By U Sumar Sing Sawian
The jewelry of trhe Khasi Pnar people in the land of Ri Hynniewtrep, is of purest gold and silver. To quote from the book,
“The History of the civilization of the people of Assam to the twelfth century A.D.” it stated thus: ‘The washing of gold from rivers and the smelting of iron from rocks particularly in the Khasi hills, have been practiced from long time past.” Further it was mentioned that, “The Khasis produce certain articles of gold and silver peculiar to themselves and quite different from anything else in the province, worn on different occasions:” as observed by a British official Henniker ICS.
Such jewelry of antiquity are preserved in the vaults of different families and clans called kurs. These precious ornaments are taken out especially during springtime during the Shad Suk Mynsiem festival in the Khasi hills and also in festivals such as the Behdein Khlam in Jaintia hills. During such festivals the jewelry are washed by the natural soap grown in the trees, known as “sohpairah”, so as to get the brightest of shine in them.
Damsels dancing in the arena of Shad Suk Mynsiem and also in the ‘Shad Lahuh’ dance, wear the crown called pansngiat. This crown which is of pure silver or gold, symbolizes the status of womanhood, as the custodian of the matrilineal lineage, from which the blood-line flows right form the ancestral grand mother – Ka Iawbei. It also reflects the honor given to the patrilineal grand mother ka Meikha Beikha, the mother of the sons who father the children of the clan of their wife.
From the nape of the neck of the damsel, a flower known as ‘tiew Lasubon’ protrude, adding to the beauty of the crown. The ‘tiew Lasubon’ flower signifies the fragrance of the flower, which the maidens should emulate.
The golden ear-rings ‘shoh shkor’ signify the patience of hearing of the mother to the manifold problems of her children and grand children.
The golden ‘Konapad’ in her slender sawn – like neck, speaks of the gentle voice of the woman even when she reprimands the children. The three rows of ‘Kpieng Paila” the golden necklace interposed with light brown coral beads, lift in the chest and her bosom, representing the deep inner feelings of womanhood. In her shoulders is the Tad and Mahu silver ornaments, which gives succor and strength to face adversities in life, in the course of running the home and the family. On her wrist are the bangles of silver or god called the ‘Khadu Syunkha’ that as the goddess in the hearth and home, the woman should be always giving a hand in shaping the future of her children. The silver ‘Kynjri tabah’ over her shoulders, signify the responsibilities and duties of the mother in the hearth and home, that she is duty bound to perform.
The male dancer has also an equally sparkle of jewelry adorning him. A turban known as ‘spong khor’adds to the image of the male dancer. The turban is woven with raw silk of yellow colour sprinkled with red spots of motif of animals, usually of tiger and elephant, reflecting the strength of the man, who is known as ‘khadar bor – khaddar buit’, that is having twelve strength and twelve skills. From the nape of his neck is a plumage of bright colored feathers, usually of black and white. He wears a gold band around his neck, called the ‘shan ryndang’ studded with red diamonds. “the man also wear the necklace, ‘kpieng paila’ of solid gold balls interspersed with pink corals. A silver band of intricate design criss cross his body called kynjri tabah, and also a silver band around his waist – kynjri synkai, which goes to make up the image of a man, having to shoulder responsibilities and duties in the home of his mother, acting as a guide and mentor to his nieces and nephews and as a father in the home of his wife and children.
The male dancer also sling across his body the silver quiver, the ‘Ryngkap’ having three arrows. The first arrow signify the blessing of God through his ancestral matrilineal uncle, ‘U suidnia’ the second arrow, the blessing of his ancestral progenitor, ‘u thawlan, and the third arrow the blessing of his ancestral progenitress, ‘Ka Iawbei’. The three silver arrows also signify the defense of one-self, the second arrow to guard his family and clan and the third arrow to defend the territorial integrity of his village, raij and hima.
In his right hand, the male dancer holds the sword, and in his left hand he waves the white whisp ‘u symphiah’, which is made from the tail of a yak.
The dance patterns clearly depict the social status of both the men and the women. The men circling the female dancers signify the male strength and authority, as an uncle ‘u kni and as a father ‘u kpa, and the females inside the ring with their eye lids lowered, signify the position of womanhood in the home and society, having her own rights and responsibilities for the upbringing of the children in the hearths and homes.
In the Lahuh dance of the Pnar of Jaintia hills, the female dancers also wear the crown and jewelry of gold and silver. Although the men wear less of the jewelry, they wear the turban the ‘jain spong and also the dhoti the jain boh and also the putoi waist coat.
Such jewelry is also worn on other important occasions, specially in marriage ceremonies, by the women folk, like the golden necklaces and bangles and ear-rings.