Tribal Limboos of Sikkim and their culture

Introduction   

The Limboos have been residing in intermingled culture of different communities since long generations back. Although, in the past, there had been both acculturation and assimilation in their social way of life, somehow they have preserved their rich and distinct culture; which clearly demarcates them from rest of the ethnic communities of Sikkim. Their belief and faith, religious functions, death rituality, matrimonial system, ritual ceremonies and costume, food habits and their social way of life greatly differ from those of other races of Himalayan region.

 Faith and Belief of Limboos:

The Limboos are distinctively different from rest of the ethnic communities by their faith, belief and religion. They have a distinctive religion of their own ‘Yumaism’ (animism) which is akin to ‘Bonism’ that existed in Tibet and in some parts of Sikkim among the Lepcha tribal community. Yumaism, as an ancient tribalian practice of Limboos has passed down to them from generations to generation. It has its own mythology, animistic beliefs, theological gods and goddesses and philosophy and teachings. It is based on Limboo mythology called ‘Mundhum’. The mundhum which evolves tremendous exercise of memory power, command of language and use of poetic and classical devices like phrases, rhythm and rhymesis 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, ie the Limboo shamans; Phedangma, Samba or Yeba or Yema. Mundhum as oral literature has lived since generations and passed to coming generation of shamans through mouth. It contains legends, myths, belief, philosophical thoughts etc. It is believed that when one is gifted by the Tageraniwa?phuma, (Supreme God) and visited by the sam seerays (master spirits) or taught by a mysterious being in dream, then he or she profess what is called ‘Mundhum’. In Limboo society, mundhum determines the whole socio-cultural life and Limboo shamans, Phedangmas, Sambas and Yebas or Yemas permanently dominate Limboo society and culture in various social functions and different rituals ceremonies.

The Limboos worship Tagera Ningwa?phuma, Poro:kmima and Wambhamiba, Yumamang,Akwanama and Himsamangs, house protecting deities. According to Limboo Mundhum, Tagera Ningwa?phuma, an omnipotent, omnipotent, omniscient omnipresent and eternal, appeared and created the universe. While Poro:kmima and Yambhamiba who were believed to have been subordinate of Tageraningwa?phuma, created earth and all other creatures including humen being. Yumamang, created by the latter is believed to be the protector and owner of human being and all other sentient beings. Akwanama and Himsamangs are considered to be the protector of household and human being. As Limboos believe that the Yumamang no definite shape therefore it appears in different manifestations. The worshipping place of Limboo is called Manghim. The Limboos also worship deities, divinities as well as holly mountains, lakes, hills, caves, rivers, trees etc which are in the different form of nature.

Death Rituality among the Limboos:

The Limboos usually bury the dead bodies. When a member of a family dies, a corpse is laid out in full length, silver coins are placed on the head, mouth and chest, properly washed with the water poured from gold and silver, the clothes are taken out and shrouded in white cloth, announcement is made by shaman, Samba that, ‘so and so is no more alive’, and then dead body is put into a wooden coffin, kho:ng. Even in the mouth of a dead bodywater poured from gold and silver is put. All relatives gathered and contribute some amount of money called ‘kho:ng khu:kma’ and homage is paid with flowers and garlands. Thereafter dead body put on the chedhap, covered with white cloth and then taken to the grave yard.

The procession is led by the Limboo shaman, especially Samba,(if in case Samba is  not available then Phedangba or Yeba) carrying mudembhe?(sword) in his right hand, shouting ‘ho…ho…ho’ on a way to the graveyard. After him a man, carrying the belongingness of the dead body in khema thingay? (bamboo basket), other carrying ‘chebon’ (mixed of maize, paddy, soyabean, pulse, etc) and then drummers of negra proceed towards graveyard. A man carrying chebon throws the pyuna at the crossroad and rivulets to clear or remind the way for the dead person. The funeral procession is participated by the cousins, relatives, neighbours and villagers. Some, carrying bundle of fire wood while others tools required in digging the graveyard.

After the procession is reached at the graveyard, the dead body is kept placing head westward. The people present there dig the graveyard and once it is completed, stone coffin is constructed which is in exact size of the dead body. Then Samba or Phedangma whoever is present there briefly addresses the people gathered there, appealing to provide a house to the diseased person to live in. Once the people say ‘he is allowed to live in’ then the Samba places coin asking the consent from Tumyanghangs present there. This tradition of Limboo is called ‘Kham Ingma’. After this, dead body is placed with the head westward and buried.

When the funeral procession arrived home, the people are made to stay or sit and offered them light refreshment. Inside house, the rite ceremony, Samsa:mais carried by Samba. First and foremost, sam (soul) of dead person is collected from different directions by Samba and provided eatable items. The ‘Hangsam’ (soul of grandfather) is invoked to appear on that particular occasion to take the soul of dead person along. Therefrom, the Samba tells whether the Hangsam accepted the soul of the diseased person or no. After this first phase of death rituality is concluded. The people gathered there get dispersed.

The family members and relatives of a diseased person mourn for eight days (in case of female) and nine days (in case of male). During the mourning period, the family members of the diseased person are strictly prohibited to consume salt, ginger, oil, chilly, trim hear, wear new clothes and rejoice as a mark of respect and love. This convention of observing such social norm is called ‘Net-Yukma-Theem’.  In completion of mourning period, the relatives and neighbours are gathered. The Limboo shamans, Phedangba, Samba, Yeba/Yema and Tumyanghangs are called. The announcement regarding the completion of mourning is made by the Phedangba in front of the Tumyanghangs, all the relatives and neighbours and the mourners are allowed to touch salt, chilly and oil. This tradition which has been followed from generation to generation in Limboo society is called ‘Yum-Matchi Na:kma Theem’.

The second phase of death ritual is followed by ‘Sangsingma’.Sangsingma in Limboo language means purification of those who are in mourning since the death of the member of their family. It is fixed in the odd month or day. During this rite ritual, all the relatives, neighboursetc are invited to attend the ceremony. In the memory of the diseased person ‘pha?le:nja’ is also constructed by the family members. The graveyard of dead person is cemented and plastered. Epitaph is engraved on it. Early in the morning, before the main ceremonial function takes place, food items, flowers etc. are offered in both pha?le:nja and graveyard. Then feast is given to all the cousins, relatives, neighbours etc who are invited to attend the ceremony. Every members of a family are changed with new white clothes. If there is any son of diseased person, his hair is trimmed to signify that he and members of family are purified. Meanwhile the hukwa-langwa brought by the cousins, relatives and neighbours are distributed among the people gathered there in the ritual ceremony. The relatives are given ‘Mu-e-Nam’ (cloths are distributed) as token of love and mark of remembrance of deceased person. On the death ritualistic ceremonial which is held at night, the Limboo priest, through mundhum reaches the soul of departed person to the place of ancestors, crossing eight gates above the earth. The purification or rite ritual is concluded with the morning ritual, ‘Mikwa-nga-Sangma’ and ‘Kho:ngsing Ka:kma’ (cross over magical diagram of male-violent divinities).

In the case of accidental death, the deceased person is called Sogha. Death of a woman during childbirth is called Sugu:t. In such cases, Yeba is suitable and applicable to carry out the ritual ceremony. Through incantation of mundhum throughout night, Yeba drive away sogha and sugu:t and other evil spirits. Mourning and fasting is necessary in such cases. Even if a child dies before his or her Yangdang Phongma rite (before three or four days from the day of birth) then he or she is taken to Chikcha or Yongdong to burry. But no mourning, funeral rites and formalities are observed. In case, if a child expires before the appearance or changing teeth, mourning period will be observed for only one day.

Matrimonial System:

Matrimonial System, which Limboos call ‘Me:khim’ is regard as an important and sacred ceremony of social functions. In Sikkim, commonly four kinds of matrimonial system; sujah me:khim, mi:m me:khim, mimeduma me:khim and lha?ba me:khim are prevalent but at present Suja Me:khim and Mi:m Me:khim (marriage by free choice) are commonly found in practice. In all kinds of matrimonial system, a strict rule is observed to keep away blood relationship or kinship between the bride and bridegroom. Even the marriage among the cousins is strictly prohibited.

Suja Me:khim is an arranged marriage. In such marriage, the Limboo shaman, Phedangma fixes the auspicious month (most probably between the months of December to February) and day for the purpose of marriage. Once the day and time is fixed for the same, Ingmayba who acts as an intermediator to initiates the preliminary negotiation between bride and bridegroom and their parents. Ingmayba goes to the house of bride along with the few people to negotiate talk with the parents of bride and take their consent. Once the parents of the bride are agreed, the day for the marriage party is fixed. On this particular marriage daytime of people led by Ingmayba go to the bride’s house and then the bride is brought to the house of bridegroom in long procession with roaring sound of kay (Limboo traditional drum) and negra (traditional kettle drum). About half miles away from the house of the bridegroom, special reception called ‘Lamdha:n Ta:kma’ is arranged with the roaring sound of kay and negra. On the way back home, the Ingmayba, bride, bridegroom and procession are made to sit in the small temporary set hut roofed with the tha:khumay (shawl) and offered tongbha (bamboo container filled of beer), theenu?ma and cups of tea. Thereafter they are requested to march towards groom’s house. After reaching groom’s house, the procession is sheltered in the temporary built tharpu (hut) for that particular night.

Next day, the party is organized. All the relatives, neighbours, guests who are invited come to attend the party. On the same day, the bride is admitted in the groom’s house with procession. Prior to the entry into the house, the bride is taken to the sacred or hidden place towards east direction and made to exchange her clothes. Meanwhile, the groom with procession goes to get back the bride and her party from the place where she has been dressed. After that she is brought home with happy shout, pokkondi and beating sound of negra and kay. Just few yards before the doorstep, plantain leaves are placed upon which the bride is directed to step and walk. At the doorstep, tikphung (tika mixed with rice and cord) is applied on the forehead of the bride by the parents of the groom, relatives and elders and embraced by groom’s mother along and made to sit before the pair of Lasemi-Namsemi (butter lamp) and thungwa (flower kept in the brass pots) placed on the changden (Limboo traditional table) along with the groom. Once the bride, groom and procession are allowed to enter the house, they are made to sit and offered theeto:ngbha, teenu?ma and tea as per the Limboos tradition. This particular act of allowing the bride to enter the groom’s house is called Himli:ngma.

At night, the me:tkamma ceremony takes place in the presence of Tumyanghangs. The Limboo shaman, Samba or Phedangma or Ya officiates the ceremony while others present there witness. Either by Phedangma, Samba or Yeba, mundhum (mythology) is chanted or performed. The mundhum includes the creation of the universe, mountains, hills, plants and animals, birds and human being. The most important feature of the mundhum is creation of love between sisagen menchhin and naligen thangben through bumble bee, their introduction and finally their marriage through the cobweb. The mundhum recited by the Limboo priests during this particular is in the poetical and classical form with full of phrases, rhythm and rhymes. At certain point of mundhum recitation, mangenna for the couple is also carried out by the Phedangma. Here one cock and a hen, ‘me:tkammawa’ is required for mangenna. While doing so, the right hand of groom and left hand of bride are folded together and both cock and hen are placed on their hands. After mangenna is over, both the fowls are killed; blood and feathers are placed in the plantain leaf. The meat is cooked and distributed to all as ‘metkam matchi’ (langan achar).The Phedangma with lee (bow) weights both bride and groom, invoking household deity, Akwanama and draws omens whether the marriage would be happy or not. The Phedangma also invokes all household deities for the proper conception of the bride. This tradition is called ‘Sayi:th Na:kma’ in Limboo culture. Meanwhile, the parents, bridegroom and bride are directed to take solemn oath with meejak (small blunted knife like implement used by the Limboo tribes for creating fire) striking against meejaklung (white flint) and chepyang (silver coin).

Foremost, the parents (father) of bridegroom are supposed to take oath. While swearing say, ‘I…..do hereby swear that now onwards accept Mrs.………..daughter of ….belonging to……..clan as my daughter-in-law and therefore whatever may be the circumstances, I shall never ill-treat her. In case if I fail in fulfilling my promises, I may be vexed and punished by Tagera Ningwa?phuma’. Thereafter, he strikes the meejak three times against the meejaklung to produce spark of fire and silver coin. Mother also does the same, promising that she would treat her as daughter-in-law without ill-treatment. She also striking the meejak against meejaklung, swears to handover all the responsibility of household, teach and guide her to tackle and handle all the problems and works within and out house.

Secondly, the oath taking rests on the bridegroom. He, striking meejak three times against the meejaklung swears that, ‘from today onwards Mrs.……….is my legal wife. Whatever may be the circumstances, I shall never ill-treat her, always remain loyal to her. In case of any problem in our life, we withstand and overcome together. I shall also never marry any other girl until she is alive. If I disobey the oath solemnized in front of all, she can throw this meejak, meejaklung and coin upon my face and get divorce from me’. Therefrom the meejak, meejaklung and chepyang are handover to the bride.

The bride also striking meejak three times against the meejaklung swears that, ‘from today onwards Mr.……….is my legal husband. Whatever may be the circumstances, I shall never ill-treat him, always remain loyal to him. In case of any problem in our life, we withstand and overcome together. I shall always respect and obey the instructions of my mother and father-in-law and treat and care them as my own parents. I shall also handle and tackle all the problems and responsibility as a best daughter-in-law this house, whatever may be the circumstances’. Finally, meejak, meejaklung and chepyang are retained by the bride herself as a proof of her marriage.

After this ritualistic ceremony, the bride is introduced to the elder and relatives of the groom by bowing down to each of them by both bride and groom. The bride follows the groom bowing down and distributing coins to each and everyone. This typical tradition of distributing coins in Limboo culture is ‘Sewa Yang’. After this, Hangsitlang (main pillar) of the house and meehaplung (fire place) are also bowed down three times each. Following this the Tumyanghang samlo and Hakparay are sang by Tumyanghangs and elderly persons. Both bride and groom, with the beating tune of kay are rounded up thrice around the main pillar and fire place singing ‘him lee:nglee:ng’. This is ‘him lee:ngma samlo’ or ‘him lee:ngma theem’. Outside in the courtyard, Kay la:ng and Ya?la:k  continues.

Next day all the people who had have come to reach the bride in the procession are bade farewell and bid goodbye. But the bride along with one of her friend is left behind at the house of groom. Within yetnam (eight) or phangnam (nine days), both the bride and groom are send to bride’s house with ‘theelingdok’ (bamboo basket filled with millet beer) and ‘phakseh?’ (well dressed pig thigh) along with bride’s friend. The tradition is termed as ‘Serangyo:k Thokma’. After staying few days at bride’s house, both of them come back to the groom’s house.

 Within year or after few years, with the consent of the parents from both the side another marriage ceremony called ‘Mellung’ is arranged at the bride’s house. Arrangement of Mellung is not uniform. Sometimes, it is arranged within year or month and sometimes it is kept pending till both bride and groom are blessed with off-springs. During this, full grown phakcheof lami:ba (carcass of fully grown male pig), bottles of local made laksee (wine) and theesapma (big bamboo basket filled with the millet beer) are taken to the bride’s house in procession with kaysambas (drummers). At the house of bride both paternal and maternal cousins, relatives and neighbours are invited and given feast. The bride is gifted lots of pratham (not exactly dowry but very similar to it) consisting of brass, copper utensils, gold, silver and even landed property if family can effort and each set of everything which are available at home. The cousins, relatives and neighbours also contribute different articles and gifted to the bride as token of love and mark of remembrance. All the items contributed from both parental side and cousin, relatives and neighbour are listed and gifted to the bride. On the same day, ‘Seegot Hingot’ also called ‘Saimundri’ by other term in some of the places is written by the people gathered in the party and given the groom. Seegot Hingot is legal document of transferring bride from her parental ancestry to the groom. In the same day or sometimes next day, the procession from the groom are bade farewell. This is the concluding part of marriage ceremony in Limboo culture.

 Another marriage which is most common among the Limboos is Mee:m Me:khim, marriage by free choice. Actually mee:m me:khim is an elopement of couple without the prior knowledge or consent of parents or running away of couple with paramour. In such kind of marriage, giving feast or party is not compulsory. However, solemnization is very important which has the same procedure like that of the suja me:khim.

Sappo:k Chomen:

Sappo:k Chomen also called as ‘Seek Chomen’ by other name is a ritualistic womb worship for the protection of a child in the uterus. It is performed during the pregnancy of the woman within the month of five to eight after her conception. While performing, the deities of house and jungle are propitiated for good health of the mother and baby in the womb as well as successful delivery of the baby.

When the woman is conceived, the husband and parents sit together and decide as to when the Sappo:k Chomen should be conducted, then date and time is fixed. Therefrom, the husband proceeds towards the wife’s parents house along with bottles of wine. He conveys them the decision taken by him and his parents regarding the sappo:k chomen and then confirms weather they are able to attend the particular ceremony.

During the time of Sappo:k Chomen, parent from the wife side, along with fowls in kho:gi come to attend the ceremony. He/she is warmly received at son-in-law’s house. Meanwhile tapheng or kudap khoma is carried out in the jungle by Phedangma or Samba or Yeba whoever is there in the ceremony. The deities and divinities of jungle are invoke and propitiated to witness the ceremony for the protection of pregnant woman and successful delivery of the child. The fowls and eggs are sacrificed. After the completion, they (who are engaged in puja) come back home. At home also the household deities are invoke and propitiated by the Limboo shaman for the proper protection of mother and baby in the uterus, avoidance of sickness and pains and unnatural death during delivery etc. At certain point, the shaman also draws omen as how many months the pregnant has cross, of what gender the child will be born and whether the delivery would be successful. Thereafter the ‘Sappo:k Chomen’ concludes. Next day every one gathered there get dispersed. Parent from the wife’s side is also reached house by the son-in-law.

Here it is worth mentioning that in the early days, sappo:k chomen was performed for two to three days but this days it is hardly observed and maintain among the Limboos. However, it is important to note that sappo:k chomen is a unique identity among the Limboo community. In the other word, no one in the vicinity solemnizes such ritual except the Limboos.

Yangdang Pho:ngma:

Yangdang Pho:ngma, literally means ‘rising of cradle of newly born baby’. This ritual ceremony is mainly performed to name a child in the Limboo society. A Phedangba officiates the ritual.

A house, in which a baby is born, is considered to be impure. The guests are not entertained. The close relatives are also considered to be unclean and worship ceremonies are not conducted on their behalf. During Yangdang Pho:ngma, a newly born baby is named and shown light of the day and family members are purified. In the case of female baby, Yangdang Pho:ngmais performed after three days while in the case of male four days. Mother and baby are give bath with warm water early in the morning. Wedum Pakwa Chuwa (water collected from seven springs) is sprinkled inside and outside the house to purify the house and members of the family member.

Menchha?sung:

After the newly married couple is blessed with a child, within year, child is taken to the bride’s house to show her parents, cousins and relatives. With help of few people in procession, phakche, fully grown carcass pig and theesapma is taken along with the child. This culture which the Limboos call Menchha?sungis very distinct andclearly distinguishes the Limboos as one of the separate tribal community among the people of Sikkim. No community other than Limboo maintains this particular tradition. Menchha?sung in Limboo language means gift of grand-child (menchha? means grand-child and sung means gift). The cousins and relatives are invited by the bride’s parents, feast is given to them and the child is shown to them. The phakche and theesapma taken by the daughter and son-in-law is eaten and drank. The child is given ‘menchha? mikto:k’, (gift) by the grandpa, grandma, cousin and relatives as a mark of remembrance and token of compassion from them. The menchha?mikto:k (gift) may consist of gold, silver and many other things useful to the child. Thereafter the precession along with a child and parents (son-in-law and daughter) return home. This concludes the formality of menchha?sung of Limboo culture. 

Mangenna:

Mangenna is another important ritual of Limboos performed usually once in the year either in the beginning of winter or summer season. Mangenna literally means ‘sister or brother’. In popular practice, mangenna is an act of worship or ritual ceremony for a person who is feeling dejected and suffering from hardshipness to encourage him/her.  Mangenna among the common Limboos is performed in two ways: one is on Huk chongdhang and another is on Laso chongdhang. While performing in huk chongdhang, beak and feet of fowl is properly washed and placed on the hand of a person for whom the mangenna is being performed on the other in Laso chongdhang, suitable place inside house is chosen, properly cleaned and then smeared with mud. Thereafter, changden is kept over which plantain leaves of banana are placed in the cross direction, theeso:k and sadumbakwa kept along with tumdumseri, sangkrungma and sukpa. Usually in mangenna, fowls are sacrificed but it is also observed that some Limboo clans such as Khewa sacrifice pig inspite of fowl. After the fowl or pig is sacrificed, the meat is not taken out of the house but eaten by the members of the family. There are number of reasons why Limboos perform mangenna. It is observed firstly for the avoidance of befalling oneself from illness, dejection, misfortune, accidents distresses, difficulties and natural calamities etc. Secondly, for bringing delightfulness, calmness, corporation, and prosperity for the success of life, thirdly, for excorcing evil spirit from oneself as well as family and fourthly to bestow good luck, better opportunities and prosperity.

Cho:kphung:

Cho:kphung is a ritualistic ceremony of adopting some members of another tribe or  race or clan into Limboo community. In this the clan, or tribe or race who wants to become a member of particular family requests the leader of the clan. In fulfilling all the terms and conditions, a person who wish to be adopted to a Limboo family is brought in front of assembly and announcement is made. In this, the Limboo shaman and Tumyanghang officiate the ceremony. There is no discrimination for the adoption, irrespective of gender. Even, the orphans or non-orphans can be adopted in Limboo community. Once cho:kphung is adopted, the adoptee has to make solemn promise of loyalty towards the clan and respect the clan member as close consanguineous relatives.

So?bu:

So?bu, literally means ‘bond friendship’. It is a conventional procedure of making special friendship between the members of different ethnic group or clan and Limboo community. In this, Limboo priest Phedangba, solemnizes the ceremony in the presence of Tumyanghangs. Feast is organized and items are exchanged between two friends as a mark love and respect. It is believed that so?bu when made, the friendships and relationships between the two different families become more stronger and closer as consanguinal kinship relation.

Important Festivals of Limboos:

There are various festivals celebrated and preserved by Limboos down the ages from immemorial even though not recognized officially by the government. Some are functional while others are religious and agricultural. Beginning of winter and summer seasons are best seasons for celebrating those festivals. Various religious ceremonies are organized during these reasons. Some of the well known festivals of Limboo are; Kokfekwa Tongnam, Sisekpa Tongnam, Bolihang Tongnam, Tongsum Tongnam and Ingmang or Yokwa.

Ko:kfekwa Tongnam:

Ko:kfekwa Tongnam marks the beginning of new year of Limboos. It is celebrated in the second week of January, i.e, 13^th-17^th. On this festive occasion, the Limboos offer various kinds of yams (eatable roots) and fruits to ‘Yumamang’ in their respective houses to appraise her for the protection of human beings from famine, drought, flood, landslide and get blessing from her. Some of them go to wado (confluence) of the river or stream and perform puja. They feast in the same spot and come back home in the evening. During this particular occasion, varieties of traditional food items are consumed.

Sisekpa Tumyen:

Sisekpa Tumyen is another major festivals of the Limboos and is celebrated in the month of sise:kla (mid-July) every year. It marks the end of drought, famine, hardship and misery and heralds the beginning of prosperity and good luck. It coincides with “sawaney sankrati” of the Nepalis. On this special occasion, the Limboos believe that the Almighty, Tageraningwa?phuma (Yuma) descends to earth from heaven to visit each and every house and bestow upon them with blessing of ample growth of agricultural produce: food grains, fruits and other essential commodities and bless humanity with  prosperity and good fortune and prevent them from hunger, sufferings and famine.

On the eve of this particular day, the Limboos of each household, clean and decorate their houses and make reed-ropes. The flowers of cucumber, pumpkin, yakchimphung and freshly ripened maize, finger millet, foxtail millet, and varieties of fruits are then strung up in the reed-ropes and is hung on the main door to welcome Tageraningwa?phumawho is expected to descend on this special day. On the same day, they lit butter-lamp and offer all the crops and fruits newly ripened to Yumamang in their respective houses. They feast; drink and enjoy by going from one house to another banging plates and winnowing baskets shouting ‘Sakmang Pero Hangnam Tyero’ meaning ‘famine has gone prosperity has come’.

Sisekpa Tumyen is one of the major festivals of the Limboos and is celebrated in the month of Sise:kla (mid-July) every year. It marks the end of drought, famine, hardship and misery and heralds the beginning of prosperity and good luck. It coincides with “sawaney sankrati” of the Nepali. On this special occasion, the Limboos believe that the  Almighty, Tageraningwa?phuma (Yuma) descends to earth from heaven to visit each and every house and bestow upon them with blessing of ample growth of agricultural produce: foodgrains, fruits and other essential commodities and bless humanity with  prosperity and good fortune and prevent them from hunger, sufferings and famine.

            On the eve of this particular day, the Limboos of each household, clean and decorate their houses and make reed-ropes. The flowers of cucumber, pumpkin, yakchimphung and freshly ripened maize, finger millet, foxtail millet, and varieties of fruits are then strung up in the reed-ropes and is hung on the main door to welcome Tageramingwa?phumawho is expected to descend on this special day. On the same day, they lit butter-lamp and offer all the crops and fruits newly ripened to Yumamang in their respective houses. They feast; drink and enjoy by going from one house to another banging plates and winnowing baskets shouting  “Sakmang Pero Hangnam Tyero”

            To:kChamanaKha:manaro

            Sa ChamanaKha:manaro

            Thee ThungmanaKha:manaro

            Ma:kiYe:ngmanaKha:manaro

            Po:eetChamanaKha:manaro

MangdokChamanaKha:manaro

Pa:yaChamanaKha:manaro

Sakmang Pero Hangnam Tyero”.

Paraphase:

“Hunger and starvation have gone

Prosperity and good luck have come

We eat food and satisfied

We eat meat and satisfied

We eat maize and satisfied

We drank jhar and satisfied

We eat pumpkin and satisfied

We eat cucumber and satisfied

We eat millet and satisfied

Now hunger and starvation have gone

         Prosperity and good luck have come”.

           

         On this special occasion, the Limboos prepare and consume their traditional food items, such as the Kangba, the Lungkhakcha and the popponda. This festival is still celebrated in Limboo villages of west Sikkim with great devotion and gaiety. The mythology regarding this festival is very interesting.

            According to Limboo myth, in the primitive days, there lived a king named Manghang in Munakham (the place where human race originated according to Limboo mundhum). He was very generous, enlightened and religious minded king.

            Once a tremendous drought prevailed in his country and as a result of which dense forests, green fertile valleys, torrential streams and calm rivers, placid ponds and lakes all dried up. The whole country was engulfed in famine and misery.  His subjects were dying of hunger and starvation. The worried king was thinking of the ways by which his suffering subjects could be redeemed from such a dreadful famine. He was very concerned to see such a miserable conditions and sufferings of his subjects and yet was totally helpless. He felt very sad and pensively contemplated for the remedial steps to help and save his people from this calamity. As the king was religious and a staunch devotee of the Almighty Tageraningwa?phuma, he started praying her the day and night for her benediction and relief.

            One night, in his deep sleep, the King heard a voice in his dream. It was an advice of the Almighty, Tageraningwa?phuma which said, “You are one of mine devotees. You are thinking of the ways to help out your people. You need not worry. I am very much there to help you. Now, listen: the moment you wake up in the morning, you go to the valleys of land. There you will find ample ripened food grains which should be sufficient for yourself and your people”.

            The King, Manghang awoke early in the morning full of enthusiasm , excitement and happiness. He warmheartedly prayed to the Almighty Tageraningw?aphumafor giving him such an inspiring advice in his dream. Thereafter, he set out to see the valleys of land as instructed by Tageraningw?aphuma in his dream. Along the valleys, throughout the country, the King found abundant soyabean fully ripened. The King was very much excited and impressed by such an unexpected bumper of soyabean. It was a Sise:kla month (mid- July) according to Limboo calendar. The King summoned his subjects of his kingdom and instructed them to harvest, store and consume those soyabean. He also advised his people to observe the very first day of Sise:kla month as Sise:kpa Tumyen: the special festival of Limboos once in every year to mark the end of hunger, misery and sufferings and beginning of prosperity and good fortune. On this particular day, he advised to hang the fresh ripened food grains, fruits and flowers at the main doors of every house to welcome and honour Tegeraningwa?phuma who brings prosperity and good luck and ward off famine and sufferings.”

            Following the instruction of the king, the people went along the valleys of land and harvested soyabean, brought home, threshed and consumed by roasting and making pha:ndo and kee:manabamatchi and sumbak. The people were very much excited by this discovery and went house to house shouting, “Sakmang Pero Hangnam Tyero” meaning (famine and hardship have gone, prosperity and good luck have come) banging plates and winnowing  baskets after satisfying their huger. 
      

            Since then the Limboos consider soyabean as the first food grain that human race ever got to know, harvested and consumed as food items and started its cultivation for various purposes.Tthe Limboos use this particular food grain in number of recipes . They make kee:manaba (fermented) and pha:ndo matchi and sumbak and use them as their traditional food items. Even today in number occasions especially social functions, they use matchi or theenuma and sumbak prepared out of kee:manaba or chembigik and pha:ndo as their special traditional dish. In the context of the Limboo mythology, the word kee:nama has its root origin from Limboo word kee:manaba meaning “fermented or rotten”.

            The portion of soyabean which the people had stored in their respective houses was cultivated every year in the fields. Year after year, there was a windfall production of soyabean. In the years gone by, they also adopted number of other crops like kyabo (buckwheat), tho-see (wheat), iplingay (maize), mangdo:k (finger millet), paya? (foxtailmillet), sa:mphay (amaranthus) and yakkho (pumpkin), po:eet (cucumber), taret (bottlegourd), phutra (ash gourd), etc. When those crops and vegetables and other fruits ripened, they hung them at the main door of their respective houses to welcome Tageraningwa?phuma who was expected to descend and bestow each and every houses with prosperity and good luck and prevent them from famine, hunger and days of hardship. They also clean and decorate their houses, lit butter-lamps and offer certain portion of crops, vegetables and fruits to the Yumamang to please him for ample of agricultural production every year. They also feast, drink and rejoice on this particular day which usually fall in the month of Sise:kla (mid-July) according to Limboo calendar. From this time onwards celebration of Sise:kpa Tumyen came into existence as an especial festival of Limboos. Even today, this festival is observed  and celebrated among the Limboo of the villages, mostly in West Sikkim.

But the Limboos are in apprehension of this particular festival ‘Sise:kpa Tumyen’ which is in its octogenarian stage from getting marginalized and faded in the days to come in this materialistic world of cybernism. They have full faith and belief upon the government for the due recognition of this moribund festival to save it from getting perished and appeal to all the young-coming-up generations to analyse the value of such important festival and play paramount role in the community to preserve the same. Earlier salvation is only the alternative for the survival of this special festival  ‘Sise:kpa Tumyen’.

Bolihang Tongnam:

Bolihang Tongnam is the delightful festival of Limboos celebrated with lots of pomp and gaiety. It falls on the eve of Tihar, ie on the no-moon day of Senchrengla (between October and November) month of Limboos. The Limboos observe and celebrate this particular Tongnam dramatizing Laringek-Namlingek and playing Tye-Ongsiro house to house, singing and dancing. The butter lamps are lightened in each and every house to mark the event.

According to mythology there was a Limboo king named Boli Hang. He was an enlightened king possessing extra ordinary power of foretelling about one’s life, longevity and death. He was highly respected, loved and well cared by his chiefs and the citizens of his country at that time. One day when the king was lying on his bed due to serious illness, he foresaw his own death. He immediately summoned the chiefs and disclosed them that in the coming dark night of new moon day of mangsir month, ‘Chema’ (Che:death body and ma:God), the God of Death would descend to take  his life and there would be no  alternative to save him from such a dreadful night. The chiefs requested him to give them directives to protect his life from such a dreadful night. Boli Hang told them that there is only one way by which the ‘Chema’ would be appeased and allow him to retain his life. He advised, “before the commencement of the night of new moon day of mangsir, all the chiefs and the subjects should clean and decorate their houses, take bath, fast, remain pure in body and mind and light butter-lamps both inside and outside of their houses. When night falls, everyone should keep praying to the Almighty, Tageraningwa?phuma for the retainment of his life and save him from death. They should not sleep on that particular night and keep on praying and watch the arrival of Chema who would appear in the shape of the shadow of a man in the middle of the night. When the sight of the shadow of a man appears, man-women, old-young and girls-boys should fold their hands in reverence and pray with full faith and single voice in unison. If the Chema is pleased with devotion and prayer, the life of Boli Hang would be spared from the dreadful night”.

Following the directives from the king, the chiefs immediately passed this instruction to the citizens. When time of new moon of mangsir came, the chiefs  and the subjects throughout the country bathed, fasted and lighted butter-lamps both outside and inside of their well decorated houses and started praying to Tageraningwa?phuma for the retention of Boli Hang’s life.

At midnight, when ‘Chema’ appeared in the form of a shadow of a man to take away Balihang, the people gathered at the kingdom in the gloomy and pensive mood and kept praying for they love and respected the king pleaded, “If the king, Boli Hang passes away, our country would be engulfed in darkness of confusion, chaos and ignorance.” Observing the profound love of the people for their king, the Chema assured them that he would not take away the life of Boli Hang but try to save him from the death. Thereafter the shadow disappeared and the king was also from dreadful night. When Balihang came back to life, he was so pleased. So, invited all of them for a grand feast, ordered them to eat, drink, enjoy and make merriment on that day and observe that day as the day to rejoice and to spread the news of his coming back from the death. The chiefs and subjects went house to house singing and dancing and spreading the news of Boli Hang’s survival, “Saying we came house to house following the order of Boli Hang.” Since then observation and celebration of Bolihang Tongnam among the Limboos on the eve of Deepawali dramatizing Laringek-Namlingek and playing Tye-Ongsiro house to house on this particular day started. Lighting of butter lamps in each and every houses and rejoice singing and dancing became important part if their culture.

Ingmang:

Ingmang, also call Yokwa in some of the places by other name is an ancestral agro-festival as well as divinities worshipping day among the Limboos in the pre-involvement of agricultural activities. It is usually conducted on the Thegu (Hill Top) during the month of February, ‘high season’ a season marked the blooming of ‘peach plant’. During this function, all the villagers gathered with their hukwa langwa (contribution of rice, beer, hen or cock, egg, pyuna) etc. Yumamang and other local deities are propitiated by the Limboo shamans; either by the Phedangbas, Samba or Ya for favourable weather, rain and bumper crops and to protect cultivators from epidemics, accidents, misfortune, illness etc. While propitiating the deities, propitiator shouts ‘sa:ng….sallo’ three times rapidly. The people gathered, after puja and all formalities, feast, rejoice and go back to their respective houses.

Tongsum Tongnam:

Tongsum Tongnam is believed to be an important ancient ritual ceremony of offering harvested cooked food grains and formatted millet to the Yumamang and other household deities for bestow of favourable weather, rain, bumper crops throughout the particular year. Here ‘Tong’ denotes crop, ‘Sum’ to gather or collect and ‘Tongnam’ festival which means the ritualistic festival of Limboos main for offering food items collected by the villagers. It is also called as Cheso:k-Thiso:k Tongnam in some places. During this occasion, all the villagers gather the crops of different variety, fruits, yams whatever are ripen and harvested during this particular season at particular or sacred place. The altar is built of bamboo or wooden poles. On the altar, all the crops, fruits, yams or whatever items, gathered by the villagers are placed. The Limboo shaman while offering the items, propitiate and invoke mainly Yumamang and other deities like, Tenchhama, Toksongba, Manghangs etc. Acknowledge them for determining favourable whether throughout the year and bumper harvest of crops and other food items. After the offering is over, the items accumulated are distributed among the villagers and respectively taken home. In this particular, the people gathered there sometimes feast, drink and enjoy by performing ya?la:k.

However, now-a-days this ritualistic ceremonial festival of Limboo which was very important and compulsory in the ancient times can hardly be witnessed. Only formalities are maintained either offering Theeso:k or Cheso:k in the respective houses. It means to say that this particular festival or culture is getting marginalized.

Traditional Songs of Limboos:

The Limboos are rich in traditional songs and music which are classically melodious in tune. The (samlos) songs are of different kinds, sung on various occasions and functions. Those typical songs are Hakparey, Tumyanghang Samlo, Phungwa Changma Samlo sung by Tumyanghangs and Phedangmas, Sambas and Yeba/Yemas and Pallam and Tamkay Okma Samlo by ladies and gentlemen of teenagers and late adults.

Hakparay:

Hakparayis traditional song of Limboo community sung during various occasions by the most experienced and senior Limboo citizen or shamans. There may be two or more well 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 leading singer, the team members chorus with the word, ‘O..rillo’.

Tumyanghang Samlo:

The genre called Tumyanghang Samlo is the most ancient and traditional oral song sung by the elderly gentlemen and Limboo Phedangma, Samba and Yeba or Yema on the various occasions like ritual and social functions sitting together on the floor and facing each other. The song may vary according to the nature of the ritual, occasion and function. It is sung to the audience by a skilful and artistic singer in the descriptive and poetical form with the rhythms, rhymes and couplets followed by the chorus ‘o….ha’ 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.

Phungwa Changma samlo:

Phungwa Changma samlo is another typical 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, the flower signifies both human life and unmarried girls and boys. Therefore, the genesis of love, meet of the two lovers, sweet-hearts and their marriage is described. It is believed that in the earlier days the singers through Phungwa Changma samlo could make the flower placed and decorated in front of the bridegrooms and brides fade or vice-versa. But now-a-days such event has become impossible to observe.

Pa:llam:

Pa:llam is an improvised poetical song accompanying traditional Limboo dance, Ya?rak (Ya? means paddy and La:ng means dance).The pa:llam samlo varies from place to place and person to person. While sung, it requires no musical instrument but accompanied by the melodic tonal chorus, ha..ha..ha. The tune or vocalization styles 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 discussions 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.

Tamkay O:kama Samlo:

Tamkay O:kama Samlo is agricultural song among the Limboo community. The Limboos are basically farming community since ancient time. They invoke and propitiate the deities and divinities either before cultivation or after the harvesting of the food grains. Tamkay O:kma samlo is one the typical and unique agricultural song of the Limboo community that they sing. No community other than Limboo has the tradition of singing such kind of song. 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. In this also there will two leader singers leading each team. They question and encounter each other. The team members will assist the leader singer in chorusing the song.

Imlo samlo:

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 LoLoLo Yee

ImbaroImbaroImbaroImbaro

Aa Lo LoLoLo Yee

                     Kembaray Faklang Ke:kwa Taru Kebi?ro

Aa Lo LoLoLo Yee”.

Traditional Dances of Limboos:    

The Limboos also have different typical la:ngs (dances) such as Ya?la:k, which includes Kengjori, Tambrangay, Panthoray, Sukhimmay, Sirthapay, Kusorokpa are performed on various ceremonial occasions and functions. Kay La:ng and Tamkay Okma Lang (dance) are another on the auspicious occasions. They are accompanied by female dancers sometimes.

Kay-la:ng:

The chief traditional drum of tribal Limboos is called ‘Kay’ and the dance which accompanies the beating of the Kay (Chyabrung ) is called  kay-la:ng. Here the word ‘kay’ denotes traditional drum of Limboos and ‘la:ng’ dance. It is also referred as ‘Chyabrung Naach’ in Nepali language.

The kay is an oblong log-drum which is about 12 to 14 inches in diameter and with a length of about 22 to 24 inches. It is held suspended by the drummer from the neck upto the stomach with the help of a cord and is usually played only by the male dancers or drummers on some auspicious, festive or ceremonial occasions like Me:tkam (marriage), Himli:ngma (house warming ), Lamdha:n (reception)etc. It is a hollow log drum made out of a soft wooded tree species like ho:ngsing (Litesea Khasyana Hookeri) or khamari (in Nepali). Such soft wooded log drum can produce a deep and sharp sound most suited for the outdoor open air drumming .Like most log drums, the kay has two openings which are covered tightly by the goat-skin on the right and by bull-skin on the left. The one covered by goat-skin produces sharp and thrilling tone and the one covered by bull-skin produces flat and roaring sound. The former is played with the palm of the hand and is called ‘huksagay’ and the latter is struck with a stick (kay chhari) and is called ‘singsagay.

The kay-la:ng is a stately and solemn dance with synchronized stepping of feet generally performed by male dancers or drummers of two or more. On some occasion, they are also joined and followed by female dancers with swinging hands and singing melodious songs “kay-La:ng La:ng” with characteristic vowel lengthening tone. When the melodious echo of song follows the beating of drum, it gives an enchanting colour.

Originally kay-la:ng was performed around the Hangsitlang, the main pillar of the newly constructed house. This ceremonial function preformed before occupying a newly constructed house was called ‘Himli:ngma’. It was done to invoke ‘Akwanama’, the house protecting deity and also propitiate several deities and spirits to drive away evil spirit and avoid incidents and ill- luck. With the change of time, the society changed and the Kay la:ng is now-a-days performed during me:khim (marriage), Lamdha:n (reception) tee:ha (victory function) and several other functions or occasions. The expert kay dancer or drummer are known as ‘kay muktimba’ or ‘kay la:ngsamba’ who need not chant ‘mundhum’ to invoke ‘Akwanama’ while dancing during ceremonies but they tremble so tremendously like the Limboo ‘Phedangma’ usually do. These phenomena indicate that the kay dancers themselves have tremendous power of their own.

There are various type of la:ngs (dances) in Kay-la:ng (Chyabrung dance) varying from place tom place and from region to region. These different types of kay-la:ngwere imitation of  behaviour and action of animals, birds and insects. Thus accordingly la:ngs are called sammenda la:ng (Tibetan Goat Dance),yasa? La:ng (Himalayan Chomoise Dance) khireiba la:ng (Stag Dance), pe:ngwa la:ng (Barking Deer Dance), tokmay la:ng (Elephant Dance),ke:ndala:ng(rhinoceros dance),samba la:ng (Limbo Priest Dance), singvekwa  la:ng  (leaf dance), puyema la:ng (Fly Catcher Dancer) ,puttukay la:ng (dove dance) sijowa la:ng (swallow dance), perewa la:ng (Pigeon Dance),ngevonji la:ng (Fish Dance),chiraphe:ma la:ng (Butterfly Dance) and so on.

Ya?la:k:

So called Ya?la:k, of Limboos is one of the most popular dances among the them. It is of different kinds: Panthoray La:ng,Phedapey La:ng, Tambrangay La:ng, Sirthapey La:ng, Kengjori La:ng, Sukhimmay la:ng and Kusorokpa La:ng. Both the sexes of teenagers and men and women of late adult as well as purely boys and purely girls or purely men and women can also dance or participate in the Yah Lak. In Ya?la:knomusical instrument is played but it is accompanied or followed by prolong sounding rhythmic tune of Pa:llam, melodic vowel-lengthening sound ‘ha..ha..ha’ holding hands by ladies and gentlemen. They arrange themselves either in line or circle and a person at the end of the group leads the dancing group. 

Ya?la:k, which in Nepali parlance means dhan naach and paddy dance in English is a derivation of two separate Limboo words- ‘Ya?’, meaning ‘corn’ preferably paddy and ‘La:kma’, means to ‘trample’ or ‘thrash’. It’s genesis can be traced back to very ancient tribalian time and civilization when the Limboos initiated the cultivation of land (zoom cultivation), sowed crops and harvested when mature. When the crop paddy, was ready for harvest, they cut it and made into bundles and trampled or thrashed it to separate the grain from the hay with their hands. But later, they experienced that use of feet and participation or engagement of more people was more convenient and a quicker way to thrash the paddy. So, dozens of young girls and boys and late adults, men and women from the villages around got together and thrashed the grain trampling the dried paddy. When they experimented, the thrashing job was very tough, time consuming and boring. They started singing in rhythmic dialogue holding one another’s hand. This way both girls and boys, men and women, entertained themselves throughout the day and even up to late night, till the work was completed. Gradually the dance developed and eventually took the shape of present Ya?la:k that is dhan naach. Though Ya?la:kis seasonal and harvesting dance of Limboos in its outset, with the change of time, it transformed into the dance of lovers irrespective of occasion and season. Both teenagers and adults gathered together in the market places, fairs, seasonal occasions, Villages during the ceremonial functions, courtyards of the houses when guests and strangers came and organized themselves in dance time to time.

At the time when spoken and written communication was unknown to the Limboos, they used Ya?la:k as a medium of communication and Pa:llam as medium of expression of their love affairs, emotional feelings, aspirations and frustrations, feeling of melancholy or separation and unsettled longing of life. Till this day, one can witness Limboos ladies and gentlemen doing Ya?la:k dance in the market places, fairs, villages and courtyards of the house during the ceremonial functions to entertain the guests and strangers. There are certain conventions which should strictly followed during Ya?la:k dance or dhan naach.

* The girls and the boys of same consanguinity or cousins are not allowed to hold one another’s hands and dance together.

* The male members of a different family of a separate blood relation are allow to hold hands of a female members of a different family of a separate blood relation and dance together.

* While dancing, one should not touch the tip of toes of others. And if by mistake one does so, both the dancers must stop the dance and come out of the group and beg pardon by bowing down with folded hands and rejoin the dance for continuation.

It is also important that dancing group should consist of pairs of either of same sexes or opposite sexes and at the end of the line or circle of dancing group has to lead the group. One person male or female in the group sings songs, Pa:llam in a dialogistical way and others repeat after him or her. When Pa:llam ends with vowel-lengthening sound ha..ha..ha, the dancers in the group have to turnabout. After the first person completes the song Pa:llam, second person who is answerable in the group has to reply him or her. In this way, Ya?la:k goes on till both the singers reach to certain agreeable points.