{{Short description|Culture of the Mizo people of India}} {{multiple image | total_width = 370 | perrow = 3/3/3/4 |image1=Dance of Mizoram.jpg |image2=Plate 25 Folk-Lore, vol. 20.jpg |image3=Vonoler’s Tomb.jpg |image4=Mangkhaia Lung.jpg |image5=Mizoram State Museum - 12.jpg |image6=Lushai and Poi path to Jhum.jpg |image7=T. Lewin Memorial at Demagiri.jpg |image8=Reverend F.W Savide and J. Herbert Lorrain in Lushai Dress.jpg |image9=Mizoram bombing 1966-2-resize.jpg |image10=Plate 22 Folk-Lore, vol. 20.jpg |image11=Lushai Ai Ceremony after Tiger hunt.jpg |image12=Mizo or Lushai Chin attire in Myanmar.png |image13=Hlakungpui Mizo Poets Square (2).JPG |footer='''Representative elements of Mizo culture'''<br/>'''Top：'''Cheraw dance mural, Chief [[Zakapa]], [[Vanhnuailiana]]'s tomb<br/>'''Second left：'''[[Mangkhaia]]'s Monument<br/>'''Second center：'''[[Mizo clothing]] at the Mizoram State Museum<br/>'''Second right：'''[[Mizo people|Mizo]] and [[Lai people|Lai]] on the way to their [[jhum]]<br/>'''Third left:''' Memorial of [[Thomas Herbert Lewin]] at [[Demagiri]]<br/>'''Third center：'''First Chiristian missionaries (left: [[Frederick William Savidge]], right: [[James Herbert Lorrain]])<br/>'''Third right:'''[[Bombing of Aizawl]] during [[Mizo National Front uprising]]<br/>'''Bottom left：'''[[zawlbuk|{{lang|lus|Zawlbûk|cat=no}}]] (traditional bachelor dormitary)<br/>'''Bottom middle left:'''{{lang|lus|Sa Aih}} ceremony for a killed tiger<br/>'''Bottom middle right:'''[[Mizo clothing]] in [[Myanmar]] ([[Chin State]])<br/>'''Bottom right:''' [[Mizo Hlakungpui Mual|{{lang|lus|Mizo Hlakungpui Mual|cat=no}}]] (Mizo Poets Square) }}
The '''culture of the [[Mizo people]]''' has been heavily influenced by [[Christianity]] during the colonial era of the [[British Raj]] and the rise of Mizo nationalism with the [[Mizo National Front uprising|Mizo Insurgency of 1966-1986]]. Mizo culture is rooted in the arts and ways of life of Mizos in [[India]], [[Bangladesh]] and [[Myanmar]]. Mizo culture has developed in plurality with historical settlements and migrations starting from Southern China to the Shan states of Burma, the Kabaw valley and the state of Mizoram under the British and Indian administrations.<ref>{{cite book |last=Joshi |first=Hargovind|date=2005 |title=Mizoram Past and Present |url=https://books.google.com/books?id=YtX52F_qcWgC&dq=K.S.Latourette+mizo&pg=PR7 |location=Delhi |publisher=Mittal Publications |page=11 |isbn=81-7099-997-9}}</ref>
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|{{lang|lus|Chapchâr kût|cat=no}}]].<ref>{{cite journal |last1=Angom |first1=Rebecca |date= 31 January 2020 |title=Christianization and its Impact on Mizo Culture |url=https://al-kindipublisher.com/index.php/jhsss/article/view/232 |journal= Journal of Humanities and Social Sciences Studies |volume=2 |issue=1 |pages=55–61|access-date=7 September 2024}}</ref>
==Identity== {{main|Mizo people}} The '''Mizo people''' ({{langx|lus|Mizo hnam}}) are an [[ethnic group]] native to [[North-East India|north-eastern India]], western [[Burma]] (Myanmar) and eastern [[Bangladesh]]; this term covers several ethnic peoples who speak various [[Kuki-Chin languages]]. Though the term Mizo is often used to name an overall ethnicity, it is an umbrella term to denote the various tribes and clans, such as the [[Hmars|Hmâr]], [[Ralte|Raltê]], [[Lai people|Lai]], [[Lusei]] etc. A number of dialects are still spoken under the umbrella of Mizo;<ref>{{cite web|last=KHAWTINKHUMA|first=VANTHUAMA|title=MEMORANDUM SUBMITTED TO HIS MAJESTY'S GOVERNMENT BY MIZO UNION|url=http://zolengthe.net/documents/mizo-union-1947/|publisher=ZOLENTHE.NET|accessdate=17 August 2012|url-status=dead|archiveurl=https://web.archive.org/web/20120207055552/http://zolengthe.net/documents/mizo-union-1947/|archivedate=7 February 2012|df=dmy-all}}</ref> [[File:Mizoram historical distribution of tribes clans.png|Historical settlements and distribution of Mizo Tribes and Clans in Mizoram State.|203x240px|thumb|right]]
The Mizos are united in identity by shared customs and origins of tribes claiming origin from the origin of [[Chhinlung|{{lang|lus|Chhînlung|cat=no}}]]. Thus, Mizos are classified as {{lang|lus|Chhînlung chhuak}} ({{translation|Emerging from Chhînlung}}). The Mizos are both a nation and a tribe with various sub-classifications of groups within.{{sfn|Pachuau|2014|p=11}}
The history of these tribes is varied, with the largest one being the Lusei. The Lusei migrated and established dominance in the Northern Lushai hills between 1840 and 1850. The [[Paite people|Paihtê]] are spread between Northern Mizoram and Southern Manipur, the difference is that the Paihtê in Central Mizoram have lost their original language as opposed to [[Churachandpur]] and North-East Mizoram. The Hmâr people settled historically in the northern cities of [[Biate (town)|Biate]], [[Champhai]] and [[Vangchhia]]. Like the Lushai, they were composed of royal sub-clans and chiefdoms. The [[Mara people|Maras]] in the South-East are known as Lakher by the Mizo.<ref>{{cite web |last=Land Revenue and Settlement Department|title=The Land Systems of Mizoram|publisher=Mizoram Government |page=4-6|url=https://landrevenue.mizoram.gov.in/uploads/files/historical-evolution-of-mizoram.pdf}}</ref> ==Language== {{main|Mizo language}} '''Mizo''' is the official language of Mizoram, along with English. Mizo language, or Duhlián ṭawng, is a language belonging to the [[Sino-Tibetan]] family of languages, spoken natively by the [[Mizo people]] in [[Mizoram]] states of [[India]] and [[Chin State]] in Burma.<ref name="Lalthangliana">[http://www.vanglaini.org/index.php?option=com_content&view=article&id=12917:mizo-tihin-tawng-a-nei-lo-tih-kha&catid=105:articles&Itemid=466/ Lalthangliana, B., ''<nowiki>'</nowiki>Mizo tihin ṭawng a nei lo<nowiki>'</nowiki> tih kha''], see also [http://stedt.berkeley.edu/about-st#TBlg Matisoff, 'Language names' section]</ref>
Mizo ṭawng is a tonal language. It consists of four tones, a high tone, a low tone, a rising tone and a falling tone for a syllable to be expressed in four different meanings.<ref>{{cite journal |last1=T. Fanai |first1=Lalrindiki |date= June 2015 |title=Tones in Mizo Language |url=http://mzuhssjournal.in/images/resources/v1n1/fanai.pdf |journal=Journal of Human Social Sciences|pages=136–144 |access-date=9 September 2024}}</ref>
Restraints on vocabulary have also introduced many English words into the language. Words for objects, professions and other entities prefacing Mizo culture after the impact of Westernisation are borrowed from English directly. As English is also an [[official language]] of Mizoram, established with the onset of Christianity, it is widespread in Mizoram and easy to integrate.<ref>{{cite journal |last1=Lalremruati|date= 8 August 2020 |title=The Intrinsic Relationship between Language and Culture in Mizoram, India |url=http://languageinindia.com/aug2020/v20i8aug2020.pdf |journal=Language of India|pages=208–214|volume=20 |access-date=9 September 2024}}</ref> ==Religion==
=== Animism === {{main|Mizo animism}} {{see also| Pialrâl}} Before the advent of Christian missionaries, Mizo communities believed in the primaeval Mizo religion known as Lushai Animism.
The Mizo religion is structured with a Supreme God known as Pathian and his wife, the Goddess Khuanu. It is accompanied by many other beings, both benevolent and malevolent. Benevolent spirits include Khuavang, Pu Vana, Vanchungnula, Sakhua and Khaltu. Malevolent spirits would include Ramhuai, Hmuithla, Phung and Khawring.{{cn|date=October 2024}}
===Christianity=== {{main|History of Christianity in Mizoram}} {{see also|Christianity in Mizoram}} [[File:Solomon's Temple, Aizawl, Mizoram, India.jpg|thumb|Solomon's Temple, Aizawl]] Christianity was introduced via missionaries in 1984 via the Arthington Aborigines Mission. It marked the beginning of a cultural transformation in Mizoram through education and evangelisation. A Mizo alphabet was established in Roman script to allow the Mizo language to be written down. The missionaries also opened the first schools in Mizoram, which worked towards translating various gospels. The establishment of a Baptist Church under the [[Baptist Missionary Society]] of London expanded access to education and healthcare services. [[File:Hmunchung tlang, Sialsuk, Mizoram, India - panoramio.jpg|thumb|Hmunchung tlang, Sialsuk]] One of the cultural symbols linked to Mizoram's Christian religion is the [[non-denominational]] [[Solomon's Temple, Aizawl|Solomon's Temple]] which serves as a tourist attraction. The temple has been under construction for 20 years since the laying of its foundations in 1996 before inaugurating its opening in December 2017.<ref>{{cite web |url=https://aizawl.nic.in/tourist-place/solomon |title=Aizawl District Tourism Places |last=Government of Mizoram|date=July 2024 |website=Aizawl NIC India |access-date=5 September 2024}}</ref><ref>{{cite web |url=https://www.hindustantimes.com/travel/travelling-to-north-east-india-visit-solomon-s-temple-the-largest-church-in-mizoram/story-QC2oYlrbSsKyJLwVqQeYLL.html |title=Travelling to North East India? Visit Solomon's Temple, the largest church in Mizoram|date= 29 December 2017 |website=Hindustan Times |access-date=5 September 2024}}</ref><ref>{{cite web |url=https://aizawl.nic.in/tourist-place/solomon |title=Solomon's Temple – the first of its kind in India – opens in Mizoram for public|last=Sengar|first=Resham|date=29 December 2017 |website=Times of India |access-date=5 September 2024}}</ref>
===Bnei Menashe=== {{main|Bnei Menashe}} The Bnei Menashe also known as Shinlung are a community of [[Indian Jews]] from the northeastern provinces. The movement was established in 1951 after a tribal leader had a dream of being one of the [[Ten Lost Tribes|lost tribes of Israel]] and embracing the ideas of being [[Jews]]. Members of the Bnei Menashe mainly consist of [[Chin people|Chin]], [[Kuki people|Kuki]] and [[Mizo people|Mizo]] people. 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.<ref>{{cite news|url=https://m.jpost.com/diaspora/article-742162|title=Bnei Menashe: community members demand aliyah, killed in violent India unrest|date=5 May 2023|publisher=The Jerusalem Post}}</ref>
In 2005, the [[Shavei Israel]] organisation and the local council of [[Kiryat Arba]] supported the Bnei Menashe to open its first community centre in Israel. Several synagogues have been subsequently built in Mizoram, Manipur and other areas, including a [[mikveh]] (ritual bath) in Mizoram and Manipur with the guidance of Israeli rabbis.<ref>{{cite news |url=https://www.telegraph.co.uk/news/worldnews/asia/india/1498598/Indias-lost-tribe-recognised-as-Jews-after-2700-years.html |title=India's lost tribe recognised as Jews after 2,700 years| date=17 September 2005 |access-date=9 September 2024 |work=The Telegraph (UK)|author=Peter Foster |location=London}}</ref>
==Folklore == Mizo folklore and mythology are varied and diverse across the several clans and tribes in the state. It ranges from stories of natural wonders and landscapes to individuals revered through oral legend. Several places in Mizoram often have a mythological story, including Kungawrhi puk, Sibuta Lung, Phulpui Grave and Chhingpui Memorial.<ref>{{cite web |url=https://mizoram.nic.in/about/history.htm#FACTS%20AND%20LEGEND: |title=History of Mizoram and Places of Interest|last=Government of Mizoram|website=Mizoram NIC India |access-date=6 September 2024}}</ref>
===Creation myth=== 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 {{lang|lus|Chhînlung}}. The rock was lifted and the entrance was unsealed by Goddess Khuazingnu to repopulate the Earth. All the clans, tribes and different people exited this way until the Raltê clan exited with great noise. Due to this noise, the {{lang|lus|Chhînglung}} rock was placed back and sealed. This also led to the coining of {{lang|lus|Raltê bengchheng}} meaning noisy/rowdy Ralte.<ref>{{cite journal |last1=Ralte|first1=Lalthansangi|date=December 2023 |title=Mizo Myths and Folklore: A Posthumanist Study|url=https://d1wqtxts1xzle7.cloudfront.net/110990442/Literary_Oracle_Dec_2023-libre.pdf?1706613016=&response-content-disposition=inline%3B+filename%3DLiterary_Oracle_Dec_2023.pdf&Expires=1725541360&Signature=JCX4ajC0liraBaJKUKymy3JYESHRy1tx8ISK5zAUAlP5ElJuilvWg9wtYJNvNkQR-LWTK59SD90331UX7b0vqcW-TIhxKkifg-GylSOpDYez4BfuGinoZ0sUKHt7T7yVrXd90LeQ-6J1wpFf9OVAJrHTDCEsl6SIW0AKVyI~appkb6-1CcFDQeXg60H6BiXpTpn71CGHD~2I-cE8xFeS7demd9QNPsdUONG7~UMmc0nyOfG1gALDQhcnN1bZT0yKnHAIaujnTHSALMscs4cKZLsd-fhVq2tu2sVhfsXFhOzS2Rlqq4WWwrZLHIb3rL64AskhFO5hjZ7i9T8zrA2xSA__&Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA#page=78 |journal=Literary Oracle |volume=7 |issue=2 |pages=77–86 |access-date=6 September 2024}}</ref><ref>{{cite book |last=Pachuau |first=Margaret L|title=Folktales from Mizoram}}</ref>
===Chhurbura=== {{main|Chhurbura}} Chhurbura is a Mizo folklore character who is a [[culture hero]]. There are several stories of his exploits encompassing foolishness and wisdom.<ref>{{cite journal |last1=Khiangte |first1=Laltluanga |title=Chhura: Undisputed Hero of Mizo Folk Tales |journal=Indian Literature |date=2001 |volume=45 |issue=1 |pages=84–91 |jstor=23343218 |url=https://www.jstor.org/stable/23343218 |access-date=8 March 2025}}</ref> ==Literature== {{main|Mizo literature}} '''Mizo literature''' is the [[literature]] written in [[Mizo language|Mizo ṭawng]], the principal language of the [[Mizo peoples]], which has both [[Written language|written]] and [[oral tradition]]s. It has undergone a considerable change in the 20th century. The language developed mainly from the Lusei dialect, with significant influence from [[Lai languages|Pawi language]], [[Paite language|Paihtê language]] and [[Hmar language|Hmâr language]], especially at the literary level.<ref>[http://www.vanglaini.org/index.php?option=com_content&view=article&id=12917:mizo-tihin-tawng-a-nei-lo-tih-kha&catid=105:articles&Itemid=466/ Lalthangliana, B., ''<nowiki>'</nowiki>Mizo tihin ṭawng a nei lo<nowiki>'</nowiki> tih kha'']</ref>
A genre unique to Mizo history and culture is that of {{lang|lus|Rambuai}} ({{translation|troubled land}}). This is a reference to all poetry, songs and literature associated with the [[Mizo National Front uprising| Mizo Insurgency 1966-1986]].<ref>{{cite web |url=https://d1wqtxts1xzle7.cloudfront.net/64036133/Rambuai_Literature_and_Mizo_Culture-libre.pdf?1595921649=&response-content-disposition=inline%3B+filename%3DRambuai_Literature_and_Mizo_Culture.pdf&Expires=1725863875&Signature=gjfmAjDNZ6LMt~bJDdT9otyMniwO6-l8bYkcDdj1BgHYsIf28zw6l12NrGcXhTAd1crKAtdLFCb35RVY50AvzLVMQelWkAM9GViHWIAhb5cruLjwOkz~l375Vsq0h0F3Opml-09aUnmYfUzY1QTHCxvr-obqoN535KbdurC0U14xdGtslkR-w8IU4fCoe0uaKdJtFxxr2HU9rl1-5zCZZyWCunsugBHQtyEtIM8qg4dBb5sS3AEzh95d0NTJR02iMKTbXhnFiW0b50x8ktH8qgRenFSmaUsBp3NKGkd-Ecolx62pasXmbQc23Yb~EN~3FSiJVn7BmPI1j5gHhhfNoA__&Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA |title=Rambuai Literature and Mizo Culture |last=Dawar |first=Jagdish Lal |date=21 March 2019 |access-date=9 September 2024}}</ref> Rambuai literature normally deals with the social and cultural traumas associated with the era such as sexual violence, air attacks, village groupings and curfews.<ref>{{cite book |last=Pachuau |first=Margaret L |date=2023 |title=Negotiating Culture:Writings from Mizoram |url=https://books.google.com/books?id=_wypEAAAQBAJ&dq=rambuai&pg=PR7 |location=New Delhi |publisher=Bloomsbury India |isbn=978-93-56400-17-7}}</ref> === Mizo Hlakungpui Mual === {{main|Mizo Hlakungpui Mual}} [[Image:Mizo Hlakungpui Mual.JPG|thumb|300px<!--please do not try to enlarge this-->|Mizo Hlakungpui Mual in [[Mizoram]]]] To honour the contributions of Mizo poets and writers, the [[Mizo Hlakungpui Mual|{{lang|lus|Mizo Hlakungpui Mual|cat=no}}]] ({{translation|Mizo Poets square}}) was established in 1986. The Committee nominates memorials for poets with exceptional contributions to Mizo culture and writers with 3-4 books with prolonged influence on Mizo culture. Four phases of monuments have been erected, totalling 36 notable literature individuals memorialized.<ref>{{cite web |url=https://www.tripuntold.com/mizoram/champhai/mizo-hlakungpui-mual/ |title=Mizo Hlakungpui Mual |author=<!--Not stated--> |website=Tripuntold}}</ref>
==Cinema== The history of Mizo cinema begins with the arrival of Christianity with stills and movie cameras from the missionaries. One of the first cinematic events in Mizoram was the silent film on Mizoram, "Land of the Lushai's", possibly between 1940 and 1950.<ref name=IMC>{{cite journal |last1=Lalrinawma |first1=Jacob |last2=Ratnamala |first2=V |date=June 2019 |title=Indigenous Mizo Cinema: A Retrospective View |url=https://www.researchgate.net/publication/360862000 |journal=Contemporary Social Scientist |volume=11 |issue=1 |access-date=25 September 2024}}</ref><ref name=CEW>{{cite book |last1=Pachuau |first1=Joy L.K| last2=Van Schendel|first2=Willem|date=13 April 2013 |title=The Camera as Witness: A Social History of Mizoram, Northeast India|location= |publisher=Cambridge University Press |isbn=978-1107073395}}</ref>
Access to both Western and Hindi movies increased in the 1950s. Silent movies were introduced through movie halls such as 'Krishna Talkies' built-in Aizawl. Throughout the 70s, cinema halls further popularized Western movies and martial arts movies. Cinema culture, however, declined due to the low maintenance of cinema halls and the popularization of television.<ref>{{cite journal |last1=Lalmuanpuii |first1=J |date=2017 |title=The History of the rise and fall of Cinema Halls in Aizawl |journal=International Journal of Current Humanities and Social Science Researches}}</ref><ref name= CEW/>
In 1983, the "Young Stars Films Company" was established by film enthusiasts in Aizawl. The company produced the first full-featured Mizo film {{lang|lus|Phuba}} ({{translation|Revenge}}) in [[8mm film]]. The movie was based on a novel of the same title published previously by the producer. Between 1983 and 1990, more low-budget films were produced under different Mizo filmmakers with both 8mm film and the newly introduced [[video camera]]. 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. The establishment of the ''Aizawl Films and Drama Cooperative Society'' saw a slight increase in film production from 1993 onwards.<ref name=IMC/>
Mizo movies began to experience a revival with the introduction of [[CD]] and [[DVD]] formats. Between 1999 and 2004, Mizo movies were in high demand, with approximately 50-70 Mizo films produced annually. The movie industry outside of Aizawl also began to grow in towns such as Champhai, Saiha and Khawzawl. Filmmakers such as Mapuia Changthu of Leitlang Pictures and Napoleon RZ Thanga began to produce high-quality films and formulate filmmaking as a profession in Mizoram. In 2008, the Government of Mizoram began to support the filmmaking industry of Mizoram.<ref name=IMC/>
==Visual arts== The first Mizo art organization was the Mizoram Painters Association on 13 August 1971. Painters would originally use their skills for commercial purposes such as signboards and memorial stones as opposed to fine art. On 30 May 1987 the Mizoram Painters Association was changed into the Mizoram Artists Society. The first art exhibition was held February 1888 organized by the Arts and Culture department of Mizoram. At the exhibition 70% of the art pieces consisted of enamel and poster colours. On 5 September 1992 the Mizoram Academy of Fine Arts was founded to promote fine arts and painting. Oil painting among Mizo artists became popular after 1986.{{sfn|Lianhmingthanga|1998|p=89}}
The development of Fine Arts in Mizoram has historically been stifled with low tourism and interest in local art. Six art exhibitions have been held in 1988 Aizawl, 1989 Lunglei, 1990 Aizawl, 1990 in the Northeast Zone Culture festive., 1992 New Delhi and 1995 in Aizawl. The Northeast Zone Culture centre organized art workshops in Mizoram seven times with painters from neighbouring northeastern states.{{sfn|Lianhmingthanga|1998|p=90}}
==Traditional music== {{main|Mizo music}} Mizo music consists of three periods, namely '''Pipute Hla''' of pre-missionary era music, '''Sakhaw thar hla''' music developed within the missionary era, and '''Tunlai hlate''' of the contemporary era.{{cn|date=October 2024}}
[[File:Zamluang.jpg|thumb|Darkhuang, Zamluang or jamluang – a traditional musical instrument found in Mizoram.Other instruments include khuang (drum), dar (cymbals), as well as bamboo-based phenglawng, tuium and tawtawrawt.<ref>Thanmawia [http://www.dipr.mizoram.gov.in/article/heritage-of-mizo-traditional-music-(an-overview) HERITAGE OF MIZO TRADITIONAL MUSIC (AN OVERVIEW)] {{Webarchive|url=https://web.archive.org/web/20150428073505/http://www.dipr.mizoram.gov.in/article/heritage-of-mizo-traditional-music-(an-overview) |date=28 April 2015 }} Government of Mizoram</ref>]] Mizo [[folk music]] consists of vocals (singing) accompanied by traditional [[drums]], [[gong]] and other native percussion instruments.<ref>B. Thangliana, Mizo Literature, 1993, p.76</ref> Traditional Mizo songs are classified for different purposes. {{lang|lus|Dar hla}} were songs accompanied by the {{lang|Lus|Dar}} (traditional Mizo gong). These songs tended to use simple lyrics to accompany the gongs. {{lang|lus|Hlado}} were songs associated with warriors to hunt and celebrate victory upon returning to their villages. Similarly, {{lang|lus|Bawh Hla}} is sung by warriors upon successful war or raids that lead to the headhunting of enemies. {{lang|lus|Thiam Hla}} were religious songs taught in private to priests through oral teaching. They would be used for medicinal purposes, animal sacrifices or rituals involving the spirit world.<ref>{{cite journal |last1=Ramdinmawii |first1=Esther |last2=Nath |first2=Sanghamitra |date=23 May 2024 |title=Resource building and classification of Mizo folk song |journal=Natural Language Processing|volume=31 |issue=2 |pages=655–673 |doi= 10.1017/nlp.2024.23 |doi-access=free }}</ref>
Mizo music began to diverge from its traditional ways with the introduction of Christianity and the changes to Mizo culture. The folk music environment transitioned into hymns, gospels and choir instead. Many Mizo songs became direct translations of British English hymns incorporating worship. Parallel to the impact of Christianity on Mizo music, it also led to a new genre known as {{lang|lus|Hnam hla}}. This genre focussed on songs and music based around nationalism. It was significant from the early 20th century to the creation of the [[Mizo Union]] and the [[Mizo National Front uprising|Mizo Insurgency]] of 1966-1986. Notable composers of {{lang|lus|Hnam hla}} are known as {{lang|lus|Rokunga}} and include Laltanpuia, Kaphleia and Captain L.Z. Sailo, whose songs rally for solidarity and connection to the land.<ref>{{cite book |last1=Zama |first1=Margaret Ch.|last2=Vanchiau|first2=C. Lalawmpuia |date=2016 |title=After Decades of Silence: Voices from Mizoram |url=https://in.boell.org/sites/default/files/after_decades_of_silence_voices_from_mizoram.pdf |location=New Delhi |publisher=Amber Books|isbn=978-93-81722-26-8}}</ref> ==Traditional clothing== {{main|Mizo clothing}} [[File:Tawlhlohpuan Pattern Digitized.png|thumb|Example of {{lang|lus|Tawlhoh Puan}} ({{translation|Puan of No Retreat}}) pattern.]] Handloom weaving is a traditional and widely practiced art in Mizo culture and communities. The most significant handloom product is the traditional fabric known as {{lang|lus|puan}}. The puan is still worn and utilised in key festivals and festivities. While traditionally, the puan was worn by both men and women, it is now predominantly worn by women. A typical ritual in Mizo society involves a woman to bring puan to the grooms house after marriage and name it {{lang|lus|Thuam Chhawm}}. There are five puans that have played a crucial part in distinguishing Mizo culture and given a geographic indicator tag. The five puans are: {{lang|lus|Hmaram}}, {{lang|lus|Pawndum}}, {{lang|lus|Puanchei}}, {{lang|lus|Ngotekherh}} and {{lang|lus|Tawlhloh puan}}.<ref>{{cite journal |last1=Lalruatpuii |first1=Esther |last2=Miriami |first2=H.|last3=Ngurtinkhuma|first3=Prof R.K |date=1 September 2022 |title=Library and Indigenous Knowledge of Mizo Traditional Weaving (with special reference to Puan having Geographical Identification Tag) |url=https://www.researchgate.net/publication/358734656 |journal= Library Philosophy and Practice|access-date=30 September 2024}}</ref>
A {{lang|lus|Puanchei}} is a multicolored striped Puan typically use as a traditional wedding garment for Mizo brides. The horizontal stripes of a puanchei are known as {{lang|lus|Sakeizangzia}} which allude to the stripes of a tiger. Common colour combinations of puanchei include red, green, yellow, black, blue, pink and white. {{lang|lus|Ngotekherh}} is traditionally known as {{lang|lus|Puan Hruih}} and consists of black and white stripes. It is worn for all festivals such as {{lang|lus|Chapchâr Kût}}, {{lang|lus|Mim Kût}}, and {{lang|lus|Pâwl Kût}}. Colour combinations for {{lang|lus|Ngotekherh}} are red, green, pink, black and white. {{lang|lus|Pawndum}} is usually woven in black, yellow and white stripes. It is typically included in the trousseau of a Mizo bride and traditionally used to cover her husband's body after his death. It is also used in mourning and condolence for respect of the dead. {{lang|lus|Tawlhloh Puan}} is an indigo-colored dress with red and green stripes. This is traditionally worn by warriors on the battleground but is treated as a prestige attire in current times.<ref>{{cite book |editor-last=Shanthi |editor-first=R.|editor-last2=Murari|editor-first2=P.|editor-last3=Rafeeque Admed|editor-first3=M.|editor-last4=Suganya|editor-first4=M.P.|last1=Ramswamy|first1=Dr. Rama|last2=Hmangaihzuali|first2=Jenny B.|date=2015 |title=Brand: Sculpting Corporate Identity |chapter-url=https://books.google.com/books?id=6_OdDwAAQBAJ&dq=Mizo+puan&pg=PA81 |location= Chennai|publisher=MJP Publishers |page= |isbn=978-81-8094-166-5|chapter=Building Brands for Handloom Products in Tribal Clusters: The Road Ahead}}</ref>
Traditional Mizo clothing before the onset of Christianity saw the puan worn by both men and women, with jewellery being worn and adorned by men. The evolution of Western garb led to a decline in the use of the puan in male attire and the shedding of male jewellery by the 1960s. 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. While some fashion trends were slow due to unaffordability or cultural values, the events of [[World War 2]] saw many Mizo women integrate into the workforce, such as hospitality, medicine, and clerical work, which changed Mizo fashion. This led to a rise in Western clothing trends through working clothes such as uniforms made of skirts, coat suits, dresses, frocks and facial cosmetics.<ref>{{cite book |editor-last=Hmingthanzuali|editor-last2=Vanlalthanpuii|editor-first2=Mary|date=2023 |title= The Keepers of Knowledge: Writings from Mizoram |chapter-url=https://books.google.com/books?id=3boDEQAAQBAJ&dq=Mizo+puan&pg=PT9 |location=New Delhi |publisher=Zubaan |page= |isbn=978-93-90514-96-0|chapter=Women's Fashion in Mizoram 1940-1960|last=Varsangzuali|first=Rosaline|publication-date=2022}}</ref>
==Performing arts== [[File:Chapchar Kut cheraw dance 2014.webm|thumb|300px|Cheraw Dance]] Mizo people have a number of dances which are accompanied with few musical instrument like the gong and drum. The different dances of Mizoram are [[Cheraw dance|{{lang|lus|Cheraw|cat=no}} dance]], {{lang|lus|Khuallam}}, {{lang|lus|Chheihlam}}, {{lang|lus|Chailam}}, {{lang|lus|Tlanglam}}, {{lang|lus|Sarlamkai}} and {{lang|lus|Chawnglaizawn}}.<ref>{{cite book |last1=Lianhmingthanga |first1=F |title=Mizo Nun hlui |publisher=MBSE}}</ref><ref>{{cite book |last=Lalthangliana |first=B |date=2005 |title=Culture and folklore of Mizoram |publisher=Publications Division Ministry of Information & Broadcasting |isbn=978-81-230-2658-9 |url=https://books.google.com/books?id=Of88DwAAQBAJ&q=chief&pg=PT13}}</ref><ref>{{cite book |last=Zorema |first=J|date=2007 |title=Indirect Rule in Mizoram 1890-1954 |url=https://books.google.com/books?id=BYwpt38dYIIC&dq=mizo+chief&pg=PR7 |location=New Delhi |publisher=Mittal Publications |page= |isbn=978-81-8324-229-5}}</ref><ref name=TMP>{{cite book |last=Samuelson |first=Rami Sena|date=1991 |title=The Mizo people: Cultural analysis of life in a Mizo village in the 1890's|location=San Francisco |publisher=University of San Francisco}}</ref>
{{lang|lus|Cheraw}} dance means bamboo dance. It is the most famous dance among Mizo communities. Cheraw was performed as part of a sacrifice to appease bad spirits responsible for the death of a child. The dance was believed to usher safe passage and victorious entry to [[pialral|{{lang|lus|pialrâl|cat=no}}]]. Women dance by stepping in and out between and across pairs of bamboo sticks held against the ground by people sitting face to face.<ref name=TMP/> {{lang|lus|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.<ref name=MAS>{{cite book |last=Pachuau |first=Rintluanga |date=2009 |title=Mizoram: A Study in Comprehensive Geography |url=https://books.google.com/books?id=MYaYKXgAwLwC |location=New Delhi |publisher=Northern Book Centre|isbn=978-81-7211-264-6}}</ref> Before the onset of Christianity, Cheraw was used to appease {{lang|lus|ramhuai}} ({{translation|evil spirits}}) which were seen as responsible for all misfortune. The dance was traditionally performed as part of a sacrifice to propitiate the spirits on the death of a child. In the afterlife, a child has to encounter Pu Pawla (afterlife figure) to enter {{lang|lus|pialrâl}}. If a {{lang|lus|Cheraw}} is performed for the deceased child, then it is permitted to enter {{lang|lus|pialrâl}} safely. {{lang|lus|Cheraw}} was therefore a dance of sanctification and redemption.{{sfn|Verghese|Thanzawna|1997|p=26|loc=Volume 1}}
{{lang|lus|Sarlamkai}} is a dance originating from [[Lai people|Pawi]] and [[Lakher]] communities. This dance was used in the context of war. After a raid or battle, a ceremony is performed to deride the vanquished; beheaded warriors will remain slaves to the victors in their afterlife. There is no singing in the performance as it relies solely on rhythm from gongs, cymbals and drums. Boys and girls stand in a circle with the leader dressed as a warrior uttering slogans of victory.<ref name=MAS/>
<gallery widths="130" heights="130"> File:Cheraw jampui.jpg File:The Vice President, Shri M. Venkaiah Naidu with the Students who have performed the traditional Cheraw dance at Mizoram University, in Aizawl, Mizoram.JPG File:The artists performing a dance ‘Cheraw Kanpui’ during the inauguration of the Chapchar Kut -2010 festivals celebration, in Aizawl, Mizoram on March 11, 2010.jpg File:Cheraw.jpg File:மிசோ நடனம்.jpg Mizo Folk Dance Chheih.jpg </gallery>
{{lang|lus|Khuallam}} means the guest dance. This dance was performed by a group of ten or more people. It was traditionally performed by honoured invitees while entering the arena of a feast known as {{lang|lus|khuangchawi}}. The party would dance in the village streets while wearing {{lang|lus|puandum}}.<ref name=TMP/> It was typically performed in a ceremony of a {{lang|lus|Thangchhuah}} to celebrate a hunter's success and prestige as an elite in traditional Mizo society.<ref name=MAS/> The feastgiver of the {{lang|lus|Khuangchawi}} festival was to kill two [[gayal|mithun]] and a pig for the village. The feastgiver would send a special message consisting of forked bamboo with ginger and white feathers. The messengers would observe strict silence and carry the message to the father-in-law to affix it into the wall in his house. It was obligatory for a father-in-law receiving the message to organize dancing party of young men and women who would travel to the feastgiver's village. As the party danced and entered the khuangchawi ceremony they became known as guests and hence {{lang|lus|khuallum}} a guest dance. This dance would traditionally be performed by men and include gongs.{{sfn|Verghese|Thanzawna|1997|p=26|loc=Volume 1}}
{{lang|lus|Chai}} is the dance performed during the {{lang|lus|Chapchâr Kût}} festival. Boys and girls stand in a circle alternately with their hands on each other's shoulders. Inside the circle, musicians such as drummers and horn players would stand and play a rhythm to dance on.<ref name=TMP/> The {{lang|lus|Chai}} song is sung along the performance.<ref name=MAS/>{{sfn|Verghese|Thanzawna|1997|p=27|loc=Volume 1}}
{{lang|lus|Tlang lam}} is a dance where boys and girls clap their hands together while moving. Leg movements included three steps forward and three steps back and were done to the tune of {{lang|lus|puma zai}}.<ref name=TMP/>
{{lang|lus|Chheih lam}} is a dance performed by a single person of either gender. A group would sit on short stools in a circle around the dancer until the dancer would become tired and request another dancer to tag in and continue the performance. The circle would clap while musicians beat drums in an out circle.<ref name=TMP/> It emerged after 1900 from a song known as {{lang|lus|puma zai}} and an older dance known as {{lang|lus|Tlangam}}. The dance is accompanied with a song called {{lang|lus|Chheih hla}}. The lyrics are impromptu and spontaneous improvisations recounting heroic deeds and escapatades. This was typically performed by the elderly folks with [[Zu (beverage)|{{lang|lus|zû|cat=no}}]] ([[rice beer]]).<ref name=MAS/> {{lang|lus|Cheih}} refers to an exclamation of joy or ecstasy in the context of making a big physical effort or to boost morale.{{sfn|Verghese|Thanzawna|1997|p=27|loc=Volume 1}}
{{lang|lus|Chawnglaizawn}} is a popular dance with folk origins of the Pawi people. It is performed during a festival or to celebrate hunting trophies of hunters. Colourful shawls are used throughout the performance, and both boys and girls participate to the beat of a drum at a higher tempo than usual.<ref name=MAS/>
{{lang|lus|Zangtalam}} is a popular dance from the [[Paite people|Pahitê]] clan. This dance is performed by both men and women. The dancers sing along, while the drummer is the leader and director of the dance and paces the performance. The dance consists of few steps.<ref name=MAS/>
{{lang|lus|Rallu Lam}} is a performance which can sometimes function as a dance. Traditionally when a [[pasalṭha]] returned from a raid they are celebrated by the village. The exploits of the pasaltha is performed and reenacted. Rallu Lam carries variation on a village by village basis.{{sfn|Verghese|Thanzawna|1997|p=27|loc=Volume 1}}
{{lang|lus|Sakei Lu Lam}} refers to a ceremonial dance used in a Sai Ah ceremony when a tiger is killed. Since a tiger was a sacred animal, the spirit of one had to be appeased. The hunter would dress in female clothes and arm himself with a loaded gun. He would then eat a hard boiled egg to show fear of the tiger. The killed tiger's head would be brought a special spot decorated with bamboo posts demarcating the tiger's spirit. The hunter would do a blank at the tiger's head to start the consumption of {{lang|lus|zû}} and group dancing. The dance would function around the post erected for the tiger's head.{{sfn|Verghese|Thanzawna|1997|p=29|loc=Volume 1}}
==Cuisine== [[File:Mizo food.jpg|thumb|300px|Typical Mizo Food Including stable rice, bai, non veg and hmarcha rawt]] {{main|Mizo cuisine}} [[Mizoram]] shares characteristics to other regions of [[Northeast India]] and North India. The [[staple food]] of most of the Mizo people is rice, with meat and vegetables served on the side, ranging from the homely bai, a simple vegetable stew, non veg stew with sesame, garlic, onion and herbs.<ref>{{cite news |last1=Mizar |first1=Shilpa |title=Mizo by nature |url=https://www.thehindu.com/features/metroplus/Food/Mizo-by-nature/article16273038.ece |website=The Hindu |date=30 June 2010 |accessdate=6 December 2018}}</ref>
{{see also|Zu (beverage)}} {{lang|lus|Zû}} is also a traditional Mizo [[rice beer]]. It was made from husked rice through a distillation process. This responsibility was typically handled by the youth of the village such as {{lang|lus|zawlbûk}} men or maidens for festivals such as {{lang|lus|Chapchâr Kût}}, {{lang|lus|Mim Kût}}, {{lang|lus|Thalfavang Kût}}, marriage and feasts in the village. {{lang|lus|Zû}} was never used for commercial purposes; it was typically localised to collective drinking in [[zawlbuk|{{lang|lus|zawlbûks|cat=no}}]] (Male dormitories).<ref>{{cite book|editor-last=Singh|editor-first=N.William |last1=Sailo |first1=grace Lalhlupuii |last2=Pachuau|first2=Henry Zodinliana|author-link= |date=28 October 2015 |title=Becoming Something Else: Society and Change in India's North East |url= |location=Newcastle upon Tyne |publisher=Cambridge Scholar's Publishing |chapter=Zu and the Mizos|page= |isbn=}}</ref>
==Traditional calendar== {{main|Mizo calendar}} The Mizo indigenous calendar was centred around the culture of [[Jhum| Jhum cultivation]]. {{lang|lus|Thla}} denotes month in Mizo.<ref>{{cite thesis |last=Lalmalsawmzauva |first=K.C. |date=25 February 2016 |title=Mizo Indigenous Calendar: A Source of MIzo Indigenous Knowledge and Identity |url=https://www.researchgate.net/publication/327745581 |publisher=Department of Geography and Resource Management: Mizoram University|access-date=25 September 2024}}</ref> {| class="wikitable" |+ Mizo Indigenous Calendar |- ! Month !! Meaning |- | {{lang|lus|Pâwl kût thla}} (January) || {{lang|lus|Pawl}} means ''straw'', while {{lang|lus|kût}} means ''festival''. This is named after a festival before the felling of trees for the new jhum field. |- | {{lang|lus|Ramtuk thla}} (February) || {{lang|lus|Ram}} means ''forest'' or ''jungle'' while {{lang|lus|Tuk}} means ''cut'' or ''felling''. This month oversaw the felling of trees after the jhum plots were selected. |- | {{lang|lus|Vau thla}} (March) || {{lang|lus|Vau}} is the flower of ''[[bauhinia variegata]]'' that flowered in this month. This showed the onset of a new season. |- | {{lang|lus|Tau thla}} (April) || {{lang|lus|Tau}} is a local berry ([[Rubus ellipticus]]) that ripens in this month. This month is for clearing the slash-burned logs and stums and preparing the jhum. |- | {{lang|lus|Tomir thla}} (May) || {{lang|lus|Tomir}} means ''rain'' which was decided as the best time for seeding the jhum fields with crops. |- | {{lang|lus|Nikir thla}} (June) || {{lang|lus|Nikir}} means the return of the sun, which is an acknowledgement of the [[summer solstice]]. |- | {{lang|lus|Vawkhniakzawn thla}} (July) || {{lang|lus|Vawkhniakzawn}} means the ''footsteps of pigs''. This is an acknowledgment of the month with heaviest rainfall. |- | {{lang|lus|Thi tin thla}} (August) || {{lang|lus|Thi}} means ''die'' and {{lang|lus|tin}} means ''leaving''. This was a sacred month for the mourning of family members and ancestors. This was due to the belief that when people died, they stayed in their village until this month arrived before making their journey to [[pialral|{{lang|lus|pialrâl|cat=no}}]]. |- | {{lang|lus|Mim kût thla}} (September) || {{lang|lus|Mim}} means ''corn'' ([[job's tears]]) and {{lang|lus|kut}} is ''festival''. Hence this month was dedicated to the celebration of harvesting corn. |- | {{lang|lus|Khuangchawi thla}} (October) || {{lang|lus|Khuangchawi}} is a concept in Mizo society where the rich and wealthy host celebrations and community feasts. This was a month of relaxation after the weeding of jhum fields. |- | {{lang|lus|Sahmulphah thla}} (November) || {{lang|lus|Sahmul}} means ''fur'' while {{lang|lus|phah}} means 'lay down', which indicated the onset of winter. Preparations for winter included harvesting of fur. |- | {{lang|lus|Pâwltlak thla}} (December)|| {{lang|lus|Pâwl}} means ''straw'' and {{lang|lus|tlak}} means ''complete''. This signified the harvesting of crops and rice paddies and the new years celebration. |}
==References== {{reflist}}
==Sources== * {{cite book |last1=Lianhmingthanga |title=Material Culture of the Mizo |date=1998 |publisher=Tribal Research Institute |location=Mizoram}} * {{cite book |title=Culture and Folklore of Mizoram |last1=Lalthangliana |first1=B. |last2=Palkhiwala |first2=Kalapana |date=2005 |publisher=Publications Division, Ministry of Information & Broadcasting, Government of India}} * {{cite book |last1=Pachuau |first1=Joy L. K. |last2=van Schendel |first2=Willem |year=2015 |title=The Camera as Witness |publisher=Cambridge University Press |pages=8–9 |isbn=978-1-107-07339-5}} *{{cite book |last1=Verghese |first1=C.G.|last2=Thanzawna|first2=R.L.|title=A History of the Mizos |date=1997 |publisher=Vikas Publishing House |location=New Delhi}}
==Further reading== {{refbegin}} * {{cite thesis |title=A study of Mizo folk literature |author=Lalruanga |publisher=[[Gauhati University]] |date=1984 |type=Doctor of Philosophy |hdl=10603/69907 |url= https://shodhganga.inflibnet.ac.in/handle/10603/69907}} * {{cite thesis |title=Tell me your story: a study of oral folktales in Mizo |first=Tochhawng |last=Lalrinmawii |publisher=Indira Gandhi National Open University IGNOU |date=2014 |hdl=10603/219598 |type=Doctor of Philosophy |url=https://shodhganga.inflibnet.ac.in/handle/10603/219598}} * {{Cite thesis |title=A study of selected literary translations English-Mizo |last=Renthlei |first=Lalnunpuia |publisher=Mizoram University |date=2018 |hdl=10603/235330 |type=Doctor of Philosophy |url=https://shodhganga.inflibnet.ac.in/handle/10603/235330}} * {{Cite thesis |title=Interpreting fantasy: a study of Mizo folk Narratives |last=Lalbiakzuali |first=Mizo |publisher=[[Mizoram University]] |date=2022 |type=Doctor of Philosophy |hdl=10603/498912 |url=https://shodhganga.inflibnet.ac.in/handle/10603/498912}} * {{cite thesis |title=Representation and reality: A study of select Mizo folk narratives |last=Lalparmawii Khiangte |first=Judy |publisher=Mizoram University |hdl=10603/234332 |type=Doctor of Philosophy |url=https://shodhganga.inflibnet.ac.in/handle/10603/234332}} * {{Cite thesis |title=Gender Dynamics in Mizo Society An Analysis of Mizo Folktales |last=Lalrammuani |first=Enid H. |publisher=Mizoram University |date=2025 |type=PhD |hdl=10603/709009 |url=https://shodhganga.inflibnet.ac.in/handle/10603/709009}}
;Folktale collections * {{Cite book |title=Mizo thawnthu |last=Dahrawka |first=P.S. |date=1987 |publisher=Thankhumi, Aizawl |lang=lus}} * {{cite book |title=Fables and Folk Tales of Mizoram |publisher=Firma KLM Private Limited |location=Calcutta |first1=G. K. |last1=Ghosh |first2=Shukla |last2=Ghosh |date=1998 |isbn=8171020909}} (Mizo-Lushai tales) * {{cite book |title=Culture and Folklore of Mizoram |publisher=Publication Division, Ministry Of Information And Broadcasting |first=B. |last=LALTHANGLIANA |date=2005 |isbn=8123013094 |pages=311-402 (folktales)}} * {{cite book |title=Indian Literature in Tribal Languages: Mizo Songs and Folk Tales |publisher=Sahitya Akademi |first=Laltluangliana |last=Khiangte |date=2009 |isbn=9788126013647}} * {{cite book |title=The Blaft book of Mizo myths |last=Chhangte |first=Cherrie Lalnunziri |date=2015 |location=Chennai, India |publisher=Blaft Publications Private Limited}} * {{cite book |title=Folktales of Mizoram |publisher=Written Words |location=Delhi |first=Laltluangliana |last=Khiangte |date=2017 |isbn=9789351482024}} {{refend}}
{{Mizoram}}
[[Category:Culture of India by community]] [[Category:Mizo|Culture]] [[Category:Hmar]] [[Category:Kuki tribes]] [[Category:Culture of Mizoram| ]]