There is something extraordinary about the cheraw (bamboo dance) performed during Chapchar Kut. The dance is unique, elegant, and spectacular, but it carries a deeper connection to the land and lives of the people, particularly to the remarkable practice of shifting agriculture (or jhum) which subtly encapsulates the dance of the bamboos themselves on the mountains of Mizoram.
I first watched the grand cheraw performance at the Assam Rifles stadium in Aizawl in Mizoram’s Gospel Centenary year. Although the state had seen great transformations in religion, traditions and economy over the last century, the cheraw itself had been retained as a deeper marker of culture.
March 15, 2014: Today, farmers of the Serhmun village would start a fire on the hills near Tuilut, to meet a deadline set by the state government. We were in Damparengpui, a remote village in Western Mizoram, from where we wanted Lal Sanga to take us in his autorickshaw up the bumpy, winding hill road to Tuilut.
“Do you really want to go all the way to see that?” he asked. It would turn out to be the loudest, hottest, most spectacular fire that I had witnessed at close range. A deliberate fire that would reduce to ashes what had been, until some weeks ago, a dense bamboo forest. And yet, the fire did not signify destruction as much as it did a new beginning.
Due to change in customary cultivation practices, focus has now shifted to raising horticultural crops… thus preventing secondary growth on old shifting cultivation patches. This has also led to the decline in forest cover assessed in the state.
Thus, Mizoram’s forest cover may be taking a turn for the worse not because of shifting cultivation but because of the State’s push to establish permanent cultivation, notably horticulture crops such as oil palm.
Two spectacular bamboo dances, one celebrated, the other reviled, enliven the mountains of Mizoram, the small northeastern Indian state wedged between Bangladesh and Myanmar. In the first, the colourful Cheraw, Mizo girls dance as boys clap bamboo culms at their feet during the annual Chapchar Kut festival. The festival itself is linked to the other dance: the dance of the bamboos on Mizoram’s mountains brought about by the practice of shifting agriculture, locally called jhum or ‘lo’. In jhum, bamboo forests are cut, burnt, cultivated, and then rested and regenerated for several years until the next round of cultivation, making bamboos vanish and return on the slopes in a cyclic ecological dance of field and fallow, of farmer and forest. While Cheraw is cherished by all, jhum is actively discouraged by the State and the agri-horticulture bureaucracy. Although jhum is a regenerative system of organic farming, Mizoram State, the first in India to enact legislation to promote organic farming, is now pushing hard to eradicate jhum under its New Land Use Policy (NLUP).
At first I thought it is the people of Mizoram who use bamboo to perform their celebrated dance, the Cheraw. After months of field research in remote forests of this small state in northeastern India, I know now it is the other way round. Through its intimate influence on the people, it is the bamboo that does its own dance on the mountains of Mizoram.