Draft:Sikpui Ruoi

Sikpui Ruoi Hmar Harvest Festival
Clockwise from the top: Sikpui Ruoi Sikpui Ruoi celebration at Muolhoi, Haflong, Assam, Sikpui Ruoi Hmar Cultural Dance known as Bamboo Dance, While Celebration of Sikpui Ruoi, Harvest Festival.
Also called	Harvest Festival, Kut Pui
Observed by	Hmar people all around the world
Type	Cultural
Significance	Marking the end of the Jhum cultivation month
Celebrations	Communal feasting, cultural dances, folk songs, prayers
Date	05th December (standardized modern date)
Frequency	Annual

Sikpui Ruoi (also spelled Sikpuiruoi) is the primary winter post-harvest festival of the Hmar people of Northeast India. Celebrated historically during the winter months after the completion of the harvest season, the festival serves as a thanksgiving, communal feast, and a means of preserving Hmar cultural heritage, social cohesion, and identity.^[1][2]

Etymology

The term Sikpui Ruoi is derived from the Hmar language: Sik meaning "winter", Pui meaning "great" or "grand", and Ruoi meaning "feast" or "festival", translating to "Great Winter Festival".^[1] Traditionally, the event was referred to as Sikpui Lam ("Sikpui Dance"), reflecting the central role of dance in the celebration; the suffix ruoi ("feast") was later emphasized to highlight the communal meal aspect of the gathering.^[1][3] Other Hmar scholars note that the ‘sikpui’ may have been derived from sik (“to harvest”), reflecting the festival’s harvest-rooted origin.^[4]

Historical Origins

Sikpui Ruoi has ancient roots in the agrarian history of the Hmar people. While there is no definitive historical record of its inception, researchers and Hmar scholars propose several migration-based theories regarding its origins:

• Shan State of Thailand (Siam): Some scholars, such as Darthangluoi Faihriem, suggest the festival dates back to approximately 900 AD, originating when the Hmars resided in the Shan State of Thailand after migrating from Sinlung (China).^[1]
• Shan State of Myanmar (Burma): Another prevailing theory links the festival's roots to the Shan State of Myanmar. Hmar folk songs, particularly the Hranglam (songs of heroes), and the mention of "Durlai" (an ancient Hmar village in Burma) in the Sikpui Hlapui lyrics, indicate a sojourn in this region. Given historical migration timelines placing the Hmars in Burma between 400 and 1100 AD, the festival likely originated before 1100 AD.^[1]
• Run and Tieu River Valley: A third view suggests the festival was observed while the Hmar ancestors lived between the Run and Tieu rivers (along the modern India-Myanmar border area), as reflected in local folk lyrics mentioning historical settlements like Sizawl, Kelchal, and Hmuifang.^[1]

In oral tradition, a notable historical milestone occurred in 1898 at Zopui Tlang (near Senvon in South Manipur), which serves as a point of reference for modern centenary reenactments.^[1][5] In its pre-Christian origins, the festival was a secular, agrarian thanksgiving celebration of health and prosperity that did not involve animal sacrifices.^[1]

Timing and Frequency

Historically, Sikpui Ruoi was not celebrated on a fixed annual date, nor was it held every year. Its timing was determined by the agricultural calendar and the economic state of the village:

• Year of Abundance (Fapang Ralinsan): The festival was only declared in years when there was a substantial surplus of the previous year's grain remaining in the granaries even after the new harvest had commenced. If a village suffered from famine, bad harvests, widespread illness, or bereavement during the year, the festival was postponed.^[1]
• Seasonal Timing: When celebrated, it typically occurred in the winter months of Mimtuk thla (December) or Tuolbuol thla (January), lasting anywhere from a fortnight to a month.^[1][6]
• Modern Standardization: In contemporary times, the festival has been standardized into a brief, scheduled event. Many districts and communities officially celebrate it on a fixed date, typically December 5 or mid-December.^[1][7]

Traditional Preparations and Rituals

Preparations for the festival traditionally began weeks in advance, requiring cooperation from the entire community:^[6]

• Sanction and Leadership: Once the village youth decided to organize the festival, they approached the village chief and council of elders to seek their permission and blessings. Upon approval, an efficient song leader called the Zaipu was chosen to direct the music and choreography.^[6]
• The Lawmlaisa: A pair of outstanding young people (a man and a woman) were appointed as Lawmlaisa. Their role was to extend invitations throughout the village and coordinate community participation.^[6]
• The Brew: Winnowed surplus grain from the previous year's harvest was distributed among households to brew Zu (rice beer) specifically for the communal feast.^[1][6]
• Khuongtuibur (Drum Dedication): A new drum was constructed for the festival. During the Khuongtuibur ceremony, a horn of a mithun was affixed to the drum, and Zu was poured over the horn and the instrument to dedicate it for the festival dances.^[6]
• Hringtlir: The youth cleared a flat field in the village for dancing. In the center of the clearing, they constructed a raised platform called the Hringtlir to seat the elderly, infirm, and physically challenged members of the community, enabling them to comfortably observe the festivities.^[6]
• The Code of Peace: Sikpui Ruoi was known as the "Feast of Peace". It was considered a severe taboo to participate in the festival while harboring enmities or grudges. Villagers were required to resolve all interpersonal conflicts and reconcile before the start of the festivities. The mutual holding of hands during the circle dances symbolized this truce and unity.^[1][6]

Traditional Attire

During the festival, participants wore their finest traditional regalia:^[6]

• Men's Attire: Successful hunters and distinguished warriors wore the Tawnlairang, a head-dress adorned with the plumes of the bird-of-paradise (known locally as the Vakul). They also wore colored turbans, while the elders wore plain white turbans.^[6]
• Women's Attire: Women dressed in Lungum wrap-around skirts and adorned their arms with brass bangles known as Harban and Chaupheng. They tied sashes around their waists to secure their skirts, leaving their hands free to link with other dancers.^[6]

Music and Dance

Music and traditional dances are the core elements of Sikpui Ruoi:

• Sikpui Hla (Folk Songs): The dances are accompanied by a cycle of traditional songs collectively called Sikpui Hla. The Sikpui Hlapui (Great Sikpui Song, also known as Hla Ser) is considered the most sacred. Traditionally, the general dancing could not begin until the Sikpui Hlapui was sung.^[1]
• Dances and Sequence:

1. Durte Lam: The opening dance, performed exclusively by the children of the village who danced in circles around the Zaipu and the drummer.^[6]
2. Intermediate Dances: Over the subsequent nights, other dances were performed randomly, including the Thlawran Lam, Lamtluong Lam, Ketek Lam, and Anranlai Lam.^[6]
3. Lamlaitan: Performed on the tenth night of the festival, this dance served as a transition that ushered in the final, highly energetic phases of the festival.^[6]
4. Simsak Lam (Palsawp Lam): A highly active and structured dance. Dancers were strictly prohibited from consuming Zu beforehand to ensure precision and coordination during its fast movements.^[6]
5. Zawlsuok: The final closing ceremony of the festival, where guests and members of neighboring villages were invited to join in the dancing. The officiating Lawmlaisa couple were traditionally prohibited from participating in this final dance.^[6]
6. Tinna Lam: The departure dance performed at the end of the Zawlsuok to mark the dispersion of the crowd to their respective homes.^[6]

• Instruments: Traditional accompaniment includes the Dar-bu (a set of tuned gongs), the Theihle (bamboo flute), and the Rawsem (a traditional wind instrument). Drums provide the primary rhythmic structure, led by a designated song leader called the Zaipu.^[1]

Impact of Christianity and Modern Evolution

The introduction of Christianity to the Hmar hills in 1910 initiated by Welsh missionary Watkin R. Roberts at Senvon, brought profound changes to the festival's practice:^[2]

• Initial Suppression: Early missionaries and native converts viewed traditional festivals as tightly bound to animism and pagan practices. Because the festival relied heavily on the consumption and social exchange of Zu (rice beer), converts were strongly discouraged from participating. Consequently, Sikpui Ruoi fell into near-complete disuse for several decades.^[2]
• Socio-Economic Shift: The enforcement of temperance and the prohibition of Zu diverted surplus rice and grain from brewing back into family food supplies, contributing to local economic stability.^[2]
• Cultural Revival: In the post-independence era, there was an active movement led by Hmar student unions (such as the Hmar Students' Association, founded in 1939) and civic bodies (like the Hmar Inpui) to revive the festival as a secular celebration of Hmar heritage.^[2]
• Modern Adaptation: Today, Sikpui Ruoi is celebrated in a refined, syncretic format. Modern church leaders approve of the festival as a demonstration of cultural identity. Zu has been replaced by Thingpui (tea) as the primary social drink, and contemporary events often open with Christian prayers and sermons before transitioning to traditional dances and singing.^[2][6]

The Sikpui Flag

The official cultural flag associated with the festival was designed by Rev. Dr. Hrilrokhum Thiek to symbolize the values and modern identity of the Hmar people:^[8]

• White: Symbolizes purity, holiness, and sincerity.
• Red: Represents life, love, and communal unity.
• Green: Signifies progress and growth.
• Blue: Stands for prosperity, development, and divine providence.
• The Cross on the Bible: Represents the Christian faith of the modern Hmar community, emphasizing humility and sacrifice.
• The Bundle of Sheaves: Represents gratitude for a bountiful harvest.
• The Drums and Mithun Horns: Symbolize music, joy, and the preservation of traditional Hmar culture.

The Sikpui Song

The lyrics of the Sikpui Hlapui are preserved in both the original Hmar language and English translation:

References