By Raphael Warjri
In Khasi culture, the notion of matriliny is itself intertwined with ideas of continuity, lineage, ritual debt, and the vulnerability of social order in changing times. One scholar writes:
“The Khasis, generally, follow the residential pattern known as matrilocal residence … The mother is regarded as the custodian of family rites and religious performances, besides performing the task of keeping the family property …”
If the golden age narrative emphasises human exceptionality and subsequent vulnerability, this can reflect a deeper cultural awareness of change, of the fragility of social orders—and by extension, of the matrilineal order in transition (see section 4 below).
Reflection for your project: The motif of a “lost golden age” followed by a fragile present is cinematic and evocative. As you are working on folk-inspired story “U Tiew Langkaphor”, you might parallel this: the “golden age” of Morba and Shibet’s world, followed by rupture because of a human (or supernatural) act, and the ensuing need to re-establish moral/social order.
- Ritual, music and folk instruments as markers of identity
The article’s discussion of the “maryngod” (a Khasi folk violin), its role in mourning (Jamlu), the flute, Jew’s harp and percussion, and especially the tale of the farmer, the vampire-creature and the red-vented bulbul intervening—this section points to how folklore, ritual performance and musical instruments encode cultural memory.
Music, lament, folklore duel between farmer-musician and vampire, bird-helper, stain on the bulbul’s tail—all of this is a rich narrative terrain. These folk motifs serve social functions: they preserve identity, sanctify mourning, mediate human-supernatural relation.
In the academic literature, the role of oral tradition and instruments in Khasi culture is emphasised. For instance:
“Khasi historian Amena Nora Passah … said that Khasis are people of oral tradition.”
In a matrilineal society with an oral past, instruments become carriers of memory—as much as myths.
Reflection: Given your interest in adapting poetic works into voice-over monologue or visual poem formats, this section is ripe. You might explore the maryngod as a metaphor for the voice of the community, the lament as a symbol for loss, the bird-helper as indigenous agency. Also, the motif of “evil spirits no longer dare to dance with humans” can link to the struggle between tradition and modernity.
- Matriliny, change and contemporary tensions
Although the article doesn’t explicitly focus on matriliny, the themes of origin, lineage, pledge to maternal and paternal kinship (“tipkur tipkha”), and the golden era narrative implicitly underscore the centrality of kin-relations. This is especially significant given your stated interest in preserving Khasi matriliny.
Scholars note that the Khasis are one of the largest remaining matrilineal communities in India:
“The Khasis, the largest tribal group in Meghalaya, follow a sophisticated matrilineal system … children belong to their mother’s clan, and the youngest daughter inherits the custodianship of the family property.”
“The Khasis live under an ancient matriarchal system … The youngest daughter of the family matriarch is the legal custodian of the family’s wealth and property …”
However, contemporary scholarship also flags tensions: patriarchy’s increasing influence, property disputes, erosion of customary law under colonial-legal frameworks. For example:
“While Khasi women are often perceived as empowered … Warjri emphasised ongoing gender debates within the community. … Real authority is often concentrated among a few individuals rather than being an equally distributed collective consensus.”
Thus, the mythic narrative in the article subtly connects with deeper issues: lineage, inheritance, changing social order, the human condition in the context of matriliny.
- Commentary on the article’s strengths and gaps
Strengths:
The article provides a compelling mythic framework that is richly symbolic and culturally specific—fitting for the Khasi world.
It links cosmic themes (divine assembly, creatures, gifts) with social themes (human pledge, kinship, power).
It includes folk performances: the maryngod, the tale of the farmer, birds, parasites—this grounds the myth in lived cultural practice.
It offers a narrative arc: a golden age → human act → loss of divine protection → enduring struggle.
Gaps / Questions:
The matrilineal dimension: while implied (honour maternal and paternal kin, youngest daughter as heir in Khasi culture) the article could more explicitly engage with how the myth intersects with matriliny: e.g., the pledge to maternal kin, the youngest daughter, the role of women in the ‘golden age’, etc.
The article does not fully address how these mythic narratives are translated into contemporary social practices or contested in practice—e.g., how matriliny is being challenged, how youth engage with these myths, how Christianisation or modernisation affects them.
It would benefit from more explicit linkage between myth and ecological or material practices (e.g., land, forest, animals)—since the myth deals with creatures, it invites an ecological reading.
- Implications for preserving Khasi heritage and matriliny
Given your interests (folk-inspired story, dialogue-based concept, public statement on preserving Khasi matriliny), the article offers the following affordances:
Symbolic resources: The myth gives you powerful symbols—divine assembly, gifts, serpent/tiger envy, the creature Thlen, the protector-role for humans, the stamped stone at Nongkhrah, the maryngod, the bulbul’s red tail. These can serve as motifs or metaphors in your film, monologue or poem.
Narrative structure: Golden age → rupture → consequence → endurance. This lends itself to screenplay structure: Act I (golden era of Morba & Shibet), Act II (incident of folly/curiosity), Act III (vernacular collapse, struggle, re-affirmation).
Social message: The myth emphasises stewardship (“tipbriew tipblei” – honour mother/father, conscience), right living, the consequences of greed (Thlen), of unchecked curiosity (Syiem Nongklung). You can align this with contemporary issues: the erosion of matriliny, patriarchal encroachment, environmental degradation, cultural forgetting.
Material heritage: The maryngod and associated folk tales provide a concrete heritage link. You could adapt the mourning-tune narrative into a visual poem or voiceover, showing how music/ritual encodes communal memory.
Matrilineal preservation: Link the mythic pledge (to maternal/paternal kin) with the matrilineal institution, showing how the human/human-animal divine order mirrors or informs the social order in Khasi society. Perhaps show how forgetting the pledge (or human folly) leads to breakdown—not just of divine protection but of matrilineal values (inheritance, clan continuity, women’s roles).
Khasi Heritage: The Cradle of Khasi Culture
The interconnection of nature is deeply ingrained with spiritual significance, with energy flowing from the elemental forces shaping and sustaining life. From the radiant warmth of the sun to the tranquil influence of the moon, from the refreshing breezes of the air to the life-giving flow of water, and from the transformative power of fire to the awe-inspiring might of thunder and earthquakes, each element plays a vital role in the tapestry of existence.
Within this vast tapestry, certain natural features are believed to be inhabited by spirits of various dimensions, imbuing these landscapes with sacred significance. Rivers, mountains, forests, caves, and other natural wonders are seen as the abodes of these spirits, each with its own character and influence on the world.
Human society, too, plays a role in shaping the spiritual landscape, with deities being harbored and revered according to the desires and needs of individuals, families, and communities. Landmarks such as Sohpetbneng peak, Diengiei peak, Shyllong peak, and Ka-Meikha peak are believed to be inhabited by Sylvan deities, each associated with different aspects of human life and the natural world.
Rivers like the Kupli, Kynshi, and Umngot are seen as the homes of spirits, both major deities and minor spirits, whose influence can be benevolent or malevolent. In ancient times, it is said that all spirits were revered as bountiful deities, but mischievous spirits were eventually condemned to the subterranean realms.
In this way, the spiritual and natural worlds are intimately intertwined, with each aspect of the environment imbued with meaning and significance, reflecting the rich tapestry of beliefs and traditions that have shaped the cultural landscape of the region.
The mythology surrounding Mawlongsyiem at Sohra is rich with tales of familial relationships and divine retribution. Mawlongsyiem is revered as the major deity of Mawsmai territory, and is believed to be the father of Ka Ngaid, Ka Shwar, and Ka Taro. Ka Ngaid, in turn, is the mother of U Thlen, who famously married the toad ‘Ka Hynroh’.
According to legend, Ka Hynroh gave birth to a creature that was inadvertently devoured by her husband, U Thlen. Upon realizing his mistake, U Thlen was consumed with fury and remorse. He made a solemn vow before the divine council that he would sustain himself by feeding on human blood and amass great wealth. As a result of this pledge, U Thlen was condemned to the subterranean realms.
Ka Shwar and Ka Taro, siblings of U Thlen, are associated with virulent substances known as Ka Lasam and Ka Bih, respectively. These substances are believed to be wielded by the keepers of these spirits, who can infect their victims with their effects. Ka Lasam is said to cause bleeding of the gums and affects the interior portion of the mouth, while Ka Bih leads to swelling of the lips and affects the outer portion of the mouth.
(to be continued)
