Mizo culture

[1] Despite significant westernization of Mizo culture due to Christianity and British influence, efforts have been made to revive pre-missionary traditions such as Chapchar Kut.

A number of dialects are still spoken under the umbrella of Mizo;[3] The history of these tribes is varied, with the largest one being the Lushai.

Unlike other clans and tribes in Mizoram, they descend from the Arakan region of Burma, use the Chakma script and follow Buddhism instead of Christianity.

The Mizo religion is structured with a Supreme God known as Pathian and his wife the Goddess Khuanu.

One of the cultural symbols linked to Mizoram's Christian religion is the non-denominational Solomon's Temple which serves as a tourist attraction.

As a result of adopting Judaism, a significant number of approximately 5,000 of their 10,000 members have moved to Israel to continue their doctrine.

Several places in Mizoram often have a mythological story, including Kungawrhi puk, Sibuta Lung, Phulpui Grave and Chhingpui Memorial.

[11] The origin myth of the Mizo people describes the creation of the natural world by the Goddess Khuazingnu.

The story recounts how a representative couple of each human community and animal species were placed inside a cave sealed with the rock known as Chhinglung.

Words for objects, professions and other entities prefacing Mizo culture after the impact of Westernization are borrowed from English directly.

[18] Rambuai literature normally deals with the social and cultural traumas associated with the era such as sexual violence, air attacks, village groupings and curfews.

[20] The history of Mizo cinema begins with the arrival of Christianity with stills and movie cameras from the missionaries.

Due to a lack of skilled personnel locally in Mizoram, movie productions in the 90s declined with the inability to handle post-production and afford video cameras at high prices.

[citation needed] Mizo folk music consists of vocals (singing) accompanied by traditional drums, gong and other native percussion instruments.

Similarly Bawh Hla is sung by warriors upon successful war or raids that lead to the headhunting of enemies.

It was significant from the early 20th century to the creation of the Mizo Union and the Mizo Insurgency of 1966-1986. Notable composers of Hnam hla are known as Rokunga and include, Laltanpuia, Kaphleia and Captain L.Z Sailo whose songs rally for solidarity and connection to the land.

A typical ritual in Mizo society involves a woman to bring puan to the grooms house after marriage and name it Thuam Chhawm.

There are five puans that have played a crucial part in distinguishing Mizo culture and given a geographic indicator tag.

[28] A Puanchei is a multicolored striped Puan typically use as a traditional wedding garment for Mizo brides.

Common colour combinations of puanchei include red, green, yellow, black, blue, pink and white.

Is is typically included in the trousseau of a Mizo bride and traditionally used to cover her husband's body after his death.

On the other hand, the evolution of women's fashion did not see a decline in the use of puan, even with the establishment of Christianity in Mizo culture.

Cheraw was performed as part of a sacrifice to appease bad spirits responsible for the death of a child.

[34] Cheraw has shared a long history with Mizo tribes and have assumed to be around as early as their entry into the Chin Hills in the 13th Century.

After a raid or battle, a ceremony is performed to deride the vanquished beheaded warriors will remain a slave to the victors in their afterlife.

Boys and girls stand in a circle with the leader dressed as a warrior uttering slogans of victory.

[34] It was typically performed in a ceremony of a Thangchhuah to celebrate a hunter's success and prestige as an elite in traditional Mizo society.

Inside the circle, musicians such as drummers and horn players would stand and play a rhythm to dance on.

Colorful shawls are used throughout the performance and both boys and girls participate to the beat of drum of higher tempo than usual.

Zu was never used for commercial purposes; it was typically localised to collective drinking in zawlbuks (Male dormitories).