Munda

History of Munda tribes

The Munda people are an Austroasiatic-speaking ethnic group in India. They predominantly speak the Mundari language as their native language, which belongs to the Munda subgroup of Austroasiatic languages. They also called their language as ‘Hodo jagar’. The Munda are mainly concentrated in the Chhota Nagpur Plateau region, which covers most of Jharkhand, and in neighbouring areas of Bihar, Chhattisgarh, Odisha and West Bengal. The Munda also reside in adjacent areas of Madhya Pradesh as well as in portions of Bangladesh and the state of Tripura. They are one of India’s largest scheduled tribes. Munda people in Tripura are also known as Mura, and in Madhya Pradesh they are often called Mundas. Munda is a powerful tribe of the Kolerian group in Jharkhand. They are the third largest tribe in terms of population in Jharkhand. Munda is kept in the Proto-Astroloid Group from the Tribe Point of View. The Munda group of languages of the Austroasiatic family are spoken within central and eastern India by almost ten million people. To date, they are among the least well-known and least documented languages of the Indian subcontinent.” The family is generally divided into two branches: North Munda, spoken in the Chota Nagpur Plateau of Jharkhand, Chhattisgarh, Bihar, Odisha and West Bengal, as well as in parts of Bangladesh and Nepal, and South Munda, spoken in central Odisha and along the border between Andhra Pradesh and Odisha. Austroasiatic languages, stock of some 150 languages spoken by more than 65 million people scattered throughout Southeast Asia and eastern India. Most of these languages have numerous dialects. Khmer, Mon, and Vietnamese are culturally the most important and have the longest recorded history. The rest are languages of nonurban minority groups written, if at all, only recently. The stock is of great importance as a linguistic substratum for all Southeast Asian languages.

Munda was the unprivileged and oppressed community during British rule. They were forced to pay rent and work as bonded labourers to the zamindars. The Mundas’ leader, Birsa Munda, started the struggle against inhuman policies of colonist British Rule, moneylenders and landlords. He started one of the earliest tribal movements in India against the payment of rents and remission of forest dues. Birsa fought hard against the colonist British rule to establish Munda Raj. This made Birsa Munda a stalwart freedom fighter. As a tribal leader and a folk hero, he became the only belief in fundamental transformation in the tribal belt. His bravery and struggles against the unjust law of British rule are widely commemorated in Jharkhand. Today, one-fourth of the people of the Munda tribe are converted to Christianity. Most of them follow Christianity, but apart from Christianity, they have their religion, Sarna. Sarna emphasises the belief in one God.  And they believe in the almighty power known as Singbonga, the god of the sun. Their prominent language is Mundari, and farming is among their main occupations.

According to linguist Paul Sidwell, Munda languages arrived on the coast of Odisha from Southeast Asia about 4000–3500 years ago. The Munda people initially spread from Southeast Asia, but mixed extensively with local Indian populations.

Mundas Are Primarily Found in the following State

The Munda tribe has the largest Population in the states of Jharkhand, Odisha, Chhattisgarh, West Bengal, M.P. and Tripura, and Mundas come under the Schedule Tribe Category in almost every state of the Indian Union.

Deities of Munda Tribe

The Munda tribal group worship several spirits. The position, activities and personality of the bongas of all the groups

1)Sing Bonga– It is believed that sing Bonga is the greatest of all bongs. He is the creator of the universe.

2) Desauli Bonga– It is believed that this Dasauli God resides in the Sarna tree, when the villagers cause some diseases, they worship him.

3) Chandi Bonga– the word “Chandi” is taken from the Hindu religion, which means goddess Durga or Kali, it is believed that it resides in the sarna site, A holy place where Sarna people worship their god.

4) Ora Bonga–He is regarded as the household God or the ancestor’s spirit residing in a corner of the house.

5) Marang Bonga– Marang means great, A spirit who dwells in hills and mountains

6) Ikir Bonga– A spirit who resides in a pond or pool and protects people from drowning.

CLANS (SURNAME)

Some of the Mundas clans are Bodra, Hemrom, Dang, Gudia, Jojo, Kulu, Nil, Mus, Pandu, Sandil, Purty, Runda, Tiru, etc.

TRADITION

One of the traditions People of the Munda tribe in Jharkhand also follows the old-age tradition of Patthalgari, which means stone erection. In Patthalgari, people of the Munda community bury a large inverted U-shaped headstone with an inscription of the family tree of the dead persons. Some of the patthalgari are Horadiri, Chalpadiri or Saasandiri, Magodiri and Ziddiri. 

FESTIVALS AND CULTURAL PRACTICES

Along with involvement in agriculture, the Munda people also celebrate seasonal festivals, they have a rich cultural heritage, including traditional dance forms, music and oral traditions. Their society is organised around the village, known as “Tola” and is governed by a council of elders called “Panchayat.”  

Sohrai: This festival is one of the important festivals celebrated by the Munda tribe, It is also known as Laxmi Puja, “Laxmi” word is dedicated to cattle. Sohrai is celebrated in honour of the cattle family. Munda regard their cattle as their family members because they think they were dependent on these animals from the very beginning of the evolution of making, and their whole life is based on agriculture and cattle wealth, therefore, people make their castles feel special they are not used to in agriculture in three days, Dias is put in their cattle shed, a small branch of the Mahua tree is fixed outside the shed, The path to cow shed is decorated by two parallel lines with rice flour and vermilion, cattle are given bath anointed with kukui oil, garland hang on their neck, and the special dish is made for the cattle from the newly harvested crops.

Karma: The name Karma is taken from the name of the tree “Karam”. This festival takes place during the autumn season, around August or September. In this festival, people worship sal trees and pray to Mother Nature to keep their farmland green to ensure a rich harvest. The celebration begins with rituals performed by village elders and shamans

This day is also important for the brothers and sisters as the sisters pray for the wellbeing of their brothers. Even the couples pray to the deity for a happy conjugal life.

After the dance, a special offering is made to Karma Devta. It typically consists of rice, fruits, flowers, and other traditional delicacies. The priest or a respected elder person conducts the rituals and seeks the deity’s blessings for the well-being of the community.

 During the puja, devotees dance Karma Naach in circles around the Karam tree or pole, forming a human chain. This dance is known as Karma Naach and is an essential part of the festival. The dancers hold each other’s waists and dance to the rhythm of the music, and as night passes, the celebration continues with more singing and dancing. In this festival, we can see how the celebration brings people together and strengthens their sense of community.

The legend behind the festival, according to the anthropologist Hari Mohan is:

“Once upon a time, there were seven brothers. They were busy with agricultural work. They had no time even for lunch and as such their wives used to carry lunch to the field daily. Once it so happened that their wives did not bring lunch for them. They were hungry. In the evening, they returned home without food and found that their wives were dancing and singing near a branch of the Karam tree in the courtyard. This made them angry and one of them lost temper. He snatched the Karam branch and threw it into the river. The Karam deity was thus insulted as a result of which the economic condition of their family deteriorated. They were starving. One day a Brahman (priest) came to them. The seven brothers narrated the whole story. On hearing it, the Brahman told them that the Karam Rani was angry and she must be appeased. If it was not done their condition would further deteriorate, the Brahman told them. The seven brothers then left the village in search of the Karam Rani. They kept on moving from place to place and one day they found the tree. Subsequently, they worshipped it. Thereafter their economic condition started improving.

Baha Parab:  According to the Munda language, Baha or Ba means flowers. So, Baha parab is the festival of flowers (flower of sal), It is the festival of the Munda tribe and Santhals. Which is celebrated at the beginning of spring. The priest and other villagers offer a sal flower to every family in the village and wash their feet. Women receive flowers in the folds of their sarees from the priest after they ceremonially apply oil on their feet and wash them. During the festival, the women stick some sal flowers into their hair and behind their ears. The rest of the flowers are kept in the ceiling of their thatched or tiled roof. A special dish which is a kind of chapati is made between two sal leaves.

Mage Parab:  Mage Prab is celebrated in the month of December-January and at the beginning of Magh (Jan-Feb). In this festival, new pulses and other cereals are offered to the ancestors. No fixed dates are appointed for the celebration of the festivals. Different villages celebrate this on different dates. In this festival, an important role is played by the Pahan and his wife on the day of the festival, the village youths accompany the Pahan to a nearby pond or stream. After taking a bath, the Pahan, on his way back, plucks a branch each of mage ba and garajono. Meanwhile, his wife cleans and plasters the courtyard with cow dung. Upon returning, the Pahan makes arrangements for the sacrifice. A wide-mouthed hole is dug, and an oven is placed beside it. His wide fetch the soaked paddy that is roasted by the Pahan and is then beaten by the assistant. Arwa rice and Ramra (urd dal/ black gram) pulse are then powdered, and he takes three pancakes out of it. Before initiating the rituals, the Pahan gathers the rice beaten flat, the pancakes, the sacrificial fowl, the ritual rice bear and the branch of the mage ba. A fowl is sacrificed during the ritual, and its blood is poured on the three heaps of rice placed before him. Three pieces of pancakes are then offered to the thread heaps of rice, and a libation of the ritual beer is also presented. The feasting marks the end of the sacrifice. The Pahan next departs for his home, followed by his assistant and the villagers singing the Haua song on their way. The Pahan then cooks rice and the sacrificed fowl in a new earthen pot and takes them where he had planted the branch of a self-grown sal tree. The meat is first offered, and the rice and the rice beer before the three heaps of rice sprinkling water on them.

After the Pahan declares the sacrifice to be over, the Mundas engage in feasting and drinking. The Pahan boils some rice in an oven placed there and hands it over to his wife, who then offers it to the family ancestors in the adiri. Following the feasting, the Mundas set in to collect pancakes from door to door, as every house needs to present at least one pancake. This ritual is marked by dancing and singing of haua songs.

Phagu: This marks the arrival of spring and flowering of crops. It is a time of joyous celebration, with communities coming together to sing, dance and engage in various cultural activities. This festival is also an opportunity for people to showcase their traditional attire and adornments, this adds to the vibrancy of the festivities. Central to these festivals is the worship of Singbonga, the deity which is revered by the Munda people as the supreme being and the creator of the universe. Singbonga is believed to be the guardian of the land and the source of fertility and abundance. Thus, rituals and offerings are made to seek his blessings for a fruitful harvest and overall well-being. Throughout these festivities, the Munda people continue to uphold their cultural heritage and pass down their rich traditions from generation to generation.

In their culture, they maintain clan exogamy, which means individuals must marry outside their clan, while tribal endogamy ensures they marry within their tribal group. Here, monogamy is the prevalent form of marriage and bride price is commonly practised. These customs and rituals that they practice are integral to the social fabric of the community; they reinforce their further cultural identity and foster a sense of belonging and continuity with their heritage. Through these practices, the Munda people preserve their traditions and values.

Some their seasonal festivals have coincided with religious festivals, but without tempering their original meaning.

Folk dance of Munda tribe:

Munda have various folk songs, dances, tales and traditional musical instruments and naqareh is their main musical instrument. Mundas call their dance and song as Durang and susun respectively. Some of their major folk dances are Jadur, Mage Susun and Karam Susun. In which Sexes of both kinds participate actively in dances at social events and festivals.

1)Paika-This dance is performed by the males at the reception or Shobha Yatras of respected guest like barratis, kings, ministers, gurus etc. it is basically a war dance. The dancers hold a shield in the left hand and a double-edged sword in the right hand.

Why this dance is called as Paika dance?

The word Paika is taken from peacock because the dresses of these dancers are shiny, attractive and fringed. They wear a turban which has peacock feathers on it. At the time of the dance, the turbans do not fall openly, because colourful strips are tied artistically in the hands, arms and chest of the dancers, Due to these colourful stripes, there is a feeling of colourful wings same as peacock feathers that’s why this dance is called Paika Dance.

2) Chhau- The word Chhau is known to be derived from the Sanskrit word Chaya which translates to shadow or an image. The dance is known for its portrayal of legends, heroes, and sequences of war and the concept of dharma, an intrinsic element within the nature of war. These include the sequences in Indian mythologies like Ramayana and Mahabharata among others. These artists are trained in martial arts and combatant arts under Gurus or Ustads. These include Khel (mock combat techniques), uflis (movements modelled around the daily chores of traditional indigenous women), chalis, and topkas (stylized gaits of birds and animals). These marital customs and elements form an integral part of Chhau. The knowledge of this dance, mask making, costumes, and make-up is known to have been transmitted orally and is usually performed in an open space called akhada or asar. The vibrant music of Chhau is characterized by the rhythm of indigenous drums like dhol, kharka, and dhumsa along with the melodies of mohuri and shenai.  The dance is well established as one of the prominent traditions in Odisha, Jharkhand, and West Bengal. The spring season is usually filled with the vibrancy of Chhau in various stadiums, grounds, and temples. One can often associate Chhau with performers who dress up like goddess Durga to include Shakti or power themes, lord Rama to include the Bhakthi, war and dharma themes, and Lord Shiva to include elements of Shaivism and ‘Tandava of Nataraja

3) Fagua dance-This dance is performed in Phalgun and Chait. It is a dance on the occasion of Basantotsav or Holi. It is also a male-dominatined dance, but it also involves the female dancers(kali) somewhere. The female dancer dances freely between men. Gayanavas(singers), Bajanias(musicians) and male dancers dance around the female dancers. It consists of dancing to the songs of all rages. The raga changes at every episode of the Panchrangi Fagua dance.

4)Baha dance-This dance is performed on the occasion of Baha Parv (Sarhul) in the month of Phagunl. Men and women collectively join this dance. This dance is performed in jaher or Sarna site.

5)Sohrai dance-This dance is performed during the festival celebrated for cattle. This dance is worshipped in Gaushale. In this dance the women sing the songs Chumawadi. On the occasion of this dance men sings ‘Gaai jamaav’ songs.

6)Jadur Dancer-It is a female-dominated dance. It is a high-speed dance. In this dance, male-female dancers wear red coloured clothes. This dance is performed on the occasion of Sarhul.

7) Karma Dance-It is a dance for the occasion of Karam Puja. Karam festival is celebrated in the month of September. On the night of this festival, the youth- a group of young girls performs this dance Three branches of the Karam tree are buried in akhara and dance around it throughout the night. This dance consists of stories of two brothers Karama and Dharama. This dance lasts until a little after sunrise.

MUSIC INSTRUMENT

Various types of leather instruments, which are beaten and played with palm-fingers or small stich of wood.

MANDER: It is one of the oldest musical instruments for Munda tribes, which is used by all the Jharkhand community. It is made by placing is leather on either side of the open ends of a circular shell, often it is made up of monkey or goat leather. It is played with the palms and fingers of both hands hanging like a drum, around the neck.

NAQAREH: Nagra are hung by hanging around the neck or waist. The small sized nagada is called’Tamak’ in the Santhal parganas region. It is used in the festivals and marriages for welcoming the guest

DHOL: Dhol is often played on occasions such as marital ceremonies, festivals and worship. Dhol plays an important role in varies festivals and many folk dances. Dhol is played by hanging it around the neck with the palm on the left side and beating it with a thin and small stick of wood.

Secondary category consists of musical instrument played by mouth

BASURI: Bansuri is a popular instrument among the Munda tribes, it is a common sight to see Shepherds playing Flutes, Grazing cows and bulls.

SINGA: Singa is made from buffalo horns. Its pointed end is blown. The other end is of wide mouth and it bend forward. It is used in Chhau dance. It is played to chase away animals during hunting especially elephants. Even shephard also play singa to control animals.

Third category of instruments although Talash are instruments and they are Jhal, Kartal Thal, Bell, Ghugru, Manjira etc. are often played on the beat.