Draft:Moh-Mol (Tangsa) Festival
Moh-Mol (Tangsa) Festival
The Moh-Mol festival is the chief annual festival celebrated by the majority of sub-tribes of the
Origin and Cultural Significance
The Moh-Mol festival acts as a cultural nexus, connecting all the sub-tribes of the Tangsa community to come together and celebrate with grandeur and gaiety. It marks the beginning of the new year according to the traditional Tangsa calendar. The festival season starts in April and continues until August, with different Tangsa sub-tribes celebrating it on different dates within these months based on their agricultural cycles. For some sub-tribes like the Muklom, Havi, Ponthai, Longchang, and Mossang, the Moh-Mol festival is rooted in the mythological story of the discovery of the "nong" (drum), the main musical instrument played during the festival. According to Muklom and Havi folklore, the nong was originally possessed by animals and was forcefully taken from them by the ancestors of the "Solwa" clans, who became the hereditary priests responsible for initiating the drum-beating rituals. The festival is believed to have started after this mythical event. Thus, the Solwa plays a central role and the Moh-Mol cannot be celebrated without them in these sub-tribes. At its core, the Moh-Mol is an agricultural festival celebrated as a pre-harvest ritual, where the spirits of "Tungja-Chamja" (spirits of crops like arum and paddy) are venerated and worshipped for a bountiful harvest. It marks the end of one agricultural season and the beginning of a new crop cycle. However, the festival holds a deeper cultural and spiritual significance beyond just agriculture. It is an occasion for all people, irrespective of age and gender, to come together, strengthen community bonds, and pass on cultural knowledge to younger generations. Colorful traditional costumes, ornaments, arts, and crafts that showcase the rich cultural heritage of the Tangsa tribe are displayed during the festival. The festival reminds the Tangsa people of their glorious cultural past and inspires the youth to inherit, protect, preserve and continue their traditions. The Moh-Mol also has a spiritual and religious dimension underlining its celebration. Some Tangsa communities ritually bid farewell to the departed souls of the family on the eve of Moh-Mol, offering food and drinks for their peaceful rest in the ancestral realm. Prayers are offered to various deities like the Goddess of Crops (Tungja-Chamja) for a bumper harvest, the Goddess of Prosperity for the productivity and well-being of families, livestock and fowl, and the Goddess of Home for the good health of all family members. A special prayer called "nong rom" is also performed over the drums in the drum master's house for the longevity of the nong culture.
Rituals and Customs
Nong Rom and the Role of the Solwa In sub-tribes like Muklom, Havi, Longchang, and Ponthai where the drum (nong) holds a sacred significance, an important ritual called "nong rom" is performed by the Solwa priest to initiate the drum-beating. The Solwa comes from a particular hereditary clan believed to be the descendants of those who originally discovered the nong. On the first day of the festival, the Solwa performs a prayer over the drums, attaches three cone-shaped "nabphaanyak" to it, sprinkles rice grains, and chants: Chori-ko o, laangri-ko o Etey eh shing ta ewa a shing ta Tung wang phu o cham wang phu o This roughly translates to: "To mark the seasons 'Chori' and 'Laangri', this Mol is celebrated and the drum worshipped. My grandfather and father fixed this ritual. May the arum and paddy come to us." The Solwa then leads the Mol dance group, going around the village beating the drum, which others follow.
Yakri-Khab - The Wrist-Tying Ceremony On the third day, a ceremony called "Yakri-khab" is observed where maternal uncles tie a wrist band made of "rithing" bark on the left wrists of their nieces and nephews. They bless them to protect against "sok-a-wi" (illnesses occurring from seasonal changes). The ceremony also has a deeper meaning - in the past, the period between Moh-Mol and harvest was one of food scarcity for the poor who depended solely on agriculture. The uncles' blessings were meant to protect their kin from starvation. Similar 'hunger-banishing' symbolic rituals are observed in subtribes like Mossang and Kimsing.
Bidding Farewell to the Deceased - Uraang/Raang/Lenghog As Moh-Mol marks a new beginning, it is also an occasion to properly send off those who passed away in the previous year. In the Havi, Muklom and Jugli subtribes, elaborate farewell ceremonies like "Lenghog", "Raang" and "Boygjong" respectively are performed for the deceased by their families a few days prior to Moh-Mol. The rituals involve offering food, drinks and meat to the departed soul, hanging their belongings and skulls/tails of sacrificed animals in a temporary bamboo hut, emotionally reenacting the mourning, and finally cremating a lock of the deceased's hair that was preserved. This releases their soul to the afterlife and ends their connection to the living.
Roonhun Song - The Repository of Tangsa History and Culture
An integral part of Moh-Mol, especially for non-Pangwa Tangsa groups like Muklom, Havi, Longchang and Ponthai, is the singing of the "Roonhun" song by experts on the first two evenings. The Roonhun is an oral repository of Tangsa history, mythology, and culture. Sung in an ancient language different from the modern tongue and largely unintelligible to the common populace, it narrates the Tangsa cosmogony, evolution tales, the origin of humankind, the discovery of crops, the invention of traditional attires and ornaments, ancestral legends, and other etiological myths. Each entity mentioned is referred to by a specific esoteric name only known to the Roonwa (Roonhun expert). For example, in the Muklom Roonhun, the original discovery of the nong by the Rekhung ancestor is described. Stories like how God's sister turned into a human, married a mortal and later became an elephant; how the rice beer starter (pi-ru) was found in the wild; the acknowledgement of salt wells by non-tribals through Dongwa; two brothers trading boar teeth to cannibals; and many more are narrated poetically. The Roonhun song metaphorically speaks of a time when the realms of gods and men were closer before being separated. The Roonhun is not merely a form of entertainment but a sacred traditional knowledge system. In villages that celebrate Rom Mol, singing it on any day besides Moh-Mol is considered blasphemous. The experts say Roonhun is endless and cannot be completed even if sung continuously for two nights. It is an unbroken stream of knowledge that can go on as long as one's memory of the folklore persists. For the Pangwa sub-tribes, a similar traditional knowledge repository called "Sahwishey" is sung during their "Wihu Kuh" festival. ===The Festival Celebration=== On the Moh-Mol day, male and female artists adorn themselves in vibrant traditional costumes and ornaments. Carrying musical instruments like drums, gongs, and cymbals, they dance from one end of the village to another in a fixed pattern, usually circling the perimeter thrice. The rhythm of the drums, chimes of the gongs and jingles of cymbals blend to create a joyous, immersive atmosphere. The celebrations continue in the evening and throughout the night, where people of all ages, including the hosts and guests, don informal dresses and gather in one or two houses to perform community dances while the Roonwa and selected artists engage in singing the traditional Roonhun folksong. The singers display their knowledge of folklore and engage in playful singing competition, while the interested younger generation keenly listens, learning and inheriting the oral traditions in the process. The festival usually spans 4-5 days (duration varies between sub-tribes but is never less than 3 days). Different rituals and ceremonies are conducted on specific days, with the drum-beating and dancing performances being the highlights. Moh-Mol is also an occasion for relatives and friends from near and far to visit each other, gather together, exchange news, views, well-wishes and blessings, and simply revel in each other's company. The host village welcomes guests heartily, believing that a festival without ample guests is considered incomplete and unsuccessful.
Evolution and Current Status
The Moh-Mol has evolved over time, with some old practices fading away while some integral customs continue. Many traditional rituals have been abandoned due to the mass conversion of the Tangsa sub-tribes to Christianity, especially among the Pangwa group where nearly 99% have adopted the new faith which prohibits them from making traditional offerings and sacrifices to ancestral spirits. The high expenses involved have also caused some sub-tribes like Tikhak and Ponthai to simplify, clubbing different occasions into one celebration. Despite these changes, most sub-tribes strive to preserve the essence and spirit of Moh-Mol. The festival has now also acquired a new significance - that of displaying and celebrating a pan-Tangsa cultural identity. Since 1989, a unified "Tangsa Mol" is celebrated annually on April 25 in the parade grounds of Kharsang town, where all sub-tribes gather in their traditional finery to perform the Mol dances together. Similar unified celebrations also happen in major towns like Changlang, Miao and Nampong. Though these lack the spiritual rituals, they serve to showcase Tangsa unity. However, many Tangsa elders and cultural experts express concern that the core essence of Moh-Mol is fading, with the festival becoming more of a cultural performance than a spiritual and community experience as it used to be. They fear that the deep philosophies and traditional knowledge embedded in the festival may fade away if the younger generation does not participate in the full festivities and imbibe the semantic and sacred aspects.
Tangsa Community's Efforts to Preserve Moh-Mol
Recognizing the cultural significance and the risk of losing the essence of Moh-Mol, various Tangsa cultural organizations and community leaders are making efforts to preserve and promote the festival.
Documentation and Research One key initiative is the documentation of the festival's rituals, customs, folksongs, and folklore. Tangsa scholars, students, and enthusiasts are actively engaging in research to record the oral traditions associated with Moh-Mol. They are interviewing elders, Roonhun experts, and other cultural practitioners, and documenting the festival through videos, photographs, and detailed written accounts. Some researchers are focusing on deciphering and interpreting the esoteric Roonhun language, creating glossaries and translations to help the younger generation understand the profound meanings embedded in these ancient songs. Others are studying the symbolism and philosophy behind the various rituals and customs, providing insights into the Tangsa worldview and value system.
Cultural Education and Transmission To ensure that the younger generation continues to value and participate in Moh-Mol, community leaders are organizing cultural education programs. These include workshops where elders teach the youth the traditional songs, dances, and customs associated with the festival. Some villages have started "Roonhun Schools" where interested youngsters can learn the art of singing the Roonhun from the experts. Cultural competitions are also being held during Moh-Mol, where youth can showcase their skills in traditional music, dance, and folklore narration. These serve to encourage the younger generation to actively engage with their cultural heritage and take pride in it.
Community Engagement and Support Tangsa community organizations are working to mobilize resources and support to help villages organize Moh-Mol celebrations. They are creating funds to assist villages in procuring the necessary materials, costumes, and instruments, and to host community feasts. Some organizations are also working with local authorities to develop infrastructure in villages to facilitate the celebration of festivals like Moh-Mol. Community leaders are also encouraging Tangsas living outside their native villages to return home during Moh-Mol and participate in the celebrations. This helps to strengthen community bonds and allows the diaspora Tangsas to stay connected with their roots.
Promoting Cultural Tourism The Tangsa community is also exploring ways to promote Moh-Mol as a cultural tourism event. By inviting outsiders to witness and participate in the festival, they hope to create awareness and appreciation for Tangsa culture, while also generating economic opportunities for the community. However, they are cautious about maintaining the sanctity and authenticity of the festival, and are developing guidelines for respectful and sustainable cultural tourism. The focus is on creating immersive experiences that allow visitors to understand and appreciate the deeper significance of Moh-Mol, rather than just being spectators to the surface-level festivities.
Moh-Mol's Significance in the Larger Cultural Landscape
The Moh-Mol festival of the Tangsa tribe is not just significant for the community itself, but also holds importance in the larger cultural landscape of Arunachal Pradesh and the North East region of India. Arunachal Pradesh is home to 26 major tribes and over 100 sub-tribes, each with its own distinct cultural heritage. Festivals like Moh-Mol serve as important markers of this cultural diversity and richness. They offer a glimpse into the unique worldviews, value systems, and ways of life of the different tribal communities. Moreover, festivals like Moh-Mol also highlight the deep connection that tribal communities have with nature. The rituals and customs associated with agricultural cycles reflect an eco-centric worldview that sees humans as part of a larger ecosystem, dependent on and responsible towards the forces of nature. In an era of environmental crisis and climate change, these traditional knowledge systems hold valuable lessons for sustainable living. Moh-Mol, along with other tribal festivals of Arunachal Pradesh, is also significant from a national perspective. They showcase the cultural diversity that is the hallmark of India. The Indian constitution, under Article 29, grants all citizens the right to conserve their distinct language, script, and culture. Festivals like Moh-Mol are living embodiments of this constitutional principle. Furthermore, the North East region of India, of which Arunachal Pradesh is a part, has often been marginalized in the national discourse. Festivals like Moh-Mol provide an opportunity for the rest of the country to learn about and appreciate the rich cultural heritage of this region. They serve as a bridge for cultural understanding and integration.
Challenges and Way Forward
Despite its significance and the community's efforts to preserve it, the Moh-Mol festival faces several challenges. The primary challenge is that of cultural erosion due to modernization, urbanization, and the influence of external religions and value systems. As more and more Tangsa youth move out of their villages for education and employment, they risk losing touch with their cultural roots. Moreover, the oral nature of Tangsa tradition makes it vulnerable to being lost over generations. With the passing away of elders and cultural experts, there is a risk of the rich repository of folklore, songs, and rituals being forgotten. To address these challenges, a multi-pronged approach is needed. While the efforts of the Tangsa community to document, transmit, and promote their culture are laudable, they also need the support of the wider society and the state. The government, both at the state and central level, needs to create an enabling environment for the preservation and promotion of tribal cultures. This can include policies and programs for cultural documentation and research, support for cultural education and transmission initiatives, and the creation of platforms for cultural exchange and showcasing. Educational institutions also have a role to play. Schools and colleges in Arunachal Pradesh can integrate local cultural heritage into their curriculum, helping students understand and appreciate their roots. Research institutions can partner with tribal communities to study and document their culture in a collaborative and respectful manner. Media and civil society also need to be more proactive in highlighting the importance of festivals like Moh-Mol. By creating awareness and appreciation among the wider public, they can help create a social environment that values and supports cultural diversity. Ultimately, the future of Moh-Mol, and indeed of all tribal festivals, rests on the ability of the community to adapt to change while retaining the essence of their culture. It requires a delicate balance between tradition and modernity, between preservation and evolution. The Tangsa community's efforts to preserve and promote Moh-Mol offer a model for other tribal communities facing similar challenges. By taking pride in their heritage, actively engaging the youth, and reaching out to the wider society, they are ensuring that the rhythms of the nong and the melodies of the Roonhun will continue to resonate through the hills of Changlang for generations to come.
Conclusion
The Moh-Mol festival is a vibrant, multifaceted celebration that intertwines the agricultural, social, cultural, and spiritual life of the Tangsa tribe. Beyond the colorful song and dance, it is a sacred occasion for expressing gratitude to the forces of nature, remembering and revering the ancestors, reaffirming as well as transmitting ancient knowledge systems to the younger generation, and strengthening the bonds of kinship and community. It is a vital link that connects the Tangsa to their rich cultural heritage and roots. Though the festival has evolved with the changing socio-religious landscape, its essence as a marker of Tangsa identity continues to beat in the rhythms of the nong, the melody of the Roonhun, and the hearts of the people who gather to celebrate it every year. The Moh-Mol's future vitality rests in the collective willingness of the Tangsa community to preserve and pass on this integral cultural legacy to the future generations.
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