In Mary Mount School, they taught me Chawnglaizawn. I forgot my partner. But I remember I was one of the lesser co-ordinated children. I have never really been good at synchronized movements. I did aerobics and Hollaback Girls choreography in Lady Shri Ram, the latter of which I hope to erase from memory like I erased all photographic evidences of it a year later. I learned Khuallam in JNU; I glory that I did not misstep but never again.
That is my entire repertoire in dancing.
Chawnglaizawn is a dance, I have since learned, that was primarily a Pawi/Lai dance. The most interesting bit about the dance is that it is performed on occasions that are polar opposites – one, to celebrate big game, but the interesting bit is the second occasion where it is a communal mourning rite where a husband dances to grieve his wife’s passing. For the former, male and female dancers stand in rows or in circular formation and use the traditional Mizo drum khuang to set the rhythm. I learned the row one. Us girls wore Hmaram and kawrchei and used a small pawndum shawl; I think the boys went shirtless, wrapped ngotekherh around their waist and used pawndum shawl as well. Chawnglaizawn makes me wonder if when we say “celebrate” big game trophies, we mean “give respect” to the dead animal. I only say that because my grandmother was very fond of saying the Leihang clan shared ancestry with tigers, hence tigers were our kin, hence if a tiger was killed, a Leihang must do right by its corpse and cover it with pawndum to mourn it, as one would a kin. I don’t really know.
The other dance I learned was Khuallam, which as the name suggests, is performed for guests. I don’t really know but going by the easy rhythms, I suppose anyone with half a beat – read, guests – can join in and have fun dancing. I think they performed it during Khuangchawi ceremonies, before the grand feast maybe, hosted by some big shot. This dance features khuang and darbu. And any Mizo attire, I think. When we did it, we wore a set of Pawipuan and the men went shirtless again and maybe wore ngotekherh around their waist. We used regular sized pawndum to wave around, I think. I might be mistaken. I also think we used those attires because they were readily available. I certainly did not wear my own.
I tried to learn Cheraw one time. My father and cousin were on the floor, all ready to clap the bamboos and set the rhythm. They were not good. They clapped my ankle. I have never approached again. Both my sisters are graceful Cheraw dancers though. Two out of three isn’t bad! The most fascinating thing about Cheraw is it is traceable historically, to 1st Cent. AD and possibly derived from agricultural rituals since quite a few of the moves mimic paddy cultivation and harvest. However, what is interesting about it is also that it was performed to ensure a safe passage for the soul of a woman who died during childbirth. Or alternately, the soul of a child; or maybe a stillborn, I am not that sure. Cheraw is the dance version of Puanchei; just as colourful and just as dominant. It is fitting that puanchei is the go-to attire for Cheraw. The men go shirtless again, maybe. They never seem to wear clothes when dressing in cultural attire.
A dance I enjoy watching but ultimately too introverted to try even learning has always been Solakia. AKA Sarlamkai. AKA Rallu Lam. Originally a Mara/Lai dance to celebrate military victories. I don’t know what the right attire for this is. As for music, maybe drums. I think the words mean the same with Solakia and Sarlamkai; the sar would come from sarthi – unnatural death, and lam is lit. dance; I don’t know what kai means other than maybe step/stepping into. A Great Hunter comes home with decapitated enemy head? Bring out the boys and girls, encircle the hero with the machete and the shield and dance, mock the dead, celebrate the hero. Maybe.
A dance I know I can’t perform because I have no natural rhythm is Chheih Lam. It is the Mizo Tango. A man and woman mimic eagles courting mid-air, gracefully moving with outstretched “wings” and moving together, touching, then separating, coming back together again. Very romantic and shit. This one you can sing for. I believe it is associated with Puma Zai and Tlanglam. The one song I associate most with this dance is German Ral Run Hla which is a mournful tale of a man going off to war to fight the Germans, leaving on a train, bullets raining down everywhere, and his lover left behind to cry, I guess.
A dance I might be able to perform is Par Lam. Flower dance. Older ladies perform it and they wear their brightest clothes – puanchei and kawrchei easily. They wear flowers on their hair and ribbons on their hands or wrists. The movements are simple and a song plays in the background on speakers, so I guess the dance is very modern. The song selected is cheerful and usually Zotui Thiangte which is not about flowers at all, but rivers!
I also know the choreography to Steps’ 5,6,7,8 and Spice Girls’ Stop. But those are not really Mizo dances at all. I know very little dance!