Rituals

The original Yakthung rituals can be classified into three types: individual, family, and community-specific rituals.

The rituals for individuals include birth, marriage, and death ceremonies. Sappok Chomen and Yangdang Phongma come under the birth ceremonies. While, the rituals for marriage ceremonies are Tendham Mekhim for the son, and Ingme and Mellung Phuma for the daughter.

In the death ceremonies, depending on the cause of death, the rituals are conducted using various methods, such as Sasik Yangdang, Henjiri Hembange, Sugup, Idhuken Sogha, Tangamba, Letchham Phungsam, Yaguchangsi. 

The family-specific rituals include Chasok Thisok, Yakwa, Tangsing, Akwama, Phaksot, Nahen, Himlili, and other ceremonies

Similarly, the community-specific rituals include Yalang, Kelang, Hakpare, Tumdum Henamama, Lung Lepma, Chaing, Pambhe, Thokla, and others.

The Periods for Yakthung Ritual Procedures

Sappok Chomen: This ritual must be performed for a pregnant woman when the baby moves in her womb. This ritual must be performed one month before the birth of the baby or in the sixth or seventh month of pregnancy.

Nahangma: This is performed by the eldest son after the death of the father, as he is the head of the household.

Yangdang Phongma: This is performed after the birth of the baby. It must be performed on the third day if it is a girl chid and on the fourth day if it is a boy child.

Sa’i Chomen: When the children reach the age of three, a pig is slaughtered in joy and celebration with the wish that the children will have a bright future. 

Mangena: This ritual must be performed after the front teeth of the child are replaced with permanent teeth, usually around the age of nine or ten. It must be performed once every year if possible, but at least once in three years.

Phungwa Changma: This is to be performed when a daughter reaches adolescence.

Mekhim/Ingme: Mekhim is carried out when a son becomes physically and biologically mature, while Ingme is performed for a daughter after the marriage arrangements have been made, usually at the age of 20–25.

Mellung Phuma: This ritual must be performed after the girl child gets married and has children. Also, the girl child must have complete trust in her husband.

Yakthung Death Rituals

Masingma Yen: After death, this ritual involves arranging the corpse, changing the clothes, firing a gun, collecting necessary items, preparing chedhap (funeral bier), placing twa yang (a coin to be placed on forehead), and consulting when and where the Chelupden (burial place) will take place.

Chelup Yen: On the day of the funeral, the rituals include preparation of chedhap, arrangement of refreshments, purchase of soil, digging of the grave, placement of the body in the grave, preparation of the sam (soul/spirit), performance of the rituals of calling back the souls, burial of the body correctly, and samsama rituals for some clans.

Yumsa Yen: Meat and salt are distributed; netyukma (mourning period) rituals are observed; placement of samdakhung is done; and after yumsa rituals, on the ninth day, kusiringba rituals are performed.

Phaje Yen: On the purification day, the rituals include removal of Samdakhung for some clans; rituals are performed at Khauma; and Muisemma Tangseng rituals are performed in the evening.

Measures for the Preservation of Yakthung Rituals

Since the root of Yakthung rituals is Mundhum, a literacy campaign should be conducted on the topic of Mundhum. Yakthung ritual and cultural seminars should be organized. Tumyahangs should be produced, and their role should be strengthened. Phedangma, Samba, Yeba, Yema, and Yuma should be institutionalized.

Similarly, information should be provided on presenting matters that have psychological effects in a balanced way. This is because if negative rituals are performed, individuals with weak spirits become even weaker. Phedangma, Samba, Yeba, Yema, and Yumathukma should be treated with respect. The original Yakthung rituals and culture should be refined according to the needs of the time and explained scientifically.

There should be uniformity in the activities of the original Yakthung rituals and culture. The original Yakthung rituals and culture should be integrated into daily life. Proper remuneration should be arranged for Phedangma, Samba, Yeba, Yema, and Yumathukma. Their work should be developed as a respected profession.

Ke (Chyabrung)

The main musical instrument of the Limbus/Yakthungs is the Ke/Chyabrung (Drum). According to their traditional way of life, Limbus have been playing the Ke/Chyabrung (Drum) as their indigenous cultural instrument. In Limbu culture, this drum holds great significance, importance of use, and popularity. In some cases, ritual procedures cannot be completed without the Ke/Chyabrung. Especially, this drum can always be played and danced to in times of happiness and joy. Its use is not limited to celebrations; Limbus hold the Ke/Chyabrung in high regard, attributing to it special values, beliefs, and respect. The techniques of playing it, making it, caring for it, and managing it have been passed down through generations according to traditional rules. Thus, the Ke/Chyabrung holds a deep connection with the Limbu people.

The origin history of the Ke-Chyabrung drum, the descriptions in the Mundhum must be considered as the main basis. Presenting the explanations of the Chyabrung and the direct accounts of knowledgeable Tuttutumyahang, elders, Samba, and Yeba from various villages as a conclusion, it can be said that Sapri and Lembri are the ones who made the Ke-Chyabrung. These Sapri and Lembri are found as characters who did not do other work were lazy, and made and played with toys (Kewa). The statement that they were lazy also supports the view that they are the makers of the Ke-Chyabrung (Drum). When they grew older, they had the idea to make their toy (Kewa) larger and it is believed that the first Chyabrung was made in Keghing/Kedhing Tembe (now Lelep–1, Taplejung). That place can still be found today. The toy (Kewa) started by Sapri and Lembri is the developed form of today’s Ke-Chyabrung drum. 

There are many sayings and theories about how the ‘Ke’ instrument got its name. Long ago, large types of bamboo such as bhalubas (Hangfa) were cut on both sides, and deer and other animal skins were brought and made into a toy played by Sapri and Lembri. Gradually, this developed into a large-sized instrument. In the Limbu language, a toy or plaything is called ke?wa. It is said that from this ke?wa word, the instrument was named ‘Ke.’ Playing this instrument became associated with a dance involving movement and teasing. In Limbu, movement is called ke:ma. Thus, while dancing with teasing and movement (ke:ma or kesingma), the instrument had to be played, so the name of the instrument became ‘Ke.’ This explanation appears to be closely related to the Mundhum.

The word ‘Chyabrung’ originates from the sound of the instrument itself. When playing the hook change (rhythm played with the hands) of the Chyabrung drum, a “chyang” sound is produced, and when playing the sing change (rhythm played with a stick), a “thum” sound is produced. When both hands play simultaneously, the sound heard is “Chyabrung.” The instrument was named after this sound. The sound and tone of this instrument are also heard as chyabrung, chyabhrum, chyagrum, and other variations. However, mostly the sound is heard as chyabrung, so the instrument was named accordingly. Therefore, this instrument is called Chyabrung.

To construct the Ke/Chyabrung (Drum), certain materials are required. According to Mundhum and various narratives and sayings, the first makers of Ke/Chyabrung also used some necessary materials. According to this, the main material for constructing the Ke/Chyabrung is Singgok/Keim (Chyabrung house). According to Mundhum, for the Chyabrung house, Sangsi (Dhyangre pine) from the hills and the trunk of Hangsing (Khamari) from the lowlands were used. Likewise, Syakpa Horik (deer skin), Ijo (thread), and for Teh?nam (binding), Semikla Pamikla Thye? (Nigalo strips) were used. It is also said that other required materials like Chabi, Kesa, etc., were made from Lisingfa (Malibamboo). Similarly, according to Mundhum, when making Singjanggesing (gajo), branches of Segkasing (Chuthro) from the hills and Sambri Sing (Royal tree) from the lowlands were used.

Among the various cultural dances of the Limbus, Kelang is a particularly special and significant dance. This is a group dance performed to the beat of the Ke/Chyabrung drum. The dance is known for its uniqueness, importance, and beauty. Its origin and foundation lie in Mundhum. This dance cannot be performed without the Ke/Chyabrung drum, and its main characteristic is dancing while playing the drum. For Limbus, the Chyabrung dance is both a form of entertainment and, in some cultural events, an essential ritual. The Ke/Chyabrung dance is performed during joyful and auspicious occasions. There are instances where ritual procedures are incomplete without the Ke/Chyabrung dance. Since Kelang/Chyabrung dance is performed on happy occasions, it is believed that the sound of the Chyabrung drum drives away negative energies (evil eye, jealousy, natural calamities, etc.), steps on them with the feet (Langbhole Epma), and blocks them with the hands (Hukphole Thekma). Therefore, the Kelang dance is the heartbeat of the living Limbu culture. No formal study or development of rules for this dance has been carried out, so it has been kept alive through generational transmission and traditional practice. However, some dances have been forgotten or abandoned over time.

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