By Raphael Warjri
Rejection of Idol Worship and the Khasi Cosmology
A particularly striking aspect of the Biskorom myth is its critique of idol worship. The clay-figure makers’ demand that Biskorom animate idols reflects a desire for shortcuts to power without labor or ethical grounding. Biskorom’s refusal positions Khasi cosmology closer to non-iconic spiritual traditions, where divinity is manifested through action, harmony, and balance, rather than fixed representations.
This stance finds parallels in:
Early Vedic traditions, where ritual efficacy (ṛta) was prioritized over iconography (Gonda, 1960).
Certain Austronesian belief systems, where ancestral power is embedded in landscape and practice rather than statues (Fox, 1997).
Indigenous Australian Dreaming, where sacred law is enacted through songlines and practice rather than visual idols (Stanner, 1979).
The myth thus encodes a philosophical position: knowledge cannot be animated artificially; it must be lived and practiced.
Withdrawal of the Deity and the Burden of Labor
Biskorom’s departure mirrors a widespread mythic motif known as the “withdrawal of the culture hero”, wherein divine beings retreat once humans violate ethical codes. Comparable examples include:
Prometheus, punished for prematurely gifting fire to humanity (Hesiod).
Maui of Polynesian lore, whose tricks bring technology but also suffering (Beckwith, 1940).
The Biblical expulsion from Eden, where moral transgression results in labor and mortality.
In the Khasi case, however, labour itself is not framed as a curse but as an inevitable condition of ambition without wisdom. Those who cursed Biskorom are condemned not to ignorance alone, but to ceaseless toil devoid of mastery, highlighting a crucial distinction between work and skillful labour.
Folk Engineering and Living Technologies
The description of bamboo bridges woven with ficus roots and creepers places Khasi folk technology among the most remarkable examples of bio-engineering traditions worldwide. The famous living root bridges of southern Khasi and Jaintia Hills exemplify what Ingold (2000) calls “making as growing,” where technology collaborates with ecological processes rather than dominating them.
Comparable traditions include:
Ifugao rice terraces in the Philippines, integrating hydrology, stonework, and ritual (Conklin, 1980).
Inca rope bridges (Q’eswachaka), renewed annually through communal labour and ritual (Gose, 1994).
Japanese satoyama systems, blending forestry, agriculture, and community stewardship (Takeuchi, 2010).
Such technologies challenge modern binaries between nature and engineering, demonstrating that indigenous systems often achieve sustainability through long temporal horizons and collective responsibility.
Music, Craft, and Cultural Transmission
The figure of Sormoh, master of musical instrument-making and performance, underscores the Khasi recognition of art as technology—a means of social cohesion, memory, and emotional regulation. Ethnomusicological studies confirm that musical knowledge in indigenous societies functions as a parallel archive of history and ethics (Blacking, 1973).
Music, dance, metallurgy, weaving, and architecture in the Biskorom narrative together form an integrated cultural ecology, where each craft reinforces social bonds and collective identity.
Conclusion
The myth of Biskorom is not merely a cosmogonic tale but a civilizational charter that articulates Khasi philosophy on knowledge, ethics, environment, and social responsibility. When read comparatively, it stands alongside the world’s great culture-hero traditions, while retaining a distinct emphasis on ecological consent, moral discipline, and non-iconic spirituality.
In an era of ecological crisis and technological alienation, the Biskorom narrative offers a powerful indigenous critique of unmoored innovation—asserting that technology without ethics leads not to progress, but to fragmentation and toil.
Khasi Heritage: Folk Archery
Rongbiria: The realm of artistry thrives, its brilliance attracting envy from other creatures, which often evolves into enmity. Human society basks in a tranquil atmosphere, largely undisturbed by the wild. However, ever since the fall of the colossal Diengïei tree, a pact of vengeance brewed among the tigers against humanity. Unbeknownst to humans, during the allocation of attributes, the tiger overheard the divine’s pledge to grant physical strength to humans. Seizing the opportunity, the tiger preemptively claimed this boon on behalf of humanity. When the divine discovered this unforeseen complication, the Mother-decree, or Meihukum, sympathized with humans and intervened to rectify the situation.
Meihukum, concerned for humankind, bestowed her favor upon the virtuous couple Shinam and Mangring. She granted them the knowledge to craft defensive weaponry, to be used not for conflict but for protection and celebration. Sormoh had already mastered the craft of fashioning musical instruments, creating the revered Tangmuri from the Japung bamboo, hailed as the pinnacle of musical artistry. Meanwhile, Mangring, instructed by Meihukum, began crafting arrowheads and spears for defense and hunting.
Following Meihukum’s guidance, Mangring sourced materials like ‘Kdait’, ‘Shken’, ‘Rñai’, ‘Riphin’, and ‘Stew’ bamboo and cane to complete the weaponry set. The meticulous process dictated using only the middle portion of the bamboo for specific purposes, preserving the plant’s integrity. For arrows, tiny bamboo sticks were utilized, with kite feathers attached for precise flight. The bows, made from thicker bamboo, featured three joints, with the central one serving as the anchor for arrow placement.
Mangring’s sons, Batiton and Shynna, were entrusted with the newly crafted weapons for play and practice. Through Meihukum’s intervention and Mangring’s craftsmanship, a harmonious balance between defense and celebration was achieved, safeguarding humanity against both natural and supernatural threats.
As Batiton and Shynna engaged in their archery practice, using a wooden plate as their target, their skill drew a crowd of onlookers. Among them lurked Kajang, a jealous figure who harbored resentment towards the brothers. As the spectators gathered, including those diverted from a nearby dance festival, Kajang seized the opportunity to sow discord between the siblings. He cunningly incited arguments about the accuracy of their shots, alternately favoring one brother over the other and fueling their quarrels.
Concerned by the escalating tensions, Ka Shinam, their father, sought a resolution. Recognizing that the arts of archery were meant for leisure, not conflict among kin, he devised a clever solution. Using lime and sealing wax, he marked the arrows with distinct colors near the fletching vanes. Each brother was assigned a specific color, ensuring they could easily identify their own arrows, thus diffusing Kajang’s attempts to sow discord.
Undeterred, Kajang resorted to further mischief, breaking the wooden target plate used by the brothers. Upon learning of this act, Mangring, the brothers’ father, appealed to Ka Meihukum for guidance. In response, Ka Meihukum instructed Mangring to fashion a cylindrical target, known as ‘Thong’ in the Khasi tradition, from bundled stalks. This ‘Thong’ served not only as a target but also symbolized the goal of unity and harmony.
With the new target in place, Batiton and Shynna continued their archery games, undisturbed by Kajang’s antics. Their joyous play, coupled with the ongoing dance festival, brought delight to all who witnessed it. Thus began the tradition of archery in Khasi society, with Batiton and Shynna revered as legendary figures, emblematic of skill, unity, and resilience.
Weapons in Khasi society symbolize not just tools of defense, but also embody the ingenuity and strength essential for societal cohesion. Archery, in particular, holds significant cultural importance, closely intertwined with the roles of men as warriors and protectors of the community. In the naming ceremony of a male child, the consecration of a miniature bow and three arrows is a sacred ritual. These arrows represent the duty to protect oneself, one’s family, and the broader community or nation, imbuing the child with a sense of responsibility and empowerment.
Certain clans within Khasi society are renowned for their martial prowess, often identified by the prefix ‘Mar’, denoting giants or formidable warriors. These clans, known as ‘Khyndai-bah-ryntieh’ or the nine archers, boast muscular, courageous men, some of whom possess imposing physical stature. Some of the clans are Marbañiang, Marthong, Marngar, Marpna, Marboh and others. Apart from the ‘Mar’ clans, others have also produced renowned warriors, such as Mar Bilon Khyriem of the Khyriem clan, Mar Phalyngki of the Buam clan, known for constructing the megalithic complex at Nartiang, and Mon Bhut of the Wahlang Pahsyntiew clan, a formidable warrior and trusted ally of Tirot Sing Syiem during the Anglo-Khasi war of 1829 to 1833. These warriors, both legendary and historical, exemplify the valor and strength deeply ingrained in Khasi society, perpetuating the legacy of courage and protection for generations to come.
Khasi traditional archery is more than just a pastime or a means of defense; it embodies a deeper connection to sporting spirit, community bonds, soulful destiny, and spiritual guidance.
One significant tradition is the oath-taking practice, where individuals lick salt from the blade of a sword or dip arrows into a gourd while reciting prayers or making covenants. This ritual underscores the spiritual significance of archery, binding the archer to their commitment with a sacred act.
During cremation ceremonies, three arrows are ceremoniously shot in specific directions to protect the soul from malevolent spirits and guide it towards its final resting place. This ritual reflects the belief in the power of archery to transcend the physical realm and safeguard the spiritual journey of the departed.
In archery competitions, a shaman plays a vital role, invoking prayers to the deities for favorable outcomes and divine intervention. The interaction between shamans from opposing sides, each supported by guardian spirits or deities, adds a layer of spiritual intensity to the competition.
It is widely acknowledged that the skill of an archer is complemented by the wisdom and guidance of the shaman. The coordination among archers, shamans, and deities is essential, emphasizing the importance of teamwork and divine intervention in achieving success.
Ultimately, Khasi traditional archery represents a harmonious blend of technical skill, spiritual guidance, and community collaboration, illustrating the profound cultural significance and holistic approach to the sport.
Also Read: https://highlandpost.com/a-commentary-on-khasi-folklore-33/
