Speak Your Roots

Tag: talklocal

  • U ‘Suidnia

    U 'Suidnia u dei u Kñi rangbah jong kano kano ka kur uba leit nyngkong eh sha ka Mawbah (maw buh shyieng jong kano kano ka kur) bad uba sumar sukher ïa kiba haïing hasem, ki para ki pyrsa kiba la ïap.

    U Sib Charan Roy, u pyndonkam da ka ktien "U 'Saidnia" bad u ong ba u 'Saidnia u dei u Kñi nyngkong, uba dei u khun ka Ïawbei. U ïoh ïa ka nam "'Saidnia" ba u dei uba nang ban ïasaid, uba donbor bad don hok ban ïasaid hakhmat U Blei bad ka Hukum na ka bynta la ka kur ka jait. Kane ka jingbatai jong u Sib Charan Roy, ka pyni ba man la ka kur ka don la u jong u jong U 'Saidnia. Kaba donkam ban tip ka long ba u Sib Charan Roy u khlem pynshai lada u " 'Saidnia" u dei uba dang im ne uba la bam kwai ha dwar u Blei.

    Hynrei u Homiwell Lyngdoh pat u da ong shai ba ïa u Kñi nyngkong jong kano kano ka kur ka jait, ynda u la ïap na kane ka pyrthei, ki khot ïa u, "U 'Suidnia". Ka niam ka rukom ki Khasi ka kham ïadei bad ka jingbatai jong u Homiwell Lyngdoh. Ym ju ïohsngew ba ïa u kñi ba dang im, ba dang korbar ïa ka kam kur ban khot "U 'Suidnia". Pynban ki ju khot u Kñi-rangbah. Nalor kata katba tip, ym ju don "Suidnia" palat na uwei, katba ki kñi pat ki bun.

    "U 'Suidnia is the spirit of the first grand maternal uncle of a clan whose remains are the first to be kept in "Mawbah", which is a megalithic chamber tomb or dolmen of a clan. "U 'Suidnia watches over his relatives, nephews and nieces who have passed away.

    Sib Charan Roy uses the word "U 'Saidnia" saying that "U 'Saidnia" is the spirit of the first grand maternal uncle of a clan, who is the son of "Ka Ïawbei". "U 'Saidnia possesses the ability to intercede, has authority and also possesses the right to intercede with God and the divine commandment on behalf of his clan. This explanation by Roy shows that each clan has its own "U 'Saidnia". What should be noted is that Roy does not clarify whether "U 'Saidnia" has passed away or not, or as Khasis say "to eat betel nut at the door of God".

    However, Homiwell Lyngdoh says clearly that when the first grand maternal uncle of a clan has passed away, he comes to be known as "U' Suidnia". The indigenous faith of the Khasis is more in tune with the explication of Homiwell Lyngdoh. It is not usually heard that a living

    maternal uncle who is in charge of the clan's affairs be called "U 'Suidnia". Instead they are called "Kñi rangbah" or the head maternal uncle. Besides this, as is known, there can be only one man who receives the title of "U 'Suidnia" while maternal uncles are many.

    "Ka Ïawbei", "U Thawlang" bad "U 'Suidnia" ki dei lai ngut ki longshuwa manshuwa jong ki kur kiba bun na ngi ngim tip ki dei mano. Kine ki ai ha ngi ïa ka jingtip shaphang ka kur ka jait bad ka jinghiarpateng kaba ngi kum ki Khasi ngi kheiñ kordor bha. 👪🧑‍🤝‍🧑👬

    "Ka Ïawbei", "U Thawlang" and "U 'Suidnia" are three ancestors of clans, of whom many of us are unable to trace in our family trees. These individuals give us significant knowledge of our clans and lineage, which Khasis hold as critically valuable. 👪🧑‍🤝‍🧑👬

    🟡 Sources: Rev. Ïarington Kharkongor and Philomena Kharakor RNDM
    🟡 Collated and translated by @speakyourroots

  • Bam Kynjing

    Ka jingong "bam kynjing" ka thew ïa ka jingpyrshang ban kiar ïa kata ka bym sngewtynnat ban bam, tangba la shu bam la ka bam namar bym banse. Ka don ka jingsngewkhohñioh haba la bam ïa ka jingbam. Hadien ba la bam kynjing kumne, don ki briew kiba ju thut kpoh da kaba ïoh jingdap lyer ne jingpynhiar.

    The Khasi word "kynjing" literally means to dislike something or to be disgusted by something. The word denotes something unpleasant. When it is used with the word "bam" which means to eat, what is conveyed is a dislike or a sense of disgust while eating something. The phrase also implies a reluctance or hesitance while eating this food. Sometimes when someone has eaten food with this sense of reluctance, the person suffers from an upset stomach like gastritis or diarrhoea.

    The Khasi phrase "Bam Kynjing" feels contradictory but it does capture this phenomenon which many of us have experienced 😅😄

    Sometimes out of courtesy and good Khasi manners 😅 we keep on munching something that we don't like at all.

    🟡 Khasi and English explication by @speakyourroots

  • Sem Dieng da Treiborlang Lyngdoh Mawlong

    Treibor says:

    Ka jingshon jingmut ba nyngkong jong nga ban thohdur ïa katei haneng kadei ha ka por ba dang ïa shna ïa i "cjung khoh" (ha ka ktien Maram lane "i sem di" / "sem dieng" ha ka ktien Mairang Sohna) ha shnong ha Mawbri. Ha ka por shna ngi ïa don bynta lang baroh shi ïing.

    Ine i ïing rit ba shna da ki siej, dieng tai bad ki lwar i don ha syndah ka ïing bah. Mynta ngi pyndonkam ïa kane haba buh diengïap, tiew um, bad mynta lei lah kumba lai taïew lah ïa shet ïa bam hangne khlem kynmaw shuh ïa ka kamrashet ja kaba ha ïingbah.

    Kaba pynlong ïa nga ban kynmaw ban thohdur ïa ine i trep dei ka jingsyiaid bad ka jingjuh ba i ai ïa ngi. Lada wan phai naei naei, mar synpoi lada leit ha ine i ïing nga lap ba baroh ki don hangta ha i trep. Katno ka jingsngew juh jingsngewtynnad na kata ka ïaid kjat kaba thait bad ba jngai.

    Kine ki long ki jingkynmaw kiba ktik ban pynlong ïa nga ban dro ïa ito ï ïing.

    What pressed on my mind to draw the sketch was the time when we built the "cjung khoh" (Maram dialect) in Mawbri. (In Mairang Sohna they call it "i sem di" / "sem dieng"). When this was made all of us in the family were present.

    This shed which has been made with bamboo, a kind of palm leaf and bamboo string is adjacent to the big house. Now we use it to keep wood, to heat water and now for about a week we have been cooking and eating in the shed, completely forgetting about the kitchen in the main house.

    What made me draw this shed was the memory of the warmth and comfort that it gives us. When I return from anywhere, I find that everyone else is inside the shed. It is such a happy and restful feeling when returning from a tiring and long journey on foot. These are the memories that played in my mind which inspired me to draw the sketch.

    The art of @treibor_mawlong is highly detailed and expressive depicting the folk life of Khasis. 🏞️🌾
    On this World Folklore Day, let us take a closer look at the increasing repository of visual art that is growing among Khasi artists. Let us also be observant of how they portray Khasi custom, practices and beliefs.

    🟡 Treiborlang Lyngdoh Mawlong is a visual artist with a Master's degree in Fine Arts, with Honours in Painting (2012) from Visva Bharati University, Santiniketan. Treiborlang is a recipient of a number of awards which include The Inlaks Fine Arts Award, Kala Sakshi Award in Painting, Talented Young Artist Award from NEZCC, Scholarship grant for the year 2012-2013 from Lalit Kala Akademi.

    Treiborlang has participated in exhibitions in India and abroad. He has also been published as a comic artist/ writer and illustrator for publications like Strapazin and National Book Trust.

    Currently Treiborlang is teaching Art Education at District Institute of Education and Training, Nongstoiñ.

    Khublei Shibun Bah @treibor_mawlong ba phi la shah ban pyni ïa ki jingdro dur jong phi ha ka page! 😄🙏

  • Ka ktien ka long kaba im/ Language is alive

    Ka ktien ka long kaba im namar la kren ïa ka da ki briew kiba im. Ki briew kiba mad ïa ka kmen ka sngewsih, kiba don ki jingkhlaiñ bad jingtlot. Ka ktien ka long kaba kylla man la ka por namar ngi ruh ngi kylla man la ka por. Kum baroh kiba dei ki bynta jong ka jingman jingim u briew, ïa ka ktien la donkam ban bsa ïa ka, ban ïada ïa ka bad ban pynneh ïa ka. Ka ktien ka kylla tangba ka sah kumjuh ruh. Ka don ha ka jingïaid ban san ban miat, ban pynthymmai ïalade bad ha kajuh ka por ka long shisha ha ka bynta tynrai jong ka. Kane ka long kajuh ïa ki briew ruh. Ngi nang kylla na ka por sha ka por tangba ngi neh ka kyrteng, ka jaitbynriew, ka kur ka jait bad kumta ter ter. Ki don namar kata kiei kiei kiba kylla bad kiei kiei kiba dei ban neh kumjuh.

    Ka jingphylla jong ka ktien ka long ba ha kawei ka liang ka dei kaba lah ban ïohsngew da ki shkor bad ïohi da ki khmat, bad ha kawei pat la saiñdur da ki dak bad nuksa ban pynshai ïa ka jingmut jong ka. Ngi kren bad ngi mut kumba ngi ong bad ngi kren bad ngi mut da ka jingmut kaba sha lyndet ruh. Namar kata ka don ka bor ha ki ktien; kumno la pynshong ïa ki bad kumno la ong ïa ki bad la nang ai mynsiem ïa ki da ka rukom ring sur, ka jingsangeh shipor bad ka jingkiew ne jinghiar ka sur.

    Ïa ka jinglong kaba paka tam ne kaba nylla tam jong ka ktien ka dei haba la kren ïa ka. Ka jingher jong ka ktien na u thylliej sha ka sla thoh ka long kaba dap da ki sohkyrdot kiba wanrah ki jingthylli ha ka jingmut jong ka ktien. Ka jinglong maïan jong ka ktien ka pynlong ba ngi nym lah ban shon shap thik kumba pyrkhat. Ka khih ha ka lyer ha shyntur, la klet ïa ka, la kynmaw ïa ka; ka ktien ka pdiang ïa ka jingieit, ka ktien ka shah ïa ka jingbymsalia jong ngi ruh. Ngin ai aïu ïa ka ktien kaba long shi bynta jong ka malade?

    .

    .

    .

    Language is alive because it is spoken by a living person. A person with joy and sorrow, with strengths and weaknesses. Language is always evolving because we are evolving. Like everything that is part of human existence, it needs to be nurtured, protected and preserved.

    Language evolves yet it also stays the same. It is in a constant process of regeneration yet staying true to essence. This is the same for a human being. We evolve yet we have the same name, same tribe, same clan and so on. Perhaps there are things which are supposed to change and others which are supposed to stay the same.

    Language is beautifully concrete and abstract. We say and mean something literal. We say and mean something symbolic. This is why there is so much power in words; in how they are placed and said, given impetus by tone, pause and pitch.

    In its purest form, language exists in the spoken realm. The flight from tongue to page is fraught with gaps of meaning. In its most mysterious, language is not fixed. It moves in breath, it is forgotten, it is remembered, it receives love, it endures apathy. What are we going to give to language that is part of our own self?

    Khyndiat ki jingpuson ha ka sngi World Folklore Day shaphang bor bad ka jingmaïan ka ktien ka thylliej 🆎💭🗯️

    Some food for thought on World Folklore Day about the power and mystery of language 🆎💭🗯️

  • “Ki Katto Katne Ba Iadei Bad Ka Indigenous Music” da i Ubahunlang Dkhar Tmar

    Ka Lamphrang

    Dang shen ka kynhun synrop ki ri ka pyrthei lane ka United Nations, lyngba ka tnad treikam Department of Economic and Social Affairs, kumjuh ruh ka UNESCO ki lah dep rai bad saindur ia ki mat treikam jong ki snem naduh 2022 haduh 2032 kum ki snem ban kynmmaw bad ban pynurlong ia ka jinglong ba kyrpang bad ba kynsai jong ka ktien-ka thylliej ki rit paid ("'Indigenous Community/Groups"), lane kata kaba ki khot ka ka ktien nongwei-nong-ar ka "International Decade of Indigenous Languages". Ka don ka daw kaba khraw sha lyndet balei bala shim bad buh kyrpang ban pynneh pynsah bad pynroi a ka ktien-ka thylliej ki rit paid, trai ri- trai muluk, ha kaba hangne ngan nym pashat jingmut ha kaba iadei bad kane, namar ka jingthmu jong kane ka jingthoh barit ka long ban a phylliew jingmut khyndiat bad pyrsad mynsiem a ka jinglong kyrpang ki 'Sur Tem Tynrai' lane kata kaba ki ju khot kyllum "Indigenous Music".

    Kiei kita ki Indigenous Community?

    Shwa ban kynthoh ha kaba iadei bad ka 'Indigenous Music' la sngewdei ban pynshai khyndiat shaphang ki 'Indigenous community'. Kine ki 'Indigenous Community' kidei kita ki rit paid trai muluk, trai ri-trai jaka ba ngi lah ban shem ia ki la kumno kumno ha ki 90 tylli ki ri ki pyrthei. Ki paid *'Indigenous Community' kat kum ka jingbuh jingkhein ka UN, mynta ki don kumba 370-500 million, kiba kren ha ki 7000 tylli ki ktien lajong, bad na kine ki 7000 tylli ki ktien, 2680 tylli mynta ki don ha ka jingma ba lah ban duhjaid noh shisyndon (on the brink of extinction). Kine ki 'Indigenous Community' ne ki rit-paid, kidei kita ki jaidbynriew lane kiba la ju tip ruh kum ki "ethnic group/community" kiba ha ka rukom im jong ki, la kumno kumno ki dang im ryngkat bad ka jingtyllun ka mariang.

    Hooid bun ruh naki kiba la kylla ka niam-ka rukom, ki ba la nang la stad, kiba im kat kum ka juk thymmai, wat hapdeng kine ki jingkylla bad jing pynbud rukom nongwei, bun hi na ki kiba dang bat hi ia ka riam-ka beit, ka bam-ka dih, ka rwai-ka tem, ka put-ka siaw, ka kren-ka khana kumta ter ter. Ngin shem ruh hangne ka ri India jong, la ka long ha ki jaka pdeng ka ri India kumjuh Ki ranab lum hajan rud duriaw Arabian Sea (Deccan Plateau, Western Ghats), Ki ranab lum Mangkashang (North, Central Himalyan Region) kumjuh ruh hangne ka kyndong ka ri North East India, Ki ranab lum Mangkashang (Eastern Himalayas) naduh Arunachal wat haduh Chittagong Hills (Bangladesh), Ngin shem shibun ki rit-paid 'Indigenous Community' kiba don laka jong ka tyllong, ka thymmei bad ka deiriti- kolshor tynrai, kiba ka sorkar phareng ka la sin- ka la jer kyllum kum kita ki "Tribals".

    Kaei ka Indigenous Music? (What is Indigenous Music?)

    Ka kyntien 'Indigenous Music' ka thew bad kdew ia ka rukom rwai tynrai ne 'original traditional music' ki rit paid 'Indigenous community', kiba shong kylleng satlak ka pyrthei. Teng teng ngi lah ban shem ba ia kine ki rukom tem-rukom rwai tynrai la ju sin, khot bad tip ruh da kiwei ki kyrteng kum ki ethnic music' *regional music' ne 'folk music'. Ymda lah than ban pyniapher ne pynkynriah kawei na kawei pat, khamtam lei hapdeng ka folk (traditional) bad indigenous music, namar ka jing iapher ka lah ban long tang ha kaba iadei bad ki tiar tem ba pyndonkam, ka rukom rwai, ne ka rukom kynnnoh, ud ne ringsur bad ki nongrim ne ktien jingrwai (lyrics). Tang kiba puson bad pule ia ka ' music' ki kham sngewthuh bha ia kane, bad ki lah ban ai ka jingpynshai jingpynsngewthuh ba pura ia ngi lang baroh. Shwa ba ngan phylliew ki jinmgmut ha kaba iadei bad kata kaba ki khot ka "Indigenous Music" la sngewdei hangne kat kum ka bor sngewthuh jong nga ban pashat jingmut khyndiat shaphang ki tyllong jingmut bad jingmaian-maiot a kyntien 'Music' kaba kynthup a ka put-ka tem, ka rwai-ka saw ba long kdup salonsar (ontology and epistemology of music).

    Ka jingkylli kaba kyrsoi ha ki jingmut jingpyrkhat bad kaba mih kalong, kaei ka music? Lane, ngi sngewthuh kumno hakaba iadei bad ka put-ka tem ka rwai-ka siaw, namar don ki jingsngewthuh ki ba long doh, tang najrong (senses) ki bym da jylliew, ba kut bad ba pynsgewbha tang shipor bad ki jingsngewthuh ki ba jylliew ki ba pyn myllung kiba shnongnia- shongkun (emotional, mental, philosophical). Ka jingsgewthuh shaphang kine ka lah ban iapher ne ia syriem, hapdeng kiba bun kiba ieid bad ki ba mad a kaka put-katem, ka rwai-ka siaw. Ha ka jingsngewthuh kaba rit jong nga, nga shem ba ka 'music' ba kadei kata ka kynja- ktien kynja-sur ba long maian, ba jylliew, basop bad ba suh thied bun ki jingmut. Ka 'music kadei kata kaba pyrsad mynsiem, ka jingkhih win ba janai bad kaba pynkhih jingmut-jingpyrkhat, pynkhih met-pynkhih phad naduh kiba rit haduh kiba heh bad kumjuh ruh ia ki tymmen- ki kro.

    Lada phi don ki skhor bad phi don ka por ban pynshongnia-pynshong jingmut, phin lap ba wat ka mei mariang salonsar ka don la ki sur ba shngiam bad ba sngur, ki aim ki wanrah la ki jong ki jingrwai ha ka dur ki jingrwai-jingpyrta ki sim-ki doh, ka jingkaweh ki dieng-ki siej kumta ter ter. Wat ki wah rit, wah heh ne wah duid ki don la ki sur ba har rukom, haba ka um ka phaloh bad tuid lyngba ki synrang maw, ki tharia, ki lum-ki them. Ban pynshai khyndiat ia ki jingsngew jong nga ha kaba iadei bad kata kaba ki khot ka 'nature's music', hangne ha rum nga shniah jingmut kumne:

    Ki sim bunjait ki ud-ki nam, ki rwai-ki siaw,

    Ka lyer ka beh hiw-hiw, haw-haw,

    Jingim ka hun, ka tngen, kam lyng-a,

    Namar ka mei mariang ka rwai sngewbha.

    Sha tbian ki pyntha, kumjuh ruh sha ki lum ba kynjang,

    Ha khrum ki khlaw rben. Shaduh ki sla duriaw ba iar.

    Don ki sur, batied, ba sawa, kum ki thied klongsnam,

    U Blei najrong u kyrkhu-kyrdoh, u pynkdup ia ngi da ka mei mariang

    Lada ngi puson bad pyrkhat jylliew gin shem bad sngewthuh ba ka 'music' kadei kata kaba kdup, ka ba sop- ba spain ia ngi, ia ka mariang bad ia ka haw-haw ki sahit bneng (universe) ruh. Ka 'music' kadei kata kaba, ha ka ktien nong wei-nong-ar, lah ban ong; 'music is the language of the universe', Ngin shem ia kane ka jingshisha ba wat ki stad saian khamtam na ka phang jong ka physical science ki lap bad ki kdew ba wat kita ki phngit 'atoms' ki don la ka jong ka 'frequency' haba ki shad tawiar hapoh ki dewlynnong (microscopic environment) jong kano kano ka met (matter). Ka haw-haw ki sahit bneng ne 'universe' ka tyllun katkum ki jingkhih-jingksar ba long ryntih (frequency) naduh kulong-kumah haduh ka khyllip ba mynta, ka don la ka jong ka sur-ka dur ba ka bud ryntih bin pa bin. U stad saian u ba khraw bad ba pawnam jong ka sobjek Physics, U Albert Einstein, u kynthoh kumne "Everything in life is a vibration", kaba mut ka jingim ba salonsar ka dap da ki jingkhihwin ba kyrpang, ba janai bad ba ryntih. Lehse kam long shuh kaba bakla ban ong hangne ba wat ka met jong ngi briew ki dap da kine ki jingkhihwin ki sur janai, ne ki sur ba jylliew bad ba kyrpang. Lada kam long kumta, balei pat ngi kyndeh haba ngi

    iohsngew ki sur tem-sur rwai?

    Kaei ka jingdonkam bad jingtreikam ka Music? (What is the function of Music?)

    Lada phi wad bad pule ia kano kano ka thup jingthoh shaphang ka 'music' (music encyclopedia), phin shem shibun ki rukom rwai-put tem ba la jer bad ai kyrteng, kumban shu ai nuksa khyndiat kita kiba ngi tip kyllum kum ka classical, jazz, pop, rock, hip-hop, blues, folk, R&B, Soul, Funk, Bee Bop, Rhumba, Samba, Bossa nova, Soukous, flamenco, gypsy kumta ter ter bad kumjuh ruh a kita kiba ngi khot ki traditional bad indigenous music ba bun rukom la ka dei ha ka rukom tem ne rwai. Ka music kadon bun ki jingmut-jingmyntoi, bad ka thew, ka kdew ia kiba bun ki phang jong ka jing im briew bad ka imlang sah lang baroh kawei. Na ka liang ki stad Anthropology, ki kdew ba ka kano kano ka bynta, la ka long ha ka lehniam-leh rukom, ka put-ka tem kumta ter ter kiba iadei bad ka deiriti-kolshor ki briew ki don ar jingmut, jingthmu ne ki jingtreikam, kiba ki Anthropologist ki khot 'Latent Functions' bad 'Manifest Functions', kum ban shu kren kyllum ki jingthmu-jingtreikam (Cultural-Social functions) ba paw bad ba buhrieh.

    Kano kano ka 'sur tem-sur rwai' (music) ki don la ki jong ki jingmyntoi bad jingktah (implications) la ka long ha ka imlang-sah lang bad kolshor (socio-cultural), ka synshar-khadar (political) Khaïi- pateng, iadie-iathied (economic) kumta ter ter. Nga tharai bun na ngi kiba ju sngap bad iohsngew ia ki sur jingrwai-sur tem na ri America jong ki snem 1960 kiba ngi ju khot ki 'protest songs' ki ba don ka bor wat ban pynkhyn niuhrieh ia ki bor sorkar, kine ki sur jing rwai ba ialap ia ka jingkylla, kiba kyrsiew thiah ia ki briew na ka jing shah teh mraw , kum ha Chile ha ki snem 1970 ha ba synshar donor da ki shipai Junta u Agusto Pinochet, hangne uwei na ki nogrwai ba pawnam u Victor lara uba la iap ha along ha ka kti ki shipai, u pynkhih ia ka dohnud bad mynsiem ia ki nong Chile da ki jingrwai ieid ri.

    Bun kylleng ka pyrthei ngin lap kumno ki sur jingrwai ki lah ban wanrah ka jingkylla ha ka synshar khadar bad ka imlang sah lang. Naduh hyndai-hynthai, u paidbynriew satlak ka pyrthei u pyndonkam ia ki sur tem-sur rwai na ka bynta jingthmu ba har rukom, kane ka shong eh ha ka jinglong-jingman ka imlang-sah lang, ka ioh-ka kot, ka synshar-khadar, ka niam-ka rukom ter ter. Ka 'music' ka don ka bor ban pynsngew-pynsaphriang ki jingmut-jingpyrkhat (communication), ka don ka bor ban kdup bad ban spain ia ka bor pyrkhat u/ka briew, ka music kadei shisha ka kynja um dawai ne wine kaba lah ban pynkylla ia ki jingmut jingpyrkhat u/ka briew, katkum ka jinglap jong ki stad saian ba iadei bad ka bor jabieng (neurology, brain-plasticity study), ki lap ba ka 'music' ka lah ban pynkylla ia ka rukom treikam ka jabieng, ka lah ban ngam shaduh ki tyllong ba jylliew bad ba kyndong jong ka jabieng. Ka 'music' kadei ruh ka 'therapy' lane ka dawai ba pyn janai ia ka janor, ka pynwandur ia ki rukom pyrkhat -puson (perception, thought pattern). Dei namar kane ka daw ki ju ong long kiba husiar, bishar bad aid da thew khnang ba kano kano kaba ngi bsa ia ka met bad ka bor jabieng ka lah ban pynbha ne pynsniew ia ngi, kumban shu kren lyngkot, kumba ngi bam ne snap, kumta ngin long ngi pyrkhat; " we are what we eat what we listen"

    Ka Indigenous music

    Ha kaba iadei bad kane ka mat kumba la kdew haneng, nga tharai bun na ngi kiba lah iohsngew ia bunjaid ki sur rwai-sur tem, kiba kynthup ruh a ka 'indigenous music'. Nga kynmmaw ha ki snem 1990 ha ki por ba nga dang pule, kadei ka sien ba nyngkong eh ba ngan ioh sngap ia kita ki 'indigenous music' kiba la pyllait bad die paitbah ha ki cassette tape da ka HMV company, dei lyngba kine ki cassette nga ioh ban sngap ia ki sur tem-sur rwai Flamenco na Spain, Celtic music na ri Bilat, Mali music na North Africa, Soukous na Congo Africa, Andean Music na dewbah South America, Gamelan music na Indonesia Java , Cajun music na Louisiana, Florida USA bad kiwei kiwei de. Kine ki sur tem-sur rwai ki pynktik ia ka jingmut jingpyrkhat, ki pyni iaka jing riewspah, jingstad u paidbyllien ka pyrthei ha ka liang ka ka put-ka tem, ka rwai ka siaw. Ka long shisha kaei kaei kaba pynsgewbha ban iohsngew ia ki sur rwai- sur tem ba har rukom kiba iadei bad ka jingim ka deiriti ne kolshor jong ki. Ki pyni ia kata kaba ki khot ka "cultural diversity".

    Haba kren kyllum ka 'indigenous music' kadei kata ka sur rwai-sur tem tynrai kaba don jing iadei bad ka kmen-ka sngewbha, ka iap- ka im, ka rep- ka riang, ka khein aiom-samoi, ka rynsan ban thaw bad iathuh khana, ba ka jinglong-jingman ba man ka sngi jong ka jingim ki riew rit paid *indigenous community' hapdeng ka jingkylla jong ka pyrthei bad ka jingiadei ba marjan jong ki bad ka mei mariang-mei-ri sawkun. Ha ka jingshisha, ka 'indigenous music' ne sur rwai-sur tem tynrai, ka don la ki jong ki jingthmu ba iadei katkum ka deiriti ne kolshor jong kano kano ka jaid bynriew 'ethnic group/community'. Ki sur rwai-sur tem tynrai ki don la ki jong ki rukom tem ne rwai wat ha ka rukom kynud ne ringsur haba iap, ne haba shong kurim, ha ka knia- ka khriam, ha ba ialeh sngewbha, ne haba don kano kano ka jingkylla ba sinew ne ba bha. Ka 'indigenous music' ne sur rwai- sur tem tynrai kadei shisha kata ka rynsan ha kaba kano kano ka jaid bynriew rit paid "indigenous community" ka kdup lang a baroh ha kaba iadei ban sam a ki khana-ki puriskam, bad ban bteng ia u sohpet ka jingialong kawei jong kano kano ka jaid bynriew.

    Ka 'Indigenous music' ka teh-ka khum bad ka kdup iaka mynsiem bad ia ka maian long briew- man briew jong ki rit paid (indigenous community), kadei kata ka kynjri ba bteng ia u ne ka briew sha ki thymmei, ka niam ka rukom, ki dustur bad ka jingim ba man ka sngi. Ngi kum ki Khasi gin shem ruh ha lade, wat kiba la kylla ka niam-ka rukom, shisien ba ngi iohsngew ba riew ka ksing-ka dhah, ka tangmuri, ka bisli katno ka mynsiem ka shlei-ka dap bad ka tied dik dik, long kumba ka tan a ngi sha u sai sohpet-sai jutang ba la seng, bad bala suit-la shor daki longshuwa-manshuwa, ha ka juh ka por ka wan ka jingsngew ieid ri ieid jaidbynriew ba pynlung mynsiem ba shit rhem.

    Ka "indigenous music" kadei kawei na ki mawbyrsiew jong kano kano ka jaid ka kynja, la ka long ha ki ja khlaw ba rben ka ri Congo Africa, ki lum bah Andes ha dew bah America, ki jaka ba kyndong ka ri Mongolia, ki jaka shaphang shatei ka ri America, ka ri Russia, Siberia kumta ter ter , ngin lap ba haduh mynta mynne dang don kita ki rit paid ( indigenous community) ha kaba phin iohsngew ia ki sur rwai-tem tynrai kiba pynsgew ha ngi ia ka jinglong-jingman, jingud-jingnam, jingkmen-jing sngewbha, ki khanatang-ki puriskam kiba teh ba khum, sop- spain ia ka deiriti-kolshor jong ki.

    Ka 'indigenous music' ka long kum u sai-sohpet ba bteng a ka deiriti-kolshor, ka mei mariang bad ia ka niam ka rukom. Lada ka mei-mariang ka jot ka pra, kumta ruh ka deiriti-kolshor bad ka niam ka rukom kan pharia kan sakma. Kumban shu kren kyllum, lada duh noh ka "natural diversity" kane ruh kan ktah ia ka "cultural diversity", kaba kynthup ka rwai-ka tem ki sur

    tynrai.

    Ha kaba kut la sngew dei ruh ia ngi shane ka ri Khasi-Jaintia, ba ngi donkam ban pynkhie im, sumar-sukher bad pynneh-pynsah a ka mei-mariang, ki riti-ki dustur, ka put-ka tem ka rwai- ka siaw. Ngi donkam ban sngewthuh haei ngi ieng, kaei ka nongrim jong ngi, shaei ngin jam, ngim lah ban shu ia beh kyrthep ia kaba dei jong kiwei , kum ki pukni iaknieh doh pyut ne ki ksew bna lat. Ngi donkam ban pdiang ia ka jingkylla ka por (social, economic, technological changes) bad khlem da klet pat ne leh jyndet a la ka jong. Kumba kynthoh uwei u nong Japan ba la paw pyrthei ha ka kam thain kriah- thain shang da ki siej, u ong kumne, ha kaba iadei kumno ban pdiang ia kaba thymmai bad khlem da ibein ne klet la ka nongrim tynrai; "Tradition is about innovation", ha i jingsngewthuh barit jong nga, kaba mut kumne, ngi dei ban pdiang ia kaba thymmai da ka jing long adkar bad thew nujor bin pa bin, ngim dei ban jynrat a ki thied ka thymmei la jong hynrei ngi donkam kumno ban pynwandur, oh-shrong tang ia ki tnad ne sla. Ha ka ktien nongwei " we need to keep our tradition with a careful dose of innovation, we must not remove the roots, but we can prune the leaves and branches".

    To U Blei un Kyrkhu Kyrdoh ia ngi baroh lang!

    Khublei Shibun.

    Ka long kaba sngewtynnad shibun ba na ngi kiba tip shaphang ka rwai ka siaw, ka tem ka put ki noh synñiang sha ka page da ki artikl kiba la pynwandur sani bha. ✍️📚

    Khublei Shibun @ubadtmar3 na ka bynta kane ka jingphylliew jingmut jong phi shaphang ka rwai ka tem tynrai. Bun na ki mat kiba phi la thir jingmut ki long kiba donkam bha! 😄🙏 🎶🎵

    I Ubahunlang Dkhar Tmar i dei i nongrwai, nongthaw jingrwai bad nongtem ba tbit. I don ha ka kynhun "Shalyntem" kaba dei ka kynhun cycling kaba shitrhem ha Shillong.

    I Bah Ubahunlang i trei i ktah kum u Assistant Professor ha ka Department of Geography, St. Mary's College, Shillong. Ka specialisation jong i ka dei ka Human Geography.

  • Ka Chu-noŋkûlliaŋ

    Ka Chu-noŋkûlliaŋ

    Ka kûntien"Chu-noŋkûlliaŋ" toh ka ktien Pnar paka kawa ha kini ki sŋi wûm em de u sñau i ha wa klam ha wa khape. Yæ u oŋ, Wa i mut yoŋ kani ka kûntien toh wau yarap, U yachan kûlliaŋ para bru ne para jan yung jan sem.

    Ka Chu-noŋgkylliang

    Ka kyntien "Chu-nongkylliang* ka dei ka ktien Pnar paka kaba ha kine ki sngi ngim ju ïohsngew shuh ha ka kren ka khana. Ngi lah ban ong ba ka jingmut jong kane ka kyntien ka dei ban ïarap, ban ïa kyrshan markylliang para bynriew ne para jan ïing jan sem.

    Ka Chu-noŋkûlliaŋ

    "Ka Chu-noŋkûlliaŋ" is a Pnar word which is not used often nowadays in conversation. It may be said that the word means the help or support that is given by family and friends to one another. The word "noŋkûlliaŋ" emphasises that help should be returned by both sides.

    "Ka Chu-noŋkûlliaŋ" is a Pnar word that highlights compassion and sympathy that is given and acknowledged in its return. 🫂👥

    Khublei Chiboon @xdtnoahjupejackllthmanar wa maya phi ya ka ktien ka thylliej 😄🙏

    🟡 Khasi translation by @xdtnoahjupejackllthmanar
    🟡 English translation by @speakyourroots

  • Da lah pule kot Khasi…

    Wow ko sohsat sohjew lada ka eh ka kot Khasi 😅🥵
    Tharai bun na ngi kiba pule ngin sngew kumne 😂😂

    Kaei ka kot Khasi kaba phi sngew eh ban pule?

  • Ka Pla Kwai

    Ko Pla Kwai,

    phi long kaba kynsai tam.

    La mynta ne lashai,

    ïa phi ngim kwah pyndam

    Ko Pla Kwai

    phi ai ka kmen ka syaid.

    La haba kut ne ba wai

    ïa phi te ngim kheiñ kai.

    Ko Pla Kwai,

    katno ka jingsngewshngaiñ

    haba ïohi ïa phi,

    namar phi pynkynmaw

    ïa ki sngi ki ïa ba phngaiñ.

    "Ka Pla Kwai" or the kwai pouch is a prominent object in Khasi collective memory. It comes in various shapes and styles and is made from cloth or more popularly rexine, with a size good enough to tuck in your bag 😄🍃 This pouch creates friendship and conversation, stories and laughter. Does anyone have a story of choking on kwai? 😅😂

    Ka pla kwai ka pynïoh paralok, ka pynmih ka khana ka parom bad ka rkhie sadhai. Phi don khana ba litlad kwai? 😅 Ne ba phi shit kwai? 🥵😂

    Khublei Shibun @bibianaryntathiang for this beautiful red pla kwai! Kaban ksaw ïa phi! 😀

    🟡 Poem by @speakyourroots

  • Kaei ka dream vacation jong phi?

    Kumno yn pynkylla sha ka Khasi ïa ka "dream vacation"? 😅😂

    Teng teng ngi sngew sarong ne ngi kop ba ngi lah wankai shata, ba ngi lah poi shata, tangba ïa ka ri lajong ngim tip eiei. Kane ka thew ïa bun na ngi hi. Ka dei ka jingshisha.

    Tangba mynta bun na ngi ruh ngi la sdang ban poi bha ban leitkai ha ka ri lajong. Kane ka dei kaba donkam bha ba ngin kham tip bad sngewthuh ïa ka histori bad ka jymbriew Khasi la jong. 🏞️⛈️✨

  • Interview with Careen J. Langstieh, Artist

    1. How and why is art a suitable medium to portray indigenous life?/ Kumno bad balei ka jingdro dur ka long ka lynti pdeng kaba ïahap ban pyni bad pashat ïa ki rukom im bad ïa ki riti dustur tynrai?

    Art is not only a medium to portray indigenous life but it portrays life as it is. Art in its various forms of expression has always been about capturing historical events, addressing social and political issues, also a medium of self-expression or a way of seeking answers when nothing makes sense. In our case, our ancestors have managed to do that with the art of storytelling, using metaphors, situations, words and melodies and the art of embroidery to mimic nature and stone structures all around us to make sure that their existence is not forgotten.

    Ka jingdro dur kam dei ka lynti pdeng ban pyni tang ïa ki riti dustur tynrai hynrei ka dei ka lynti pdeng ban pyni ïa ka jingim briew hi kumba ka long. Ha ki rukom ba pher ba pher, ka jingdro dur ka ksoh bad kem ha ka ïa ki mat ba donkam jong ka histori, ka imlang sahlang bad ka saiñ pyrthei. Ka jingdro dur ka dei ruh ka lynti pdeng ban pynpaw ïa ka malade ne ban wad jubab haba ka wan ka jingjynjar jingmut. Ïa ngi ki Khasi, ki longshuwa manshuwa jong ngi ki la lah ban leh ïa kane lyngba ka jingtbit jong ki ban ïathuhkhana, ki rukom pynïasyriem, ki jingjia ba har rukom, ki ktien, ki sur rwai, ka suh ka thaiñ kaba pyrthuh ïa ka mei mariang bad ki jingthaw jingshna da ki maw ban pynthikna ba ngin ym klet ïa ka jingim jingman jong ki.

    2. How do people respond to art that speaks about indigenous life and embodies indigenous themes? / Kumno ki briew ki sngew bad kren shaphang ka jingdro dur kaba kren shaphang ki rukom im tynrai bad kaba kynthup ïa ki phang pdeng kiba ïadei bad ki riti dustur tynrai?

    Within our place I can say that our understanding of language is gradually becoming more important and interesting. We have come a long way, wherein people now have been able to express their interest and are keen in participating in discourses especially with subjects that are inclined towards our heritage and culture, our past, our stories, our origin, our traditional Khasi faith without hesitation.

    Hapdeng jong ngi, nga lah ban ong ba ka jingsngewthuh shaphang ka ktien ka thylliej ka la nang man kongsan bad ring jingmut. Ngi la ïaid ïa ka lynti kaba jrong, ha kaba ki briew mynta ki la lah ban pynpaw ïa ka jingsngewtynnat bad jingkwah ban ïa shim bynta ha ki jingkren bad jingphylliew jingmut ha ki mat kiba ïadei shaphang ka jingïoh pateng jong ngi, ka deiriti, ka mynnor, ki jingïathuhkhana parom, ka thymmei, ka jingngeit Khasi tynrai khlem don ka jingartatien.

    But, we should also understand that the visuals we were exposed to in the recent past has always been with the coming of Christianity and the various iconographies of the Catholic church. So visually the masses are always inclined towards everything eurocentric; everything from pictures, books, to arrangements of homes is very much according to those aesthetics.

    With regard to visual art portraying indigenous life, it has always been about portraying indigenous people's life in relationship with nature.

    Tangba ngi dei ban sngewthuh ba kiei kiei kiba ngi ïohi mynshuwa ki la long bad ka jingwan jong ka niam Khristan bad ki jingpynwandur nuksa jong ka balang Katholik. Te namar kata ki paidbah ki noh ka jingmut sha kiei kiei kiba longpdeng shaphang ki phareng, naduh ki dur ki dar, ki kot ki sla, ki rukom pynbeit pynitynnat ia ki ïing ki sem. Kine baroh ki long kat kum ka rukom kheiñ itynnat jong ki phareng.

    Ha ka liang jong ka jingdro dur kaba pyni ïa ka jingim tynrai ki trai muluk trai jaka, ka lah ju long ka rukom ban pyni ïa ki trai muluk trai jaka ha ka jingïadei jong ki bad ka mei mariang.

    3. What is the scope of art in building a past, present and future for indigenous life?/ Sngewbha pynshai shaphang ka jingïar jong ka jingdro dur ha ka jingpynwandur bad jingtei ïa ka mynnor, ka mynta bad ka lawei jong ka rukom im bad riti dustur tynrai?

    Our ancestors have paved the way in expressing themselves through the art of erecting monoliths and other stone structures that have stood out prominently everywhere in our landscapes. Almost every artist I know including myself have and still continue to portray these iconic symbols in our works. With time I'm sure these stones will find a new form, new meaning and a language through the works of younger artists who are yet to come. Also our folktales and folklores will continue to allow us to understand them from perspectives beyond what we imagine now. Art will always continue to grow and change.

    Ki longshuwa manshuwa jong ngi ki la prat lynti ïa kaba kumno ban pynpaw bad pyni ïalade lyngba ka jingtbit jong ki ban pynïeng ïa ki mawbynna bad kiwei kiwei ki jingshna da ki maw kiba ïeng shynna ha ki lum ki them ka ri Khasi. Jan man ki barikor ba nga ithuh bad manga ruh, ngi dang ïai bteng ban pynwandur ïa kine ki dak kiba khraw ka jingkordor ha ki jingdro dur jong ngi. Lyngba ka jingïaid ka por, nga thikna ba kine ki maw kin mih ha ki jingsaiñdur ba thymmai, da ki jingmut kiba thymmai bad ka ktien ruh kan mih da kawei ka dur lyngba ki barikor ki ban nang wan. Ki khanatang, khanaparom bad ki rukom im, rukom ngeit jong ngi kin nang ai lad ïa ngi ban sngewthuh na ki rukom ïohi kiba ngim pat lah ban mutdur. Ka jingdro dur kan nang ïar bad nang kylla.

    4. In your paintings there are indigenous images which carry an indigenous ethos. What do you have to say about this?/ Ha ki jingdro dur jong phi ki don ki dur kiba pynpaw ïa ka jinglong mynsiem jong ka rukom im tynrai bad ki riti dustur tynrai. Phi don aïu ban ong halor kane?

    Because I am a Khasi, I cannot create and mould that which is not part of the flesh and blood of this place. Yes, at times I imitate work which is not by me or from my homeland. But in my own individual work, my thought process flows towards those things which are the essence of being Khasi.

    Namar ba nga dei ka Khasi, ngam lah ban pynwandur ïa kiei kiei ki bym longdoh longsnam na kane ka jaka. Hooid, nga pyrthuh bud hateng hateng ïa ki kam ki bym dei na lade ne na la ka ri lajong. Hynrei ïa ki kam ba shimet jong nga ka jingmut ka shoh hi tang ïa kiei kiei kiba ïadei bad ka jinglong Khasi.

    Ban rakhe ïa ka International Day of the World's Indigenous Peoples, ka Speak Your Roots ka la ïoh ban kren bad i Kong @careenjoplinlangstieh iba dei i barikor iba bun na ngi ngi tip shaphang jong i. Ka sap ka phong i Kong Careen ka la wanrah ka burom bad ka nam ïa i bad ïa ngi ki Khasi ha ka ri India bad shabar ruh.

    La thmu ban kren bad i ruh kum iwei na ki kynthei kiba stad bad shemphang shaphang ka jaitbynriew ban pynshai shuh shuh ïa ka phangpdeng jong mynta ka sngi kaba dei "The Role of Indigenous Women in the Preservation and Transmission of Traditional Knowledge".

    Khublei Shibun Kong @careenjoplinlangstieh ba phi la pynsngew ïa ki jingmut bad jingthmu jong phi lyngba kane ka jingïakren! 😃🙏

    To celebrate International Day of the World's Indigenous Peoples, Speak Your Roots had the opportunity to talk with Kong @careenjoplinlangstieh who is a senior practicing artist, who is well-known among us. Kong Careen's gift and talent has brought name and fame to her and to the Khasi community in India and abroad.

    It is hoped that the talk with her as one of the women who are well-versed about the Khasi community will enlighten us about this year's theme "The Role of Indigenous Women in the Preservation and Transmission of Traditional Knowledge".