December

Assam’s Dipannita Sharma shines in Bollywood

2012-03-02T08:37:04+00:00

Assam’s Dipannita Sharma shines in Bollywood

Dipannita Sharma, one of the popular models who have acted in films like My Brother Nikhil, Asambhav, Dil Vil Pyar Vyar and 16 December etc. will be seen in an upcoming Bollywood movie in a leading role. After lying low for a while, Dipannita is now back and will be seen in Yash Raj Films’ forthcoming venture Ladies v/s Ricky Bahl. In the film, Dipannita plays a corporate executive who falls prey to the flattery and guile of Ricky Bahl (Ranveer Singh) as he cons his way through life. Along with newcomer Parineeti Chopra, Dipannita now joins the lead pair, Ranveer Singh and Anushka Sharma, in director Maneesh Sharma”s ‘Rom-Con”, shooting of which starts end of March.

She came into the limelight after making it to the final five of the Miss India 1998 contest. She was also judged the ‘Miss Photogenic’ in the same contest. She has also done a couple of television shows starting with Life Nahi Hai Laddoo. She made her film debut with 16 December in 2002.

Dipannita was born on 2nd Nov, 1976 in Duliyajan in Assam. Her father was a doctor in the O.I.L hospital. She was in Holy Child School, Chandmari, Guwahati till her ninth standard (high school), and finished her schooling from St. Mary’s school, Naharkatia in Assam. She is married to Delhi entrepreneur Dilser Singh Atwal, a third generation businessman who is into his family business of mining and currently lives in Mumbai, India. She started her career as a ramp and TV model and has now done several Hindi Films. Dipannita appears in the ad campaigns of various products including Dettol soap and she is a famous face for products. She had a relationship with Abhishek Bachchan who is now married to Aishwarya Rai. It may also be mentioned that she was a contestant in the realilty Show Khatro Ka Khiladi with Akshay Kumar.

This Delhi-based model is making waves in Mumbai. Having worked with all the fashion gurus in the capital like JJ Valaya, Ravi Bajaj, Suneet Verma; Dipannita shifted base to Mumbai only recently to give a boost to her career. She has already done shoots for designers of the order of Shahab Durazi to Manish Malhotra. This history student from Delhi University used to habitually participate in fashion shows, held at college. Dipannita feels that the Miss India contest four years back was a good platform for her to be noticed. Dipannita who is blessed with flawless complexion (despite her penchant for fried food and chocolates) is the current face of Synergie. She is a diehard chocolate freak and likes to be flamboyant on stage but has her head squarely on her shoulders otherwise.

She has featured in Udit Narayan´s music video where Priyanshu Chatterjee is romancing her. An avid watcher of TV serials, Dipannita calls herself a ´couch potato´. In future, Dipannita would like to work for the small tube. The big screen may follow, but she is not commenting on this as yet.

It’s been three years since model Dipannita Sharma tied the knot withbusinessman Dilser Singh Atwal and she still maintains her position as one of the top models in the country. She reveals that marriage didn’t interfere with her work at any point of time. “When I decided to get married, I was very aware of what I was getting myself into. My husband is a third generation businessman and they are into the family business of mining. When we decided to get married, we knew that nothing is going to change on the work front and that is still how it is,” says the Assamese model and former beauty queen.

Ask Sharma if the three years of marriage has ever resulted in the now famous three-year-itch and she laughs out loud. “No! On the contrary I would never have imagined that three years would pass off so quickly.Trust me, I just celebrated my marriage anniversary and it still feels like I got married just last year. The three-year-itch hasn’t gotten to me yet,” says the actress who made her Bollywood debut with Koi Aap Sa in 2005.

Quiz her about starting a family and Sharma says that it will happen when the time is right. “I guess starting a family is a decision that we both will take at the right point of time. Not to have kids now was a decision that we both took consciously. We both are of the opinion that we should take a few more holidays and finish off other responsibilities before stepping into the world of parenthood. We still have a lot of time on hand,” she says candidly. On the professional front, she has signed up for a couple of leading brands and with the fashion events increasing manifold, she says that her diary is full. “Besides, we are also talking about a Bollywood movie, but I can’t divulge more now. But yes, apart from being a brand ambassador for a few leading brands, I have a lot of comparatively smaller projects in hand too. But that doesn’t mean that I don’t have time for my family. It is a fine balance that we (women) all learn to make with elan at some point of our lives,” she concludes.(Special thanks to Manab Das, Raj Jyoti Konwar and Amarendra Das.)

Neelim Akash Kashyap

The Lotha Tokhu Emong festival @ Shillong, 2011

2012-03-02T07:15:31+00:00

The Lotha Tokhu Emong festival @ Shillong, 2011

The Kyong Ekhae Ekhung Shillong joins the rest of the Kyong (Lotha) Naga community in celebrating the{loadposition articleads_links} “Tokhü Emong” festival on the 7th of November 2011 at Naga Community complex,Nagaland House, Shillong. The Lotha Tokhü Emong was celebrated with Mr. C. Pankathung Tsanglao, Zonal Director, Nehru Yuva Kendra Sangathan,Ministry of Youth Affairs & Sports, Govt. of India,as the chief quest.

In his speech, he urged the younger generations to utilize their precious youth judiciously and be responsible in creating abetter & progressive society. He also stressed on the need to preserve, uphold and maintain the cultural values of our forefathers’ such as honesty,generosity and most importantly the culture of hard work that has been an integral part of theLothas passed down for generations from our ancestors. The celebration was attended by a host of dignitaries from the other Naga communities along with well wishers and friends of the Kyong. It culminated in the evening with a Grand Feast hosted by the Kyong Community.

The festival of the Kyong (Lotha) community,Tokhü Emong is the harvest festival of the Kyong(Lotha). With the harvest done and the granaries full, the people now take a respite from the toil and sweat and settle down to enjoy the fruits of one’s hard labour. This celebration marks an end of one full year of their hard work and toil. This festival signifies a time for forgiveness, strengthening the bond and extending new friendships both within and outside the community. Tokhü Emong is celebrated in the 1st week of November every year and it stretches over to 9 days. Earlier, no particular date was fixed. However, in order to carve unity and uniformity among the ranges,Kyong (Lotha) elders decided to celebrate it on a fixed date - the 7th November, every year. During this festival, the entire village takes part in the celebration. Every household has food and drink prepared for the feast. Friends, families, neighbors are invited to each other’s house and this continues for days. The main features of the feast are community songs, dances, feast, fun and frolic.Everyone attires themselves in their beautiful traditional dresses and costumes according to their social status. There is an air of gaiety and light heartedness everywhere. Gifts of food and drinks are exchanged during the festival. Among friends, the amount of cooked meat given denotes the depth of friendship and ties.{loadposition articleads_image}

This festival also provides the occasion to offer prayers for the departed souls. The family that has lost members during the year performs his/her last rites. Young couples engaged during the year are happily married after Tokhü, it is also the time for renovating the village gate, cleaning wells and repairing houses. Amongst all this the most beautiful aspect of this festival is that past errors are forgiven, new ties are formed and bondsof closer intimacy are created and above all it’s a time for offering praises to God for the bountiful blessings throughout the year and praying for a more prosperous year ahead.

This premier festival of the Kyong (Lotha), the “Tokhü Emong” is celebrated everywhere, especially the student communities pursuing their studies in the major cities of the country. But,most prominently the Tokhu Emong is celebrated every year at Wokha District , inhabited mostly by the Kyongs. Wokha District is situated 80 km from Nagaland’s capital Kohima towards the North-West. If one goes from Dimapur, it will take around five and half hours to reach Wokha. The best way of reaching Wokha is to take local taxis, availableon a regular basis from both Dimapur and Kohima.

The best season for visiting Wokha is in November, which is also a time for celebration of the aforesaid festival. Getting a chance to visit Wokha during this time, will not only get you the real taste of the Tokhü Emong celebration but you will also experience the way of life and the nature of the Kyong as an individual and as a community. Hospitality, generosity and kind-heartedness which holds a common feature in the lives of the Kyongs, is shown and exhibited during this festive season. Anybody who visits Wokha and gets a chance to interact with the kyong will always carry a lasting memory of good times that they spent with them and will fill their heart with this amazing experience which is something to cherish in life.

Renjamo p. Ezung

Daughter of the Soil

2011-12-28T18:30:00+00:00

Daughter of the Soil

Agatha Sangma waxes eloquence

-Swati Deb

Some people cannot grow beyond their surname. Agatha Sangma is one such person. Daughter of former Lok Sabha Speaker and veteran Meghalaya politician, she became the youngest minister in the Manmohan Singh government in 2009, but political watchers attribute her elevation as Minister of State more to her father’s politicking. Just on the eve of government formation in May 2009, Sangma, who had once raised the bogey of Sonia Gandhi’s foreign origin, had reportedly tendered an apology to the Congress president. Shortly, Agatha was questioned about the same and also asked at a press conference in NCP’s Delhi office, whether she has a role to play in cementing the divisions between the two elders. She gave smart but obviously ambiguous - and thus perhaps politically correct - answers. But considerable time has passed since then. She has already started getting a feel of the politics and also picking up one or two useful tips. Since 2009, she has served under her three senior cabinet ministers for Rural Development – C P Joshi and Vilasrao Deshmukh (both former CMs in Rajasthan and Maharashtra respectively), besides of course the present incumbent, Jairam Ramesh. Recently, under Ramesh, she has been allocated the assignment to oversee the launch of National Rural Livelihood Mission, once billed as the top flagship scheme for UPA-II and also a game changer. Earlier this year, Sonia Gandhi herself had launched the scheme with uch fanfare in Rajasthan.

But the NRLM matters are moving very slow, admit sources in the Rural Development ministry at Krishi Bhavan in New Delhi. But that does not mean – Agatha, daughter of a highprofile politician like P A Sangma, is virtually jobless. “I am keeping myself busy with special focus on north east,” she says sporting the mild but infectious smile.

But that’s a neglected region? Well, having worked as a Union Minister of State in what is often jokingly and acidly termed as “Aurangzeb’s Delhi” (the pun is of the author), Agatha too admits that the perception about neglecting northeast by the establishment in New Delhi is still prevalent.

However, a smart political player that she is emerging as, Agatha punctuates her remarks with clear measured quote: “though the system has improved much in the recent past.” “Some of these perceptions are due to approach of the governance system in New Delhi also,” she confessed the other day adding during Vilasrao Deshmukh’s stint as the rural development minister at a conference in Tawang in Arunachal Pradesh, an assurance was given toconsider some relaxation in the guidelines for PMGSY schemes in June 2011 for the region. But nothing has been done yet.

“Actually, the minister (Deshmukh) had assured to look into the common demand of the northeast rural development ministers that unlike the PMGSY guidelines, some roads should be allowed to be undertaken in far-flung habitations of states like Arunachal Pradesh with population less than 250.”

But nothing has happened as yet as the minister was changed. The Minister of State is however, categorical that she has no complaint over it against her present ‘boss’, the senior cabinet colleague, Jairam Ramesh.

Ms Sangma says northeast states also suffer often due to incessant rainfall. Essentially the construction period in the region is hardly for two-three months but many a times sanctions for the schemes from the centre reach late and hence the projects are often washed away. “Funds for new projects are invariably held up for want of completion certificates of earlier projects which get delayed due to long rainy seasons,” she points out rightly. She also has other stories to share. Yes, it is on the ageold issue of corruption, a serious malady in the region too like in the rest of India.

Broadly the issue of corruption affects or hampers implementation of rural development schemes due to the complicity of the lower level babus. “The corruption at the lower level bureaucracy hinders RD schemes more. This is a broad national phenomenon and also in the northeastern states,” she says. But what has left her irked particularly is the confrontational approach adopted by Mukul Sangma-ministry of Congress party in her backyard. “During my father’s stint as MP, in Tura district of Meghalaya there was complaint about corruption against 3 BDOs, these officials were transferred out for sometime but now again they are back as the state government desires so. We are back to square one,” Agatha laments.

Importantly, however, she has a more important complaint and that’s primarily on policy matters. She rues over the fact that the Vigilance and Monitoring Committee of Mahatma Gandhi - NREGA at the district levels where in local elected MPs are the chairpersons hardly serve any purpose even as broadly the review mechanism of various rural development schemes is not adequate. “I have to admit that the Vigilance and Monitoring Committees are toothless and often unable to do what they are supposed to. I am saying this from first hand experience as I am a chairperson of such a committee for my Tura district”.

Agatha Sangma was first elected to the 14th Lok Sabha in a bye-election in May 2008, after her father P.A. Sangma resigned from the seat to join state politics. Impressed by her brief speech in 2008, the then Speaker Somnath Chatterjee had remarked, “I am sure your father will be proud of you”.

TETSEO SISTERS

2011-12-28T18:30:00+00:00

TETSEO SISTERS

Steering away from westernization, they sing their “Li” (folksong) in the Chokri dialect of the Chakhesang tribe of Nagaland and strum the traditional Naga one stringed instrument, the “Tati/Heka Libuh.

They have been performing on stage for the last fifteen years individually and as a group in various parts of the state, country and even abroad. Their performances besides their Li - includes western popular music, and on request, popular bollywood numbers too.Their noted appearances are in events like the annual Hornbill Festival of Nagaland, State Road Shows, NE youth festivals, IITF events Delhi and the Handshake Concerts of 2009 in Mumbai and 2010 in Delhi. In a chat with Woman’s Panorama the Tetseo Sisters reveal their tales of success and determination

Hiyohey! A Li greeting to all peace and music lovers around the world.

“We love to sing, be it Li or any other. We are big fans of world music & folk music from around the world. Our personal musical tastes are very varied to say the least ranging from Tibetan chants to the Beatles, Jazz, Blues, Hip-hop, gospel and of course Pop and country. We hope we can make Li as popular as African folk or Irish folk one day soon. In the meantime, we will not stop sharing our Li across and up or down.{loadposition articleads_image}

The instruments we use to accompany Li are the Tati also called Heka Libüh, Bamboo drums, cup violin, log drums and bamboo shakers (tambourines). Tati is a one stringed instrument, made from the dried gourd case/or horns of Mithuns and covered with skin, with a bridge, neck and key tuner. It resembles the Indian ektara and is plucked to make a string sound providing rhythm and guiding the pitch. Three characteristic sounds can be achieved. It can be played by a single person or by a group of people in unison creating a harmony of three different unique sounds.

Q. How would you describe the term ‘Li’ to the world?

Li is the Chokri word for folksong. Chokri is a Naga dialect spoken by the Chakhesang tribe of Nagaland. Li is the song of the people. It is the common underlying element of all activities of the Nagas in general and the Chakhesangs in particular. There is a Li for every occasion, sad songs, happy songs, peppy numbers, melancholic ones, dirges, hymns and love odes. Li was a way of life and used to be sung by everyone but now it has dwindled down to a few experts and is a dying practice. In our folksongs are recorded the history of our ancestors, their trials and triumphs, their joys and sorrows, and their hopes and aspirations. To listen to a Li is to step into a different realm – it can take you back into a world long gone, allow you to see the world through their eyes. It humbles you because you realize you are only a segment of something much bigger. And you are just a channel for that truth, the truth that tells you where you come from and makes you who you are. It is something worth holding on to. It is something entirely original and essentially Naga. It is our identity and our passport into the world’s music scene.

Q. Azi and Mercy started Tetseo sisters and then Alüne and Kuvelü followed. How has the addition of the younger two been through the years?

Azi and Mercy started learning and singing folksongs when Alüne and Kuvelü were infants. So it seemed like a long time before we could all sing on one stage together as a group. But it didn’t take too long for them to start and then join us. We sang as a family in church and they gradually joined us at events and people would remark that we were such a cute group. Then Azi and Mercy left home for higher studies and continued singing in Delhi and elsewhere, while Alüne and Kuvelü carried on the torch and did shows as Tetseo Sisters back home, sometimes together and often alone. For a long time it was not possible for all four of us to sing together but somehow, we all managed to keep the name going until we became a recognized group - the singing sisters- the Tetseo Sisters.

Q. How do you feel about the name “Tetseo Sisters”?

We are proud to carry the name ‘Tetseo Sisters’. We didn’t pick the name. It picked us. We gradually came to be recognized as the Chakhesang folksingers on TV and at functions; then it became known that we were all sisters and that we were Tetseos. Finally we became the Tetseo Sisters. We create quite a bit of confusion as to who is who as some people have seen only the younger Tetseos while some have only seen the older Tetseos. They tell us, “Oh you guys have grown so fast” or simply “Are you all really sisters? In which order? ” and we share much laughter over guesses with them.

Q. How did you take the challenge of singing in Chakhesangs folk song or Li when the world and especially the youth from our region are more attracted to western music?

We do sing western music too and we enjoy it like any of today’s youngsters. But we are proud that we can do something we can call our own and do it well too. Not too many people can sing folk songs in general while in Nagaland, almost anybody can sing a western song fairly well. So it feels really good to be able to do both and also be recognized for being able to do something extra too. It is quite challenging too, but the attention and encouragement we get in performing folksongs has kept us going. We keep looking forward to a proper recognition of our efforts even in a small way and when our fans or elders tell us they are proud of what we are doing, it feels so worth all the trouble we have gone through.

Q. The challenge of keeping the tradition alive! How do you all do it?

We do have difficult moments. Sometimes we have to choose to sing Li even when singing western music could bring us more financial gain. And sometimes we don’t have a choice but to do what we are doing. It is quite frustrating too when sometimes people ask us if we know how to speak English or hindi, assuming that we are from the dark ages. It also limits the kind of audience we have though we are happy to note that young people today are very open to the idea of attending a folk concert than 10 years ago. They are taking pride in their culture and appreciate what we do. It is the small things that keep us going. We don’t have a big banner or organization behind us. We do what we do because we love doing it and we also feel the need to keep doing it. Hopefully we can make a living out of it someday but that is a far flung dream for now. But we dream on as we hiyohey!

Q. Apart from your parents who else have inspired you to take on this field?

Like we said before, it is the small things that keep us going. Our parents have instilled a huge sense of pride in our culture and traditions. We also feel that it is a gift from God and a legacy we need to carry on. Our motto is “share Li- down and across” and though it is not always practical to stretch ourselves thin, we go the extra mile to put Li out there and to share it with others. We get encouraged when people walk up to us and say they are proud of us and we get even more determined to do better when people criticize us. A lot of people tell us, ‘folksongs don’t sell’ but we tell them “you mean you can’t afford it?”. Our main aim is to make Li accessible to all but not at the cost of our efforts, after all, we also have to eat.

Q. Do you have any concepts in your songs and albums?

Our songs always have a story, some have even two stories in it. Folksongs are in a lot of ways storytelling in musical form. Our ancestors practiced the oral tradition of passing on stories through Li. Our first album has one song, which is an epic tale of a twisted romance with elements of jealousy and other angles to it. Every song we sing has a story. It is a song sung at a specific time, occasion or season and it has a storyline which may have nothing to do with the occasion but it characterizes the song. The songs in our debut album don’t really have a common theme. Some songs are festive and happy, others are dark and melancholic. We have tried to put a representative song of each mood and season in Chapter one. There are some love songs, work songs, a lullaby and even a Christmas song. Some of our top favourites are in there.

Q. When do you plan for a new album and what it will be?

Soon we hope. It will be called Chapter two. And we hope to put in some of our other favourites we were forced to leave out and a couple of folk fusion songs we couldn’t finish in time for the first album.

Q. What reactions do people have towards your music?

Most people love it. They usually tell us it is so unique and that they have never heard anything quite like it. They do have preferences{loadposition articleads_links} though. But they always get very curious on hearing our songs and even if they can’t understand what we are singing about, they tell us they can guess from our expressions or from the melody and rhythm. We do try to explain what we are singing about but it is not always possible. But people actually take the trouble to walk up to us later and ask us to explainand we are always happy to oblige. So far, the response has been very positive and encouraging.

Q. Tell us about the album Li-Chapter One.

Our debut album, Li- Chapter One has been a much awaited project finally reaching completion. Two years ago, we had almost given up on it but our parents kept us going and finally it is done. A lot of hard work has gone into it and a lot of personal sacrifices had to be made but we believe it is meant to be and so here we are in spite of all the odds. A lot of people helped us along the way and we are very grateful.

It has twelve tracks- some of our favourite numbers and it is a sampler of the many varieties of Li. We hope everyone will be asking for more after they finish listening to the record. Our first music video is also in the wings. We intend to explore the folk music of all the Naga tribes eventually, starting from here so we have called it ‘Li : Chapter One - The beginning’.

Q. One of you sisters, is now married. Will Azi continue to sing or she will become a house wife?

She is at the moment on her extended honeymoon. But she will sing with us whenever she can. Her husband is very proud of her and her achievements.

Q. Tell us about your ‘Tati- instrument’ and why did you decide to use the same?

The Tati is a one stringed instrument much like the Indian ektara. It is made of dried gourd or the horn of the Mithun, covered with dried hide. It has a long thin bamboo/cane body with a bridge made of bone/ivory and has a tuner. It makes three distinct sounds on plucking the string at different points of the instrument. It can also be tuned according to desired pitch. The ‘Tati’ gets it name from the sound it makes –“ Ta..ti...ta..ta..ti…ta”.

We didn’t have to decide to use it. It is a part of our music. Some of the songs just can’t do without it. We have also improvised on the instrument and even in the way of playing it. And it is always a pleasure to teach people how to play it. It is so easy and fun. There are very few Tati making artisans nowadays, making the instrument very rare and expensive.

Q. How was it performing with the likes of Pt Visha Mohan Bhatt.

Awesome. He was very friendly and encouraging. Sharing a stage with people excelling in their own thing was such a boost and to be equally accepted by the audience was heartwarming.

The Lady behind the Tetseo Sisters

Mrs Tetseo

“What inspired you to make sure that your daughters would carry the lamp of tradition forward not forgetting the umpteen resistances that you may have faced?”

I grew up at a time when the old was rapidly getting replaced by the new and in my youth I was actively involved in organizing cultural programs. For many years, a few of us had to fight for our traditional practices and culture to be brought back with the western ways fast displacing our own culture. It was a tough fight and eventually people woke up to the need to preserve our good old ways. As for passing it on to my children, it was a gradual process. My own limited knowledge of our old ways came from my parents and elders and I felt it was my duty to teach them the ways of our forefathers. This is their identity and their history. Music has always been in our blood and it has been easy for them to pick both western and Naga music. Without sounding patronising, I believe that Nagas are very talented and can pick up any type of music fromany culture but it is not true the other way round. And I will be very happy if I have been able to inscribe in my children, a sense of pride towards our unique culture and the need to pass it on. I always tell them never to forget where they come from and this is my way of showing them what and who they are. Every Naga is proud to be a Naga and I want my children to know the wonderful ways of their ancestors and be proud of it. And in time, pass it on to their children.

Azi Tetseo is a former beauty queen, model, singer and fashion choreographer besides singing with her sisters. She completed her Masters degree in Political Science from Delhi University and is now a business entrepreneur with her husband in Nagaland’s Kohima.

Alüne Tetseo is the youngest of the Sisters. She has just completed her 10+2 and hopes to become a singing doctor. She enjoys photography, painting and walking the ramp from time to time with her sister Azi. Growing up with three older singing sisters gave her the singing bug and she loves singing but she would prefer to curl up on a comfy sofa and watch TV and munch chips the whole day instead of the endless rehearsal sessions.

Kuvelü Tetseo is pursuing her Masters in Sociology in Nagaland after graduating from DU’s Lady Shri Ram College. Having had an active stint with the LSR Western Music Society, she is working to carve out a permanent slot for her folkact “Tetseo Sisters” in the global Music scene as their frontman. She shares an interest in photography and writing with her sister Mercy and together, they maintain their blog and page on Facebook.

Mercy Tetseo has a Masters in Psychology from Delhi University’s IP college. She is currently taking a break from work to concentrate on her music. She is a fashion and photography enthusiast, avid foodie and is trying to find the writer in herself. She enjoys travelling, writing, watching movies, shopping and cooking.

Mercy

Interest: Fashion, Photography, Reading & Music.
Likes : shoes, writing, shopping & cooking.
Dislike : cold weather & catching a cold.
Colour: Blue and Grey but I wear a lot of Black.
Singer: Celine Dion, Katie Melua, Norah Jones, Jack Johnson & James Morrison.
Band: Dashboard Confessional, The Fray, Eagles, Queen, MLTR, The Script & Muse.
Destination: Greece.
Best performance ever: It can only get better.
Attire you like most: anything comfortable & stylish; a cashmere cardigan & soft jeans.
Best way of relaxing: listening to music /reading a good book.
Worst nightmare: A wardrobe malfunction on TV! Or to lose all my shoes!
Catch line: “Oh Lord!”
Hangouts: Def Col Market & Khan Market in Delhi. In Kohima, at Simply Tasty or The Heritage.
Cuisine you like: spicy & flavorful food from all over the world.
After 40 you would be....: writing & travelling around the world for pleasure.

Alüne (Lulu)

Interest: Reading Novels, Music and Movies.
Likes: Animax, visiting new places and chocolates.
Dislike: waking up early and veggies
Colour: Purple, Red and yellow.
Singer: Rain, Michael Buble, Leona Lewis and Christina Aquilera.
Band: Mr. Big and Off.
Destination: wherever James Mc Avoy is.
Best performance ever: yet to come.
Attire you like most: Cute n girly casual dresses.
Best way of relaxing: Reading a novel in bed.
Worst nightmare: to be the last person alive on earth with nothing to eat.
Catch line: “Bah!”
Hangouts: ‘Ozone’, ‘Simply Tasty’ in Kohima; KFC when in Delhi
Cuisine you like: Naga food and Indian/ Continental snacks.
After 40 you would be ……… travelling with my kids singing Li

Azi

Interest: Fashion, Music & More fashion.
Likes: travelling, dressing up & good food.
Dislikes: being sick.
Colour: Yellow and purple!
Singer: Janis Joplin, Elvis Presley,Shania Twain, John Legend & Paulo Nutini.
Band: Soulmate, Bon jovi, The Corrs & The Beatles
Destination: Europe!!!!
Your best performance ever:I always give my best to every performance.
Attire you like most: Chic tops and dresses.
Best way of relaxing: a spa session by Kuku and Lulu
Worst nightmare: to have to live without my kajal and my favourite perfumes.
Catch line: Oh come on!!!!
Hangouts: I prefer to hangout at home with my hubby or go visit friends.
Cuisine you like: Naga and Thai.
After 40 you wanna be...... growing wiser but younger at heart.

Kuvelü (kuku)

Interest: Blogging, fashion and music.
Likes: kittens, bike rides, trekking and photoshoots.
Dislike: long bus journeys.
Colour: White
Singer: Senti Toy, Lauren Alaina & David Archuletta.
Band: Ebenezer, Avenged Sevenfold,Liquid & Divine Connection.
Destination: Dzukou Valley.
Best performance ever: representing mycollege at Delhi University’s St. Stephen’s College Music fest ‘10.
Attire you like most: Kimonos & Naga traditional attire.
Best way of relaxing: a nice long nap.
Worst nightmare: Falling off the stage during
a performance :P
Catch line: “Hello……Nagaland!” (with the right gestures)
Hangouts: Dream Café in Kohima and City Café & Kunzun Cafe in Delhi.
Cuisine you like: Naga, Naga and Naga food.
After 40 you would be …… an official ambassador of Northeast India

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A Glimpse of Divine Royal Ancestry

2011-12-28T18:30:00+00:00

A Glimpse of Divine Royal Ancestry

-Raphael Warjri

Where is that elegant, gorgeous, graceful and awfully beautiful maiden?”-some people asked at the annual Nongkrem DanceFestival this year. Almost everybody knows that she is the princess, while some others presumed that she must be someonespecial from the royal family, when they recalled that for the past several years, she has always adorned the dance arenaescorted by a gentleman holding the regal umbrella over her head, while she is dancing. While most people waited to have aglimpse of her royal descent in the arena, some people were puzzled that she did not appear till the festival came to an end.They may be sad and upset to have been deprived of the pleasant experience, but the princess has every reason to relish thenew challenges in her life. It is not the royal lifestyle, not even the ordinary; but the real life for a woman of substance.

The true essence of pure Khasi custom of matrimonial procedure is strictly abided during the engagement ceremony, which is considered most significant.

There was a time when Ka Pah Syntiew, the ancestress of the royal clan ‘Syiem Shyllong’ believed to be the daughter of ‘Lei Shyllong or Shyllong’ deity left the chiefdom after her completed task of creating a legacy of vibrant cultural performing arts and ideal governance. She exhibited her intellectual prowess and administrative capability during the political turmoil within the Hima Saw Kher Lai Lyngdoh until the Hima or State was set in proper order. Subsequently, she instituted the royal inheritance and became the first ever Mother Queen or Syiem Sad of Hima Shyllong or the territorial State of Shillong Chiefdom and her eldest begotten son became the Chief of Hima Shyllong. Ultimately, after the mission was accomplished, she returned to the cave from whence she was enticed and captured by a person of the Mylliemngap clan when she was a young girl. Thus, Pahsyntiew is believed to be of divine descent and her descendants- the divine progeny. Does the present princess that usually adorned the Nongkrem dance festival follow the footsteps of her divine ancestress? The answer is vividly clear “She will never appear anymore at the dance arena in the courtyard of the Iingsad or the Sacred Royal Home because the dance is always performed by virgin female maidens”. Was she captivated and taken away by prince charming? No, because she is more real than any element of fantasy. Then, why is she not visible in the dance arena? It is because she has finished her task to glorify the Royal family with her excellent and magnificent adolescence. She was all set to take the new responsibility to procreate the royal descendants. The fact is that she was there during the auspicious occasion of theNongkrem Dance Festival 2011 alongside Kongor Pabok Diengdoh, the gentleman chosen to marry Princess Riialariti Syiem of Hima Khyrim. While the entire country celebrated the Independence Day, the royal family of Hima Khyrim celebrated the sacred matrimony of Princess Riialariti Syiem and Kongor Pabok Diengdoh of Sohra solemnised at the hearth of the Sacred Royal Home.

According to tradition, there are elaborated preparations for the royal wedding ceremony involving huge resources. Time and situation has changed; so has the dynamic Khasi tradition, keeping pace with the present development. The last pompous fanfare of royal wedding extravaganza was when the father of Princess Riialariti traveled on an elephant’s back sheltered from the sunshine by a gorgeous ornamented canopy all the way from his maternal home to the Iingsad at Smit. Moreover, the citizens of the Hima were actively involved in the collection of resources and subscriptions for the purpose. In the process, the privacy of a royal domestic matter became a public affair. A grand feast for all the citizens of the Hima and the invited guests from far and near turned out to be a lavish extravaganza. However, in the present context the situation has changed and neither the people nor the royal family could afford such abundance of time and resources to host an extravagant feast. Nevertheless, the true essence of pure Khasi custom of matrimonial procedure is strictly abided during the engagement ceremony, which is considered most significant. The wedding day is another usual social formality to confirm the wedlock.

Few months earlier, prior to the wedding day, all the maternal uncles of the groom converged at the Iingsad at Smit to escort their nephew, Pabok Diangdoh for the official negotiation with the uncles of the bride, Riialariti Syiem. Word or ‘Ka Ktien’ is considered the ultimate covenant to be honoured by both parties. Therefore words of enquiries about the clan of ‘Ka Tip Kur Tip Kha’, words of guidance, counsel and inspiration on the values of family bondage or ‘Ka Sneng Ka Kraw’, words of blessing from the prayers and incantation by the most senior members of both families or ‘Ka Kyrkhu Kyrdoh’, are the most vital pledges made to ensure and enable a lasting and happy family life.

	The Syiem of Hima Khyrim, Dr Balajied Sing Syiem and eldest maternal uncle of the bride, Princess Riialariti Syiem receives the groom Kongor Pabok Diengdoh at the entrance to the Iingsad.
The Sacred Royal Home or Iingsad
	Groom Kongor Pabok Diengdoh along with his courtiers and minstrels enroute to the Iingsad

Essentially, the wedding day has more elaborated preparations for the groom to be fully entitled to be the legitimate forebear of the future royal linage. A day before the auspicious occasion, the folk musical troupe assigned by the royal family went to Sohra to perform at the bachelor’s night with a particular drum called ‘Tasa’ and specific tunes meant for the ceremony. The solemn musical rendition enhances the atmosphere of noble regalia, while the groom watched and listened intensely to the final notation. On the other hand, some guests enjoyed the rare musical piece, while others listened with awe to the crescendo of melodious royal musical performances that lasted till about midnight. On the morrow at dawn, preparations were made for the groom to dress himself with the best of the royal wardrobe handed over by the royal family. The groom would not bathe himself without the initial shower from the Lyngskor Mylliemngap in accompaniment of prayers and incantation. The Lyngskor or Prime Minister, Grosswell Mylliemngap arrived at Sohra early in the morning for the avowed task of cleansing the groom with pure water and solemn prayers. The purpose is to pave the way for Kongor Pabok Diengdoh to enter the royal destiny. Even while the groom took his bath, the Tasa drum was played till he finishes. The royal outfits donned by the groom comprised of the majestic modern male garment, the traditional Khasi turban called “Ka Spong Khor” and a golden and coral garland worn across the shoulder. The Lyngskor Grosswell Mylliemngap along with one of the noblemen, Basan Nongkseh prepare for the grand entourage for the upcoming predecessor of royal ancestry. The Basan Nongkseh places the turban on the groom’s head before the final send off by his family members. Both the Basan Nongkseh and Lyngskor Mylliemngap performed their respective ceremonial counseling with words, believed to be of divine sanction.

The legend narrates that the young girl Ka Pahsyntiew took shelter at Marai cave. One fine morning she wandered at the precinct of the cave and was spotted by shepherds. The shepherds raised an alarm at the village and one person from the Mylliemngap clan was curious about it. He ventures to entice the young girl with some flowers and after she was mersmerised by his trick, he caught hold of her and took her away to his home. The strange girl was properly taken care of by U Mylliemngap like his own daughter. When Ka Pahsyntiew reached the age of maturity, she was engaged to a farmer from Nongjri and subsequently made enormous contribution to the proper development of performing arts and territorial governance. Ka Pahsyntiew, thus became the Mother Queen and her descendants the royal linage. The man who took care and nurtured the Divine Queen, U Mylliemngap and his successors was bestowed with the privileged status of the Lyngskor.

The Basan Nongkseh and Lyngskor Mylliemngap conducted as courtiers to escort the groom enroute to the Iingsad at Smit. The groom was covered with the royal gorgeous canopy, while the cavalcade of folk musicians performed along the route. Both the courtiers along with the maternal uncles of the groom led the procession, followed by all the male members of the family and the invited guests. After the send off ceremony with the maternal blessing from his mother and other elderly relatives, the custom goes that the groom should never turn his back towards home and all female members of his clan are never allowed to accompany him to the bride’s residence. The procession then proceeded for some distance and the entire entourage drove to the destination at Hima Khyrim. On arrival at the villages of Lad Nongkrem and Urmasi-u-joh, a huge crowd on both sides of the road greeted the groom who was received by the village elders and the noblemen of Hima Khyrim. Before reaching the entrance to Iingsad at Smit, the procession resumed for the grand entry escorted by the courtiers and the uncles of the groom. The folk musician performed the musical rendition along the way until the groom reached the entrance to Iingsad.The groom was then received by the eldest uncle of the bride and the reigning Chief, Dr Balajied Sing Syiem. Thereafter, the priest took charge and prayers were offered at the Rishot Blei or the divine column at the main hall of Iingsad. After the prayer, the groom entered the hearth where the bride was kept for the anointment by the Mother Queen and all the maternal members of the royal clan. Each one took a daub of mustard oil and applied this on the forehead of the couple. The formal ritual was performed at the fireplace before the official wedding reception took place at the main hall of the Iingsad.

After all the traditional ceremony is completed, every guest tasted the symbiosis of traditional feast blended with contemporary cuisine. On the one hand, some enlightened traditionalists felt out of place at a modern buffet set up at the ethnic ambience of the ancient and vibrant heritage courtyard, while on the other hand it was an unexpected delight for the village folk to have a firsthand experience of gourmet food. Nevertheless, the grand and exclusive feast was a memorable experience for every guest that attended the Royal Wedding with a difference.