75 lepchas out of which 11 are ladies have been arrested form Mear Road,Gandhi Statue, Kolkata, and are been proceeded to Presidency Jail.
Wednesday, August 24, 2011
Thursday, August 18, 2011
Medical Camping at Lyang Sa, Kalimpong
A big medical camping was organised and carried out on 1 May 2011 at Lyang Sa, Kalimpong. The Lepchas from neighbouring villages, ‘Lyang Sa Kaa’ and ‘Da Yaon’ also joined in. There were altogether 128 Lepchas, young and old, who came to seek medical treatment and advice from the doctors. The following doctors from Kalimpong readily volunteered to do the medical camping:
1. Dr. Gyalmit Lepcha
2. Dr. Sharon Foning Lepcha
3. Dr. N. Ghose
4. Dr. P. Biswas
5. Dr. P. Chhetri
The aim and objective was:
1. To educate the Lepchas on their general health. The two Lepcha lady doctors emphasised on the negative effect of drinking excessive ‘Chyee’, liqueur, on individual Lepcha, family and the community. ‘Give up Chyee’ was their slogan and earnest appeal to the Lepchas.
2. To encourage the Lepchas to see the Medic, Lyang Sa Lepcha Dispensary when needed and through the Lyang Sa Lepcha Village Association and Medic to seek proper medical advice and treatment from the Lepcha doctors in Kalimpong. The Lepcha lady doctors gave their words to help them if they come to Kalimpong for medical treatment.
3. To give free medical treatment and medicines by the doctors on the day. Dr Sharon Foning Lepcha provided free medicines (three big cartoons) to the patients on the day.
4. To help and advise the Lepcha Medic on simple and practical medical ‘system’.
It took four hours for five doctors to examine and treat the patients. Dr. Sharon Foning Lepcha at the end of medical camping addressed the Lepchas and said that the general health of Lepcha people in the area was generally good except:
1. High blood pressure among the senior citizens is most common because of ‘Chyee’.
2. Pregnant women are not consulting or seeking the doctors’advice. Lepcha women are still giving birth to their children by swinging on the ropes during labour and child birth, an old, ancient method which is not acceptable in the 21st Century!
The five doctors who have carried out many medical camps else where, it was learnt later that it was their first visit to a remote Lepcha village to conduct medical camping. They were really overwhelmed by the reception and welcome they received from the Lepchas at Lyang Sa Village. It was, in fact, their life time experience with the Lepchas. The five doctors also thoroughly enjoyed the medical camping at Lyang Sa.
To conclude, the Lyang Sa Lepcha Village Association and the Medic now has direct access to the two Lepcha lady doctors in Kalimpong. This will help them a lot in sorting out their emergency medical treatments and problems in the future.
The Medical Camping on 1 May 2011 was a grand success.
The Indigenous Lepcha Tribal Association would like to thank the the following for organising the first ever medical camping at a remote Lepcha villages in Kalimpong:
Ren Michael Way - for mooting the idea of medical camping and sponsoring it.
Ren Dawa Tshering Lepcha - for his superb administrative arrangement.
A Staff Reporter
Tuesday, June 14, 2011
Lepchas and their art of building earthquake resistant Traditional House
Author : Azuk Tamsangmoo Lepcha
Indigenous Lepcha Tribal Association,
H.Q. Kalimpong, District Darjeeling,
West Bengal, India.
E-mail : azukval@gmail.com
1,485 Words
LEPCHA TRADITIONAL HOUSE
A Lepcha house is known as “KAA DEN-MO-LEE”. In literal translation ‘KAA’ means we ‘DEN’ where we spend our childhood learning the basics, ‘MO’ centre or main and ‘LEE’ means home.
The Lepchas worship nature by faith and believe in the greatest philosophy of the symbiotic relation with nature. A construction of a Lepcha house is first started with a ceremony called the “LEE GOOL NGAK”. In this ceremony the mud from the particular place where the construction is to be done, will be taken for examination to the nature worshiping priest called the “BOONGTHING” or “MUN”. This is followed by “LEE GUL THOM RUM FAAT”, a ritual in which the mother nature is asked for permission as well as protection from accidents during construction. The third ritual is called “ZUBU RUM FAAT” which gives responsibility to the head carpenter.
The main structure of the Lepcha house is made completely of wood and based on the principal of centre of gravity. The house is constructed square in shape and the size cannot be tampered with addition or subtraction of rooms after the completion. The base of the house has a huge centre pillar made of one solid tree, which is known as the “KAAOO DAMPHU”. The outer barks of the tree are peeled off and the wood is roughly dressed. Accordingly eight additional centre pillars are placed surrounding it in three rows with equal spacing in between. They are known as “KAADEN DAMPHU”. These nine pillars are each made from the entire tree length. There are other additional supporting pillars called “KAADOOM DAMPHU”. The four pillars supporting the cooking space are known as “THOP DAMPHU”. The front part of the house rests on alleviated land. All of the pillars are placed on top of a round stone called “KAADEN LONG”. This elevated pillar structure prevents the house from sliding when hit by natural calamities such as floods or land slides, as the flood soil passes away through the open spaces in between the huge pillars without damaging the house.These nine gigantic pillars of the whole tree size and length, erected on nine big flat boulders, show the most marvellous and devious art form of building a Lepcha house. Notches are made on all four sides of these nine huge tree size pillars, then they are raised and long cross beams, called “DOONG”, also made from an entire tree length, are inserted through these notches, thereby holding the pillars together and preventing them from falling down. In the joints of the notches, wooden pegs or wooden wedges are nailed so that the inserted wooden cross beams do not loosen or come out. These pieces of hard woods which are set in to join two wooden planks tightly are called “AYAOK ZO ZA”. Not a single iron nail is used by the Lepcha in building this gigantic house.
The flooring planks, beams, joist beams, cross beams, rafters, battens used in the house are all very thick and roughly smoothed and dressed with axe and knife. All the necessary woods required for the building are called “KINGGCHO”. The plate beam laid horizontally, to receive the ends of other timbers, is called “NAMREK”. The joist, the pieces of beams to which the boards of a floor are fastened, is known as “KALOK REL”. The rafter of the house is called “THOM TA” and “PURLIN”. The wood laid horizontally on the rafter of the roof to support the common rafters is called “THOM TA NAMREK”. The tie beams or the horizontal beams connecting the lower ends of two opposite principle rafters, forming the base of the roof truss are called “SOOLEN”. The ridge pole, or the ridge horizontal timber at the top of the roof, to which the upper ends of the rafters are fastened, is known as “PAHLONG NGAPO”, and the two standing wooden posts supporting the horizontal timber are called “TABU”. The plank and floor is called “AUNTOH”. The ridge or the outer horizontal line of the roof after thatching is called “LEECHYAAP”. The bamboos used for tying the upper portion of the thatched roof from being blown away by heavy wind and storm are called “SUKMUT KYAM”. The cane or bamboo thin strips for tying the bamboos with thatch grass reeds are called “THYEMPALI”. The cross stitch knot made while tying the roof is called “HIKTHONG JYOM DAM”. In between the wooden pillars and the joist beams a frame work of split bamboos are woven which are known as “DAAMSHYAOK”, this frame work is then plastered with rammed earth well mixed with cow dung and straw. Thus the structure of the gigantic house is raised up in this way and over it the roof is made of rough wooden battens, rafters, beams and bamboo poles and then thatched with thick layers of grass reeds called “NYAONG”. The roof is round and slanting in shape so that rain, snow and hailstones may
slide off easily. Further the thatched grass reeds absorb the direct heat from the sun. In this way the house is isolated, it is very warm in winter and cool and airy in summer.
The Lepcha house has 4 ample large rooms. The general Lepcha word for room is “BO”. The first room is the kitchen, sitting and dinning and is known as “KAY”. The hearth which is inside this room is called “THOP/ PURTAONG” and central in Lepcha family and social life. The hearth consists of five erected stones which are use to support the pots for cooking. It is known as “GYAPHU”. There are three tiers of shelves above the fire place. The first part is used to dry the meat and called “MEETHOP”. In the second section the dry vegetables are kept, it is called “PUNTHOP”. The third part “PAHLONGKUP” is used for drying fire wood and other miscellaneous. The hearth is the centre of all activities in a Lepcha house. It is here the old folks sit and narrate the traditional stories called the “LUNTEN SUNG” to the children. The second room is the bedroom and alter room, where the religious ceremonies are performed. It is called “DAYYONG”. The third room called “PHO” is the pantry. The wooden ladder which acts as a staircase towards the attic is called “TUNGGRAONG”. The attic room which is used for storage is called “PAHLONG”. The Lepcha house has a wide veranda in the front and the back called “AYO”. The windows called “RAAPSAY” are situated at the ground level they are wide and oblong, and shut or open very easily by sliding the wooden planks covering them sideways. The doors “TUNGVYENG” are made of very thick wooden planks roughly dressed with axe and bolted with wooden latches called “GUDIK”. To fasten the door a wooden bolt “TUROL” is slid into a wooden socket.
The portico is called “THYAMPONG”. The stone wall that supports the entrance is called “TSHUKBOO” and the stone ladder at the entrance of the house is called “DOOKYAO”. Every Lepcha house has a courtyard enclosed by bamboo fences which is called “PAANGSONG”. The space in front of the house is called “LEEPALEEK”.
After the construction of the Lepcha house a special ceremony called “LEE SYO” takes place where the Lepcha priest “MUN” or “BOONGTHING” gives thanks to the divine deities, spirits of the mud, trees and the deity that protects the house called the “LEE RUM”
At present due to the depletion of forest and landholdings and consequent paucity of timber, straw as well as the absence of old craftsmanship the art of building traditional lepcha houses has died and given way to modern houses in the Lepcha villages. There are only fourteen traditional Lepcha houses left in Kalimpong a Sub-division in Darjeeling District of West Bengal in India, and no new ones are being built. Being located in remote villages the houses are less known outside the community. Hence, the awareness and importance of traditional Lepcha architecture is yet to be explored. As the younger generation migrate to town and cities the older folks are unable to make timely repairs like, plastering the mud walls and changing the thatch reeds. Further the cost of maintenance due to material shortage is causing problems for the owners. With only a few existing “Kaa-den-mo-lee”, the Lepchas are trying to save them so that the traditional ways of art and living is restored for posterity.
Thursday, May 5, 2011
Aathing K.P. Tamsang Lepcha Language and Literary Award 2010
**************
‘The Aathing K.P. Tamsang Lepcha Language and Literary Award’ was first set-up and
established in 1996 with the sole aim of uplifting and developing the Lepcha language and
literature in Mayel Lyang by Ren and Renyoo Lyangsong Tamsang of Bom, Kalinpong. The award is given, annually, in memory of Aathing K.P. Tamsang, a renowned Lepcha scholar, linguist and thinker who worked untiringly throughout his life for the maintenance and
development of the Lepcha language, literature and cultural heritage, to a deserving person or institution irrespective of community, creed and country.
The former recipients of the Award are as follows:
1996 - Dr R.K. Sprigg of England
Ren Topden Salong of Dzongu, North Sikkim ( Joint recipients )
1997 - Ren Ong Tshering Lepcha of Riyon, Kalimpong
1998 - Upper Pachaok Lepcha Night School, Kalimpong
1999 - Ren Ugen Shipmoo of Gangtok, Sikkim
2000 - ‘Dabling Lapcha Night School’, Kalimpong
2001 - ‘Lower Byong Lepcha Night School’, Kalimpong
2002 - ‘Sahaor-Om Lepcha Night School’, Lyang Sa, Kalimpong
2003 - ‘Naok Hlo Lepcha Night School’, Kalimpong
2004 - ‘Zo Lepcha Night School, Samthar’, Kalimpong
2005 - ‘Sanong Char Lepcha Night School’, Lower Mamring, Sittong, Kurseong
2006 - ‘See Loo Lepcha Night School’, Mirik, Darjeeling
2007 - ‘Prektaam Lepcha Night School’, Kalimpong
2008 - ‘St Joseph’s School, Git-Dabling, Kalimpong
2009 - ‘The Lepcha Tribal Association, IIIam, Nepal
The Aathing K.P.Tamsang Lepcha Language and Literary Award 2010 is awarded to Ren Gautam Lepcha, Mamring, Sittong for his outstanding contribution towards the conservation, maintenace and development of the Lepcha language and literature.
To keep the record straight, Ren Gautam Lepcha is the first person to write and bring out a Lepcha novel, ‘Chyoojaong’ meaning like the Himalayas from Mamring,Sittong, Kurseong
Sub - Division, eight years ago. It contains some superb, outstanding writings. It flows like a river, smooth and effortless. He has blended, very successfully, the Rong tradition,culture, life style, romance and adventure in it. It is, undoubtedly, a very interesting, entertaining and above all a thought provoking Lepcha novel.
Ren Gautam Lepcha is also a well known Lepcha poet and lyricist. His’Taarsyok kaat sagraam Rong Kup Kati’ meaning the Lepcha under one flag, a collection of poems, came out in 2004. This book of his inspired the Lepchas, especially the Lepcha youths so much that they jointly produced a Lepcha cassettee in 2009. Most of his poems are also translated into English for wider readership.
Ren Gautam Lepcha also contributes poems and articles for the Lepcha magazines,
‘Aachuley and King Gaeboo Aahyok’ time to time.
Through his writings, he has been successful in inspiring the Lepcha to preserve, maintain and develop the ancient Lepcha language, literature and culture.
The Indigenous Lepcha Tribal Association, Headquarters Kalimpong, take this opportunity to congratulate very warmly Ren Gautam Lepcha for his love,devotion and hard work for the
preservation, maintenance and development of the Lepcha language, literature in Mayel Lyang.
For his outstanding work and achievement in the field of Lepcha language and literature,
Ren Gautam Lepcha, Mamring,Sittong is recognised with a very prestigious award,’Aathing K.P. Tamsang Lepcha Language and Literary Award 2010’. It carried a citation and cash prize
of Rs. 17,000.00 ( Rupees seventeen thousand). This award was presented by Renyoo Mayel
Clymit Sungdyangmoo, eldest daughter-in-law of Aathing K.P. Tamsang to Ren Gautam Lepcha
on 20 December 2010 during the King Gaeboo Aahyok Birth Anniversary at Mela Ground,
Kalimpong.
Wednesday, May 4, 2011
THE LEPCHA CANE BRIDGE , RU-SOAM
“Soon afterwards, at the most wild and beautiful spot, I saw for the first time, the most characteristic of Himalayan object art. a cane bridge,” J.D.Hooker (1848)
THE LEPCHA CANE BRIDGE
The Lepcha cane bridge is one of the most characteristic of the Himalayan objects of art. In Lepcha language, a cane bridge is called “Ru-soam”. Around the bases of all the high hills and ridges of Sikkim and Darjeeling, usually the rivers are steep and rocky and both the flanks are clothed with the richest tropical forest. On both sides of the rivers edge, the banyan and the rubber plant trees grow everywhere most abundantly. Usually the banyan and grasping at every available support, while its branches loaded with deep glossy foliage, hung over the river and such a tree is formed as the pier for the canes, and on the opposite bank another similar tree is found out and between them swing the cane bridge, about 300ft to 400ft long, ever rocking over the swift current 50ft to 100ft below.
When the proposal for the construction of a cane bridge is unanimously decided by the Lepcha on a certain place, the Lepchas start collecting long and large size canes and also long and large size bamboos from the jungles and assemble them on both the flanks of the river where the cane bridge is going to be constructed. When sufficient canes and bamboos are collected, again the Lepcha assemble and fix an auspicious date for the construction of the cane bridge. On that auspicious day, very able bodied Lepcha archers with long bows and arrows gather on both the flanks of the river. They all tie very long and thread like thin canes on the tip of their arrows and shoot it across the river to reach it on the either side of the river banks. This is the most difficult job and sometimes whole day long to shoot it reach across the river bank.
When the archers are successful in shooting out the arrows tied with the thin cane threads to the other side of the river banks, then the assembled Lepcha of both the sides of the river very tightly tie several long, and toe thumb size thick canes on the thin thread like cane, which on signalling from both side, the Lepchas of both sides pull it very slowly and carefully so that it may not break off while pulling it. When this most difficult job is done, then the bridge is constructed within hours.
The lightness and extreme simplicity of the cane bridge structure are very remarkable. Two parallel canes, on the same horizontal plane, are stretched across the river, from them other canes are hung on loops, and along the loops are laid one or two bamboo stems for flooring; cross pieces below this flooring hung the two upper parallel canes, which they thus serve to keep apart. The travellers hold one of the parallel canes in either hand, and walks along the loose bamboos laid on the swinging loops, carrying a load of 40 kilograms. With the shoes on, it is not easy to walk, and even with barefoot it is often difficult, there being frequently but one bamboo which, if the fastening is loose, tilts up, leaving the pedestrians suspended over the torrent by the slender canes. When properly and strongly made with good fastenings, and a floor of bamboos laid travesty, these cane bridges are easy to cross. The canes are procured from a species of Calamus called ‘Ru’ in Lepcha. They are as thick as the thumb, and 100 ft to 200 ft long, knotted together and the other pieces are fastened to them by strips of the same plant. A Lepcha carrying about 60 kilograms of load on his back, crosses without hesitation, slowly, but steadily, and with perfect confidence.
In Lepcha, the two parallel canes are called ‘Saomgyang’, the swinging cane loops are called “Ahool”. The bamboo laid on the centre of the flooring on which the travellers walk is called “Saomblook”, and the two main parallel canes that are tied on both sides of the trees so as to strengthen and tighten the bridge is called “Soamngur”. The two entrances on either sides of the bridge is called “Soamveng”, and the whole bridge is called Ru-soam. The general name of the bridge is called a Saom.
But sad to say that now this old fashioned Lepcha cane bridge, once the most wonderfully admired arts of the ancient Lepchas have become or becoming a thing of the past and in its places, new iron rope suspension bridges have been constructed for the convenience of the people. Never the less, a few cane bridges are still found in the remote Lepcha villages lying at the foot of the Himalayas, where the modern civilization has not reached there as yet.
K.P.TAMSANG
A FLIM BY DAWA T. LEPCHA
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