In the early days, the areas inhabited
by the Garos comprised of a number of independent clusters of villages, under
"A King" headed by a clan chief known as Nokma. There are 12 sub-tribes
amongst the Garos. They are Atongs, Ganchings, Chibok, Rugas, Duals, Matchiduals,
Matchis, Am'bengs, Matabengs, A'wes, Me'gam and Chisak. They occupy the entire
area presently known as Garo Hills district.
Though socially and politically independent, these sub-dialectical tribes
share a common language, culture, beliefs and religious patterns. The popular
traditional Garo religion is "animistic" in nature, but the Garos
believe in a "Supreme God" known as "Tatara Rabuga"or
"Dakgipa Rugipa"or "Stura Pantura".
According to experts, Garo religion is monotheistic with a highly ritualistic
polytheistic form of worship. The Garos believe in creation of heaven and earth.
God is believed to have created all living beings on earth and completed his
work within eight days and on the ninth day He rested. The Garos believe that
man continues to exist in "Spirit" even after death and dwells in
an appointed place till he is re-incarnated.
Mangona or Chugana :
Mangona is a post-funeral ceremony of the Garos. A small hut with a bamboo structure
is erected on the courtyard of the house that is known as 'Delang'. The calcined
bones are kept in an earthen pot (to be later buried near the doorstep of the
house of the deceased after the ceremony). After the burial of the calcined
bones, the guests are served with beef and pork. During the performance of the
last rites for the "Spirit" of the dead, dancing and singing continue
throughout the night with the chanting of funeral dirge known as "Mangtata
(Grapme chia) or Kalee". The ritual dance is accompanied with concave brass
cymbals, and the ringing sounds of reeds (Kimjim), the peals of "horn-trumpets"
called "adils", and the soft sound of a "chigring" (a bamboo
stringed musical instrument).
Grengdik Ba'A :
It is a ritual dance with rhythmic musical accompaniment. Unburnt pieces of
bone are put in an earthen pot or a hollow human form of wood carving on the
back of a person. A dark red silken cloth (BA'RA MARANG) is stretched over the
heads of the dancers like a canopy. Soon as this is over, the group moves singing
and dancing to the house to drink rice-beer and return to the original home-symbolizing
the roaming of the spirit which is known as "Grengdik Rodila".
Games and sports are also conducted during the ceremony. During this game, a
display of physical strength a freestyle wrestling bout is enacted known as
Gando Makal Pala. Finally, the "bull" is ritually sacrificed for the
spirit of the dead, so that the spirit of the bull can accompany the deceased.
People continue singing, dancing and merrymaking throughout the nightFestivals
that Accompany "jhum-ming" (clearing the jungle for cultivation)
Jamang Sia :
A person breaks an egg ceremonially over a small plot cleared for jhumming
asking for permission to cultivate the land. A length of bamboo, with tree-leaves
stuck in a "split" on the top, is kept as an identification mark
that the plot of land is under occupation.
Den Bilsia :
An invocation to the Mother Goddess of crops - Mini Rokime - is made to get
her blessing by sacrificing a fowl. All participate in sweeping clean the
village footpaths and prayers are offered at the boundary of the field before
setting the new jhum field on fire.
Mi Amua or Mejak Sim'a :
A ceremony is performed to drive away all crop-diseases through prayers to
the Supreme God. Fences of half-burnt stems and branches are ritually erected
along the boundaries of the jhum field. House-holders move around carrying
baskets reciting rituals to drive away evil-spirits and diseases from the
jhum field.
Rongchu Gala :
It is a ritualistic offering of flattened rice known as "Rongchu"
from the first harvested paddy of a Jhum field to a deity by sacrificing a
fowl.
Ja Megapa :
Calling Mini Rokime back to the house signifies after harvesting is over from
the Jhum field. A bunch of hill-paddy with half-burnt firewood is ritually
tied to the doorpost. Rice-beer is ooered to the guests as a mark of respect
and honour on arrival at the village in the evening.
Wangala :
The last, but not the least, of the ceremonies of the agricultural year is
a thanksgiving ceremony offered to the gods and goddesses. Drums beat, rice
beer flows, singing and dancing go on endlessly for days together.
On the first day of the Rugala ceremony, the Nokma displays his valuable gongs
covered with long banana leaves. All agricultural implements are placed beside
the centrepost of the house. Rice beer is poured over the gongs, newly harvested
crops are arranged in ritualistic patterns. Sacrifice is made to "Misi
Saljong" the Goddess to bless, mankind with plentiful foodgrains . It
is followed by social merry making-singing and dancing all night long by young
and old to the rhythmic beating of drums.
Probably the most important festival of the Garos is the Wangala known as
"the post-harvest festival of the Garos".
It marks the end of a period of toil in the fields and harvesting of bumper
crops. The hills and valleys echo and re-echo with the sound of drums and
general revelry.
The dancers make a queue of two parallel lines - one of men and the other
of women, both turning out in festive regalia. The men beat their drums and
move forward in tune with the sound of music flowing out of gongs, buffalo-horn,
flutes and the drums. The dancers show energetic, vigorous movements, aided
by the sumptuous feasts of meat and rice-beer.
Sa' Sat Ra' Chaka :
The "second"ceremony is-the burning of incense to revive the monsoon
clouds. People throw cooked rice on the floor to symbolise hailstones.
Ajeaor Ahaoea :
Story-telling by bards and minstrels and, singing competitions are performed.
It is a time for romancing for the young and choosing of life partners.
Dore Rata Dance :
This type of dance is exciting to watch. The women dancers try and butt the
turbans off the heads of the male dancers. Each knock off of the turban from
the head is accompanied by great cheering and laughter from spectators.
Chambil Mesara or Pomelo Dance :
This one demands exquisite skills. In this solo dance a performer dangles
a pomelo or some other "fruit" from a cord around his waist. He
then spins the pomelo round his waist, faster and faster, using minimum movement
of his waist and hip. Some experts can swing two to four pomelos.
Do'KruSua :
This dance symbolizes the "pecking of doves" enacted by two lady
dancers. Two mimick doves, peck each other much to the enjoyment of all. It
is another expression of how closely the Garos relate to nature as well as
the simplicity of life.
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