Limboo Folk Literature

                                                                               

Introduction:

The Limboos, like any other tribal communities of North-Eastern Himalayas are deeply rich and distinctive in traditions. They have their own mythology, legends, myths, corpus of songs, verses, fables, tales, proverbs, idioms and other type s of oral literature which has transmitted from one generation to the other generation by word of mouth. These constitute what is called folk literature of tribal Limboos.  Their folk traditions and literature are in no inferior to fables and tales of other communities but indeed rich can be gauzed by all who really take kin interest in its study  or who are closely acquainted with the life of common Limboo folks in the villages.

The legends, myths, folk songs, verses, fables, tales, riddles, proverbs, idioms and other types of oral literature are deeply interlaced with different social phenomenon and belief system like religion, mythology, socio-economic life and whole gamut of tribal social and ethos. These manifest the relation with the beauty of the nature, the sound of waterfalls, the sounds of the springs, winds reverberating through the vales and hills, the chirping of the myriad birds, screaming of the animals, the varied music of insects and cries of reptiles and so on.

The growth and development of Limboo folk literature in written form can be credited and traced to the early writing of renowned Kiratalogist, Chemjong’s Kirat Mundhum and Kirat Dantya Katha (1964), Santabir Khamdhak and Pahalman Nermbang’s Yumasam and Pallam (1964), Shiva Kumar Shrestha’s Kirati Lok Kathaharu (1991), Janaklal Sharma’s Maksimbung Ko Katha (1983), Birahi Kaila’s Yakthunglay Mukpa:nha? (1987) and Prithivir Raj Khewa’s Limboo Lai Kina Chitwa Bhaniyo (Subba, 2002, p. 33). But all these were written in Dewnagari script.

The writing of Limboo folk stories in Srijonga script was conceived in the two premiers of 1951 but could not take proper shape until1975 when Limboo text books for different classes was prepared by Shri BB Muringla. The most notable folk stories which appeared in the Limboo text books are Phung Pit Nu Samwet by B B Muringla, Ta:nchho:ppa by Serman Tamling, Puttukay Tu:kma Kheda? by M B Nembang, Ya?rakma Mundhum and Chosapi by M B Tamling, Kay Po:kma Mundhum and Mangdo:k, by BB Muringla,  A?donga Asiretcho by Harka Khamdhak, Sakmra and Muyasammang Mundhum by Mohn Subba, Sosingba by T M Nembang, Ne?nusa? Kheda? and Horoba Kheda? by R B Le:kwahang Khamdhak, Phatti:ma Nu Phundwa by Pahalman Nembang and Mohn Subba, Kheseberi by Maita Sing Subba, Chillikchomaray Kheda? by B B Muringla and M B Subba, Chiknawa by B B Muringla and Morajo-in Omettullay by Mohn Ijam. The folk stories are intertwined with Limboo mythologies and socio-cultural and religious way of life as well as with the nature, hills, rivers, lakes, caves, plants and nature of animals, birds, insects etc. A collection of Limboo folk stories Pemuksigangba Kheda?ha? (2009) by Buddhi Le:kwahang Khamdhak, in most of the stories reflect the interwoven characteristic of Limboos with myths and mythologies. There are also written Mundhum books available at present. Documentation of Mundhums in written form was started since 1990s from Nepal. The first Mundhum book Sapok Chomen (1991) was compiled and edited by Bairagi Kainla. Then was followed by Nahen Mundhum (1994), Samsogha Mundhum  (1994), Tongsing Tokma Mundhum (1994), Sosik Mundhum (1995) and Cho:it Mundhum (2003) by the same scholar. While in Sikkim, Limboo Mundhum documentation and writing commenced in late 1990s with the publication of number of mundhums by JR Subba such as Yakthunglay Tendham Me:khim Mundhum in (1998), Yakthunglay Phungso:k Timma Mundhum (1999), Sumsemba Tongsing Tokma Mundhum (2001), Simering Mundhum (2002) and  Mujo:tlung Khejo:tlung Mundhum (2003)  and Yakthung Mundhum-Vol-I (2009) by Buddhi  Le:kwahang Khamdhak. The mundhum books by Subba are records, collection, compilation and edition from the recitation of Limboo shamans and written in classical language while work by Khamdhak is an interpretation and reconstruction in common Limboo language that can even be understood by the common folks.

Different forms of Oral Limboo Literature

The Mundhums chanted and recited by the Limboo priests and Samlos sung on various occasions form the poetry type of oral literature in Limboo.

The mundhum which determines the whole socio-cultural life of the tribal Limboos is recited and chanted by the Limboo priests, Phedangmas, Sambas and Yebas or Yemas on certain religious and ritual functions and ceremonies. Mundhums as an oral Limboo literature is an important source of information of the prehistoric era. Once it is chanted, it comes out like cascading waterfall from the mouth of the narrator, the Limboo priest; Phedangma, Samba or Yeba or Yema. Mundhum as a religious song has lived since generations and passed down from one generation to another. It contains legends, myths, faith and belief, philosophical thoughts etc. It is composed of rhyming couplets, the two lines having an almost identical rhythm and in many cases the same number of syllables. There are lines which complement each other in meaning; they are semantically and syntactically similar. Mundhum as an oral literature are of different types. Among the tribal Limboo community, it is believed that the faculty of mastering oral literature especially in mundhum is a special gift of the Gods and spirits. The Limboo priests, Phedangmas, Sambas, Yebas or Yemas and Tumyanghangs assert that when one is gifted by the Tageraniwa?phuma and visited by the sam seerays (master spirits) or taught by a mysterious being in dream, then they profess what is called ‘Mundhum’.

Similarly, the Samlos are sung to an audience, among the friends and relatives on the various occasions of the social and ceremonial functions by the Tumyanghangs, Phedangmas, Sambas, Yebas or Yemas and even ladies and gentlemen, girls and boys of teenagers on various occasions. Both the oral compositions are passed on by word of mouth from one generation to another and preserved through the oral translation. The Samlo evolve tremendous exercise of memory power, command of language and use of poetic and classical devices like phrases, rhythm and rhymes like that of the Mundhum. The Samlos may be found in different forms as discussed under:

Pang-Samlo, Limboo folk song constitutes the most important component of Limboos’ folk literature. Pang-Samlo, in most compressed and classic form with stock words, phrases and expression has been transmitted from one generation to another generation through the words of mouth. It is of various types, such as Pa:llam samlo, Tumyanghang samlo, Hakparay samlo, Tamkay O:kay samlo and Phungwa samlo. Pallam samlo is an improvised poetical song accompanying Limboo folk dance, Ya?rak (Ya? means paddy and La:ng means dance). Pallam, as a wide gamut ranges from narration of stories to the outpouring of deep emotional feelings of pathos, love, amorous, or longevous longings. In many composition a rhythm is often punctuated by a particle like a, hi, ho, ha, ha, o rilo, etc,  like a caesura always repeated at the same point in each line by way of placing a strong emphasis of emotion. It greatly varies from place to place, person to person and occasion to occasion. No musical instrument is required while sung but accompanied by the melodic tonal chorus, ha...ha...ha. The tune or vocalization style of pa:llam depends upon the type of dance and style of singer. It is usually sung in slow tempo with a long regular gliding tune, difficult to measure with a metronome. The subject matter of pa:llam is predominantly the love affairs, romantic relationships, aspirations and frustrations feeling of melancholy or separation and unsettled longing of life. It is full of light and romantic discussion between two sweet-hearts or singers. Pa:llam starts from introductory inquires as it is against the Limboo custom to sing love songs among relatives. The discussion sometimes encompasses the way of life of early people, the origin of love, relationship of love and life, love affairs and marriage union and many other areas of inner human world. In the earlier days, the pa:llam was also sung while grinding corns in the grinding stones at night. The melodious tune and rhythm of such Limboo folk songs, specially pa:llam of dhan nach have gave rise to the varities of Nepali songs (Pradhan, 1984, p.17).

The genre called Tumyanghang Samlo is an ancient and traditional oral song sung by the elderly gentlemen and Limboo shamans; Phedangma, Samba and Yeba or Yema on the various ritualistic ceremonies and social functions sitting together on the floor and facing each other. The song varies according to the nature of the ritual, occasion and function. It is sung to the audience by a skillful and artistic singer in the descriptive and poetical form with the rhythms, rhymes and couplets followed by the chorus of the other members of the team at the end of the song. There may also be a leader singer as an opponent with his team members to encounter the other singer and the team.

 Hakparay Samlo is another traditional song of Limboo community sung during various occasions by the most experienced and senior Limboo citizen or priest. There may be two well versed and experienced singers leading each of their own team and encountering one another. The song may be brief or long sometimes. It usually depends according the nature of the occasion and singer who sings the song. While completing the stanza of the song by the leader singer, the team members chorus with the word, ‘o rillo’.

Tam o:kay samlo is an ancient agricultural song and relating to the agricultural activities. In this invocation and propitiatation of deities and divinities either before cultivation or after the harvesting of the food grains takes place. Tam o:kay samlo is most typical and unique agricultural song the Limboo community possess and sing. In the other sense, no community other than Limboos in Sikkim has the practice of singing such kind of song during agricultural activities. It is performed during the time of weeding of maize saplings to prayer and praise the mother goddess and local deities for the protection of crops from the natural calamities and bumper food grains. The two leading singers leading each team and question and encounter each other. The team members will assist their singer leader in chorusing the song.

 Phungwa Samlo is ritualistic song sung during marriage ceremony of tribal Limboos. Either the senior most called Tumyanghangs of same or opposite sex sing this song. While singing this particular song, the myth about the creation and dispersion different species of flowers in the different regions is explained in a poetical form. In Limboo tradition, flower signifies both human life and unmarried girls and boys. Henceforth, genesis of love, meet of the two lovers, sweet-hearts and their marriage is described in the song. In earlier days, singers through Phungwa samlo could make the flower placed and decorated in front of the bridegrooms and brides to fade and bloom or vise-versa. But now-a-days such event has become impossible to observe.

Khyali a poetical dialogue between two persons of either same or opposite sex is form of couplet poetry. Khyali as preliminary negotiation or introductory inquiries used among the Limboos exchange the views, express the emotional and romantic feelings in the alliterative language with strophic references and use of metaphor. The Khyali eventually leads to Limboo traditional dance, Ya?rak.

Imlo samlo is a lullaby song the Limboo women usually sing to make a baby to sleep. The song has the use of alliterative words and is repeatedly sung until a baby is slept. The song runs as:

 ‘Aa Lo Lo Lo Lo Yee

  Imbaro Imbaro Imbaro Imbaro

  Aa Lo Lo Lo Lo Yee

 Kembaray Faklang Ke:kwa Taru Kebi?ro

 Aa Lo Lo Lo Lo Yee’.

Aa Lo Lo Lo Lo Yee

Well!  sleep! sleep sleep sleep

Aa Lo Lo Lo Lo Yee

Father will fetch you paying material pig leg.

Aa Lo Lo Lo Lo Yee.

Pang-kheda?, folk stories, recited on almost all occasions specially in the villages, also occupies very important place in the life of the common folk and children of Limboo community. While reciting pang-kheda?, the common folks and children come together and sit around the fire-place either inside house or in the cowsheds specially in the evening or in the open lawn in some other occasion during leisure time. Anyone among the group recites the story meanwhile others listen to the teller. The teller begins with the sentence, ‘togi togi lothik pongve?-o hangsit yunge……..’. The listeners say ‘o saba adangbay…’. After he or she completes the story, next anyone interested to say can again recite and others will again listen.

Yokcha Kheda?,(riddles) also occupies very important place in the life of the children in the Limboo society. In yokcha kheda?, the child who fails to give  the appropriate answer the questioner then has to cede a village. The questioner then claims that all good things of the ceded place are his and all bad things are said to belong to the unsuccessful participant in such quiz competition and gives out the answer. Questions asked in the riddles are imaginative and brainstorming which need concise answer and artistic of language. 

‘Yunglay Tumyog Poklay sumyog’ Thema?

Sits like a curtain and gets up like cotton. What is ti?

Answer:  Fog.

‘Attin yupa sigang samyang yak’?

Which silver contains gold?

Answer: Egg.

‘Nanchhing sobaray lothikla? may’. Thema?

‘Hundred monkeys have only one tail’ what is it?

Answer: Bunch of Banana.

‘Kuhe:la su:kwa sigang kuvora yupa yang’ Thema?

‘A red bag containing white silver coins’ What is it?

Answer: Red Chilly.

Nam U:pma (invoking of sun), a composition of the playing kids during rainy day also constitute an important component of Limboo folk literature. The composition runs as “Namlo Namlo; Namlo Namlo; Tha:kpa Mey Pongsong, Suba Hee Khetrek;  Namlo Namlo’. Meaning “Come sun come out! Come sun come out! The tail of squirrel has bulged, The faeces of rat has been dried; Come sun come out!”

Apart from these, Limboo mukpa:n (proverbs) and pa:nlup (phrases and idioms) form major part of Limboo folk literature. The mukpa:n and pa:nlup  are short sentences drawn from long experiences of different ages of Limboo social way of life. These are very closely intertwined with the socio-cultural way as well as day to day life of common Limboo folks and connected with the human organs, common objects, and actions of human being. There are few publications of Limboo mukpa:n and pa:nlup. In 1983, when Limboo Grammar was prepared by B B Muringla, for the propose of secondary and senior secondary, number of Limboo mukpa:n (proverbs) and pa:nlup (phrases) were collected and compiled in the grammar. Birahi Kainla of Mirik (1986) had also compiled the collection Limboo proverbs. This further enriched and strengthened the Limboo folk literature. Some popular mukpa:ns (proverbs) are;

Singbung chongthang  puttu:kay

Yepme:t te?ma  yettuk khay.

Top of the tree invites dove of much kinds

If married many times invites tension and problems.

Fa fekgara mek.

If bamboo blooms then perishes.

Meejakinang  menghengay mee medha:nen

Until struck, splint does not produce spark of fire.

Saklay manglay au:khu?khu?

Tonglay manglay ae:t lay?lay?

Man recalls time and again to his relatives when losses

But refuses and forgets when he possesses.

Huktappay thikla? Memuknen.

Single palm does not produce sound.

Some of the popular pa:nlup (phrases or idioms) which are interwoven the Limboo community and society are;

Phrases related to huk (hand)-

Huk ke:mma?                            = too steal.

Huk mura tumma                      = to eat.

Huk ekma                                  = to become all alone.

Huk leppma                              = to give or to fight etc.

Phrases related to negho? (ear)-

Negho? Mupma                          = to insticate.

Negho? Temma                          = to swear.

Negho? Changjang mepma      = to listen carefully etc.

Phrases related to nebo? (nose)-

Nebo? Tukma                            =to get jealousy.

Nebo? Ta:kma                          = to praise.        

Nebo? Pe:kma                          = to get defamed etc.

Phrases related to mura  (mouth)-

Mura lepma                              = to speak back.

Mura supmepma                      = to keep quite.

Mura pa:ngma                         = to speak etc.

Phrases related to meek (eye)-

Meek le:ma                              = to be attracted.

Meek pa:ngma                         = to be conscious.

Meek phi:pma                          = to cry.

Meek la:kma                            = to feel sleepy.

Meek tukma                             = to get jealousy etc.

Although folk literature forms distinctiveness of the Limboo community like any other tribal communities of North-Eastern Himalayas deeply rooting into their socio-economic life, yet it is getting marginalized with the emergence of so called ‘prismatic-sala-modal-society’. If its significance is not felt by the educated young-coming-up generation and preserved in time as saying goes, ‘stitch in time saves nine’ then would get depleted like an ozone layer.

Source: Field survey