Kay-la:ng group"Chasok Tongnam" at Upper Aho,22 Namcheybong constituency, Pakyong East sikkim скачать в хорошем качестве

Kay-la:ng group"Chasok Tongnam" at Upper Aho,22 Namcheybong constituency, Pakyong East sikkim

Kay-la:ng: The chief traditional drum of tribal Limboos is called ‘Kay’ and the dance which accompanies the beating of the Kay (Chyabrung ) is called kay-la:ng. Here the word ‘kay’ denotes traditional drum of Limboos and ‘la:ng’ dance. It is also referred as ‘Chyabrung Naach’ in Nepali language. The kay is an oblong log-drum which is about 12 to 14 inches in diameter and with a length of about 22 to 24 inches. It is held suspended by the drummer from the neck upto the stomach with the help of a cord and is usually played only by the male dancers or drummers on some auspicious, festive or ceremonial occasions like Me:tkam (marriage), Himli:ngma (house warming ), Lamdha:n (reception)etc. It is a hollow log drum made out of a soft wooded tree species like ho:ngsing (Litesea Khasyana Hookeri) or khamari (in Nepali). Such soft wooded log drum can produce a deep and sharp sound most suited for the outdoor open air drumming .Like most log drums, the kay has two openings which are covered tightly by the goat-skin on the right and by bull-skin on the left. The one covered by goat-skin produces sharp and thrilling tone and the one covered by bull-skin produces flat and roaring sound. The former is played with the palm of the hand and is called ‘huksagay’ and the latter is struck with a stick (kay chhari) and is called ‘singsagay. The kay-la:ng is a stately and solemn dance with synchronized stepping of feet generally performed by male dancers or drummers of two or more. On some occasion, they are also joined and followed by female dancers with swinging hands and singing melodious songs “kay-La:ng La:ng” with characteristic vowel lengthening tone. When the melodious echo of song follows the beating of drum, it gives an enchanting colour. Originally kay-la:ng was performed around the Hangsitlang, the main pillar of the newly constructed house. This ceremonial function preformed before occupying a newly constructed house was called ‘Himli:ngma’. It was done to invoke ‘Akwanama’, the house protecting deity and also propitiate several deities and spirits to drive away evil spirit and avoid incidents and ill- luck. With the change of time, the society changed and the Kay la:ng is now-a-days performed during me:khim (marriage), Lamdha:n (reception) tee:ha (victory function) and several other functions or occasions. The expert kay dancer or drummer are known as ‘kay muktimba’ or ‘kay la:ngsamba’ who need not chant ‘mundhum’ to invoke ‘Akwanama’ while dancing during ceremonies but they tremble so tremendously like the Limboo ‘Phedangma’ usually do. These phenomena indicate that the kay dancers themselves have tremendous power of their own. There are various type of la:ngs (dances) in Kay-la:ng (Chyabrung dance) varying from place tom place and from region to region. These different types of kay-la:ngwere imitation of behaviour and action of animals, birds and insects. Thus accordingly la:ngs are called sammenda la:ng (Tibetan Goat Dance),yasa? La:ng (Himalayan Chomoise Dance) khireiba la:ng (Stag Dance), pe:ngwa la:ng (Barking Deer Dance), tokmay la:ng (Elephant Dance),ke:ndala:ng(rhinoceros dance),samba la:ng (Limbo Priest Dance), singvekwa la:ng (leaf dance), puyema la:ng (Fly Catcher Dancer) ,puttukay la:ng (dove dance) sijowa la:ng (swallow dance), perewa la:ng (Pigeon Dance),ngevonji la:ng (Fish Dance),chiraphe:ma la:ng (Butterfly Dance) and so on.