“The haunting Madhavi fragrance escapes the rustle of spring air.
It is acrid with the smell of gunpowder—"-Chandra Kanta
Murasingh (Tripura)
In part-1 of this blog I had outlined the
poetic heritage of North Eastern (NE) states in general, and three states
namely Assam, Arunachal Pradesh and Meghalaya. Here, I briefly trace the poetic
heritage of the remaining states in the NE.
I found it amazing that poetry could flourish
in states like Mizoram, Nagaland and Manipur which, till recently, were
seriously affected by insurgency and ethnic conflicts. Despite all violence and
conflicts, poetry still shines bright in these states as a way for their people
to express their roots, resilience, and just the human experience overall.
We saw how a new generation of poets has now
emerged in the Northeast, ‘contributing fresh perspectives and personal
reflections’ through their poetry. They explore themes of
identity, belonging, and cultural heritage. I have included here a few poems presented at
the World Poetry Day in 2021.
Mizoram,
often hailed as the "Song Bird of the East," has a rich poetic
history that spans centuries. From ancient oral traditions to modern literary
expressions, Mizoram's poets have captured the essence of Mizo culture and
identity.
As in other NE states, Mizoram’s poetic
history comprise the period of oral tradition, folklore and folktales. Poetry
evolved in three phases namely- the pre-Christianisation period (from 1860 to
1894); the early period (from 1894 to 1920); the middle period (from 1920 to 1970);
and the contemporary period (from 1970 to the present).
It is
truly surprising that historically, all Mizo languages, including Pawi and
Paite, remained unwritten until the early 20th century.
Renowned Mizo poets include Awithangpa
(1885–1965), Patea (1894–1950) and Saihnuna (1894–1949), R.L. Kamlala
(1902–1980) and Damhauhva (1909–1972). And prominent poets from the later
period are Pu Rokunga, Lalṭanpuia, Lalzova Chhangte, P. S. Chawngthu, Vankhama,
V. Thangzama, Zirsangzela Hnamte, and Pastor Saikhuma, among others.
In Mizoram a new generation of poets like
Bazik Thlana have enlivened the world of
poetry.
In
his poemPresence in Absence Bazik Thlana from Mizoram writes: -
“Presence
in absence,
Absence
in Presence,
Remnants of old and new,
Some lost, some given away
Some
abandoned, and some outgrown,
An attempt to capture and preserve them,
……………………….,.
The
void is not always empty,
The
missing is not always missed,
The missed are not always missing”.
Another poem by Bazik titledAn Eye-Identity reads
“The
human eyes are the windows to his soul,
a
window for looking in, looking out and illumination,
the
windows to my soul are framed by small and narrow panes;
polite
passers-by in Delhi have, sometimes asked me if I could see clearly,
through themthey gaze, they stare, they
pre-suppose, yet again my entity has been summed up by my eye-identity, a Chink
- a flaw in the armour of unified India?
……………………………………………………….
This poem touches a chord in our
hearts. It is about the poet’s identity, and a pointer to the discrimination
practised by us against the people from the North-east.
Poems like these by young generation
poets reassure us that poetry will continue to remain a part of daily existence
of the people of the state.
V. Nagaland: A Renaissance in Creative Writing
While
tracking the poetic history of Nagaland, I find that the Naga Hills were
inhabited by the Naga people as early as 150 AD and that the Nagas have a rich
tradition of oral literature. Early writings about the Nagas are primarily
anthropological. Writing in the Naga language began with the efforts of
American Baptist Missionaries in the 1860s.
The
next phase was around 1919, following the British occupation and the Battle of
Kohima in World War II.
The
third phase began the 1950s, but it was only in the 1970s, as more people
became educated, that creative writing, including poetry, blossomed among the
Nagas. The earlier years of conflict had not been conducive to people devoting
time to writing.
While
English is Nagaland’s official language, diverse local dialects coexist.
Among the pioneering Naga writers are Temsula
Ao, Nini Lungalang, Easterine Kire, and Monalisa Changkija, whose works are
well received regionally, nationally, and internationally; Mmhonlumo Kikon
(born 1978) and Tialila Kikon (born 1998) authored Dandelion Dreams, a collection of contemporary poetry.
Here
are a few lines from a poem by Beni
Sumer Yanthan (Yanbeni), a poet and folklorist, whose works illustrate the deep
anguish of unfortunate Nagas who have been victims of armed conflicts. He
writes: -
Brother,
Your blood
has drenched this earth
And soaked
up our sins,
Your
silent screams now hang above
This
parched town
Where the mist
gathers at dusk
With
peace dawning, the nature of poetry is bound to change in the state.
VI. Manipur: A Tapestry of Traditions
It was interesting for me to learn how poetry
evolved in a state like Manipur. This state also has had a long history of
insurgency and inter-ethnic violence.
Manipuri poetry originated from oral
literature and gradually transitioned to a written form when the Manipuri
script developed between the 12th and 15th centuries.
The history of Manipuri poetry can be divided
into three phases—Early, Medieval, and Contemporary.
The
20th century marked a renaissance in Manipuri literature, with the influence of
Romanticism in English literature. Modernism arrived after World War II,
shifting the style of Manipuri poetry.
Prominent
poets in early 1970s were Nongthombam Shri Biren, Rajkumar Madhubir,
Thangjam Ibopishak, and Yulembam Ibomcha. In the mid-1990s, a new trend
of post-modernism emerged in Manipuri poetry.
Some
of the new generation poets are making significant contributions to poetry.
Here is a beautiful poem ‘Soul’by
Nongwarngam Chinir from Manipur.
“Promise me that,
You won’t let them win,
That you won’t let injustice make you cruel,
That when you sit on that throne,
And all
dukes bow before you,
And at your command legions move-
You will never forget the child in you that
built,
Castles for turtles and chased after
fireflies”.
With poems like these one feels
hopeful that poetry is safe in the hands of young generation poets.
VII. Tripura: Reviving Indigenous Languages
I
have always wanted to visit Tripura which is home to a diverse population
consisting of 19 indigenous tribal groups and a substantial Bengali-speaking
community. Tripura has a rich heritage of myths and legends. The native
language, Kokborok, belonging to the Sino-Tibetan language group, was dominant
until the 19th century when it adopted the Bengali script.
I learned that Rajmala, the first chronicle of the Kings of Tripura, was originally
written in Kokborok in the 15th century and later translated into Bengali.
Among
the well-known poets in Tripura, Gakulananda Gitiswami (1896–1962) stands as
Tripura’s greatest poet and creative soul.
In
one of his renowned poems, “Matribandana” or “Homage to Mother”, he writes
about women’s power-through the ages. Renowned indigenous poet Chandra
Kanta Murasingh received the Sahitya Academy award in 1996. Born in 1957, Singh is one of the best-known poets from Tripura.
He writes in Kokborok, and has published five books of poetry. His poetry
reveals a commitment to recording “the agonies of life in contemporary
Tripura”. Look at
these lines: -
The
haunting Madhavi fragrance escapes
the rustle of spring air.
It is acrid with the smell of gunpowder.
Here are a few lines from another poem Slumber
I am now deep in silent sleep.
Like a child suckling, nestled at its mother’s
breast,
Like a tired face buried deep in the beloved’s
tresses.
Yet my thoughts, my anxieties haunt me even in
slumber.
Now and here, like our blood and our
indifference,
My sleep and myself run crimson through our
hearts.
With
the Tripura government adopting Kokborok as a state language in 1979, there has
been a revival in Kokborok literature.
VIII. Sikkim: Embracing
Multilingualism
Sikkim,
cradled in the Eastern Himalayas, “unfurls its majesty—a land where imagination
and experience weave a tapestry of literary
gems………. Poets have found solace in Sikkim’s vistas. Their verses reflect
the awe-inspiring grandeur of the Himalayas and the deep introspection they
evoke”.
I visited Sikkim a few years ago. At that time, I was
not aware of the diverse cultural heritage of the state and had never
visualised it as a multi-ethnic, multi-religious, and multi-cultural state, as
usually everything appears to be uniform to a casual visitor. Later on, I was also surprised to learn that
Sikkim recognises 11 official languages, including Limboo, Lepcha, Bhutia,
Nepali, Tamang, Rai, Gurung, Manger, Sherpa, Newari, and Sunuwar!
While
Limboo writing began in the first half of the 20th century with the publication
of key works, the language has faced challenges. However, its cultural
importance remains.
Nepali
is the dominant language for written works in Sikkim, and names of prominent
poets include Bhanubhakta Acharya (1814–1868) known as the “Adikavi”, Gadul
Singh Lama, who received prestigious awards, including the Sahitya Academy
Award and Padma Sri, Kedar Nath Gurung, who was awarded the Padma Shri in 2012,
among others like S. Mahinda, Kazi Dawa Samdup, Gyatsho Tshering, and Tanka B.
Yet other names mentioned in the website brainly.in are
- Rashmi Prasad Alley, who wrote poems in
Nepali and English.
- Hari Prasad Pradhan, who was a pioneer of
modern Nepali poetry in Sikkim.
- Kashiraj Pradhan, who was a poet and a
journalist.
- Sonam Tshering Babu, who wrote poems in
Sikkimese and English.
- Tseten Tashi Bhutia, who was a poet and a translator of Sikkimese literature
Jeewan Theeng is celebrated as one of the most
outstanding Nepali poets. Popularly known as “Mato Kavi’ or poet of the soil he
is regarded as the national poet of Sikkim. ‘His poems resonate with the spirit of
change and rebellion’. Tragically, he passed away in 1978 at the age of 23, but
his legacy endures. Have a look at a few of the lines he wrote: -
You all are paramount; now you can draw the border of your country
on a canvas according to your convenience; keep on marking the fence lines and enhance your
geographical sphere.
The 21st century has witnessed a growing
number of young poets in Sikkim expressing themselves in English, reflecting
the impact of English education on the state’s literary scene.
‘Iridescent’
is a collection of poems,
authored by Devansh who is the first and the only Sikkimese, among the three
poets from India to be selected for the prestigious international Emily
Dickinson Award of the twentieth century. Here are a few lines from the
Collection: -
In
the quiet of dawn,I find solace in the whispersof forgotten dreams.
The
moon, a silver coin,tossed across the night sky,paints constellationson my
skin.
Love
is a fragile thing,a delicate dance of shadows,where hearts collideand stars
weep.
“Monk on a Hill” is a captivating collection of poems by Guru T.
Ladakhi, another great poet from Sikkim.His
poetic voice resonates with the rich cultural and natural landscapes of Sikkim,
infusing his work with a unique blend of Himalayan sensibilities”. In
this work the reader is introduced to a monk who stays the same, in times of
great changes and transitions.
His work ‘Shillong’ also reflects a similar sense of dismay
about the changes that had occurred in the hills over the years. He concludes
the poem with these lines: -
Farewell, Shillong, I came because you
beckoned/but I must leave now, /for the songs on your lips have died/and you
live clinging to the ghost of yesterday.
What we learn
Delving into NE poetry one finds that people everywhere are
basically the same; their thoughts and feelings are the same. Their shared experiences transcend geographical
and cultural boundaries.
Northeast
appears no longer far and distant; instead, it is near and dear!
--------------------------------
(Based on an article by
the author in Life Stream, Annual issue,2022)
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