By Raphael Warjri
(A continuation from A Commentary on Khasi Folklore- 7)
These aspects of Khasi mythology highlight the complex interplay between familial relationships, divine intervention, and the consequences of one’s actions. Further elaboration on these themes may shed light on the cultural significance and symbolic meanings associated with these mythological figures and their attributes.
Thlen, the mammon-serpent, remained dormant for countless ages during the golden age or ‘Aïom Ksiar,’ a time when the earth thrived with vitality and harmony. Despite his occasional curiosity, he held a deep reverence for Ka Meihukum and U Thawkur, the omnipotent and omniscient divine beings. However, as humanity established itself on earth and some neglected their spiritual duties, it created an opening for Thlen to exploit vulnerable beings.
This neglect provided Thlen with the opportunity to emerge onto the surface of the earth, or ‘Ryngkew,’ seeking to satisfy his desires. In the Khasi worldview, humanity is seen as composed of seven clusters of inhabitants, akin to the seven continents of the world in modern interpretation. According to Khasi mythology, humanity descended from heaven at the summit of Sohpetbneng, also known as the Heavenly Umbilical peak.
The mythological narrative of human origins at Sohpetbneng finds archaeological support in the work of scholars like Dr. Marco Mitri, whose excavations have uncovered ancient settlements at sites such as Lawnongthroh and other areas surrounding the Sohpetbneng peak in Meghalaya’s Ri-Bhoi district. These discoveries lend credence to the traditional Khasi beliefs and provide a tangible link between mythology and historical reality.
Among the seven divine families, the democratic imperial deity, U Syiem Lakriah, leads the delegations, while the domestic imperial deity, Ka Lukhimai, oversees the transitory settlement on earth. Ka Lukhimai attends to all domestic matters, while Syiem Lakriah and his sons, Sormoh and Sorphin, supervise affairs beyond the domestic sphere. After completing their divine duties, the seven divine families ascend the golden vines to return to their celestial abode.
During the golden age, temporal and celestial beings coexist harmoniously, and communication is clear and perpetual. Stone and soil understand the language of birds and insects, just as plants and trees comprehend the voices of animals, water, and stars. Tangible and intangible elements interact seamlessly throughout the universe. Truthfulness and compassion prevail among creatures, but enmity and vengeance are embodied in the mammon serpent, known as ‘U Thlen’ in Khasi mythology.
The seven divine families represent esoteric spiritual beings from the celestial orbit, descending upon earth to enlighten temporal attributes. Syiem Lakriah, Lukhimai, Sormoh, Sorphin, and all members of these families were in harmony with the entire universe until the mammon serpent, U Thlen, disrupted the harmonious rhythm on earth.
1. Mythic cosmology and the ordering of power
The article opens with a cosmic assembly—creatures receiving attributes, humans arriving late and being given intelligence, a council formed, the serpent and tiger envying humans, the mammon-serpent Thlen punished, etc. This mythic narrative does several things:
It establishes humans as supreme (yet latecomers) in the cosmic order; the paradox of being lesser physically but greater by intelligence.
It uses animal/creature symbolism (elephants, rhinos, tigers, snakes, birds, fish) to map domains of power (strength, defensive spikes, venom, night vision, wings, water).
It encodes moral-ethical norms: humans pledge to live righteously, honor maternal and paternal kinship (“Imsngi ban kamai ïa ka hok, tipbriew tipblei bad tipkur tipkha”).
This narrative resonates with wider tribal mythologies where humans emerge late, receive “gifts” or “attributes” and then are tasked with ethical-social obligations. It also underscores that human superiority is not by brute force but by moral/intellectual capacity.
In the Khasi context, mythic origin narratives are well documented. For example, the paper by Wattanagun on the legend of Ka Pahsyntiew shows how matrilineal ideas are embedded in cosmology:
“Among the Khasis … descent is traced through the female line … the legend portrays Khasi outlooks on female generative power, wifehood/motherhood, and women’s vital roles in the formation of a secured and wholesome society.” (Thai Journal Online)
The article’s invocation of “Dorbar Blei” (divine assembly) and the emphasis on maternal kin (“tipblei”, “tipkur tipkha”) can be seen as articulating a world-view where cosmic, social and moral orders interlock.
Reflection: For your film and folk-inspired work, perhaps this mythic structure can serve as a template: hierarchical gift-bestowal, humans given intelligence rather than physical power, a council of creatures, a pact of conduct, a faltering human act (curiosity) triggering loss or change. The article’s narrative aligns well with that pattern.
2. Mortality, human exceptionalism and loss of divine protection
The second part of the article deals with the “golden age” (Aïom Ksiar) when humans were physically immortal (spiritually & physically) under divine protection. Only after the leader Syiem Nongklung’s act of folly is the protection withdrawn, humans become subject to plague, mortality, and suffering.
This is a powerful narrative of fall—from divine favour to human vulnerability. In many mythologies this is a pivot: humans lose a special status because of arrogance or disobedience (think of Eden, Pandora, etc.). Here, the impetus is curiosity (of Syiem Nongklung) and a symbolic effigy turned to stone (in the village of Nongkhrah) as a reminder.
From an anthropological perspective, such narratives often encode social lessons: the need for humility, respect for the divine order, acceptance of suffering as part of life. They also situate human mortality as a consequence of human agency, rather than simply external misfortune.
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.
3. 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.
4. 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. 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 … I emphasised ongoing gender debates within the community. … Real authority is often concentrated among a few individuals rather than being an equally distributed collective consensus.” (The Week)
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.
