1. The Lepchas are the one and only indigenous race of the Darjeeling District, Sikkim, and Illam Himalayas. They call themselves ‘Mutanchi Rong Kup Rum Kup’ meaning the ‘Beloved Children of Mother Nature and God’ in Lepcha. The name ‘Lepcha’ used today is, perhaps, derived from a Lepcha word, Lapchao, meaning a resting or waiting a place on the waysideor a place on thewayside where stones are heaped up as sign post to direct travellers. When the Nepalese first arrived in the Lepcha land and enquired about their identity at such a waiting place, the Rong people not knowing what the Nepalese were enquiring, replied that it is ‘Lapchao’ guessing that they were asking the name of the place. Unable to pronounce the name, ‘Lapchao’ correctly, the Nepalese addressed the ‘Rong’ folk as ‘Lapcha’ and later ‘Lapche’. When the British finally arrived in the Lepcha land, they, in turn, anglisized it to ‘Lepcha’. The name ‘Lapcha’, is still being applied in Illam, Nepal. The Rong people never address among themselves as ‘Lepcha’; they address themselves as ‘Mutanchi’ or simply ‘Rong’ with pride.
2. The Lepcha language is a very rich language with its own independent, unique and sophisticated script and literature. Lieutenant General G.B.Mainwaring, Bengal Staff Corps, the one and only westerner who thoroughly mastered the Lepcha language and, to this day, remains unsurpassed and supreme amongst foreigners on the Lepcha language and literature, in his Preface and Introduction and Remarks of ‘A Grammar of the Rong (Lepcha) Language’ in 1876 he wrote -
“Of the Lepcha language, I cannot speak too highly. The simple and primitive state in which the Lepchas lived is admirably shown by it. Their peaceful and gentle character is evinced by their numerous terms of tenderness and compassion, and by the fact that not one word of abuse exists in their language. Nevertheless, the language itself is most copious, abounding in synonyms and possessing words to express every slightest change, every varying shade of meaning, it admits of a flow and power of speech which is wonderful, and which renders it capable of giving expression to the highest degree of eloquence. The language also attests the astonishing knowledge possessed by the Lepchas. Of all the inconceivable diversity of trees with which the hills and dales are covered; of all the almost incalculable variety of plants and flowers with which the forests are filled; the Lepchas can tell you the names of all; they can distinguish at a glance the difference in the species of each genus of plants, which would require the skill of a practised botanist to perceive, and this information and nomenclature extends to beasts, to birds, to insects and to everything around them; animate or inanimate; without instructions, they seem to acquire their knowledge by institution alone.
It is impossible that a people with a language so comprehensive, with manners, though primitive, so superior, as to entitle them to rank high among civilised nations, could be engendered amidst the wild and vastness of the Himalayas. They retained, in so marked a degree, all the simple ways and habits of the partriarchs of old, as to lead to the conclusion, that they must have remained isolated ever since such customs were in vogue.
The Lepcha Language is a monosyllabic and di-syllabic one and is unquestionably a very ancient language. It is preeminently an Ursprache, being probably, and I think, I may, without fear of mis-representation, state it to be, the oldest language in existence. It is a most comprehensive and beautiful one, and regarded alone, as a prolific source of derivations and etyma of words; it is invaluable to the philological world. It, however, recommends itself to us on higher grounds; it possesses and plainly evinces the principle and motive on which all language is constructed’.
3. It is to be noted that the Lepcha language was the official language of the Darjeeling District until 1911.
4. The Lepcha language is recognised in India as a tribal language.
5. The Lepcha language is introduced in Sikkim since 1975. It is taught from Primary to Secondary to Degree levels in Sikkim. The Lepcha children in Sikkim are doing extremely well in their academic and educational field through their mother language, Lepcha.
6. The Lepcha language is not introduced repeat not introduced in the Darjeeling District, West Bengal, as yet. As a result the Lepcha children in the Darjeeling District, West Bengal, are very much lagging behind. They are forced to study in alien languages. Because of this, the number and rate of Lepcha student ‘DROP OUTS’ from the schools is staggering. The socio-economic and political condition of the original indigenous Lepcha tribes of the Darjeeling District, West Bengal, have not changed for the better at all even in the 21st Century. Only through their mother tongue and quality education, the Lepcha children in remote Darjeeling Hills, can be integrated into the main stream. There is no other way round.
7. The Government of West Bengal and the Central Government of India have introduced various languages like Nepali, Tibetan, Zongkha, Bengali, Hindi and others in the Darjeeling Hills but it is very sad and unfortunate that the Lepcha language have been set aside, totally ingored, ill-treated and left to die an unnatural death in the Darjeeling District, West Bengal.
8. Undeterred the Indigenous Lepcha Tribal Association, Headquarters Kalimpong, is working day and night for the preservation, maintenance, safeguard and development of the Lepcha language, literature and culture and to bring awareness on quality education among the indigenous Lepcha tribes in the Darjeeling Hills. Some of the tangible work the Association have done with outstanding results are:
a. There are 40 (forty) Lepcha Night Schools voluntarily very successfully being run by the Indigenous Lepcha Tribal Association, Headquarters Kalimpong, and its various branches in the Darjeeling Hills. The Lepcha language, literature and culture are taught to the Lepcha children in the schools. Additional English language and in few schools some Hindi, the national language, are also being taught.
b. The Indigenous Lepcha Tribal Association, Headquarters Kalimpong, have prepared and published the necessary Lepcha text books including a huge Lepcha-English Encyclopaedic Dictionary for the Lepcha children/students from Primary to Higher Secondary Education. Lepcha text books for the degree level are also being prepared by the Association. A few overseas charitable organisations from England, Germany and New Zealand are helping us to publish books in Lepcha language. The Central Institute of Indian Languages, Mysore, Government of India, is also helping us to safeguard the Lepcha language and literature through various projects.
c. Expert Lepcha Language Teachers are also available. Teachers Training in the methods, skills and techniques of good instruction are also being given to the Lepcha Language Teachers. An English lady, expert and professional in conducting and teaching the teachers in the methods, skills and techniques of instruction, will be arriving from England in October 2009 to train the Lepcha Language Teachers in Kalimpong. This is being arranged and organised by the Indigenous Lepcha Tribal Association, Headquarters Kalimpong, in collaborating with M. Way Charitable Trust, UK.
d. The Indigenous Lepcha Tribal Association, Headquarters Kalimpong, have established a ‘Lepcha Language and Literary Award’ for the conservation, safeguard and fostering of the Lepcha language, literature and culture since 1996. It carries a citation, and a cash prize of 16,000.00 (sixteen thousand) rupees. It is given annually to one of the best, deserving Lepcha Night Schools or a person who have contributed enormously for the development of the Lepcha language and literature. The award gives a tremendous boost to the morale of the Lepcha Language Teachers, students, parents, guardians, villagers.
e. Publication of Lepcha books including novels, poetry, drama, prose, journals, magazines etc. using the font prepared and provided by the Ecological Linguistics, Washington D.C., United States of America, is helping us to safeguard the ancient Lepcha language, literature and culture in the Darjeeling Hills, West Bengel.
f.Translation Work in Lepcha
Translation from Tibetan Buddhist Text Book into Lepcha
To attract the simple, original, indigenous Lepchas and convert them into Lamaism, the Tibetan Buddhist text books were translated into Lepcha in the 17th Century. The Lepcha manuscripts known as ‘Naamtho-Naamthaar’ meaning’ record and refined literary tradition’ in Lepcha, are to be found in the Van Manen Collection, Kern Institute of Leiden University, Netherland, in hundreds and other lesser known institutes in Europe.
Largest number of these Lepcha manuscripts are in possession with the Lepcha traditionalists in the Darjeeling Hills, West Bengal. The Indigenous Lepcha Tribal Association, Headquarters Kalimpong, on request from the ‘National Mission for Manuscripts, Ministry of Culture, Government of India, collected and catalogued 227 (two hundred and twenty seven) Lepcha manuscripts from the vicinity of Kalimpong town alone and sent the data on 31 May 2007 to the National Mission for Manuscripts, Culture Department, Government of India.
Translation of Bible into Lepcha
St. Mathew’s Gospel was translated into Lepcha and published in 1845. The Book of Genesis and part of Exodus was translated and published in 1849. This was the beginning of an era in Lepcha printed book production. The Baptist Mission Press, Calcutta, carried out the publication to lure and convert the simple Lepchas into Christianity.
Official Documents in Lepcha
Lepcha was the ‘official language’ in the Darjeeling District until 1911. The main documents written in Lepcha like the ‘Deed of Grant of Darjeeling 1935’ was translated to Hindustani. ‘Proclamation of 1838’ by Colonel Lloyd on the land taxation in the Lepcha language was translated into Persian, the diplomatic language of the Mongul Empire (1526-1857), Hindustani and Bengali.
You will also find the translation work of Lepcha in the ‘Linguistic Survey of India’ published in 1909 form Lepcha into English.
Some of the Lepcha manuscripts (Tibetan Buddhist Text Books in Lepcha) have been translated from Lepcha into English by the Indigenous Lepcha Tribal Association, Headquarters Kalimpong, way back in early 1990s but these translation work in English remain unpublished owing to the dearth of funds.
A few books have been translated from other language into Lepcha and vice versa as follows:
Gurudev Rabindranath Tagore’s Gitanjali into Lepcha - March 2006.
Introduction to the Indigenous Lepcha tribes - From Lepcha into Hindi - November 2005
Lepcha Folklore and Folk Songs - Into Bengali (translation work has directly been completed and it will come out in this financial year. Translation is done by Sahitya Akademi, Eastern Region, and Jadavpur University in collaboration with the Indigenous Lepcha Tribal Association, Headquarters, Kalimpong).
Hindi- English- Lepcha Dictionary
It is being compiled under the guidance of Dr C. V. Shivaramakrishna of Central Institute of Indian Languages, Human Resource Development, Government of India, in collaboration with the Indigenous Lepcha Tribal Association. We hope to bring this monumental dictionary by the end of 2010. We also hope to do more translation work from Lepcha into Hindi and vice versa with the help of this Hindi-English-Lepcha Dictionary in the future.
More translation work from Lepcha into other regional languages and vice versa needs to be carried out for the understanding of the original indigenous Lepcha tribes of the north-east Himalayan region.
g. The Association has opened a Primary School with 61 children at Doring, a very remote village in Kalimpong. There is no road, no electricity, no health centre, no clean drinking water facilities. There is one Government Primary School 3 (three) Kms away. It is not possible for small children to walk 6 (six) Kms to and fro through difficult terrain and woodland to attend this Government Primary School each day, therefore, the Indigenous Lepcha Tribal Association, Headquarters Kalimpong, has helped to open this private primary school. The name of the school is ‘Pano Gaeboo Achyok Primary School’, named after the last Lepcha King of Damsang. He was born in this particular village (1731-1781). There are four untrained but very dedicated teachers. We give each of them Rs. 650.00 (Rupees six hundred and fifty) only per month. The school was established on 21 June 1991. The Lepcha language is taught as a subject in the school. The ‘Pano Gaeboo Achyok Primary School’ needs to be recognised by the Education Department, Government of West Bengal.
h. This Association is also assisting the St Joseph’s School, Git-Dabling, Kalimpong. It is also situated in a remote area. 80% of the students are Lepchas. The school has introduced the Lepcha language as a subject. St Joseph’s School, Git-Dabling, is also a private Secondary School run by the Catholic Missionary organisation. The Lepcha children are doing extremely well in this school. It has to be recognised by the Education Department, Government of West Bengal, if the original indigenous Lepcha tribes are to progress and advance towards a better future and life in this area.
9. ‘Safeguard’, the word, is defined as a law, rule that is intended to prevent something or someone from being harmed or destroyed. Safeguard of minor languages in India, is enshrined in the Constitution of India, Articles 29, 30, 350A, ‘Tribal Policy’ introduced by the Ministry of Tribal Affairs, Government of India, for tribal languages. We also read about the safegaurds of Unscheduled Languages in various Political Parties manifestos. The Governments and institutions are preaching, all over India, that mother tongue for the linguistic minorities should be nay must be introduced in schools and taught; Viswa Kavee Rabindranath Tagore has aptly said, ‘Matri Basha, Matri Dudha’; it has become a famous quotation in the world. But all these remain confined to the big conferences, seminars, workshops, meetings, documentary films, Parliaments, Ministries and Education departments for discussions and talks. Nothing has moved; probably one indigenous language is vanishing and dying out each year. It is really sad. The indigenous Lepcha tribal community say, ‘Practice what you preach’; come visits us and see the ground reality with your own eyes and take the necessary action, only than a vey rich and ancient language like ‘Lepcha’ will survive and flourish in India. Let the linguistic minority people also live with dignity and honour in India.
10. The Indigenous Lepcha Tribal Association, Headquarters Kalimpong, rightfully demand that the Government of West Bengal introduce the Lepcha language in the Primary and Secondary schools as a ‘SUBJECT’ only for the Lepcha children in the Darjeeling District, West Bengal, with immediate effect. For your information, DGHC, the Local Government in Darjeeling, have already highly recommended to the Education Department, Government of West Bengal, to introduce the Lepcha language in Primary and Secondary schools in the Darjeeling Hills.
LYANGSONG TAMSANG LEPCHA,
President,
Indigenous Lepcha Tribal Association,
Headquarters Kalimpong,
Lower Bom,
P. O. Kalimpong-734 301,
Darjeeling,
West Bengal.
Wednesday, June 30, 2010
Tuesday, June 29, 2010
BLOOD TREATY OF SIKKIM
: SOME COMMENTS
Dr. D.C.Roy.
Blood Brotherhood Treaty or popularly known as Blood Treaty (the only one of such kind in Sikkim) is no more a folktale of the Lepchas but is widely recognized as a historical fact by the writers, scholars, researchers, academicians, Government of Sikkim and even the common people of the State. All those who are interested about the people and the land in Eastern Himalayan region, accepted the Treaty as the turning point in the ethno-political situation of the region.
Sources of Blood Treaty can be categorized into two: historical writings and folktales. In the first group, Maharaja Thutop Namgyal, the ninth Chyogal of Sikkim, is the leader followed by J.C.White (1909), H.H.Risley (1928), Chi Nakane (1966), A.K.Das (1978), S.W.Lepcha (1979), B.S.Das (2002), P. Wanchuk (2007), J.Bentley (2007), J.R.Subba (2008), and others. The lead writers in the second group remained C.De. B. Stock (1925) who is followed by K.P.Tamsang (1983), A.R.Foning (1987), L.S.Tamsang (2004) and a large number of common Lepchas of Sikkim and Darjeeling.
Except some minor differences, most of the writers narrated almost the same story about the Blood Treaty of Sikkim. Let us quote Maharaja Thutop Namgyal’s History of Sikkim which is authentic and widely used by most of the later writers.
“An eternal friendship was made between Gyad-hBum-gSags and The-kong Tek. They agreed by this that all the males should be considered to be related to the sons and all the females of the daughters. This friendship was cemented by a ceremony at which several animals, both domestic and wild were sacrificed and all the local deities invoked to bear witness to this solemn contact of friendship, binding the Lepchas and Bhuteas in an inseparable bond. They sat together on the raw hides of the animals, entwined the entrails around their persons, and put their feet together in a vessel filled with blood; thus swearing the blood troth to each other. The-kong Tek invoking all the Sikkim local spirits, asked them to stand witness to this solemn contact, invoking blessings on those who observed these faithfully, and curses on those who broke this eternal hereditary and national contact between the two races. Thenceforth the Lepchas gradually came under the influence of the strangers”
It is unanimously agreed by different scholars and writers that there was a Treaty known as Blood Treaty between the Lepchas and Tibetans in 13th century in Sikkim but on a number of issues there are some contradictions, irregularities and anomalies within themselves. An attempt has been made in this section to assess and analyze the apparent contradiction so as to arrive at a reasonable and acceptable solution. But while doing so we should keep in mind that the socio-political condition during the period of Treaty was sharply different than those of the present day. The Treaty has been judged on the basis of the environment of that period and mental, social, cultural and economic condition of the people during those days.
1. The Blood Treaty is no more a folktale of the Lepchas and Tibetans but it has become a Historical phenomenon of Sikkim. It actually got a new dimension and become authentic since Maharaja Thutob Namgyal mentioned it in his History of Sikkim in 1908. All later writers either use Maharaja as their source of reference or depend on Lepcha folktales. The Government of Sikkim also accepted and honours it. All the sources narrated almost the same story and thus have given a historical touch of the Treaty. There is unanimity that the Treaty was made sometime in 13th century. But there is no prove that it was observed in the year 1275 as mentioned by J.R.Subba. In fact, during those periods there was no system of recording any events hence it would not be wise to say any specific year.
2. The Blood Brotherhood Treaty was ceremonialised at Kabi Longtsok, nearly twenty km North-West of Gangtok, the capital of present Sikkim. At Kabi, even today, one can find some upright stones known as Longtsok in Lepcha, witnessing the mark of the Treaty. It is to remember that in Lepcha culture stones are erected to worship God or appeasing the devils and demons. Lepchas assemble at Kabi twice a year to worship. Kabi, thus, is not a sacred grove but a Historical place where the Treaty was made. Due to its historical importance and significance it eventually became a sacred and holy place to the Lepchas in particular and to the people of Sikkim in general.
3. The Treaty was never signed between the two parties. In fact it was not a Treaty in the modern sense of the term but was simply an Oath Taking Agreement between the two communities. It was a sort of agreement or understanding by which both the communnities thenceforth started living together in the region as brothers and sisters. There were perhaps no alphabets and any sort of study materials available in this part of the country to write and document the Treaty. So expectation of any sort of writtem document with proper signature of the authorized persons with dates and seals etc may be an exaggeration.
4. Appearently it is difficult to conceive why it is termed or named as Blood Treaty. But if we consider it from the religious belief perspectives of the Lepchas where animal blood is commonly and frequently use, the Treaty appears to be rightly termed or named. The nature worshippers, the Lepchas invoke the bad spirits by sacrificing birds, fowls, animals etc. but surprisingly the Tibetans were the Buddhists and sacrificing animals is a taboo to them. But the joy and pleasure of double gift, blessing for getting a son and permission to use the land, might have concealed the Tibetans and Buddhists even to forgo their religious purity and sanctity. The Treaty was proposed by the Lepchas and it may have been ceremonialised as per the Lepcha style, tradition and culture. Thikong Tek being a Boongthing by himself may have performed the duty of the priest and prescribed the sacrifice of animals as per Lepcha beliefs. It is allso reported by some writers that animal hides were used to sit and legs of both the personalities were kept in a vessel filled with blood. Use of animal blood in the ceremony might have provoked to name the Treaty as Blood Treaty. There may be another reason in the mind of the great prophet. By agreeing the Treaty Thikong Tek might have succeeded in avoiding havoc blood-shed or war between the two communities in future.
5. There is no evidence whatsoever of any immediate impact of the Treaty either as mass support or any sort of opposition from any corner. In fact, it was just an accidental and incidental without any pre-planned activities behind it. The individual agreement ultimately turned as community affair without properly involving them all. Both the communities accepted the agreement as divinely gifted and wish of the Almighty. There was no immediate impact of the Treaty on any party and it took more than three hundred years for the installation of the first Tibetan king in Sikkim.
6. The two persons involved in the Treaty were spelled differently by the different authors and writers. Thikong Tek has been spelled as: Thekong Tek (Maharaja, Datta, Roy, Fonning, Wangchuk); Tikung-tek (Stocks, K.P.Tamsang); Thi-kung-tek (Das); Thi-kung-Tek (Soman, Govt of Sikkim); Tekong-tek (Joshi); Thekung Tek (Subba, Govt of Sikkim); Thikoong Tek (L.S.Tamsang). Similarly Khye Bumsa also spelled differently as: Khye-Bumsu (White); Gyad-hBum-gSags (Maharaja); Jo-khye-bumen (Stock); Khye-Bumsa (Risley, Sonam, Datta Roy, Fonning, Wangchuk Govt of Sikkim, L.S.Tamsang); Khey-Bumsa (K.P.Tamsang); Khye-bum-sa (Joshi, Govt of Sikkim and Subba). We are also not sure which spellings are the correct ones. In spite of all these differences in spelling, it might be accepted that all the writers referred to the same two individuals connected with the Treaty.
7. Two versions are available on the period of agreement: some say that it was agreed during the first visit of Khye Bumsa with Thikong Tek while others opined that it was made during the second visit probably at least five years after their first visit. It has been recorded that Khye Bumsa was advised to visit Thikong Tek to fulfill his personal desire of getting the blessing of the later for a son. Some mentioned that the Treaty was singed during this visit while others mentioned that it was signed during their second visit. It appeared that the Treaty was offered and proposed by Thikong Tek and finding no loss, Khye Bumsa accepted it on behalf of his community. It becomes ultimately a blessing in disguise to the descendants of Khye Bumsa i.e. the Tibetans and curse to the descendants of Thikong Tek i.e. the Lepchas. There was a double gain on the part of the Tibetans. Khye Bumsa got three sons and his descendants became the rulers and ruled the country for more than three hundred years.
8. The Treaty was not initiated to solve any sort of problem or conflict between the two communities at any matter. As such during those periods there was no problem whatsoever and hence no apparent reasons behind coming out with any kind of Treaty. The only thing which motivated Thikong Tek was his apprehension that the third son of Khye Bumsa was a lucky one and possessed the sign of becoming the ruler of the region and the Lepchas. In order to avoid any confrontation in the future, Thikong Tek attempted to protect the future of the Lepchas by making a Treaty well in advance.
9. Normally in any Treaty the advantageous party keep upper hand and formulates the terms and conditions in their favour while the opponents being at disadvantageous position are in the weaker side. Here the advantageous party, the Lepchas, surrendered themselves voluntarily and completely and welcomed the opponent, the Tibetans, only out of their future apprehension of being ruled by the later. The surrender was voluntary and the second party being ignorant about the forecast might have been at a loss in finding such an offer. The Treaty was one sided affair and the other party was just a part of the same and had no such active role in its formation but was benefited after its implementation. The Treaty is quite unnatural and unjust in the modern perspective but to a simple society the saying of a prophet is well received and regarded by all.
10. The Treaty was agreed between two individuals, Thikong Tek and Khye Bumsa on behalf of the two communities, Lepchas and Tibitans. But there was no record whatsoever that these two persons were the true representatives of their respective communities. Thikong Tek was differently introduced as Divine Origin (Maharaja, Stocaks, Joshi); Spiritual Leader (S.W.Lepcha); Chief of the Lepcha (Datta Roy); Head of Lepchas (Risley, Subba); First King (Das); Chief Priest (Sikkim Govt) etc. Anyway, all have recognized him as Boongthing, Lepcha priest, of high standard, Khye Bumsa, on the other hand, was acquainted to all as a man of extra ordinary physical strength (stronger than 10,000 men). In fact, the Treaty was agreed between a divinely empowered priest and a super physical empowered person. It is to note that during those periods there was no concept of king or monarch in this part of the country. But there might be some chieftains among small group of a community living within small geographical area. They, like ‘Band’, used to move together from one place to another and to protect them from both animal and enemy made some one as their leader. So neither Thikong Tek nor Khye Bumsa was the leader of their respective but they might be the chieftains of their respective community in local areas.
11. Witness is not only an essential component but is very vital for implementation of a treaty.The validity and authenticity of any treaty can be judged on the basis of the weight of the witness. In case of Blood Treaty of Sikkim, there is no individual person who was taken as eye-witness and the whole thing was solemnized in the true Lepcha tradition. Lepchas believe that their primogenitors, Fodongthing and Nazaong Nyoo, were created out of virgin snow of Mount Kanchanjunga by the God himself. They believe that Kanchanjunga is the most sacred; their soul returns back to the lap of the mountain after their death. In the Blood Treaty the holy Mountain Kanchanjunga was invoked and was kept the main witness. Along with other natural elements surrounting the place, all the powerful spirits and the local deities were invoked to hear the witness. The Treaty is an Oath Taking Agreement which was perfformed as per true Lepcha religious convention. Instead of any eye-witness, there exists some religious witness in the Blood Treaty. The Treaty in all respect is linked with Lepcha religious and spiritual belief perspective and should be judged not from the angle of modern concepts of law, rule, decree or any such political terms.
12. It is true that the Treaty was the beginning of the end for the Lepchas of Maayel Lyaang. Apparently it is surprising how and why a divinely ordained priest invited the foreigners to rule his fellow tribes without being attacked or otherwise attempted to do so. It might have been thought by some that Thikong Tek being a divinely pariest should have taken any other alternate measures suitable for the community and thereby saved them from the probable danger. But one should remember that Thikong Tek was a heavenly personality and he might have foreseen the possible outcomes which otherwise might have been more dangerous and risky than the one he had chosen.
13. To mark the agreement historic, to honour the personalities involved and to maintain the sanctity of the place, the Government of Sikkim protected and preserved Kabi Longtsok, the place where the Blood Treaty was consecrated, under the Government of Sikkim notification No.701/Homes/2001. Nine stones were erected at the time of agreement in presence of Thikong Tek and Khye Bumsa as per typical Lepcha tradition and custom. These stones stand till date and the Lepchas assemble there twice a year in large number to worship. Very recently the Government of Sikkim has constructed the statues of three personalities involved in the Treaty at Kabi Longtsok. They are : Thikong Tek, his wife Nyookoong Ngaal and Khye Bumsa. Khye Bumsa is seen in the kneeling position either begging or accepting something by spreading his right hand while Thikong Tek is seen to bless him by raising his right hand. Nyookoong Ngaal is witnessing the matter by standing behind and touching Thikong Tek at his back. All of them are dressed in their respective traditional costumes. Both the Lepchas are bare footed indicating that they are the aboriginals of the place and did not cover long distance for the meeting while Khye Bumsa is wearing high shoes indicating that he has covered a long distance. His left index finger is pointing towards the north symbolizing that he has come from Tibet which is beyond the Himalayas in the north with the hope of getting the blessing of son. Thikong Tek seem to be older than Khye Bumsa and is seen to be leaning towards Khye Bumsa as if he is consoling Khye Bumsa by giving the blessing that there is nothing to be worried. The same type of status is also placed in the heart of Gangtok town.
The Treaty may raise many other questions which are apparently confusing and difficult to answer logically. The only consolation for the Lepchas is that they are the aboriginals of the region with divinely origin. Thikong Tek being a divinely ordained priest could foresee the future of Lepchas and did the best possible alternate for them. Most of forecasts of the prophet have come true in the later periods. In the process he might have been seen the possible destroyer and present decaying phase of the community also. Although it apparently appears that no attempts have been made to save the community from the danger but as a prophet he might have been made to save the community from the danger but as a prophet he might have seen the other more dangerous possibilities and thereby saved them from complete destruction of the community. One should remember that during that period Mongol empires were expanding their territory in this part of the country and it is told that Kublai Khan had already reached some parts of the Himalayan region. This might had been one of the reasons behind the instant Oath Taking Treaty with the Tibetans so that a joint protest could be arranged to protect the region and the communities from outside attack.
Monday, June 28, 2010
RHYTHMIC TONES IN READING LEPCHA MANUSCRIPTS, NAAMTHAAR
‘NAAMTHO-NAAMTHAAR’
THE LEPCHA MANUSCRIPTS
The Lepcha manuscripts are called ‘Naamtho-Naamthaar’ in Lepcha. Here ‘Naam’ means a year and ‘tho’ means registration of records. ‘Aakep’, a companion word in Lepcha, is often used in the Lepcha language to beautify their expression; therefore, the word, ‘Naamthaar’, is derived from two syllabic sounds, ‘Naam’, again, meaning a year and ‘thaar’ means to cut a bamboo cylinder or wood slantingly, to sharpen and beautify it. Metaphoricllly, ‘Naamtho-Naamthaar’ can be defined as a record and refined literary tradition of the Lepchas. Some of the ‘Naamtho-Naamthaar’ are holy to the Lepchas.
Most scholars and linguists who have done some research work on the Lepcha manuscripts, ‘Naamtho-Naamthaar’, harp the same tune that ‘Naamtho-Naamthaar’ are but translation work from the Tibetan Buddhist text books into Lepcha. Yes, there are many Tibetan Buddhist text books which are translated into Lepcha but we must also know and understand that there are also ‘Naamtho-Naamthaar’, Lepcha manuscripts, that are purely based on the Lepcha subjects, topics and issues. These kind of Lepcha manuscripts are mainly found in Damsang Lyang i. e today’s Kalimpong Sub-Division, West Bengal. Lieutenant General G. B. Mainwaring has very aptly remarked that the Lepcha manuscsripts existed before the arrival of the Tibetans into the Lepcha land and the Tibetans collected and destroyed the manuscripts of the Lepchas; and translated into Lepcha parts of their own mythological works, in his famous book, A Grammar of the Rong (Lepcha) Language, as it exits in the Dorjeling and Sikkim Hills, Calcutta, 1876.
The Lepcha manuscripts, Naamtho-Naamthaar, can be divided into two main categories and they are:
1. Lepcha manuscripts purely based on the original Lepcha subjects, topics and isssues.
2. Lepcha manuscripts purely based on the translation work from Tibetan Buddhist text books into Lepcha.
LEPCHA MANUSCRIPTS PURELY BASED ON THE
ORIGINAL LEPCHA SUBJECTS, TOPICS AND ISSUES
The Lepchas firmly believe that it was Mun Salong, a Lepcha scholar, adventurer and ‘Boongthing’, a great Lepcha priest, who invented the Lepcha alphabets and scripts and compiled the ‘Lazaong’. What is Lazaong? Lazaong, literally, means a
syllabic scheme. ‘Lazaong’ is strictly based on the fundamental principles of the traditional Lepcha language structure and not based upon the Latin Grammar as is the case with numerous other languages of the world. It can also be described as the ‘Power of Words’.
‘Lazaong’ has the following features and characteristics:
a. It is the Lepcha alphabetical primer.
b. It is a book of syllabic scheme of forming mono-syllabic words; a work book having each syllable pronounced with distinct and correct stress, sound, tune, voice and uniformity. It is a book of ‘tongue twister’ also.
c. It is a Lepcha primer of phonetics pertaining to speech sound and their production and phonetic spelling of words.
d. It is a book of Lepcha glossary, lexicons and a list of words in alphabetical order.
e. ‘Lazaong’ is a book of Lepchas’ weapon of speech; it gives fluency, force and rhythm in Lepcha speech.
From the letter ‘K’ alone, the Lepchas produce 540 (five hundred and forty) different sounds and words which can be perfectly used in sentences to express one’s thoughts. If we carry on with other Consonants, Conjuct Consonants, Vowels, Diacritic marks, signs and symbols, it will give us 6,660 (Six thousand six hundred and sixty) words from this ‘Lazaong’ alone and which can be used in the Lepcha language. ‘Lazaong’ is very systematic, scientific and exhaustive.
‘Lazaong’ is the most wonderful, invaluable, unique and rare, ‘Naamtho-Naamthaar’ of the Lepchas. To master the Lepcha language and literature, ‘Lazaong’ is a must.
‘Lazaong’ is found both in the manuscript and printed forms today. The Lepcha children study ‘Lazaong’ in their Lepcha Night Schools and homes in the remote Lepcha villages in the Darjeeling Hills. ‘Lazaong’ is a compulsory elementary book for them.
Another original Lepcha manuscript which may be of some interest to you is called ‘Nyung Yung Mun’ or ‘Nyoolik Nyoosong Mun’. It deals with the origin of Lepcha ‘Mun’, priestess, and the origin of ‘Chyee’ Lepcha fermented beer.
Mother Nature. The Indigenous Lepchas are basically nature lovers and worshippers, therefore, they are in possession of the following books:
a) Chyoo Rum Faat- Prayers and offerings to Kingtsoomzaongboo i.e. Mt. Kanchanjanga, their Guardian Deity and other important mountains found in the Sikkim Himalayas.
b) Lyang Rum Faat- Prayers and offerings to mother earth and soil.
c) Tungrong Hlo Rum Faat- Prayers and offerings to Mt. Tungrong now known as Mt. Tendong.
d) Sakyoo Rum Faat- Prayers and offerings to ‘Mayel Kyong’ and the seven immortal Lepcha couples who live in this paradise somewhere at the head of ‘Faokraam-Takraam’ now called Dzongu in north Sikkim.
e) Muk Zek Ding Rum Faat- Prayers and offerings to Mother Nature. It deals with ecology, environment and surroundings. It also speaks about the sun, air, rain, water, mountains, soil, earth, fishes, reptiles, insects, bees and birds, trees, bushes, shrubs, wild edible vegetables, flowers, fruits and roots etc. that are found in Mayel Lyang.
f) Tungbong Faat- It deals with birth, naming and weaning ceremonies.
g) Nyoo Thing Laom From - It deals with burial and death ceremonies.
There are other Lepcha manuscripts based on Lepcha subjects and topics which it is not possible for me to include in this short article.
TRANSLATION WORK FROM TIBETAN BUDDHIST TEXT
BOOKS INTO LEPCHA
To attract the simple Lepchas and convert them into Lamaism, the Tibetan Buddhist text books were translated into Lepcha in the 17th Century. These Lepcha manuscripts are to be found in the Van Manen Collection, Kern Institute of Leiden University, Neitherland, in hundreds, some are kept in School of Oriental and African Studies, London, British Library, Namgyal Institute of Tibetology, Sikkim, and other lesser known institutions.
Translation work from Tibetan Buddhist Text Books into Lepcha
Largest number of these Lepcha manuscripts are in possession with the Lepcha traditionalists in the Darjeeling Hills, West Bengal. The Indigenous Lepcha Tribal Association, Headquarters Kalimpong, on request from the National Mission for Manuscripts, Ministry of Culture, Government of India, collected and catalogued 227 (two hundred and twenty seven) Lepcha manuscripts from the vicinity of Kalimpong town alone and sent the data sheet on 31 May 2007 to the National Mission for manuscripts. Both categories of Lepcha manuscripts were included in these data sheet.
Characteristics of the Lepcha Manuscripts:
i) Names of the original writers, authors or translators and dates are absent in the old and ancient Naamtho-Naamthar.
ii) These Lepcha manuscripts have been copied and recopied generation after generation.The names of copiers and dates are also absent in the old Lepcha manuscripts. Did you know that there existed professional copy writers of the Lepcha manuscripts?
iii) Since the end of 19th Century, some of the professional copy writers, scribers of Naamtho-Naamthaar, have started giving and writing their names and dates and the names of the persons who hired, commissioned them to copy the books at the end of the manuscripts.
iv) Even in the 21 Century, the Lepcha traditionalists and enthusiasts continue to copy Naamtho-Naamthaar in the old fashion although we have the Lepcha font.
Some of the well known professional Lepcha manuscript copy writers found in the Kalimpong Sub-Division Are:
a) Mr. Mansing Lepcha - Lower Byong
b) Mr. O. T. Namchu Lepcha - Mayel Kyong, Mani Gumba
c) Mr. Samden Lepcha - Prektaam
d) Mr. Sampoo Lepcha - Prektam
e) Mr. Chhyodup Lepcha - Prektaam
f) Mr. Dup Shuzong Lepcha - Lower Bom
g) Mr. Palden Lepcha - 8th Mile
h) Mr. L. T. Lepcha - Ngasey
i) Mr. P.T. Lepcha - Ngasey
v) The Lepcha manuscripts, Naamtho-Naamthaar, are not like pieces of artefacts lying unused at a corner of a museum. They are read, listened and used during various Lepcha ceremonies and functions from cradle to grave. Lepcha children, youths and old people, male and female, sit together, read together, listen together, discuss together on the merits of Naamtho-Naamthaar. There is no restriction and discrimination among the Lepcha men and women, boys and girls to read and study the Lepcha holy books. Today the Lepcha children are very much encouraged to read and study Naamtho-Naamthaar in their Lepcha Night Schools in remote Lepcha villages in the Darjeeling Hills, West Bengal. Naamtho-Naamthaar is the base of Lepcha literature.
‘Chhyo Naamtho-Naamthaar Aabaong Saam Sa Saknyim’ meaning the Lepcha Manuscripts Study Day is observed on Chha Sam, Ra Love, (October 16) each year. On the day, Naamtho-Naamthaar are displayed on a decorated bamboo platform with flowers and fruits. The Lepchas, men and women, boys and girls, sitting together read, listen, and discuss on the Lepcha manuscripts with interest, respect and devotion. ‘Naamtho-Naamthaar’ is alive and well in the Lepcha world.
vi) 99.9% of the old Lepcha manuscripts are in the possession of individual Lepcha traditionalists living in remote Lepcha villages especially in the Kalimpong Sub-Division, Sokhyam (Darjeeling Sub-Division), Seethong (Kurseong Sub-Division), West Bhutan and Illam in Nepal.
LEPCHA PRINTED BOOKS
St. Mathew’s Gospel was translated into Lepcha and published in 1845. This was the earliest printed book in Lepcha. Sadly, not a single copy of it can be found today in the world. The Baptist Mission Press, Calcutta, published ‘The Book of Genesis and part of Exodus’ in Lepcha in 1849 and it was printed by J. Thomas. This was the beginning of an era in Lepcha printed book production. Translation of the Bible from English to Lepcha was, once again, carried out to convert the simple Lepchas into Christianity. The Lepcha Bible and hyms are, it is sad, no longer used in the churches; it is dead.
Ecological Linguistic, Washington D. C., USA, to keep the record straight, pioneered the Lepcha font (computer), ironically, thinking that the Lepcha language was an extinct language; it was written and stated so in their manual to the Lepcha font. A copy of the Lepcha font was very kindly presented to the writer of this article, free of cost, by the Ecological Linguistic, Washington D. C., USA in 1995. There were a couple of minor shortcomings in the Lepcha font which the Mani Printing Press, Kalimpong, with the help of Lepcha language experts were able to correct and rectify them.
Today, thanks to the Ecological Linguistics, Washington D.C., USA, Lepcha text books, magazines, prose, poetry, drama, novel, folklore etc. are being published using this Lepcha font in Kalimpong. ‘Naamtho-Naamthaar’ are also being published in the printed form using this font in Kalimpong for wider circulation and readership.
Some of the ‘Naamtho-Naamthaar’ were also translated from Lepcha to English by the Indigenous Lepcha Tribal Association, Headquarters Kalimpong, way back in early 1990s but these translated books in English still remain unpublished.
The Lepcha manuscripts, Naamtho-Naamthaar, in hundreds, were taken away and are lying unused in Europe and else where in the world. The die hard Lepcha traditionalists, today, guard their Naamtho-Naamthaar with zealously and are very reluctant to part with the information on their Lepcha manuscript. They really feel insecure and fear that their remaining ancient Lepcha books, Naamtho-Naamthaar, may be taken away from them and lost forever if shown to others. Access to the Lepcha manuscripts, Naamtho-Naamthaar, is not simple and easy in the Lepcha world today.
One of the oldest and richest languages of world, the Lepcha language also boast of having seven different rhythmic tones and skills in reading Lepcha religious books. They are as follows:
1. POMIC-POTONG NYUMJYO:- As the name suggests Pomic-Potong Nyumjyo rhythmic tone in reading Lepcha religious book is derived from the sound of bamboos. In the morning and evening, when the wind blows, bamboos swing to and fro and rub each other, and as a result, a rhythmic sound, tone is produced. Imitating the sound, the Lepcha of the old introduced Pomic-Potong Nyumjyo in reading Lepcha religious books.
2. FODONG-NAZAONG NYUMJYO:- The Fodong-Nazaong Nyumjyo is the second rhythmic tone in reading Lepcha folklore, it is a lamentation of the first Lepcha primogenitors, Fodong Thing, the male, and Nazaong Nyoo, the female. This tone is sad, and melancholy. It draws the attention and minds of the Lepcha towards a peaceful path.
3. LAKOK-LANYEN NYUMJYO
4. KOYING-DUREN NYUMJYO
5. LAFO-LADONG NYUMJYO
These three different rhythmic reading tones are adopted from the chirping sounds of a male ‘Cicada’. There are no less than fifteen varieties of Cicada found in the Sikkim and Darjeeling Hills and have their own peculiar rhythmic tones. They start to chirp form the first week of March to the last week of December. These chirping tones were adopted by the Lepchas in reading books in Mayel Lyang.
6. NYULIK-MUNDONG NYUMJYO:- It is believed that this Nyulic-Mundong Nyumjyo was first given to the Lepcha priest and priestess by God Himself. This tone is peculiar and unique in the Lepcha world. Initially, it starts in a slow rhythm but as the reading progresses it gains such momentum that a reader begins to pant and gets exhausted at the end. This rhythmic tone is so attractive that it iscommands an immediate attention from the audience. Few knowledgeable Lepchas only know this admirable rhythmic tone in the Lepcha world.
7. SHIMVONMU UNG TUKSOT NYUMJYO:- This is the seventh and last rhythmic tone in reading Lepcha Books. It is taken, derived from the constant bubbling or running, flowing sounds of small rivulets, streams. This rhythmic tone is more or less known and used by all the Lepchas in reading books. Although the tone is not so attractive, it is easy to read and can be clearly understood by all.
THE LEPCHA MANUSCRIPTS
The Lepcha manuscripts are called ‘Naamtho-Naamthaar’ in Lepcha. Here ‘Naam’ means a year and ‘tho’ means registration of records. ‘Aakep’, a companion word in Lepcha, is often used in the Lepcha language to beautify their expression; therefore, the word, ‘Naamthaar’, is derived from two syllabic sounds, ‘Naam’, again, meaning a year and ‘thaar’ means to cut a bamboo cylinder or wood slantingly, to sharpen and beautify it. Metaphoricllly, ‘Naamtho-Naamthaar’ can be defined as a record and refined literary tradition of the Lepchas. Some of the ‘Naamtho-Naamthaar’ are holy to the Lepchas.
Most scholars and linguists who have done some research work on the Lepcha manuscripts, ‘Naamtho-Naamthaar’, harp the same tune that ‘Naamtho-Naamthaar’ are but translation work from the Tibetan Buddhist text books into Lepcha. Yes, there are many Tibetan Buddhist text books which are translated into Lepcha but we must also know and understand that there are also ‘Naamtho-Naamthaar’, Lepcha manuscripts, that are purely based on the Lepcha subjects, topics and issues. These kind of Lepcha manuscripts are mainly found in Damsang Lyang i. e today’s Kalimpong Sub-Division, West Bengal. Lieutenant General G. B. Mainwaring has very aptly remarked that the Lepcha manuscsripts existed before the arrival of the Tibetans into the Lepcha land and the Tibetans collected and destroyed the manuscripts of the Lepchas; and translated into Lepcha parts of their own mythological works, in his famous book, A Grammar of the Rong (Lepcha) Language, as it exits in the Dorjeling and Sikkim Hills, Calcutta, 1876.
The Lepcha manuscripts, Naamtho-Naamthaar, can be divided into two main categories and they are:
1. Lepcha manuscripts purely based on the original Lepcha subjects, topics and isssues.
2. Lepcha manuscripts purely based on the translation work from Tibetan Buddhist text books into Lepcha.
LEPCHA MANUSCRIPTS PURELY BASED ON THE
ORIGINAL LEPCHA SUBJECTS, TOPICS AND ISSUES
The Lepchas firmly believe that it was Mun Salong, a Lepcha scholar, adventurer and ‘Boongthing’, a great Lepcha priest, who invented the Lepcha alphabets and scripts and compiled the ‘Lazaong’. What is Lazaong? Lazaong, literally, means a
syllabic scheme. ‘Lazaong’ is strictly based on the fundamental principles of the traditional Lepcha language structure and not based upon the Latin Grammar as is the case with numerous other languages of the world. It can also be described as the ‘Power of Words’.
‘Lazaong’ has the following features and characteristics:
a. It is the Lepcha alphabetical primer.
b. It is a book of syllabic scheme of forming mono-syllabic words; a work book having each syllable pronounced with distinct and correct stress, sound, tune, voice and uniformity. It is a book of ‘tongue twister’ also.
c. It is a Lepcha primer of phonetics pertaining to speech sound and their production and phonetic spelling of words.
d. It is a book of Lepcha glossary, lexicons and a list of words in alphabetical order.
e. ‘Lazaong’ is a book of Lepchas’ weapon of speech; it gives fluency, force and rhythm in Lepcha speech.
From the letter ‘K’ alone, the Lepchas produce 540 (five hundred and forty) different sounds and words which can be perfectly used in sentences to express one’s thoughts. If we carry on with other Consonants, Conjuct Consonants, Vowels, Diacritic marks, signs and symbols, it will give us 6,660 (Six thousand six hundred and sixty) words from this ‘Lazaong’ alone and which can be used in the Lepcha language. ‘Lazaong’ is very systematic, scientific and exhaustive.
‘Lazaong’ is the most wonderful, invaluable, unique and rare, ‘Naamtho-Naamthaar’ of the Lepchas. To master the Lepcha language and literature, ‘Lazaong’ is a must.
‘Lazaong’ is found both in the manuscript and printed forms today. The Lepcha children study ‘Lazaong’ in their Lepcha Night Schools and homes in the remote Lepcha villages in the Darjeeling Hills. ‘Lazaong’ is a compulsory elementary book for them.
Another original Lepcha manuscript which may be of some interest to you is called ‘Nyung Yung Mun’ or ‘Nyoolik Nyoosong Mun’. It deals with the origin of Lepcha ‘Mun’, priestess, and the origin of ‘Chyee’ Lepcha fermented beer.
Mother Nature. The Indigenous Lepchas are basically nature lovers and worshippers, therefore, they are in possession of the following books:
a) Chyoo Rum Faat- Prayers and offerings to Kingtsoomzaongboo i.e. Mt. Kanchanjanga, their Guardian Deity and other important mountains found in the Sikkim Himalayas.
b) Lyang Rum Faat- Prayers and offerings to mother earth and soil.
c) Tungrong Hlo Rum Faat- Prayers and offerings to Mt. Tungrong now known as Mt. Tendong.
d) Sakyoo Rum Faat- Prayers and offerings to ‘Mayel Kyong’ and the seven immortal Lepcha couples who live in this paradise somewhere at the head of ‘Faokraam-Takraam’ now called Dzongu in north Sikkim.
e) Muk Zek Ding Rum Faat- Prayers and offerings to Mother Nature. It deals with ecology, environment and surroundings. It also speaks about the sun, air, rain, water, mountains, soil, earth, fishes, reptiles, insects, bees and birds, trees, bushes, shrubs, wild edible vegetables, flowers, fruits and roots etc. that are found in Mayel Lyang.
f) Tungbong Faat- It deals with birth, naming and weaning ceremonies.
g) Nyoo Thing Laom From - It deals with burial and death ceremonies.
There are other Lepcha manuscripts based on Lepcha subjects and topics which it is not possible for me to include in this short article.
TRANSLATION WORK FROM TIBETAN BUDDHIST TEXT
BOOKS INTO LEPCHA
To attract the simple Lepchas and convert them into Lamaism, the Tibetan Buddhist text books were translated into Lepcha in the 17th Century. These Lepcha manuscripts are to be found in the Van Manen Collection, Kern Institute of Leiden University, Neitherland, in hundreds, some are kept in School of Oriental and African Studies, London, British Library, Namgyal Institute of Tibetology, Sikkim, and other lesser known institutions.
Translation work from Tibetan Buddhist Text Books into Lepcha
Largest number of these Lepcha manuscripts are in possession with the Lepcha traditionalists in the Darjeeling Hills, West Bengal. The Indigenous Lepcha Tribal Association, Headquarters Kalimpong, on request from the National Mission for Manuscripts, Ministry of Culture, Government of India, collected and catalogued 227 (two hundred and twenty seven) Lepcha manuscripts from the vicinity of Kalimpong town alone and sent the data sheet on 31 May 2007 to the National Mission for manuscripts. Both categories of Lepcha manuscripts were included in these data sheet.
Characteristics of the Lepcha Manuscripts:
i) Names of the original writers, authors or translators and dates are absent in the old and ancient Naamtho-Naamthar.
ii) These Lepcha manuscripts have been copied and recopied generation after generation.The names of copiers and dates are also absent in the old Lepcha manuscripts. Did you know that there existed professional copy writers of the Lepcha manuscripts?
iii) Since the end of 19th Century, some of the professional copy writers, scribers of Naamtho-Naamthaar, have started giving and writing their names and dates and the names of the persons who hired, commissioned them to copy the books at the end of the manuscripts.
iv) Even in the 21 Century, the Lepcha traditionalists and enthusiasts continue to copy Naamtho-Naamthaar in the old fashion although we have the Lepcha font.
Some of the well known professional Lepcha manuscript copy writers found in the Kalimpong Sub-Division Are:
a) Mr. Mansing Lepcha - Lower Byong
b) Mr. O. T. Namchu Lepcha - Mayel Kyong, Mani Gumba
c) Mr. Samden Lepcha - Prektaam
d) Mr. Sampoo Lepcha - Prektam
e) Mr. Chhyodup Lepcha - Prektaam
f) Mr. Dup Shuzong Lepcha - Lower Bom
g) Mr. Palden Lepcha - 8th Mile
h) Mr. L. T. Lepcha - Ngasey
i) Mr. P.T. Lepcha - Ngasey
v) The Lepcha manuscripts, Naamtho-Naamthaar, are not like pieces of artefacts lying unused at a corner of a museum. They are read, listened and used during various Lepcha ceremonies and functions from cradle to grave. Lepcha children, youths and old people, male and female, sit together, read together, listen together, discuss together on the merits of Naamtho-Naamthaar. There is no restriction and discrimination among the Lepcha men and women, boys and girls to read and study the Lepcha holy books. Today the Lepcha children are very much encouraged to read and study Naamtho-Naamthaar in their Lepcha Night Schools in remote Lepcha villages in the Darjeeling Hills, West Bengal. Naamtho-Naamthaar is the base of Lepcha literature.
‘Chhyo Naamtho-Naamthaar Aabaong Saam Sa Saknyim’ meaning the Lepcha Manuscripts Study Day is observed on Chha Sam, Ra Love, (October 16) each year. On the day, Naamtho-Naamthaar are displayed on a decorated bamboo platform with flowers and fruits. The Lepchas, men and women, boys and girls, sitting together read, listen, and discuss on the Lepcha manuscripts with interest, respect and devotion. ‘Naamtho-Naamthaar’ is alive and well in the Lepcha world.
vi) 99.9% of the old Lepcha manuscripts are in the possession of individual Lepcha traditionalists living in remote Lepcha villages especially in the Kalimpong Sub-Division, Sokhyam (Darjeeling Sub-Division), Seethong (Kurseong Sub-Division), West Bhutan and Illam in Nepal.
LEPCHA PRINTED BOOKS
St. Mathew’s Gospel was translated into Lepcha and published in 1845. This was the earliest printed book in Lepcha. Sadly, not a single copy of it can be found today in the world. The Baptist Mission Press, Calcutta, published ‘The Book of Genesis and part of Exodus’ in Lepcha in 1849 and it was printed by J. Thomas. This was the beginning of an era in Lepcha printed book production. Translation of the Bible from English to Lepcha was, once again, carried out to convert the simple Lepchas into Christianity. The Lepcha Bible and hyms are, it is sad, no longer used in the churches; it is dead.
Ecological Linguistic, Washington D. C., USA, to keep the record straight, pioneered the Lepcha font (computer), ironically, thinking that the Lepcha language was an extinct language; it was written and stated so in their manual to the Lepcha font. A copy of the Lepcha font was very kindly presented to the writer of this article, free of cost, by the Ecological Linguistic, Washington D. C., USA in 1995. There were a couple of minor shortcomings in the Lepcha font which the Mani Printing Press, Kalimpong, with the help of Lepcha language experts were able to correct and rectify them.
Today, thanks to the Ecological Linguistics, Washington D.C., USA, Lepcha text books, magazines, prose, poetry, drama, novel, folklore etc. are being published using this Lepcha font in Kalimpong. ‘Naamtho-Naamthaar’ are also being published in the printed form using this font in Kalimpong for wider circulation and readership.
Some of the ‘Naamtho-Naamthaar’ were also translated from Lepcha to English by the Indigenous Lepcha Tribal Association, Headquarters Kalimpong, way back in early 1990s but these translated books in English still remain unpublished.
The Lepcha manuscripts, Naamtho-Naamthaar, in hundreds, were taken away and are lying unused in Europe and else where in the world. The die hard Lepcha traditionalists, today, guard their Naamtho-Naamthaar with zealously and are very reluctant to part with the information on their Lepcha manuscript. They really feel insecure and fear that their remaining ancient Lepcha books, Naamtho-Naamthaar, may be taken away from them and lost forever if shown to others. Access to the Lepcha manuscripts, Naamtho-Naamthaar, is not simple and easy in the Lepcha world today.
One of the oldest and richest languages of world, the Lepcha language also boast of having seven different rhythmic tones and skills in reading Lepcha religious books. They are as follows:
1. POMIC-POTONG NYUMJYO:- As the name suggests Pomic-Potong Nyumjyo rhythmic tone in reading Lepcha religious book is derived from the sound of bamboos. In the morning and evening, when the wind blows, bamboos swing to and fro and rub each other, and as a result, a rhythmic sound, tone is produced. Imitating the sound, the Lepcha of the old introduced Pomic-Potong Nyumjyo in reading Lepcha religious books.
2. FODONG-NAZAONG NYUMJYO:- The Fodong-Nazaong Nyumjyo is the second rhythmic tone in reading Lepcha folklore, it is a lamentation of the first Lepcha primogenitors, Fodong Thing, the male, and Nazaong Nyoo, the female. This tone is sad, and melancholy. It draws the attention and minds of the Lepcha towards a peaceful path.
3. LAKOK-LANYEN NYUMJYO
4. KOYING-DUREN NYUMJYO
5. LAFO-LADONG NYUMJYO
These three different rhythmic reading tones are adopted from the chirping sounds of a male ‘Cicada’. There are no less than fifteen varieties of Cicada found in the Sikkim and Darjeeling Hills and have their own peculiar rhythmic tones. They start to chirp form the first week of March to the last week of December. These chirping tones were adopted by the Lepchas in reading books in Mayel Lyang.
6. NYULIK-MUNDONG NYUMJYO:- It is believed that this Nyulic-Mundong Nyumjyo was first given to the Lepcha priest and priestess by God Himself. This tone is peculiar and unique in the Lepcha world. Initially, it starts in a slow rhythm but as the reading progresses it gains such momentum that a reader begins to pant and gets exhausted at the end. This rhythmic tone is so attractive that it iscommands an immediate attention from the audience. Few knowledgeable Lepchas only know this admirable rhythmic tone in the Lepcha world.
7. SHIMVONMU UNG TUKSOT NYUMJYO:- This is the seventh and last rhythmic tone in reading Lepcha Books. It is taken, derived from the constant bubbling or running, flowing sounds of small rivulets, streams. This rhythmic tone is more or less known and used by all the Lepchas in reading books. Although the tone is not so attractive, it is easy to read and can be clearly understood by all.
sZT ANu téXU Vsu
Üa Üaba nMaka sZT kDasa téXU kDare :A_Voz yMuba m aA. huiJre sba VonZgla dBekaad [éla VonbMa m aA. kaiÄ+ kDa huiJ JDebUre sA) lavka TLa aHka Von m aA, ANu aAba iTnu VAU d_ Aait)mU pNuka iTnu GaasVlU GNaiJba sZTrenu :A_Voz téXUsa AaVcaka S( G(ib m aA. SNela S( kDala miS+nu m aA. AaVol téXUrenu ilba ag Aaadsa S( G(ab aS. téXUrenu sZTsa AaVcaka S( AaÂBamU is m ANu èBu mKNunu Aailsa ca !l m aA. aAalM mDanu sZTsa S(Zpre stDe KDutDe ]sib m aA.
A_ huiJ kDanuZzka S( AaalM G(reZz mDabMaba iP[tka iP[t Y_ m aA. sZTrenu ilba kiJ Vdanu Aaba aHka iTba kiJnu [lka SU SU azaTpU AaVol kiJad ]m G(ka aA. aAalM ilnu sZTrenu nhNa ]myDuSNe SXa[Jsa fDa]m yDu m aA. téXUrenu ]myDucNe sZTsa AaÌLe h) ]m yDu m aA.
sZTsa AaÌLe h) ]myDubU isnu sZTre ca ar m aA ANu s)ka sXa:c_ba agre m+TabMabU TMaVc_ agVrUlaZy AaÌLe ktBala m]mne.
AaalM tXuapnu kDanukDa dMabunu huiJ JDebU aHlMe olVoè SNe téXUre ZlZYka $èGNanu sZT :A_VozrMe sTa oliTpUZy G(GNa SNe sZTsa owmU JDebUrMe isnu téXUrenu huadsa AaÄXarMe G)la G)la il m aA. sZT :A_Voz A_Zy ohre sib fDa$n ag Zy? agre Aaadsa [l G(!Ýnu ÈLenu Aaib ZlZYka GNaiJ m aA. téXUsa aAre Aa:r_ aÄnu sZTre arnu AaVol Aare hunu ksMu [zSDead yMubaZy sXa:c_nu owmUrMe òaÝDubunu :t_lMe olit^ m aA. :t_kala iTnu G( SNe hunu owmUrMe p%talM òaÝDusa VÎaka owmUre Üa sTanu mXa$n aT m aA. aAre it^VÎarNe sZTsa owmUre sTala aHka mbManubUsa t+re aAre gMu m aAZy y) m aA.
kaiÄ+ kDa aAlXa kDanu téXUrMe ÄRe qManu qNUbunu l)$ndDeba téXUrenu aAlXarMe ilba, oh ksMu ]snu azZSZgne TLa aHVkuka buVonnu ]s az aA. aAre aÄnu VT_pUZy sXa:c_nu téXUrMe TLa aHVkuka buVonnu aTnu ]sZS tq^ka olda téXUrenu ilba oh ksMu ]sZS nhNa VAUkMa VoT$k aA, ag VAUGUnu ca mXasaZz GNUbMa m aA. aAlXare téXUnu il+bU Aa:r_ JNenu hMu olda aAibalM qNUbunu VAU d_ pNu kDaka buVonnu aTbNa VAU ib VoT$k m aA ANu ]sTaZS bXeka téXUrenu il m aA. ohre yXumNu Aait)bU gMu m aA. ksMu ]sTaZS nhNa rMurMe saaw mNu[l %t ANu maiJ Vo aA ANu ktBa ksMu ]snu Ta aA. aAlXare téXUsa Aa:r_rMe VT_VoÌad sXa:c_nu téXUrMe yBuaT kDa ]Înu mNu[l %tZS AXa AXaZy il(bMa bXeka téXUre ca ÃXunu VAU d_ sVogka ÄDenu ÌXu$n m aA. aAalM mDanu téXUre aAlXasa AaVbUalM &T m aA. aAre tq^nu téXUre aAlXanu ]spUZysa AaarMrenu nla VAU d_ka ktBa bMa mMa m aA.
AaibnNu kayUZsnula y)gDaVtusa Vsureka nMuiS)JUZsnula SUad aÜX!ì zXU agVrUla JXaad ir(bU ÂMunu zXUgDa m. ag magNpUZy ÍUla G( iäLunu ANu AalDu s)ka ÍUla sXa:c_nu, n- ic(bNa ktBa VÅa#È nhNa apgDa m aA. mNanuZgne kala sZT, téXU, owmU ANu aAlXaZpZz pat &SZS m aA.
Sathong Aun Takryook Sung
Aya ayabaa naamkaa Sathong kaatsaa Takryook kaat rey Ingzaong yumbaa ma O. Hunee rey sabaa naong gonglaa depkaado kryaomlaa naongbaam ma O. Kaathin kaat hunee nyetboo rey sam lavokaa thaal lhokaa naong ma O, aun obaa theenu oong da aatimmu punkaa theenu ngaasoloong ngaa nyeebaa sathong reynu ingzaong takryooksaa aachyaangkaa syak ngak bee ma O. shenlaa syak kaatlaa masyinnu ma O. Aalaong Takryook reynu leebaa go aadosaa syak ngak bo syo. Takryook reynu sathongsaa aachyaangkaa aadosaa syak ngakbosyo. Takryook reynu sathaongsaa aachyaangkaa syak aagyaapmaa shyi ma aun hrup makhunnu aaleesaa chyaa laok ma O. Olom maatnu sathongsaa syakpong rey satet khut tet saot bee ma O.
A hunee kaatnu zongkaa syak aalom ngakreezong maatbaamba pheetaom pla ma O. sathong reynu leebaa kanyee daangnu aabaa hlokaa theebaa kaaneenu laomkaa syu- syu zo tho poo aalaong kanee do maot ngak kaa O. Olom leenu sathong reynu nahaan maot yut chyen syaaknyaomsaa faat maot yut ma O. Takryook reynu maot yut chyen sathongsaa aamyel ham maot yut ma O.
Sathongsaa aamyel ham maot yut boo shyeenu sathong rey chyaa ro ma O, aun samkaa saakchying baa go rey man thaa baamboo thaamchyang goroonglaa yong aamyel kataaplaa mamaot ney. Aarey hurey syaakmook thaabaamboo goroonglaa yong hunu rey sathongsaa aamyel ham maot yut ma O. Aarey hunu rey go mayan mu mashyinnubaa maanu sathong saotnu thaabaam lyaok ma O. Takryook reynu aamyel maot thomboo rem seenu hu rey ronu aalaong golaa aabee hudodep baamgongney kasamlaa saot thaashyee lyaok yong saakchyingnu hurey obeelom taklaado thingpurtaam lellaatitnaon ma O. Hurey olom titnu naondetbaa homoo kaatnu laomkaa chumnu hum vyet ma O. “Ho rey aatet aakaankaa sabee naondet tung go yong ?” aakaankaa sathong reynu leebaa “ go takryook rem ronu chyaa titbaam ma O. Takryook reynu sathong rem gunlaa saotnu chyaa thaalel faat ma O”. Sathongsaa sungrem thyonu homoorey thang myaong saakchyingnu lee ma O. “ Ho kasam orey takryook rem nyet bochey, hu sareyzong poo golaa kaam ngakshyee ma O”. shyenlaa sathong rey ronu manyen baa homoo reynu lee baa ho rom magaat ney. Ho rogong tukpo aareysaa kasu pataopkaa daam aun runso aaking kaat rey aado pungkaa daam aun aalom maatnu kanyee do depkaa naongkaa O. Aalaom tukponu kaatnu kaat daambunu hanyee nyetboo hlolem laahraong chyen takryook rey long plangkaa hraon ngaannu sathaong ingzaong rem sathaa laathipoo yong ngak ngaan chyen sathaong saa homoo nyetboo rem seenu takryook reynu hudosaa aathyaak rem ngam ngamlaa lee ma O. Sathong ingzaong o yong horey sabee faatnaon go yong ? go rey aadosaa laom ngakkraoknu pelnu aabee longplaong kaa ngaanyee ma O. takryooksaa orey aaring thyonu sathaong rey ronu aalaong aarey hunu kasam zaomsyet do yum ba yong saakchyingnu homu rem hryaa krut bunu tinglem laatit maO. Tingkaa laathnu ngakchyen hunu homoo rem patoplom hryaa krut bun lyaangkaa homu rey ayaa sathaanu maaknaon tho ma O. Orey titlyaangren sathongsaa homurey sathaalaa hlokaa mabaamnuboosaa tunrey orey gum ma o yong yam ma O.
Kaathin kaat olaak kaatnu takryook rem thyer chaamnu chookbunu lamnaon detbaa takryook reynu olaak rem leebaa “ ho kasaam saotnu zo syong gongney thaal Lhokungkaa bunaongnu saot zoo”. Orey thyonu thangpoo yong saakchingnu takryook rem thaal hlokungkaa bunaongnu thonu saotsyong tatsat kaa laodaa takryook reynu lee baa ho kasam saotsyong nahaan Oongkaam thaong kaon o, go oong ngoonu chyaa maaksaazong ngoonbaam ma O. Olaak rey takryooksaa linboo aaring ngennu hum laodaa obeelom choonbunu oongda pun kaat bunaong thobaan oongbee thaongkaon ma o aun saot thaasyong bekkaa takryook reynu lee ma O. Ho rey yukmun aatimboo gum ma O. kasam saot thaasyong nahaan rum rem saho munlaom top aun maanyee gyaong o aun kataap kasam saotnu thaa O. Olaakrey takryook saa aaring rem thang myaong do saakchyingnu takryook rem yuptho kaat lyaotnu munlaom topsyong aak aak yong likbaam bekkaa takryook reychyaa tyuknu oongda sagaongkaa thetnu myuknaon ma O. Olom maatnu takryook rey olaaksaa aaboonglom thaor ma O.
Orey tatsatnu takryookrey olaaknu saotpoo yong saa aaraom reynu nulaa oongda kaa kataap baammaam ma O.
Aabeenun kaayusongnulaa yam gaat tungsaa sung reykaa namsyimnyoo songnulaa syudo ayok pryaok zook goroonglaa nyaakdo rikboo gyumnu zook gaat ma. Go magaonpoo yong ryoola ngakbrilnu aan aalut samkaa ryoolaa saakchyingnu nap phik baan kataap dyaangpyaol naahaan pogaat ma O. Manu gong ney kaayulaa sathong, takryoot, homoo aun olaak pong zong pata syaor syong ma O.
Scale - Aachik Aanup
1. One handfull - Kavi Kaat kiv kDa
2. Two handfull - kaproop Kaat kâBU kDa
3. 1/4 kg - Tafoo Kaat tfU kDa
4. 4 kg - Tungfree Kaat Vtuiã kDa
5. 40 kg - Tungaar Kaat VtugRa kDa
6. 80 kg - Tungdur Kaat VtudRU kDa
7 100kg - Tungbom Kaat VtuabM kDa
8. 1000kg - Baahao Kaat baoh kDa
Proverb (Ring taom)
1. tVÅU aSka sil) arB Tadyoong Syoka Saloem Raop - Dependent
2. yXumNu AaÂBanu agMbU pat_ &
3. dRajUVÎasa $mm+ #ò Darjyoolyangsaa Maon Man Hyaol - silly talk
4. AagNU Êu AaÂBa ià( Aagoon Fyu Aagyaap Dik - empty vessal make much sound
Infantile Language (Ingnga Ringboong)
1. mamMa icic hMa Ma- Mam Chi -Chi Ham - to eat
2. ta te ta te [ldU [ldU Ta - Tey Ta - Tey laom - doo laom - doo - to walk
3. Aaiz iz Aa- ji - ji - prohibition
4. ViA_ im(ÝBa ÝBa Ing Mik Kraap - Kraap , Nye - Nye - go to sleep
5. VbUig VbUig Boong - gi Boong - gi - you may fall
Name of the Days
1. Soil Day - Faat Sayaak fDa sÜXa
2. Stone Day - Long Sayaak Zl sÜXa
3. Water Day - Oong Sayaak VAU sÜXa
4. Fire Day - Mee Sayaak im sÜXa
5. Wind Day - Somut Sayaak asmDu sÜXa
6. Tree Day - Koong Sayaak VkU sÜXa
Week - Dunhrook (6 days = one week)
Name of the Months ( In Lepcha Months means Lavo)
1. January - Kurnit lavo kRuiJ^ lav
2. February - Kursaong lavo kRuVos lav
3. March - Thaon lavo $T lav
4. April - Sam lavo s) lav
5. May - Tafaa / Naomchaam lavo tfa / [nqMa
6. June - Bloong lavo VEU lav
7. July - Naamkum lavo nMakMu lav
8. August - Purvim lavo pRuiv) lav
9. September - Gloo lavo xU lav
10. October - It lavo iÜ^ lav
11. November - Raa lavo ra lav
12. December - Maar lavo mRa lav
Name of the Lepcha Year
1. Rat year - Kalaok Naam k!l nMa
2. Ox year - Laong Naam Vol nMa
3. Tiger year - Sathong Naam sZT nMa
4. Eagle year - Panthyaong Naam pNuVoÄ nMa
5. Thunder year - Sodyer Naam asÅRe nMa
6. Snake year - Bu Naam bu nMa
7. Horse year - On Naam aAN nMa
8. Sheep year - Luk Naam lXu nMa
9. Monkey year - Sahu Naam shu nMa
10. Hen year - Hik Naam ih( nMa
11. Dog year - Kajyoo Naam kjU nMa
12 Pig year - Maon Naam $m nMa
( In Lepcha every after three years these are thirteen months)
Star and Planet - Sahaor Kurdoo s&h kRudU
Sun - Satsuk samik sqXu sim(
Moon - Lavo lav
Venus - Kurnaap kRunBa
Mercury - Kursaong kRuVos
Milkyway - zolungming azVluVim_
Solar eclipse - lavo baong lav Vob
full Moon - lavo blen lav ÙNe
Dark night - Lavo mul or Namgaong lav mLu Vya nMaVog
Twelve years cycle - Naam kor nMaakR
Uniqueness of Lepcha Language
1. All the names of local trees commence with the root letter of S
In Lepcha Koong means Tree
a. Sunglok Koong Vsu!l VkU
b. Samal Koong smLa VkU
c. Sambraang Koong sMuVäa VkU
Sapat Koong spD^ VkU
e. Sangli Koong Vsuil VkU etc.
2.All the names of the local rivers commence with the root letter of R
In Lepcha Oongkyong means River
a. Rongnyoo Oongkyong VorJU VAUVaÀ
b. Rongit Oongkyong VoriÜ^ VAUVaÀ
c. Rong Gyaong Oongkyong VorVo VAUVad. Rongfi Oongkyong Vorif VAUVaÀ
e. Romaam Oongkyong armMa VAUVaÀ etc.
3. All the names of Atomsphere, Season, Climate, Weather all commence with the root letter of S
a. Rain - So Os
b. Winter - Sozaong OsVoz
c. Summer - Sosa Ossa
d. Rainy season - Somyaang OsVÌa
e. Climate - Somee Osim_
f. Weather - Somut Sofyum etc. OsmDu OsÊMu
4. All the names of the local crops commence with the root letter of K
a. Maize - Kunchhoong kNuVqU
b. Wheat - Kakyo kOÀ
c. Paddy - Kumdaak kMudXa
d. Barly - Kachher kqeR
e. Dal - Kalaa kla
5. All the name of the human body organs commence with the root letter of A
a. Head - Aathyaak AaÄXa
b. Face - Aammlyem AMaIeM
c. Brain - Aayaong AaVoy
d. Heart - Aalut AalDu
e. Hand - Aaka Aak_
f. Leg - Aathong etc. AaaVT
6. All the names of the sankes commence with the root letter of P
In Lepcha bu means Snake
a. Pano bu pan bu
b. Paril bu pir* bu
c. Pamaol bu p#m bu
d. Pahryuk bu pòXu bu
e. Putyaok bu etc pu!Ã bu
STATUS OF LEPCHA LANGUAGE
Not yet recognised by the state government Recomendation of Lepcha language in school by
1. Central Institute of Indian Language,
2. Eastern Regional Linguistic Center
3. Asiatic Society of
4. Linguistic Minority of
5. Bhasa Reseach and
6. Government of
AWARD
1. Sonam Tshering Lepcha
(a) Sangit Natak Accademy Award (1996)
(b) Padma Shree Award (2007)
2. Pasang Tshering Simick(Lepcha)
Bhasa Samman (2002) Sahitya Accademy.
3. Lyangsong Tamsang (Lepcha)
Lok Sahitya Samman
4. The Indigenous Lepcha Tribal Association Hq. Kalimpong
Lok Bhasa Samman
5. Hildamit Lepcha
Sangit Natak Accademy Award (2009)
RECORDING (songs)
1. Lepcha Folk Song (Sonam Tshering Lepcha)
2. Lepcha Modern Song ‘Saaknaon’ ( Norbu Tshering Lepcha)
3. Lepcha Modern Song ‘Sam Sa Aaring’ (Pasang Tshering Lepcha)
4. Lepcha Modern song ‘Lenchyo Vam’ (Hildamit Lepcha)
5. Lepcha Folk Song (Ten Tshering Lepcha)
Slang
1. Lapche Gaade
2. Kokvim yangtaal chekta
3. Rong Naaong
Theatre
1. Rongnyoo Rongit (ballet)
2. Nahan Bri (ballet)
3. Pano Gaeboo Aachyok
4. Kongkeebaong (ballet) etc.
Political Movement
Memorandam submitted for Introduction of Lepcha Language in the schools of Darjeeling Hills of
1. Former Prime minister Atal Bihari Bajpai NDA Government.
2 Former Chairman National Commission for Scheduled Tribe government of
3. Shrimati Sonia Gandhi, chairperson UPA Government.
4. Former Union Minister for HRD shri Arjun Singh.
5. Education Minister, Government of
6. Chief Minister, Government of
7. Administrator Darjeeling Gorkha Hill Council.
8. Ralley & Demonstration.
RELATION TERMS
English Lepcha
Ancestor Male Poom Thing pMUViT_
Ancestor Female Nyoo Thing JUViT_
Great grand Father Theekoong iTVkU
Great grand Mother Nyookoong JUVkU
Gread Father Bojyo abaj
Grand Mother Moonjyoo mNUjU
Father Aabo Aaab
Mother Aamoo AamU
Father’s Elder Brother Botim abit)
Father’s Elder Brother’s wife Mootim mUit)
Father’s yonger Brother Aakoo AakU
Father’s yonger Brother’s wife Aanyoo AaJU
yonger Brother Ing ViA_
Elder Brother Aanam AanMu
yonger Sister Ing ViA_
Elder Sister Aanaom Aa[n
Elder Sister’s Children Naamkup nMakBu
Son Tagreekup tiàkBu
Daughter Taayukup tÜukBu
Son’s Wife Nyaom [J
Daughter’s Husband Myaok !Ì
Son’s / Daughter’s Children Kupzaong kBuVoz
On children (In general) Kupzaon kBu$z
Sister (In general) Musungmoo muVsumU
Brother (In general) Phaaming PaVim_
Grand Son Nyutha JuT_
Great Grand Son Nyefrak Jeã(
Mother’s Father Bojyo abaj
Mother’s Mother Moonjyo mNUjU
Mother’s Brother Aajyong AaVoj
Mothers’s Brothers Wife Aanyoo AaJU
Mother’s Elder Sisrer Mootim mUit)
Mother’s Younger Sister Aanyoo AaJU
Mother’s Elder Sister’s Husband Botim abit)
Mother’s Younger Sister’s Husband Aakoo AakU
Mother’s Brother’s Son Aanum/ Ing AanMu / ViA_
Mother’s Brother’s Daughter Aanaom/Ing AanMu / ViA_
Wife Father Aafet AaÊDe
Wife Mother Aafetmoo AaÊDemU
Wife’s Brother Aazaong AaVoz
Wife’s Sister Aazaong AaVoz
Elder Sister’s Husband Aazaong AaVoz
Brother’s Wife Nyaom [J
COLOUR TERMS
1. White Aadoom AadMU
2. Black Aanaok Aa!n
3. Green Aafaong AaVof
4. Red Aahyur AaÏRu
5. Blue Fingfaong Vif_Vof
6. Brown Purmook pRumXU
7. Yellow Payaor p&Ü
8. Grey Nunaom nu[n
9. Mudy Pobookla pbXUla
10. Rainbow Tungkoong VtuVkU
11. Pink Parfing pRaVif_
12. Light Green Fung Faong VfuVof
DIVISION OF TIME
Very Early Dawn Miksheang im(VSe
3 am Morning Saongfum VosfMu
Day Break So saong asVos
Early in the Morning Lukhraong Naaboo Look lXUVoè, nabUlXU
First Sun Light Lukjo lXUaz
Sun Rise can not be watch with nacked eyes Sotsuk Cheelee/ Sotsuk Chaar asqXuiqil, asqXuqRa
Morning (10am- 11am) Sotsuk Zanlee asqXuzNail
Midday Sotsuk Naang asqXuVna
Sun Setting towards the
Last sun set can be watch with naked eyes Sotsuk Yaolee asqXuoyil
Sun set Sotsuk Kyeer/ Sotsuk Thyet asqXuTDe
Evening Naapmoon/ nBamNU, ^ af JeVoQ
Fo Neytshong af JeVoQ
Time between late evening and night Solaa/ Tukpit Zodyang asla, tXuip^ azVÅ
Almost Night Solaa Timboo asla it)bU
Mid - Night Sonaap Pheet asnBafDe
Moon Lavo lav
Full Moon Lavo Blen lav ENe
Moon rise Lavo Laong lav Vol
Setting of the Moon Lavo Thyet lav ÄDe
Full black night Naamgaong nMaVog
Sky
Names in Lepcha
1. Tuk Lyaang tXuVÎa
2. Taa Lyaang taVÎa
3. Tuk Lyaang Numbong tXuVÎanMuVab
4. Sumlee Saomnaang Moonyoo sMMuil [sVna mUJU
Space
1. Sumlee Sumlaong sMMuil sMuVol
Direction Terms
Sonaor as&n
sodyaang asVÅa
Kaongjat Vokz^
Kaonglep VoklBe
North
South
North West Tsukvim Tsukkyer qXuiv) qXuÀRe
South
Centre Lyaangbaar VÎabRa
South Most Lyaang Tang Tan VÎaVt_ t+
South Pole Lyaang Tik VÎait(
North Pole Lyaang vim Tik VÎaiv) it(
Horizone Lyaang Tel VÎatLe
Hill Terms
Hill Kung Vku
Hillock Pung Vpu
High Altitute Hlo aH
Starting Point of Plane Tung Saong VtuVos
Cliff Sagaor s&g
Hill smaller than hillock Blu Eu
Not so cliff Sagaor Sungnoo s&g VsunU
Mountain chyoo cU
The
Mountain Range Chyoo bee Daongyaong cUib VodVoy
Peak of the mountains Chyoo Nyaak cUJXa
Sharping Peak Chyoo Hyaok cU!Ï
Lang of Snows Chyoo Ling cUVil_
God of Himalaya Chyoo Rum cU rMu
Prominent Peak (Kingchumjongboo) Chyoo Moo cU mU
Glacier Terms
1. Snow covered Sonaong Kaap asVonkBa
2. Ice Sonaong Kryaong asVonVoÝ
3. Glacier Sonaong Jyook asVonjXU
Sets of Snow
Snow Sonaong asVon
Dew Mung Hlo VmuaH
Frost Paamook pamXU
Hellstome Sotaap astBa
Earth Terms
Names in Lepcha
1. Lyaang VÎa
2. Lyaang Fat VÎa fDa
3. Faat fDa
4. Lyaang Sakdum VÎa sXudMu
5. Tukchyim Runggaol tXuiq) Vru#g
6. Numkut Monyoo nMukDu mUJU
Direction
Down Below Chyobaa ocba
Extreme Down Below Chyobaado ocbaad
Just Down Below Chyo chhyoo ocCU
Up above Tobaaa atba
Up above quite distance Tobaado atbaad
Above Head Tathaang taVTa
Above Head Taabaa taba
Above the sky Taabaa taba
Above the (noun) Tukdaam tXudMa
Below the (noun) Sagraam sàMa
Long Aahren AaèNe
Short Aapok AaapX
Hight Aatho AaaT
Low Aamo Aaam
Deep Aanyung AaVJu
Bottom Taong Dek VotdXe
Shallow Braak äXa
Above the (noun) Aaplong AaZY
Below the (noun) Aamin Aaim+
Here Aabaa Aaba
Here (Defenit) Aabee Aaib
Side Aafee Aaif
Over there (Distance) Pefee peif
Over there (Near in definite) Ofee aAif
There (In Definite) Obaa aAba
There only (Definite) Obee aAib
There (Distance) Pebaa peba
To come in same Lavel Thee id
To come up Hro aè
To come down Yu yu
To come down from(noun) Yet yDe
To come down from(noun) thyet TDe
To Drop Glet xDe
To Drop intentionally Gloo xU
To Drop of leaves, Flower etc. Hlet HDe
References
1. General G.B. Mainwaring, 1876. ‘A Grammer of the Rong(Lepcha) as it exists in the
2. Aathing K.P. Tamsang, !982. ‘ Unknown and Untold Reality about the Lepchas’. Kalimpong.
3. Dr. R.K. Sprigg, 2005. ‘Shedding some light on the History, Language and Literature of the Lepchas’.
4. Aachuley, ‘A quarterly Lepcha Billingual News Magazine (In Lepcha and English).
5. Lepcha Folklore and Folk Songs Compiled, written and edited by Lyangsong Tamsang and published by Sahitya Akademy.
6. Mayel Pundoor, (In Lepcha) - By Bhasa Samman Pasang Tshering Simick Lepcha
7. Lepcha Myths(In Lepcha) - By Aathing K.P. Tamsang.
8. Lepcha Folk Tales(In Lepcha) - By Aathing K.P.Tamsang
9. Nyoothing Laom Fraon (In Lepcha) - By Sonam Tshering Lepcha , Padma Shree.
10. The Lepcha- English- Encyclopaedic Dictionary(In Lepcha English) -By Aathing K.P. Tamsang.
11. Lepcha oral Literature. (Mun Boongthing, Lepcha Society).
AamU :r_rMe aÉXol qaka
ipbU nRubU iC:r_ VorkBu
&q Õ_bU - saihÃa Aekadeim
aC Vîa- Vor VdUig^ VlUÃNe aC
AamU :r_rMe aÉXol qaka
mUtNuic VorkBuZs
fDaVlu VonbU ka imig^rMe
ol tRaka sXudMu VÎaka
gXenu itèNe mU kRuVovka
VaTnu iJ+re AamUsa
VorkBu gMu mUtNuic VÎasa
Aace AakBu AamUsa
aòB m$kka ka AamUadM
caok mDaVlu ad bMaka
AamU:r_re nRUpU Aait)
akM jRe igoc lNela
qRu Aareka kayMU ÄXabMa
VorkBu sXudMu VÎaka
z@TBa AazXU zXUnu bMaka
ka imig^ AazMU aTka
AamU:r_adM mamDe c_bU
VorkBusa tXumU gMu
AamU :r_reM Vonat mmDabU
mUtNuicsa pNujMu gMu
mayLe VÎasa :k_qMU cUZz
AamU:r_ AazMU aTka
Aamoa Ring rem phyaok lao tshaakaa
Composed by Nurbu Tshering Lepcha
Published by Sahitya Akademi
Published in Lepcha Folk Lore And Folk Songs
Amoo Ring rem phyaok lao tshaakaa
Mootanchi Rong Kupsong
Phaat laa naonboo kaa migit rem
Laotaar kaa sukdum lyaang kaa
Geknu tee hryen moo kurbaong kaa
Thaongnu nyin rey aamoo saa
Rongkup gum Mootanchi lyaang saa
Aachey aakup aamoo saa
Hryaop makaon kaa, kaa aamoo dom
Chyaakao maatlung do baam kaa
Aamoo ring rey noorpoo aatim
Kaom jyer gichyao len laa
Chur arey kaa kayum thyaak baam
Rongkup Sukdum lyaang kaa
Jarthaap aajak jooknu baam kaa
Kaa meegit aajoom tho kaa
Amoo ring dom myaamet chyoboo
Rongkupsaa tukmoo gum
Amoo ring naongtao mamaatboo
Mootanchisaa punjyum gum
Mayel Lyaangsaa Kingtsoom Choozong
Amoo ring aajoom tho kaa.
Salute to Mother Tongue
Composed by Nurbu Tshering Lepcha
Published by Sahitya Akademi
Published in Lepcha Folk Lore And Folk Songs
Let us salute our mother tongue,
Beloved Children of Mother Nature and God,
Stop, halt the Lepcha Language from vanishing;
Keep the Lepcha identity going.
We are born and grown,
Sucking the mother’s milk,
We are the Lepcha of this land,
The beloved Children of Mother Nature and God.
Let us not make our mother cry,
Let us serve her well.
Our mother tongue is most precious,
Far more than gold and silver,
The Lepcha are identified in the world
Through their Language,
Therefore, preserve and maintain it,
To keep the Lepcha immortal.
Those who insult and suppress the Mother Tongue
Are cheats and stealers,
Those Lepcha who care and protect not,
The Lepcha Mother Tongue,
Are the foes and adversaries;
Like
Let us be strong, and powerful
To keep the Lepcha Mother Tongue alive and well
nVozJUsa Aace AakBu
ipbU osnMa Qe:r_ VorkBu
&q Õ_bU - saihÃa Aekadeim
aC Vîa - Vor VdUig^ VlUÃNe aC
nVozJUsa Aace AakBu
fVoà:T_sa kasX bNakBu
iÜ^bU rMusa kRuVovka
tUnu ilVwuag fDadDe VoÌ VorkBu
tXuVÎa s&h xUnu mlDanu
sXudMuVÎareka b^aS tRaaS VorkBusa VdUig^
sTala mfDanu VÎareka
VÎa iÜ^ rMusa dakMenu
nVozJU fVoàViT_ VÎarenu
mXanu sTala Von m$T
sVon tor kBabunu
iÜ- G(GNa kayMU huiJnu
VorJU VoriÜ^ VAU AazMU daiJ
nVozJUsa sDU bunu
Vid_gDa Aa[n AanMu ViA_ AaViT_
raTBaZz AalDu bunu
pan ÂebU AaaCX mXa maTN
aâsa bNa pyXU aArenu
VorZsrMe il(GNa dMaVsaiànu
aàM VoW VorkBu oh il ilnu
tXubMa VmuVÃa sU filnu
Toonu leewong go faatdet myaong Raong Kup?
Composed by Sonam Tshering Lepcha
Published by Sahitya Akedemi
Published in Lepcha Folk Lore And Folk Songs
Nuzaongnyoo saa aache aakup, Fadaongthing saa kasaok baan kup,
Eetboo Rum saa kurvongnu
Toonu leewang go faatdet myaong RaongKup?
Tuklyaang sahaor gloonu malaatnu sukdum lyaang rey kaa,
Bom shyo, taar shyo Rong Kup doongeet,
Sathaalaa mafaatnu lyaang rey kaa,
Lyaang Eet Rumsaa daakemnu,
Nuzaongnyoo Fadaongthing lyaang rey kaa
Maaknu sathaa laa, naong mathaon
Snaong tarao kaapbu ngaannu
Ep ngak ngaan kaayoom huneenu
Toonu leewang go faatdet myaong RaongKup?
Raongnyoo Raongeet oong aazoom daanyee
Nuzaongnyoo saa soot bunu,
Ding gaat aanom, aanum ing
Aathing Raathaap zong aalut bunu
Toonu leewang go faatdet myaong RaongKup?
Pano Gaeboo Aachyok maak mathaon
Pro saa baan payook oreynu,
Raong song rem lik ngaan,
Daamsaang greenu,
Dam pla RongKup hao, lee leenu
Tukbaam moong tyaang soo phaleenu
Toonu leewang go fatdet myaong Raong oKup?
Who says the Lepchas are vanishing ?
Composed by Sonam Tshering Lepcha
Published by Sahitya Akedemi
Published in Lepcha Folk Lore And Folk Songs
The beloved children of Nuzaongnyoo,
The aboe and gifted children of Fadongthing,
Originated from the laps of Creator,
Who says the Lepchas are vanishing ?
The stars do not drop on this world from the sky,
The Lepcha culture will never fade away,
It has never gone off course,
From the blessed
Covering their heads with snowy shawls,
Fadongthing and Nuzaongnyoo are still peeping at us
Who says the Lepchas are vanishing ?
The rivers Teesta and Rongeet are still alive
With a message from Nuzaongnyoo,
‘Brothers and sisters, Stand up
With a heart of Athing Rathap!’
Who says the Lepchas are vanishing ?
King Gaeboo Achyok did not die in vain
From the Bhutanese swords,
He’s summoning and warning
From his
‘Quick, you Lepchas, come out from your houses;
Black clouds are gathering on four sides.’
Who says the Lepchas are vanishing ?
VorJU VoriÜ^
ipbU - ih*daim^ Vorim^
&q Õ_bU - saihÃa Aekadeim
aC Vîa- Vor VdUig^ VlUÃNe aC
VorJU VoriÜ^ qMu pNu!z
sVor GNUda Vîa pasX
VjU AaVîaresa ÜMu v) !l
Vsure kayU aÄbMabU
tDUaf, pir*bunu VlU$lbU
VorJU VoriÜ^rMe VlUqMubU
Aa[q ]Ö [qir(nu dMareZz
kDa Aa:f_ kDa Aa%bZz
iT sTa Vîabunu :t_CUVon
VorJU VoriÜ^ VAU mUtNuicbU
sXudMuka Vor Vîa VlUtRabU
mayLe VÎasa VAU AaVoqbU
Vsure v)ka VTe aTka
gNusa AalDu Von TBaaTka
iT sTa Vîare VorkBusa
Rongnyoo Rangit
Composed by Mrs. Hildamit Lepcha
Published by Sahitya Akedemi
Published in Lepcha Folk Lore And Folk Songs
Rangnyoo Rangit tshum Punzaok,
Saraong ngoon daa bryaang Pasok,
Jyoong aabryang rey saa ayum vam laok.
Sung rey kaayoo thyo baam boo,
Toot fo, Parilbunu loong laon boo,
Raongnyoo Raongit ryem loong tshumboo.
Aachaom flaot tshaom riknu daam rey zong,
Kaat aaphing kaat aabop zong,
‘Thee-sa-thaa’ bryaang bunu tingchyoo naong.
Raongnyoo Raongit oong Mutanchee boo,
Sukdum kaa Raong bryaang loong taar boo,
Maayel Lyaang saa oong aachaong boo.
Sung aarey vam kaa thyeng tho kaa,
Gun saa aalut naong thaap tho kaa,
‘Thee-sa-thaa’ bryaang rey RaongKup saa.
Teesta and Rangit
Composed by Mrs. Hildamit Lepcha
Published Sahitya Akedemi
Published in Lepcha Folk Lore And Folk Songs
The confluence of Teesta and Rangit at ‘Panzaok’,
Today it is called ‘Pasok’,
Though the original name is ‘Sa ayum Vam Laok’.
We hear the Lepcha folklore now and then,
‘Toot fo’, the bird,
‘Paril Bu’, the serpent,
United the two rivers at Panzaok.
Like combing a maiden’s long, flowing hair into strands,
In two colours, blue and muddy grey,
Embracing together they flow forever
Towards the plains of
With a Lepcha name, ‘Thee-sa-thaa’.
The water of teesta Rongit,
Flowing, carring and expanding,
The Lepcha name in the world.
Oh! you holy water of Maayel Lyaang.
Let us sing this Lepcha lore,
To imprint deep on all and more,
‘Thee-sa-thaa’ is the Lepcha name.
vRaat AamU rMu ag m_bU gMu
ipbU - nRubU iC:r_ VorkBu
&q Õ_bU - saihÃa Aekadeim
aC Vîa - Vor VdUig^ VlUÃNe aC
vRaat AamU rMu agbU gMu
vRaat AamU ksa Voso [l gMu
vRaat AamU ag caok mDabU
vRaat AamUZYka ÅNeir iJ)bU
ih+dU mUsil), isK, iAsaiA
bUids, zy+ ANu
my+ hunNu t+!d Aaresa
gNu Aa!Î gMu huad dNuka
igta, baiAb*, akrNa, gUrUà+T
y+t+ Aareka miJ+ huadM
m+id@, q@q, msizd, gUrUdbara
hu sTala Von m$T
AadMU Aa!nsa Vsu miFnubU
imig^ kUig^sa AaÒDe miJ+bU
$ziJ+ Aace gNu huadsa
Vtuil VtuVossa s) buwMabU
Voso Voso Aair^ miJ+bU
imig^ imig^ bXe AaÅDU mY+bU
id(Vlu sXaic+ mid( mY+bU
AaS) apiliÝ(s ÉDe mbMabU
tU pan ANu tU VoâbU
tU ÉXubU tU jNebU
äDenu G(ZS òMu miJ+bU
huad dNuka gNu kta:r_
TMaib( TMaVc_ nMuiS)nMubMu
sXU buwMabU sXudMusa gNu
AaÂBa AamNa miJ+ tUadMla
$Àid^ huadsa dNead gNuka
TMa]p ir)]p TXUib Vodla
VjeaS, ]paS kayU t+!dka
s) sVoz sNa bunula
tNebMa kayMU VlUjUZSka
AaWMe kNuVdU kayMU abVlu
sXU AaVobnu ibaSbU
PNay+ kadnNu SUla m$TbNa
caok mDaaS kayUsa
VÎa sXudMurMe kRuVov kDaka
Aa[j Aat+sa AaÀDe AaÀMUka
VlU$lbU Voso [l Aareka
:d_ s)[l AaadM saaw iJ ksa
vRaat AamUadM ag !É qaaS
Varto amoo Rum go ma boo gum
Composed by Nurbu Tshering Lepcha
Published by Sahitya Akademi
Published in Lepcha Folk Lore And Folk Songs
Varto amoo rum go ma boo gum,
Varto amoo kasa saongyao laom gum,
Varto amoo go chhyakao mat boo,
Varto amoo plong kaa denri nyim boo.
Hindu, Muslim, Sikh, Isahi,
Buddhist, Jain, and Pharsi,
Mayan Hunan tandok aarey saa,
Gun aalyok gum hudo dun kaa.
Gita, Bible,Koran,Gurugranth,
Yantan arey kaa manyin hudom,
Mandir,Church,Masjid,Gurudwara,
Hu sathaa laa naong mathaon.
Aadoom aanaok saa sung maflinu boo,
Migit koogit saa aavyet manyin boo,
Jaonnyin ache gun hudo saa,
Tunglee tungsaong saa sam buwaam boo.
Saonggyao Saonggyao bek aarit manyin boo,
Meegit meegit bek aadyoot ma plan boo,
Dik lung saakchin madik matan boo,
Aashyam politics phyet ma bam boo.
Too Pano an too Prongboo,
Too phyuk boo too jyen boo,
Bretnu ngakshyong hrim manyin boo,
Hado dunkaa gun kataa ring.
Thaambik thaamchyang numshim numbum,
Suk boowamboo sukdum saa gun,
Agyaap aaman manyin too dom laa,
Kyaondit hudo saa dendo gun kaa.
Thaampot rimpaot thookbee daong laa,
Jyek shyo, pot shyo kayoo tandaok kaa
Sam, sajaong saan bunu laa,
Ten baam kaayoom loong joo shyong kaa.
Aaklem kundoong kayoom boloong,
Sook abaongnu bee shyo boo
Phaanyan kado nun shyoo laa mathon baan,
Chyaakoo maat shyoo kayoo saa.
Lyaang sukdum rem karbaong kaat kaa
Aachhyaom atun saa aakyet aakyoom kaa,
Lung laon bu saonggyoo laom arey kaa,
Ding sam laom aadom savo nyee kaasaa,
Vaarto-aamoo dom go phyaok chaa shyo.
Mother Nature, I’m Your Worshippers
Composed by Nurbu Tshering Lepcha
Published by Sahitya Akademi
Published in Lepcha Folk Lore And Folk Songs
I’m a Nature Worshippers,
She is my religion,
I’m a server,
And believer in Mother Nature.
Hindu, Muslim, Sikh,Isahi,
Buddhist ,Jain, Pharsi,
Mother Nature knows not them,
They are all the same to her.
Gita, Bible, Koran, Guru Grantha,
She has no knowledge about them,
Mandir, Masjid, Church and Gurudwara,
She never visits them.
Showing no discrimination,
Among the black, white and yellow,
Asking no questions on the differences,
Among the classes and clans.
But all are beloved children,
In her pure and sacred heart.
Devoid of views on different religions,
Devoid of arguments and differences on issue races,
Devoid of thoughts on unequal policies,
Devoid of dirty politics.
Who is the king and who is the beggar?
Who is richer and who is poorer?
She has no laws to separet them,
All are equal in her front.
Animals, insects, birds and humans
With life in the world;
To her
All are equals,
Kind and considerate,
To them all.
Fruits, grains and vegetables,
Producing and providing for us all,
Enduring the heat and cold
She feeds us to live.
Giving sweets, tasty fruits
Without asking anything in return,
And always serving unselfishly for us,
Like the banana tree giving her life for free.
To bring the whole world under one roof,
In peace and prosperity,
Your lead role,
I accept it with my heart and soul,
Oh! Mother Nature,
I’m your worshipper.
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