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.
‘Stop bouncing around like a ping-pong ball you tailless piece of shit!’ I said.
And it worked! The tiny, truncated bird, smaller than a sparrow, hopped onto a thin twig, and paused. Paused for just a couple of seconds, but after fifteen futile and frustrating minutes trying to glimpse the bird in the dense rainforest undergrowth on a misty morning, this was enough to get one clear view. If you can call staring through a pair of Swarovski 8.5 × 42 binoculars—my breath held to avoid fogging the eyepiece, my cold fingers clenched around both barrels, my shoulders and elbows locked, my torso twisted like a snake curling up an imaginary tree, my knees bent so that I could look lower in the undergrowth, past ferns and herbs and leafy tangles and fallen branches, through a tiny gap—at the briefly motionless bird twenty feet away, one clear view. A lot of effort, for one little bird.
Can wildlife and slash-and-burn shifting agriculture coexist? This question led me into remote rainforests of northeast India in 1994 for a field research study in Dampa Tiger Reserve, Mizoram. In December 2013, nearly two decades later, I went there again. From the Anamalai hills in south India, I travelled across the country to initiate a comprehensive bird survey in Dampa, including a resurvey of my old field sites. As a prelude to other writings I will post here in the days ahead, I post below an edited version of an article about my work in Dampa in the mid 1990s. This article first appeared in the May/June 2007 issue of Wildlife Conservation magazine (a remarkable periodical published by the Wildlife Conservation Society, which after a print run of over 112 years, perished with the recession in 2009). Original PDF here.
The heat from the fire is intense, even from a hundred metres away. The entire slope is ablaze. Piles of slashed vegetation and tens of thousands of bamboo culms that had sun-dried for three months burn ferociously. The bamboo hisses, crackles, and explodes, audible a mile away. Hot gusts of wind scud the fire upslope, throwing branches and small trees ten metres into the air. High above, unmindful of the billowing fumes, swallows and drongos, in a frenzy of activity, hawk insects. Ash and smoke darken the sky, reducing the sun to a dull orange ball. In twenty minutes, almost as rapidly as it started, the fiery spectacle ends. On the soil, only a blanket of smoldering ash and tree trunks remain.