relishing the cool climate, the floral treats, until one day he stood in all his glory on the slope of Shyllong Peak, at the heart of Ri Khasi.

    His dallying caught the attention of cowherds grazing their cattle nearby. A stag, a stag! they called. Soon a hunt commenced, and though Sier Lapalang was swift and strong and fled from hill to hill, there were too many hunters in pursuit. He began to tire, and slowed and stopped; then an arrow-or a thousand-pierced his chest. He was strung up, amidst triumphant cries, and taken homewards with much rejoicing.

    The story could end here, but it doesn't.

    The mother, ill with worry, leaves her home for the land of her enemies, roaming the hills, looking for her son, until she comes upon the hunting party, cheering their kill. She recognises her Sier Lapalang. And begins a lamentation so sorrowful that the world falls silent. Women swoon from the pain, men bow their heads in anguish. Not a hand is raised against her, not an arrow shot in her direction.

    The crowd of hunters stare mutely. They'd never heard such protestations of devotion and love. Their own manner of mourning for their dead was now without meaning. It is said, from her, the Khasis learned how to grieve.

    A profound and poignant retelling of the Khasi folktale "U Sier Lapalang" from poet and novelist @janicepariat ! Thank you so much Ma'am for your entry and for your interest in the page! 🙏🙏🙏

    Janice Pariat is an Indian poet and writer. She was born in Assam and grew up in Shillong, Meghalya. "Boats on Land" (Random House India, 2012) her debut collection of short stories, won the 2013 Sahitya Akademi Young Writer Award for the English language and the 2013 Crossword Book Award for fiction. Pariat is the first writer from Meghalaya to receive an award from the Sahitya Akademi for a work in English.

    Picture credit: @brillustrations

  • Ka Nam by Esther Syiem (Lamkhmat/ Foreword and dialogue excerpt)

    Ka Lam Khmat

    Ki thied ki jaw jong kane ka drama ki sam shaduh ki thymmei jong ka long rynïeng man rynieng ka jaitbynriew Khasi. Ki pud ki sam jong ka pat, ki ïar kat ban kdup lut ïa ka long briew man briew shi snieh ka pyrthei ha khrum ka beng. Ki tyngshop ki puron ki ïeng na ka bynta bun kiei kiei kiba ym lah jer lut hangne. Ka Nam bad ka kmie jong ka ruh ki ïai kha ïalade bun syrtap ha ka mynta ka jong ngi. Ki long kiei? Ïa kane nga ieh ha ka jingbishar bniah bad ka jingthew sawar jong phi baroh.

    Ha kane ka jingpyrshang barit ki don bun kiba la iarap bad kyrshan lem ïa nga. Nga ai khublei kyrpang ïa ki. Nga pynpaw ka jingsngewnguh kaba khraw ia I Kong Temsula Ao, I kong Badaplin War bad I Kong Antoinette Kharmalki ki nongai mynsiem ba rhem. Nga ai khublei ïa I Bah D. Rocker L. Nonglait bad I Kong Mumtaz B. Jyrwa kiba la kloi ban pule bniah ïa kane ka jingpyrshang barit bad ban kdew ruh ïa ki jingduna baroh.

    Nga pynpaw ka jingsngewnguh ïa u khunruit uba la ai jingmut ha ka ba thoh, bad ïa u hymmen rangbah uba la kyrshan ha kaba shon їa kane ka kot.

    Khublei Shibun

    Ka Esther Syiem

    'Moor-Ville'

    Riatsamthiah

    Shillong

    July 2006

    Ka Nam: Ko mei 'ngi ym don ba pynwit ïa nga. Ki dei tang ki jingpyrkhat jingpuson ki jong nga miet la bad sngi ki bym ailad ïa nga ba ngan ïaid pyrshah ïa ka jingïatiplem jong nga.

    Folktales in the oral tradition provide a rich literary and cultural heritage, which speaks volumes about our beliefs, values, principles as a community.

    "Ka Nam" (2007) a Khasi play by Dr. Esther Syiem is a reimagination of the Khasi folktale "Ka Nam and the Tiger".

    A reimagination is a return, a retracing, a reinterpretation, a reworking that perhaps in the case of this folktale, provides a different angle to the character of "Ka Nam". This reimagination is one that is explored for all the characters of the folktale starting from "Ka Nam". As the author states in the Foreword of the play, the life and limit of the play permeates the depth and pervades the condition of being human.

    Ka Nam is a Khasi play written by Dr. Esther Syiem, based on the Khasi folktale of Ka Nam bad u Khla. The play is well-crafted and deeply insightful of man's relationship with Nature. Most importantly, it highlights the will and independence of the human individual through the twist at the end of the play.

    The book is available at Ri Khasi Book Agency, Mawkhar, Shillong.

    Cover photograph taken by @i_a_duppy_conquerer

    Dr. Esther Syiem is a Professor in the Department of English, North-Eastern Hill University, Shillong, Meghalaya.

  • Ka Jingïamareh Kob ki Wah da Esther Syiem

    Ka Jingïamareh Kob ki Wah , ba la ïathuh da Esther Syiem, Dur: Benedict Hynñiewta

    Ka Ïew bad ka Ngot ki ju sngewtynnad ban ïalehkai ha u lum hajrong. Ha kawel ka sngi, ka Ïew kaba kham shlur, ka la peit ïa ka jingshat ka sngi ha ki them shajngai bah bad ka la khot ïa ka Ngot, ka para kaba ju sngewtynnad ban shong mutdur, pyrkhat marwei, sha ka jingïakob mareh. Ha ka shi khyllipmat ka Ïew ka la kylla sha ka wah kaba kynthih ïa ki lum ki wah ban poi kloi shathie. Ka Ngot kam banse shuh ban bud lang… Mano ban jop?

    La ïathuh ïa kane ka khana pateng da ka nongthoh bad u artis, kiba ïoh mynsiem na ka mariang kaba dap da kiei kiei kiba jyrngam bad ba itynnad ha Meghalaya. Kane ka khana ka sngewban bang ïathuh ïa ki jnit ki jnat jong ka jingïamareh kob, katba ki jingdro pat ki tbeh sha kata ka jingïamareh na ki lum sha ki them.

    Ka Jingïamareh Kob ki Wah sien shon banygngkong eh ha ka ktien Khasi ïa kum kane ka kot dur.

    Ka nongthoh, Esther Syiem, ka hikai English Literature ha ka skulbah North-Eastern Hill University, Shillong. La palat shiphew snem eiei ba kane ka nongthoh ka la pyrshang ban wad bad plait bha ïa ki khana pynriewspah jaitbynriew jong ki Khasi. Ka dei ka nongthoh kaba thoh lang ha ka Khasi bad ka Phareng, ka nongthoh poitri kaba pawnam. Ka la pynmih ar tylli ki kitab poitri, ka drama Khasi, ka kot shaphang kine ki khana bad kiwei de ki ese.

    U Benedict Hynñiewta u dei u artis uba la pass na Visva Bharati University, Santiniketan, West Bengal. Ïa ki dur jong u, la lah pyni ha ki exhibition ha Ri India baroh kawei. U sngewtynnad ban put bisli bad u don bynta ruh bad ka folk fusion music group.

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    Originally in Khasi Race of the Rivers, Retold and Translated by Esther Syiem, Pictures: Benedict Hynniewta

    Ka Ïew and Ka Ngot love to play on the hilltop. One day, the adventurous Ka Ïew looks at the sun shining down on the distant, sun drenched plains and challenges her quiet sister to a race. In a flash Ka Ïew becomes a river, ready to rush downhill, and Ka Ngot has no choice but to join her… Who will reach first?

    This well known Khasi folktale is brought to life by a writer and an artist, both intimately connected to and inspired by Meghalaya's varied, lush landscape. The evocative text delights in detail, while luminous illustrations flow alongside, taking the reader on a mood-filled journey from the hills to the plains.

    Race of the Rivers has also been published by Tulika in Khasi, in which it was originally written. It is the first ever picture book for children in that language.

    Writer Esther Syiem teaches English Literature at the North Eastern Hill University, Shillong. She has been involved in the study of Khasi folk literature for more than a decade now. A bilingual writer and established poet, some of her publications include two collections of poetry, Oral Scriptings and Of Wit and Wisdom of Follies and Frailties, and a play in Khasi, Ka Nam.

    Artist Benedict Hynniewta is an alumnus of Visva Bharati University, Santiniketan, West Bengal. Benedict's art has been displayed in exhibitions across India. Currently, he teaches painting in North-Eastern Hill University, Shillong. He loves to play the bamboo flute and is also part of a folk fusion music group.

    Ka Jingïamareh Kob ki Wah the Khasi folktale of the rivers Umngot and Umiew, retold and translated into English by Dr. Esther Syiem and illustrated by @benedictskhemlang

    This book has been translated into different Indian languages including Hindi, Bengali, Tamil, Gujarati and Marathi. It is a perfect book for children! 🌻🌻🌻

    Both Dr. Esther Syiem and Benedict Skhemlang Hynñiewta teach in North-Eastern Hill University, Shillong, Meghalaya.

    The book is available at tulikabooks.com and amazon.in

  • The Legend of U Sier Lapalang as a comic book!

    This comic book has been adapted from the Khasi folktale U Sier Lapalang by Joshua S. Rynjah. It was published by Joshua S. Rynjah and Alienleaf Studio in 2014.

    The book is available on Google Play Store as an e-book: https://play.google.com/store/books/details/The_Legend_of_U_Sier_Lapalang?id=e-y4BAAAQBAJ

    Script: Joshua S. Rynjah

    Storyboard: Joshua S. Rynjah

    Art: Alienleaf Studio

    Art Director: Joshua S. Rynjah

    Graphic Designer: Dipankar Sinha

    Post Processing: Dipankar Sinha

    Colour and Shading by: Aikindasuk D. Khongsngi and Grover Me'Gam

    Online Publishing and Marketing: Lambert Shadap and Lenin Nongsiej

    Joshua S. Rynjah is an Assistant Professor in the Department of English, St. Mary's College, Shillong.