Assam

Born to be Musicians!

Bravo to Mr. Banshailang Mukhim for effortlessly embracing numerous roles in the musical realm. A true Duitara wizard, let’s dub him as such, Banshailang’s ensemble possesses the ability to elevate the music, lending more essence to its performance.

As our time in Meghalaya drew to a close, we met with the talented musicians of “Shlem”
Institute of Music in Smit village, led by Mr.Banshailang. The name “Shlem,” which translates to “home” in Khasi, is a perfect embodiment of the institute. Within its welcoming walls, every artist feels a sense of belonging as they embark on their musical journey, making it a true home for their passion and growth.

Amidst weather-induced delays and location quests, we were treated to a cherished experience of immersing ourselves in Banshailang’s understanding of Khasi folk forms and being inspired by his musical journey.

Upon asking what is the speciality of Khasi music in terms of its structure,
Banshailang shared that Khasi culture possesses its own unique structure of rhythms (taalas) known as “skits,” with three particularly popular ones. In addition, there are rhythm cycles that are exclusively performed during rituals, such as the Nongkrem autumn festival, which is a time of giving thanks and celebrating the harvest while paying homage to the deities.

He also shared that the Khasi people have a deep connection between music and their rituals, as well as their everyday lives. Music serves as a medium that not only maintains their connection with nature but also acts as a reminder of its origins, as music is believed to have originated from nature itself. Within Khasi culture, songs are predominantly sung to express reverence and gratitude towards all-natural elements.

The Khasi people hold a strong sense of love and pride for their tribes, which is reflected in many of their songs that highlight the community, its people, and the surrounding nature.

At the Shlem Institute, many students flock to learn the intricacies of Khasi folk music. Each student within the institute possesses remarkable talent, whether as a skilled singer or instrumentalist, showcasing musicianship in their performances. Notably, their performances are further heightened by the interplay and playful camaraderie between the musicians. This joyful interaction reflects their deep dedication to their passion for performing, creating an impact as their music is straight from the heart. Under the nurturing umbrella of the Shlem Institute, it is evident that every individual is cultivating a spirited and vibrant performer within them.

During their first performance that day, they shared an exquisite composition called “Shyrta,” derived from the Khasi language, meaning “For the rest of the life.” The song was composed by Banshailang Mukhim. This enchanting instrumental piece featured the melodious tones of the Khasi instrument ka duitara, accompanied by the harmonious sounds of ka Bom, ka ksing shynrang, and ka kynshaw. Through this musical masterpiece, they conveyed the sheer joy and a heartfelt longing to preserve the experience of love and happiness throughout their lives.
This instrumental piece is a treat for the ears, showcasing the intricate craftsmanship of each instrumentalist, woven together into a harmonious and rhythmic composition.

Their second song, “Ka por” stands for time. “Por” (Time) is a song delving into the concept of time’s impact on our lives. It skillfully expresses the fleeting nature of time, urging us to embrace the present and shape a better future. The lyrics evoke nostalgia for lost moments and highlight time’s regal influence.The song reflects on the cyclical and irreversible nature of time, encouraging us to learn from the past and create a brighter future. Despite challenges, it urges us to pave the way for progress. Ultimately, “POR” invites contemplation on time’s essence, inspiring us to cherish life’s precious moments. 

Both of these songs, the song performers, the sound of instruments and the melodious vocals set the stage for a perfect end to our days in Meghalaya. Being in Meghalaya became all the more special only and only because of the people we encountered during our time there. And we’re proud to say that our encounter was with the storytellers who sing the truth they’ve learnt, that they’ve lived and that which they want to share with the world and beyond. 

They say, that sometimes people choose music, but so to say, it is also true that sometimes music chooses people, so it can flow through someone’s melodious note, a rhythmic beat, a soothing string or even a breath of air. Music is in the air, and everywhere. Are you listening?

– Meghal Sharma (Research Fellow)

“Gwjwna fwrni” (Music heals): Echoes of Bodo Loksangeet tradition

On our third day in Assam, the rain showers grew on us. Shooting in the rain was challenging, but we were lucky to have both sunlight and showers in balance that day. We arrived in  Sonapur, eagerly awaiting the Bodo culture and folk music to unfold before us. Soon, we met Bikrama Khakhlari, a Bodo folk singer and dancer, accompanied by her talented team.

Bodo, also called Boro, is a culture that takes centre stage as the largest and most captivating ethnolinguistic group in Assam. The music of Bodo tradition is one that echoes through the symphony of all Bodo people.

An intriguing aspect of their culture lies in the “Bathou” philosophy, which beautifully encapsulates the essence of most Bodo folk music. In the Bodo language, “Ba” signifies five, and “Thou” translates to deep. The number five holds immense significance in Bodo culture as it represents the five fundamental elements of nature: earth, water, air, fire, and ether. These elements are revered as sacred, and their folk music traditions are a poetic tribute, singing and dancing to songs that honour and celebrate the wonders of nature.

Bikrama also shared that there are about 18 Bodo dance folk forms that come under the “Kherai” songs that encompass the various seasons, songs of life and of celebrations, and thanksgiving. Kherai dances are, therefore, the prayer dances of Sibrai or Bathou

As the group prepared for the shooting, the instrumentalists unpacked their instruments one by one to tune them and get them ready to be played. Among them, the most intriguing find was the “Serja ” – a unique string-bowed instrument traditionally played with a bamboo bow. Its distinct structure produces a purely folksy sound that beautifully accompanies various Bodo folk performances, including bagurumba dance, bwisagu dance, domasi dance, and raijwjanai dance, alongside other Assamese instruments. The Serja player in the group shared that once you start playing this instrument, it becomes an inseparable part of your daily life, making it hard to put down.

Another interesting mention is of a cloth called “Gamosa”. Gamosa, a traditional handwoven cloth with intricate designs, holds immense cultural significance in Assam. It is used for various purposes, including adorning musical instruments like the Kham (Assamese drum)  and symbolises identity, hospitality, respect, and pride in Assamese culture. We watched as a group member deftly wrapped the gamosa around the Kham instrument, swiftly covering it from start to finish.

The group of 6 started with a devotional song called “Kherai aaros”. The Kherai Aaros songs of the Bodo tribe in Assam are traditional devotional or bhakti songs that hold deep cultural and spiritual significance. These songs are dedicated to the deity Kherai, who is revered as a protector and provider of well-being and prosperity. Through melodic and rhythmic expressions, the Bodo people express their reverence and devotion, seeking blessings for their community and individual lives. 
With her melodious vocals, Bikrama sang to the deity Kherai, beckoning everyone to join in prayer and devotion. 

Their second song featured the vibrant festival “Bwisagu ” where the uplifting chorus was
“Baisagu bwisagu” (Bwisagu is here).  Baisagu, being a prominent Bodo festival, is celebrated during the Baisakh month (April-May). It is a time of great joy and merriment, marked by vibrant music, dance, and cultural performances. Bodo musicians and artists play a significant role during this festival, showcasing their talents and enlivening the atmosphere with their melodious tunes.

Bikrama and her group hail from the Guwahati, Bagsa, and Nagaon districts of Assam. They are all adept folk musicians who sing, dance and play Bodo folk forms native to Assam. They are stalwarts working day in and day out through being folk musicians. Additional praise goes to these musicians as folk, a distinct genre from mainstream music, is challenging to pursue as the source of income isn’t always constant. 

In rural areas, many folk musicians lead a life of farming, playing music whenever they find an opportunity. As the group’s leader, Bikrama actively leverages her network of artists, providing them with valuable exposure to perform in various programs and events. Her conviction stems from the belief that these musicians possess a profound understanding of age-old folk traditions. When they play, they breathe life into the history of the folk form, as it remains deeply ingrained in them from their upbringing.

This group was a perfect example of how some musicians play to earn, whereas some musicians earn to play.

– Meghal Sharma (Research Fellow)

From Folk to Fusion: Embracing the Best of Both Musical Worlds

In Meghalaya, we witnessed a remarkable departure from the conventional folk music scene. Unlike the norm, we encountered a group of youthful musicians exuding vibrant energy and passion. This dynamic ensemble seamlessly blended the realms of folk and fusion, embodying the best of both worlds. Their spirited performance and dedication highlighted the unique intersection of tradition and contemporary exploration. It was an inspiring testament to the evolving nature of folk music and the power of the younger generation to shape its future.

The group led by Amabel Susgni called “Mookhuri” carries a heartwarming meaning behind it. Inspired by the traditional three-stone cooking stove, commonly known as “Mookhuri” in Meghalaya’s kitchens, the band aptly chose this name as a symbol of their musical journey. In the Khasi tribal community, music is believed to originate from the hearth where these three stones reside. Just as Mookhuri provides balance and support for cooking pots and kettles, the band seeks to ignite the flames of music from this sacred starting point.

The band comprises six talented individuals who proudly represent the folk music of their state. While most of them belong to the “Pnar” community, a subtribe under the Khasi residing in the Jaintia hills, two teammates from the Garo tribe and Arunachal Pradesh joined them on that day. 

These musicians possessed a remarkable command over both folk and fusion rock sounds, showcasing their exceptional vocal prowess and instrumental artistry. The recording process seamlessly flowed as we all shared a vibrant, youthful energy within the group. Their performances gifted us with two uplifting and heartwarming songs, leaving us feeling light-hearted. However, we couldn’t help but chuckle at the chilly breeze, which playfully added a touch of concern to the day’s proceedings.

The group started with a sweet love song called “Lai Uiñ Ke”, which showed a couple going on a date. With Amabel on the vocals, the song sounded even more sweeter with her melodious vocals.  The lyrics of the song express the anticipation and excitement of the moment. The expression, “Hei por soo waje”, urges to go on a date at 4 o’clock in the evening. It signifies a special time set aside for love. The song portrays the affectionate connection between two individuals as they embark on a journey filled with love and togetherness. 

Their second song, “Mewek Mewek”, is a musical celebration of Garo culture, its deep connection to nature, and the delight of welcoming guests into the embrace of home.

The enchanting composition of “Mewek Mewek” weaves a tale rooted in Garo folklore. Inspired by the belief associated with the Do’amek bird, whose flight signifies the imminent arrival of guests, the song captures the joyous atmosphere that accompanies their presence. With lyrical finesse, it depicts the importance of thorough preparations, from providing water to wash their feet to creating comfortable seating arrangements. The verses also evoke the Garo tradition of warm hospitality.

Amabel’s group firmly believes that their music serves as a vessel to preserve traditions while weaving captivating tunes that resonate deeply with diverse audiences. This conviction holds true, as the catchy melodies and poignant phrases of their songs leave an imprint in the minds of anyone who listens. Both of the songs that they chose to sing truly set the tone for us and had us rhythmically tapping our feet, nodding our heads and soaking in the music of the moment.

Recording these musicians becomes an extraordinary and surreal journey, for it extends far beyond their melodies. Through their music, we glimpse a profound part of their being—a glimpse into the stories they yearn to share with the world. In celebrating their cultural diversity, traditions, and cherished musical heritage, they offer a piece of their hearts to anyone who opens their ears and truly listens. It is in these moments that we are privileged to witness the essence of these remarkable artists as they pour their souls into their craft, leaving an everlasting impact on all who embrace their enchanting melodies.

The group, consisting of Teli Sumon (Ka bom drum), Christy Ahaiana D Sangma (Vocals), Hamieh Phawa (Ka Shynrang drum), Johny Melborn Sylh (Duitara string), Iohbor Rngikseh (Duitara string), and Amabel Susngi (Vocals), showcased exceptional expertise and unwavering dedication during their captivating performance. Recording alongside them provided a remarkable opportunity to not only witness their musical talents but also to delve into their personal stories. This rewarding experience has etched memories in our hearts and fostered cherished friendships that will endure for years to come.

– Meghal Sharma (Research Fellow)