Mitnu: The Dying Dolls

Image credit: Apartment Therapy

If we are to situate the ‘traditional’ in our culture it will be extremely difficult to locate the timeframe as it is a long-established customs or belief which has been transmitted from generation to generation and for this reason, we have often conveniently use the term “since time immemorial”, to denote the historicity of the unrecorded time. This article is in reference to some traditional practices, from festivals to games, values to customs, dress to music, etc., which need to be revived or re-adapted in the present context.

Note I:

If we are to celebrate or observed only Karing Ngei (Festival of the Living/Living Festival), which is a traditional festival, then not long from now on, the common perception and understanding among the community particularly the younger generation will change and Karing Ngei will be regarded as the only cultural festival of the Inpuis. Even though we have imbibed Saangthan Ngei, Muliang, and Nabit into the Christian culture. 

And for some reason, Muliangnu is losing its cultural sheen/cultural relevance as the occupations of the people are slowly shifting towards the cash economy and other sources of livelihood. And some villages are slowly abandoning such practices as the family who got the richest annual harvest is no longer willing to spend thousands and host the village for such a small harvest as compared to the past.
Yet, there are festivals and practices which need to be revived and sustained for the benefit of all.

Image credit: thepinkdoormat.blogspot.com

Note II:
Some traditions are significant in tracing the history and culture of the society. For instance, a childhood game ‘Apa Kham, Anu Kham’ identifies the close relative by calling out their names or relations so that the child knows his/her blood relations. It is more like the tracing of family history. It identifies close kin’s and mark their existence in arms by using saliva, though this disappears as the saliva dries up, this game signifies the identity, the family or clan. This game though seems insignificant, can help connect the family tree and kindle a bond with the child. Such a game closely resembles the game played by Sudanese siblings in the movie “The Good Lie” (2014) where the siblings trace their ancestry by calling the names of elders of the family as they place their hands on top of each other.  

Likewise, the game played by girls particularly Mitnu Kadainu is a copy of everyday life i.e, of person, family, and society. The child will copy whatever is being acted out by the parents and elders. The play depicts the character of society. It imitates the relationship between parents, siblings, relatives, neighbors, and also inculcates social values. They even depict a wedding ceremony, festivals, and other social activities like community work, weaving, fishing, agricultural practices, etc.

The children use different types of handmade dolls which also vary in shape and sizes, an inanimate actor in the game. It is more of puppetry but not for a public showcase. Parents, grandparents, and elders of the family usually assist and train the children in making dolls adding creativity and craftsmanship to doll making. Creativity in the game has no limits. Materials used in making such dolls include cloths, thread (for hair), matchsticks or stick for man, etc. This game also act as a socializing agent for children in the neighborhood and relatives. And is not confined to girls alone as boys can also join and plays the male character.

Image credit: newway-school.ru

It is an earnest plea to revive such traditions or else modern dolls like Barbie, Cinderella, Superman, Spiderman, and animal’s dolls which are more beautiful and reliable (easily available in the market) will soon be considered as our culture as children can better identify with the globalized culture. If we are not to revive such art form than we are patronizing western culture. And in discarding such practices, the missing cultural links will not be captured by oral tradition or by written and visual documentaries as the former is dying and the latter two are yet to catch up.

The following are some games played by the children: Bazu ti ti, Tong TongMeitongpi, Kutkut Ya, Api sumtrum tum,  Inkam Kadai, Kham Kadai, Aan Kekoi:, Sanu Nupa, Kaangkaang (bamboo stilt), Saobaatnu (top), Gari Bake Bali (wooden four wheeler), Zwangzwang (swing), Kongkhaak khong bachunu (weaving), Aan raak phan nu , Inpaang Kwan (five stones), Kangkaling, Mikhan nu etc.

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