REDISCOVERING FOLK MUSIC IN WORSHIP IN KUKI CHRISTIAN CHURCH



A THESIS SUBMITTED TO
THE SENATE OF SERAMPORE COLLEGE (UNIVERSITY)
IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE DEGREE OF
MASTER OF THEOLOGY IN COMMUNICATION




L. JONAH KHONGSAI
REG. NO. – AA 1539



SUPERVISOR
REV. DR. PETER RAVIKUMAR







TAMILNADU THEOLOGICAL SEMINARY
ARASARADI, MADURAI – 625016
MARCH, 2012

THESIS ABSTRACT
Title: Rediscovering Folk Music in Worship in Kuki Christian Church

The first chapter deals with the nature and concept of folk music and the evolution of it in the western world and in India. The main purpose is to unveil the reasons that are prompting the value of folk music to revitalization. The investigation reveals its important distinctive characteristics: rooted in the heart of the people; simple, natural and participatory; learned almost by osmosis - from childhood music is heard and imbibed along with ones mother's milk; practiced, performed and honed through numerous public activities; and serve as powerful medium of communication with God and one another. Though, several variations and modifications are detected in the course of development, because of it intrinsic nature folk music can still be projected into the core of all the available genres of music.
In the second chapter, exploration and analysis is done in length on the background of the Kukis and their folk music. The Kuki folk music is dealt with by classifying into twelve (12) folk songs and four (4) instruments. It provides a room for reviewing the general understandings of the Kuki folk music as heathen and uncivilized, as projected by the missionaries and early Christians. From the brief exploration it is identified that the Kukis are the people who can be easily recognized from their rich traditions of music, which is closely associated with land, forest, animals and plants. For them, music is an indispensable medium of expression, learning and building relationship, and the driving force of their works, festivals and spending leisure time. It is also discovered that the Christian concepts of God the creator, the sustainer, the provider and the in-dweller, and the concepts of judgment, life after death, heaven and hell are already reflected relatively in their folk songs. Along these lines, it can be reasoned unambiguously that Christianity is not a new religion but the ‘sophisticated demonstration’ of the Kukis’ primal belief. Thus, it is not appropriate to simply reject folk music as uncivilized or heathen because of its close association with the primal religion.
The third chapter focuses on the historical development of Kuki Christian Church and the place of folk music in it. In order to find out the present situation of folk music, analysis and interpretation of the data (obtained from the empirical research) is done carefully. The focus is on people’s attitude towards folk music in relation to the Christian tenets. The study divulges that there is a diversion of indigenous way of worship because the people have willingly ignored their folk music. The Kuki Christians are sidelining their folk music by projecting it as anti-Christian for a more lucrative means of life through modern technology. Fortunately, there are some attempts made by organizations and individuals for the improvement in a serious spirit. Christian songs are composed in folk tunes, which are compiled together in two song books called Lenkhom La (Get-together Songs) and Khutsut La (Hand-written Songs). Nevertheless, the public are not much attracted to these efforts. As a result, the preservation and application of this rich heritage is not possible in Church worship.
The fourth chapter emphasizes on the possibilities of rediscovering folk music in worship. It investigates the biblical mandate of folk music and the appropriate use of Kuki folk music in the Church. Ostensibly, cross-checking is done on the over-influence of western music that places the Kuki music into a vastly misunderstood area as far as information is gathered from the extant written sources and field study is concerned. Often, musical ball bounces back and forth between traditional and popular, which has great value is thrown out in favor of the fresh and unproven. Now, the people have gone too far that their concept of Christian music is completely founded on the western music. Nevertheless, from the theological reflection it is revealed that there is no such indication in the Bible that one particular type of music is ‘Christian music’ and the rest unchristian. The main intention of this chapter is that the Gospel message has to be interpreted within the context of the Kuki culture in order to make it meaningful. All sorts of folk music which are supportive to Christian teaching should be incorporated with the teachings of the Bible and appropriately molded as a channel to convey the Gospel. By making use of the folk tunes, songs and instruments in the worship services, festivals and celebrations the Kukis can come closer towards God and the foreignness of Christ can be overcome.
The overall assessment has shown that there cannot be Christianity without any historical setting. Christianity in itself has no particular culture to be upheld. The Jewish culture found in the Bible is the Christian culture for the Jewish Christians and the western Christian culture brought to the Kukis by the missionaries is the Christian culture of the western Christians. In the same way, the Kuki Christians must maintain their own culture in practicing Christianity because it is their Christian culture. It is not only important that Kuki Christians should live worthily in their faith as Christians, but also should be worthy of their citizenship as Kukis. Therefore, there should be a convergence of the two modes of existence - Kuki Christians must be identified as true Christians as well as true Kukis. In other words, all the Kukis must be convinced of their cultural identity to live a meaningful and effective life. It doesn’t mean that one should go back to primitive period of “bows and arrows” again or to bluntly rediscover all the forms of the old rustic music. On the other hand, it is important to know that the attempt to revitalize the folk musical traditions does not mean to belittle the achievements of the western music, but to understand that the past contains much from which all can learn without slavishly imitating for the establishment of suitable musical creativity in the Church. This model can offer a promising vent towards the realization of the true teaching of the Bible and the leeway of appropriating folk music meaningfully in Christian worship. Only then, Kuki Christians will enjoy the desired taste and beauty of music and also receive the Gospel understandably through it, which the available genre of music has failed to provide them for so long time.

INTRODUCTION
Music is a God-given gift to humanity as the finest of the fine arts. The best music of any country is the music of the people that arises from the heart and land of the people. Generally, ‘Folk music’ refers to a style of music which has simple rhythm, natural tune and touching lyrics with full of rustic charm, mostly dealing with experiences or feelings of the performer(s). It is understood by the broad segments of the population, particularly the lower socio-economic classes and with which they identify themselves. The performers are untrained or amateurs but skilful in handling most of the folk songs and folk instruments. Overtime, the rich heritage of music is diminished due to many internal and external factors of the community. In the Kuki community, with the embrace of Christianity their folk music is dissolved into western music. Therefore, the present research is carried out to rediscover the value of folk music in worship.
1. Statement of Research Problem
The significance of traditional music in worship in the Kuki Christian Church, Manipur is diminishing due to the influence of western music. Hence, a study on Kuki folk music is necessary.
2. Elaboration of the Problem
With the embrace of Christianity and the influence of western lifestyle the use of folk music is diminishing and semi-classical music is promptly brought into the Church. Both the missionaries as well as the early Kuki Christians were unable to differentiate what is basically cultural from the religious in their evangelical zeal that resulted into the diversion of indigenous way of worship (especially, the use of folk music) when Church worship was introduced. In fact, before the coming of Christianity folk music was associated with Kuki primal religion. Because of this reason the Kukis consider it as heathen in form and practice. However, the existing western forms of music in worship could not even be sustained as reliable for the illiterate public who still depend upon the tribal way of living because the contemporary Christian music and musical instruments are too glamorous, unfamiliar and undesirable for them. Furthermore, for these people who consider Christianity as a factor for the disintegration of the community into several denominations, anything related to modernity is viewed with suspicion that those could also be another means to estrange their relationship in the community.
3. Importance of the Study
A majority of the total population of the Kukis of Manipur is living in rural villages and most of them are illiterate.  In this context, though the people uphold the western music in the Church, the Christian message couldn’t be conveyed meaningfully to the people. Hence, a suitable music in worship is urgently in need in order to check the erosion of the Gospel value. Therefore, the study is believed to provide right understanding of the difference between the religious from that of the cultural, and unearth the characteristics of the traditional music such as, participatory, liberative, democratic and easily accessible. It is also expected to bring realization of the important role of folk music - to assert the identity of the community, regenerate the life force of the community, maintain the intimacy of the community and sustain a sense of belongingness. Due to these reasons, folk music may be regarded as a good means to express real life experience, to build relationship, to extol God and to affirm faith. This research is expected to identify the suitable way of using them in Christian worship in relevance to the present context.
4. Previous Research
Some of the important works related to traditional folk music, which have made tremendous contributions and could not be sidelined in this research are given below:
(a) Tarun Goswami’s Kuki Life and Lore is considered as an important document in which insightful elucidation of the Kuki traditional folklore is made. Obviously, he treats the subject by generalizing the whole Kuki society by the context of the Kukis of Assam and sometimes does not portray the Kuki people accurately. Moreover, in dealing with the rituals, incantations, music and musical instruments, some of them are mentioned in such a way that the original meanings or intentions are not conveyed quite well.
(b) In 1991, an unpublished M.Th. thesis entitled, The Role of Folk Art Forms in Christian Ministry with Special Reference to Trichy – Tanjore Diocese was written by Rev. D. Vincent. His research is an admirable contribution in relation to folklore because he emphasizes on the rediscovery of the value of folklore for doing mission among the common masses who are still unaware of the mass media. He explicates the details of folk-art forms including folk music from South Indian perspective.
(c) Hoikhonem Lunkim has written M.Th. thesis in 2009 on the title, Re-interpretation of Zaila (Lamentation) of the Kuki Community as a Means of Communication for Reconciliation in Manipur. She made considerable effort in bringing out the importance of Kuki traditional song for reconciliation in the trouble-torn state of Manipur. The focus in her research is particularly on the lamentation aspect of Zaila (Song).
The present research is a socio-historical analysis of the Kuki people, their folk music, and the state of folk music in Kuki Christian Church so as to investigate the important nature and characteristics of Kuki folk music in order to re-discover the values of folk music and to find out the leeway of appropriating it for use in worship.  As far as the knowledge of the researcher is concerned, till date there is no in-depth study on folk music and its related subjects from amongst the Kukis of Manipur.
5. Method of Study
The researcher investigates the subject of study by adopting a socio-historical method. The task is carried out not only on extensive analysis of the available academic literatures but also involves empirical research - questionnaire and interview methods. Information is collected through questionnaire from 250 people who are active members of the six district centre churches of Kuki Christian Church in Manipur. Also, interview is done to thirteen (13) people and personal correspondence with two (2) people. As to the understanding of the researcher, all of the people involved in providing information have genuine knowledge about folk music.
6. Scope and Limitation of the Study
Due to the limit of time and space, this study is confined to exploring the traditional music of the Kuki people in Manipur. For this investigation, samples are taken from the six district centre churches of Manipur because the congregations of these churches are migrants from different hill villages who are engaged in different professions such as, employment, social work, politics, business, education, cultivation, etc. To represent the whole Kuki Christians and to bring out the true picture of the situation of folk music in Kuki Christian Church worship, samples are taken from both genders, belonging to different ages. However, it is to be noted that the study concentrates mainly on rediscovery of the value or significance of traditional folk music for use in worship in the Kuki Christian Church, Manipur.

7. Structure
The presentation of this thesis work is broadly divided into four chapters, as given in the following.
Chapter One: The first chapter deals with the concept and the evolution of the understanding of folk music in the western world and in India. The main purpose is to unveil the value of folk music prompting to revitalization.
Chapter Two: In the second chapter, exploration and analysis is done in length on the background of the Kukis and their folk music. The Kuki folk music is classified into folk songs and instruments. It provides a room for reviewing the general understanding of the Kuki folk music as heathen and uncivilized, as projected by the missionaries and early Christians.
Chapter Three: The third chapter focuses on the historical development of Kuki Christian Church and the place of folk music in it. In order to find out the present situation of folk music, analysis and interpretation of the data obtained from the empirical research is done. The focus is on people’s attitude towards folk music in relation to the Christian tenets.
Chapter Four: This chapter emphasizes on the possibilities of rediscovering folk music in worship. It investigates the biblical mandate of folk music and the appropriate use of Kuki folk music in the Church. An overall assessment of the research and few suggestions are given with the intention that the pristine purity of folk music as a means of communicating the Gospel could be rediscovered and suitably employed it in relevance to the context of the Kuki Christians in Manipur.







CHAPTER ONE
INTRODUCTION TO FOLK MUSIC

1. INTRODUCTION
Music is the universal language of pure sound, feeling and emotion; influencing alike the scholar and the lay person, the old and the young, the human and the beast; knows no barriers of religion, race, caste, creed or dogma. Music is the most harmless of pleasures evident in all homes, rich or poor yet, is a force that can carry humankind farther than words. Each and every nation has music of its own, distinctive in nature and style but each of them arises equally from the heart of people and is closely associated with the land, life-cycle rituals, experiences, etc. If the sounds of voices and instruments are united in rhythmical, melodic and harmonic manners, it has the potential to elevate the soul.
This chapter is designed to foster understanding of the quintessence, varied forms and manifestations of folk music, which would suffice in orienting this venture towards the right perspective in its application in Christian worship. Therefore, emphasis is laid on the general understanding of folk music, the on-going amelioration of folk music and other genres of music in the West, and the distinctive nature of Indian folk music.

2. FOLK MUSIC
In this section brief elucidation is done on folk music in general, in order to bring to light the important concept, nature and characteristics of folk music.
2.1. Meaning of Folk Music
The term ‘Folk’ is derived from the German word Volk meaning, “the people as a whole.”  Folks are the civilized people of the villages in whom the economic, educational and cultural diversities of the city are much less pronounced; their modes of life, customs, lore and songs are shared by one and all in the group; and they had to adopt the folklore formats because the dominant communication system is unfamiliar to them.  The word ‘music’ is derived from the Greek word ‘Mousike’ or ‘Mousa’ meaning, ‘muse’, applied to all branches of arts over which emotive combination of rhythm, melody and harmony are supposed to preside.  Thus, ‘Folk music’ refers to a style of music which has simple rhythm, natural tune and touching lyrics with full of rustic charm, mostly dealing with experiences or feelings of the singer(s), and is performed by untrained people with the available instruments.  The meaning of the term ‘folk music’ varies according to the part of the world, social class and period of history. Thus, in determining whether a song or piece of music is folk music, probably it must agree on certain criteria derived from patterns of transmission, social function, origins and performance.
The concepts of folk music in different cultures are illuminated by the term that is used. For instances, the English term and its French and Italian analogues, musique populaire and musica popolare, indicate that this is music associated with a social class, the ‘folk’. The German Volksmusik (people’s music) combines the concept of class with the unification of an ethnic group, as does the Hindi term lok geet (people’s music) in India. The Czech people use the term narod (nation) and its relatives, indicating that folk music is the musical unifier of all Czechs. Conversely, the Persian term musiqi-ye mahalli (regional music) emphasizes that distinctions in folk music style and repertory among different areas of Iran. The term folk music has also, perhaps unwisely, been used in Asian and African cultures, to distinguish them from the Western classical system.
There are four points to be considered seriously in order to bring out the meaning of folk music, as given in the following.
2.1.1. As Authentic Source: It is considered as more authentic than any other sources including narrative because most of the customs, culture, historical events, memories and stories are translated into songs, preserved and transmitted through music from one to another generation. The country people’s historical details could be best derived from the existing folk music.
2.1.2. As the Soul of Spiritual Ecstasy: Music has invariably been associated with the religious cults of the divine power and devotion with the many festivals and occupations of the country. Though the emphases in observation of rituals and ceremonies have gradually shifted from religion of aesthetics, music has always remained its inalienable associate. To play music in selfless devotion could make a person attuned to the sublime music throbbing in the Universe which also helps in efficacious treatment of diseases.
2.1.3. As a Powerful Medium: Folk music is a powerful medium of communication in perceiving the world and communicating the reality of the society. It conditions the life situation of the country people for good and bad, and strengthens relationship between one another. Folk song is believed to bring about peace, to create enmity and to avert dangers of sickness, death sentence and bloodshed, etc., to individual or community.
2.1.4. As the Universal Language: The evocative power of sounds called music has the power to fill human mind with a certain tenderness and joy. It is inherent in the murmur of a running brook, the rustle of breeze, the chirping of birds, the roaring of animals or artificial musical instruments. Without the adoption of a linguistic medium, music is complete in itself to communicate the sound that entertains, elevates, vividly express and convey its emotional content by means of the magical touches on the musical notes.
2.2. Origin and Adaptation of Folk Music
The importunate pursuit of the origin of folk music belies the inability to know anything definite. According to Steve Lawhead folk music is the music which emerges from the heart of the country and from the hearts of the country folk.  It is the people’s music originated from the common folks to express themselves of their inner feelings, life experiences, hopes, aspirations, rituals, ceremonies, feasts, festivals, etc.  In general, there are some understandings of the origin of music: primitive language of tonal variations of the voice, a gesture language, the use of tribal drums and imitation of nature around them; rhythms demanded by working procedures; instinctive association with the release of passion and patterns of speech.  It has become clear however, that folk songs and other pieces are the result of individual creation, by villagers whose work is somehow taken up in the folk culture. The repertory of a folk community probably always included songs of very diverse origins. Considering all the above mentioned points, three theories of the origin of music are dealt with in the following.
2.2.1. Metaphysical Origins: As folk music has its life force not only on the heavenly deities but also on human beings, plants and animals, it is believed to be essentially secular, the product of natural rather than divine inspiration.  Nevertheless, there are people like Sunil Bose, who vehemently believe that music is of divine origin and is as old as the hills. It is considered as a gift bestowed on human by the Almighty as a power to express his/her inner-self and to transport the mind to sublime heights where it could feel the Divine Presence.
2.2.2. Composition as Genesis: Empirically, individuals are believed to be associated with the creation of folk music because considerable latitude is traced related to the acts of composition of the village people. Some theorists call for universality by claiming that humans naturally create but others prefer to cast creativity in the context of specialization. The process by which members of folk communities compose new songs is not well understood. The compositional process of folk music is that, when it is first composed, each song is the work of one composer; as others learn and sing it, it is re-created constantly. The characteristic musical structures, scales, and rhythms of folk music are also found in the other types of music of the same culture but always without systematic improvisation. It is often difficult to ascertain whether the same composer created both the words and the music in a folk song; many songs are known to have separate sources for words and music. In fact, tunes often migrate between neighbouring countries. Nevertheless, each country tends to have a repertory of its own, with stylistic features as well as tunes that are not shared with neighbours.
2.2.3. In a Process of Coming into Being: The compromises between metaphysical origins and individual determination range widely. As such, it is accepted nevertheless, that folk tradition admits new pieces that are the products of individuals but then submits them to a scrutiny that originates in the community. But, the contemporary tradition holds that creation of folk music as an ongoing process which can never be restricted to the ancient time only.
The form of a folk music as heard at any one time, however, is likely to have been very much affected by the entire community because of its life in oral tradition and could be easily dropped from the repertory as time goes by. More likely, however, as it was passed from parents to children and companions, songs would be chanted. In the process of transmission, numerous influences acted on both the vocal and instrumental musics such as, creativity, forgetfulness, blending with previously learned musics and stylistic expectations, etc. Consequently, it might become longer or shorter or more like new styles of popular music.
2.3. Characteristics of Folk Music
Generally, from the historical perspective the traditional folk music has seven important characteristics.
(a) The folk music is the old music of the people which has no known composers.
(b) It is a genre of music that has been subjected to an evolutionary process of continuity and oral transmission because the rustic people are mostly illiterate ordinary farmers, farm workers, factory workers, etc. Primarily, the songs are acquired by memorising them and not mediated by books, recorded or transmitted media.
(c) The music is often related to national customs and culture.
(d) Folk music is used to commemorate historical, seasonal and personal events. The life-cycle ceremonies, rituals, feasts and festivals have a folk music component which is performed by the non-professional people with special costumes accompanied by dances.
(e) The songs have been performed and preserved by custom. The process of transmission continues from the older generations to the younger generations.
(f) In the traditional rural venues, most folk music is monophonic i.e., having only one melodic line. Yet polyphonic folk music, with several simultaneous melodic lines, is part of the old traditions in some parts of the world.
(g) Each culture has its distinct singing style. The sometimes strange, harsh, and tense voice and the elaborate ornamentation in folk song are more or less natural than the vocal style of formally trained singers. The manner of singing and the tone colour of instrumental music vary by ethnicity and class.
(h) Folk music has many forms of tunes, of which the most typical form is strophic. Although many form types are used universally, each culture favours certain ones. The typical folk song is strophic form of tune which is repeated several times. For example, children’s songs, ditties and epic narratives may consist of only one musical line repeated many times.
(i) Before 1970s, the folk music has no copyright. However, today, almost every recorded folk song is credited with an arrangement.
2.4. Types of Folk Songs
In the traditional society there used to be a vigorous musical life, in which a large proportion of the population can sing many songs in most genres. There are two most important genres of folk music such as the ballad and epics. Ballad is generally a short narrative song with repeated lines whereas, epic is a longer narrative in heroic style, which sometimes require many hours to sing. Some other common genres of songs are ceremonial, meant to accompany events in the human life cycle or in the community’s year (related to the agricultural seasons), occupational songs, valour songs, love songs, recreational songs to accompany games, lullabies, children’s songs, etc. These genres are usually differentiated through their texts and musical distinctions are observed in different cultures. Apart from songs, instrumental folk music is also used most frequently as the accompaniment to dance.
In folk songs words are important and not the melodic structure which is simple and repetitive. Songs are often monophonic, having only one melody line, but polyphonic folk song, in which two or more melody lines are sung or played together, is also found.  Instrumental polyphony in folk music, sometimes closely parallel to vocal practices and sometimes totally independent, is geographically more widespread than its vocal counterpart. In most part of the world, both in the west and the east, pipe instruments, which use the drone principle are ubiquitous.
2.5. Types of Folk Musical Instruments
By origin, folk music instruments of different types and designs can be divided into about five classes, as given in the following:
(a) The simplest instruments those that European folk cultures share with many tribal cultures around the world include: rattles, flutes (with and without finger holes), the bull-roarer, leaf and bone whistle, and long wooden trumpets. These instruments tend to be associated with spending leisure time, children’s games and recreations.
(b) There are instruments that were taken to Europe or the Americas from non-European cultures and often changed. They are: from western Asian predecessors, the folk oboes of the Balkan countries and possibly bagpipes are derived; from Africa comes the banjo and the xylophone; and of central Asian derivation are folk fiddles.
(c) Some instruments made from handy materials are the product of village culture itself.  These types of instruments are the Dolle, a type of fiddle used in north-western Germany, made from a wooden shoe and the bowed lyre, once widespread in northern Europe but later confined mainly to Finland.
(d) Probably, the instruments of greatest importance are those taken from urban musical culture and then sometimes changed substantially. Some of the prominent among these groups of instruments are the violin, bass viol, clarinet, and guitar.
(e) Innumerable folk musical instruments are commonly crafted or fabricated by the musicians themselves from the easily and commonly available materials such as, animals’ skin, bamboo, coconut shells, pots, etc. Such instruments significantly in use until today in the Indian villages are the crude drums like daf, dholak, table, Kuki-khong, etc.


2.6. Transmission and Variation of Folk Music
Oral tradition is useful for understanding the transmission of music in non-literate societies because it fosters both the creativity and the stability of folk music. The musical elements of oral tradition include form and style, folk taxonomies of music, indigenous systems of music theory, and of perceptions of the differences and similarities that relate or distinguish individual pieces.  In the process of oral transmission, folk music is free to change from person to person, generation to generation and even country to country.  Folk music is often functional in the sense that it accompanies activities such as work, ritual or dance. Overtime both words and tune of a song develop additional forms, called variants or communal re-creation, which may be quite different from each other.
In each community, village or family and even in the repertory of each singer, overtime, it may have significant differences. This can happen because each folk song lives largely through oral transmission and therefore, it ordinarily does not exist in a standard form. In colloquial discussions of folk songs, the terms variant and version are used to highlight the differences in ways of singing the same song. In the technical literature about folk songs, the terms version, variant and form may be used to express degrees of relationship. On the other hand, several quite similar performances by one singer might constitute a version of a song. These several versions, not so similar to each other would constitute a variant. Several variants that are clearly related but not homogeneous can be known as a form, and groups of songs that appear to be related are called tune families (or text types). The tune families like narratives that form the basis of ballads are probably having numerous versions and variants.
Among the more rudimentary “sonorous engines” in use among European folk musicians are leaves (in Ireland), slips of birch bark (in southern Germany) and fish scales inserted in the mouth and blown (in eastern Danube). Later on, with emergence to modern factory made instruments such as flute, violin, etc., folk-instruments are classed depending on the way it is played.  Moreover, it is unfortunate that some of the folk singers, primarily in the metropolitan cities, who sing folk songs for other than its intrinsic purpose – sometimes political, sometimes commercial.  This tendency badly distorts, corrupts and transforms folk music which has been handed down orally from time immemorial.
2.7. The Role of Folk Music
The central traditions of folk music are transmitted aurally, that is, they are learned through hearing ordinarily in informal, small social networks of relatives or friends rather than in institutions. Nevertheless, its role is extensive, understandable and binding to the people than any other new genres of music. Primarily, the role of folk music in the village in every part of the world was to help educate children, record historical and current events, comment the social conditions, strengthen a community’s sense of cooperation and secure identity. Conversely, with the disappearance of many rural communities in the industrialized world, some traditions have also been lost and some continue to play a role in changed forms. This can be seen in the 19th and 20th centuries’ political, social and nationalistic movements - Nazi of Germany, Fascist Italy and modern socialist states adapted folk music to promote political ideologies and national unity. In the United States, both the civil rights and trade union movements made use of folk music to help stir social change.
Today, globalisation, lack of patronage, the rise of transmission through recordings and mass media began to replace much of the face-to-face learning which tends to deteriorate the pristine glory and blur distinctions between folk and popular music.  Although modern urban folk songs may not always be true folk music, they play similar cultural roles, documenting current events and commenting on contemporary issues.  Commonly, in most of the countries, folk music still helps ethnic, occupational, and religious minority groups to maintain their self-dignity and cultural identities. To sum up, in comparison with art music, which brings aesthetic enjoyment, and popular music, which functions as entertainment, folk music is more often associated with other activities, such as life-cycle rituals, work, games and folk religion, and is also more likely to be participatory than presentational. Many arguments and beliefs undoubtedly have their respective force in deteriorating folk music but if an objective view of the situation is taken, it must be admitted that the amount of sincerity and seriousness that was earlier attached to music is somewhat missing today.

3. WESTERN FOLK MUSIC
In order to bring out the true picture of folk music, in this section analysis will be done on the Western music in general and Western folk music in particular.
3.1. Historical Development of Western Music: An Overview
The development of music in the West from the primitive time to the 20th century is discussed below under seven periods.
3.1.1. Antiquity to 200 A.D.: The early man could have communicated through a limited range of grunts or cries, and learnt to make a sort of music by twanging bow strings, blowing down hollow bones and beating tree trunks. Later on, in the west, music evolved from this simple form to standard form with dance in ceremonial activities, religious festivals and work. Moreover, the western music develops due to the influence of the Chinese music of five-note scale, of Persia, Babylon and Assyria, the union singing of the Hebrew music and the Greek music like cithara and ulos.
3.1.2. The Christian Era (200-1300 A.D.): The earliest music of the Church borrowed it from the Greek and Jews, which later known as Plainsong. This song is monophonic, unaccompanied, non-metric, free-prose rhythm with Latin text in neumatic notation (few notes are set to one syllable). Whereas, melody of secular music is of strong rhythmic, wide range, nationalistic and vernacular. The Bishop St. Ambrose and St. Gregory Pope collected tunes of songs and Gregorian chant which are still used in churches.
3.1.3. The Polyphonic Period (800-1600 A.D.): In the 9th and 10th centuries it became the custom to sing the plainsong tune in four pitches at the same time – the soprano, alto, tenor and bass voices. This kind of music reached an ultimate degree of perfection in the 6th century and therefore, the 6th century is known as “Golden Ages of Polyphony.”
3.1.4. The Baroque  Period (1600-1750 A.D.): Baroque spirit in general began in Italy as a result of the Reformation, which sought to re-establish the influence of the Church. For the first time in music history, the chord structure, chord progressions, opera, oratorio and cantata apparently developed in this period. The two Germans, J.B. Bach (1685-1750) and J.H. Handel (1685-1759) are the culminating figures of Baroque music.
3.1.5. The Classical  Period (1750-1820 A.D.): Classical music is a new type of folk-like music in its clarity, simplicity and directness of style. The use of older Keyboard was replaced by Piano which could be deemed as the basis of modern orchestration and instrumentation. Four great composers of this period are C.W. Gluck, F.J. Hayden, W.A. Mozart and L.V. Beethoven.
3.1.6. The Romantic  Period (1820-1900 A.D.): There are five aspects in the romantic music such as, individualism, emotionalism, subjectivity, favourite subjects like the magic, fairies, ghosts and nationalism. Besides, the new forms of music like romanza, ballad, etc., the Wagnerian music drama in opera and dances like the waltz, mazurka, etc., also emerged. Some of the great composers are Beethoven, Rossini, Bellini, and Charles Stanford.
3.1.7. The Twentieth Century: The World War II and scientific-technological progress have resulted into confusing series of developments which blurs the coherence of over-all picture of music. There is an evidence of the existence of neo-romanticism and neo-classicism in Germany, impressionism in France, music renaissance in Great Britain and the influence of Britain music in USA. New forms of music arrived, like American jazz derived from ragtime and blues in 1910, pop music with the invention of electric guitar in 1950s, rock music in 1960s, etc.
3.1.8. The Twenty First Century: In its 21st century urban and institutional manifestation, folk music is normally performed by singers accompanied by stringed instruments, by instrumental ensembles, or by choruses. It is evident that in almost all the countries of the world undiluted sorts of folk music are rarely maintained. In one way or the other, a hybrid kind of folk music is on the rise with totally new approach. Folk music is still popular today, with folk music clubs meeting and sharing traditional style songs. There are many folk music festivals in many countries that attract popular international folk performers and local artists as well. Such sorts of festival are the Woodford Folk Festival, the National Folk Festival and the Port Fairy Folk Festival held in the country of Australia.
3.2. Western Folk Music: An Introduction
Till the 20th century, folk was seen as a musical style, the ethical antithesis of commercial "popular" or "pop" music by the western countries. But, by the start of the 20th century the distinction between "authentic" folk, national and popular song in general has always been loose without rigid boundaries, particularly in America and Germany.
3.2.1. Subjects of Western Folk Music: The narratives of traditional songs are often associated with the past battles, folk heroes like, John Henry to Robin Hood, supernatural events or mysterious deaths. There are also songs with feature of call and response structures like work songs, Jody calls (armies’ song) and sea shanties (sailors’ song). Though, sometimes neglected, love stories, children’s play and Christmas are frequent subjects of folk song of the West.
3.2.2. Variations: There are large variants in the western vocal music because the oral transmission cannot produce word-for-word accuracy for many generations and sometimes deliberately modified according to the change of time and need. Cecil Sharp has rightly pointed out the process of folk variation as undergoing a process akin to biological natural selection i.e., picking up which is aesthetically more appealing and composed to perfection. Thus, as variants proliferate naturally, it is naive to believe in the existence of single authentic version of ballads.
Notably there are regional variations in admired ways of producing the voice. English folk singers like to pitch their voices as high as possible whereas, in Sardinia, a guttural growl is practised that sounds like the roaring lions; in southern Spain, a squeezed voice is esteemed, while in the northwest region, round rich voice is preferred. In the U.S., the whites have rigidly pitched, solo voiced, simple rhythm and well-developed text – seems the antithesis of the Negroes with its varied vocal colour, ingenious rhythms and fragmentary rambling texts, but in fact the two musics have greatly influenced each other.  For example, the polyphonic vocal folk music is one aspect of variation more commonly widespread in eastern and southern Europe than in western Europe. The simplest kind of style variation includes ‘parallel singing’ and ‘round singing’. Parallel singing is the singing of the same tune at different pitch levels; more sophisticated styles include choral songs in three or four voices, It is the most common type of folk polyphony; parallel thirds – that is, singing the same tune at an interval of a third are found throughout Europe but are particularly characteristic of Spain, Italy, and the German-speaking and western Slavic countries; parallel seconds, fourths and fifths are sung in the Slavic countries. The round, another polyphonic structure, is found throughout Europe and the singing techniques are used on the Balkan Peninsula and in parts of Italy. It is unimaginable, how tremendous would be the variations of these songs in content and style after orally transmitted for long generations.
3.2.3. Folk Music in Europe: The Western Europe is influenced by ‘Celtic traditional music,’  which is the amalgamation of Irish, Scottish, Manx, Cornish, Welsh, Breton and Galician music. In 1950s Brittany's folk revival began with the ‘bagadou’ and the ‘kan-ha-diskan’ before growing to world fame. The Irish traditional music was revitalised and re-popularised in the past decades by the enormous contributions of the folk bands like, The Clancy Brothers, Tommy Makem, The Chieftains, The Irish Rovers, The Pogues, etc.
In the Eastern Europe, during the Communist era (1937-1990) national folk dance troupes from Russia and Poland were gaining momentum. In Hungary, inspite of several attempts made by the groups like Muzsikas and others the traditional Hungarian folk music and folk culture barely survived in some rural areas, and it has also begun to disappear in Romania. Thus, a movement was started to revive broader folk traditions and lead to the creation of a new kind of music club in almost every major city in the U.S. and Western Europe. Today, Germany of all countries has set the standard in art music and thus, become the richest in folk music.
3.2.4. Folk Music in America: North American folk music encompasses numerous genres, many of which are known as traditional music such as, bluegrass, country music, gospel, old-time music, jug bands, Appalachian folk, blues, Cajun and Native American music. There are also some musical genres which are latterly developed in the United States like, rock and roll, jazz, rhythm and blues.
The Latin music and instruments were evolved from the musical styles of the Roma, Jews, Spanish Christians and Moors. Some of the important music genres prevailing in Latin America are: nueva cancion which emphasizes social progressive themes and commentary; salsa, an amalgamation of rock, jazz, and other Latin American musical traditions including Puerto Rico; tejano music, a blend of country music, rock, and blues born in Texas and performed in both Spanish and English; reggaeton, a blend of Jamaican reggae, dancehall, Trinidadian soca with Latin American music, such as bomba, hip hop and rap; and the Latin ballad (or romantic ballad), descended from bolero such as salsa and cumbia.  Based on styles from the United States there are some styles of music which is developed into a distinctively Latin style such as, Latin jazz, Argentine rock, Chilean rock, Cuban, Mexican hip hop, etc.  In the 21st century, the rising Contemporary Popular Genres include country music, neofolk, bluegrass music, cowpunk or folk punk, filk music, etc. can be considered folk music stylistically and culturally.
3.2.5. Traditional Folk Revivals: Folk revival commonly refers to two particular phenomena – the first British folk revival (1890-1920) and the second British folk revival (1950-1960s).
(a) First Folk Revival (1890-1920): The revival of British traditional music and its preservation was arose from the earlier events related to the changes in the nature of British identity and the intensive attempt to record what was seen as a vanishing tradition.  In Spain, there are prominent artists who had contributed towards the revival of folk music such as, Isaac Albeniz (1860–1909) produced piano works, Enrique Granados (1867–1918)  composed Spanish light opera, and Fernando Sor and Francisco Tarrega established the guitar as Spain's national instrument. Many European countries like France also drew upon Spanish themes, and distinctive Spanish genres became universally recognised today.
(b) Second Folk Revival (1950-1960s): In 1950, Alan Lomax came to Britain and had meeting with A.L. Bert Lloyd and Ewan MacColl which was credited as inauguration of the second British folk revival. This process of English-based folk revival originated from Western Europe had reached a zenith in 1960s, led to the evolution of a popular folk music called "contemporary folk music.” In London, during this period the first folk club called The Ballads and Blues Club (later on, rechristened as Singers' Club) was opened and it existed till 1991. The new genre called popular music is developed with artists marketed by amplified concerts, recordings and broadcasting. Some of the performers who emerged during this era are: in America - Woody Guthrie, Pete Seeger, Burl Ives, The Kingston Trio, Bob Dylan, etc.; in the United Kingdom - The Watersons, Martin Carthy, Donovan, Roy Harper, etc.

4. INDIAN FOLK MUSIC
India is one of the diverse countries in the world with innumerable sorts of folk music. In this section, a brief exploration is done on the historical development of Indian music in general and Indian folk music in particular.
4.1. Historical Development of Indian Music: An Overview
Generally, the history of Indian music may be divided into three periods: Ancient, Medieval and Modern periods.
4.1.1. Ancient Period: The period extends from pre-historic times down to the period of Matanga when the Vedic hymns constitute the oldest hymnal music of humanity and the raga concept also gain momentum. Though shrouded with uncertainty, the origin of Indian music is traced back to the Vedic times when the high priest conducted the solemn rite of the Soma drink-offering to the God, using the Atharva Veda, while another priest is said to have sung chants from the Sama Veda, some 3000 to 8000 years ago.  India became the first country to evolve a solfa system and to develop the most scientific system of classification of musical instruments such as tata (chordophones), sushira (aerophones), avanaddha (membranophones) and ghana (autophones) as mentioned in Bharata’s Natya Sastra.
4.1.2. Medieval Period: The period extends from the time of Matanga to the time of Purandara Das. For the first time in Haripala’s work, Sangita Sudhakara (1309-1312) the bifurcation of music into the two systems was evident. Karnatic music is undisturbed by the foreign invasions and faithfully retained the ancient traditions but Hindustani music which emerged after the advent of the Muslims in Delhi was developed along fresh channels due to the influence of the Persian styles and Arabian styles.
4.1.3. The Modern Period: The period is divided into pre-Tyagaraja, Tyagaraja and post-Tyagaraja periods when modern music was introduced in different aspects and fields. With the revival of musical culture (1930’s) and political freedom (1947) the days when Indian music was closely connected with temple worship, patronized only by elites and rajahs have departed with the rajahs.  Today, Indian music is freely moving and continuously developing along with the foreign musical system (Electicism) rather than by its own.
4.2. Indian Folk Music: An Introduction
Indian folk music owes its origins to the villages and develops from the experience of the people of the soil and its growth is spontaneous which is natural and thus, free from sophistication of any kind.  The structure is composed of simple musical components, growing in nature directly through spontaneous combination of notes. It is observed that the expression of folk music should always be spontaneous - contributory to personal emotions and fragmentary in musical rendering. Since the imagination of a composer is confined to a locality or environment, his/her ideas tune in with the reality of life by making use of the fragments of familiar musical pieces.
The great diversity that prevails in Indian culture and civilisation has greatly facilitated the origins and establishment of the folk style of music.  In India, every region has its own form of brilliant folk music that redefines the very structure of Indian music and makes it much more colourful. This rich tradition of folk music is very much alive both in rural India and also in some metros. Though a huge difference between the folk and tribal genres of music is detected, they are believed to have retained the original forms apart from the slight change in their character.
4.2.1. Subjects of Indian Folk Music: Margaret E. Cousins asserts, “Life in India is not divided into two compartments, the secular and the religious. Every action has its place in religion... All the songs are hymns; the Gods are its themes.” As such, the nearest approach to God is through music and the bulk of their songs have invariably been associated with Gods, Goddesses and devotion to them in their various manifestations, though gradually the emphasis shifted from religion to aesthetics.  There are other themes like epic heroes, love, laughter, wonder, sorrow, etc., covering the whole gamut of human feeling and emotion.
4.2.2. Performance and Production: The performance of folk music includes two features: (a) pronunciations and punctuations in recital of songs which give forth the regional trait of the language - a regional colour along with the usual tune and metrical forms; and (b) use of musical voice in free style appropriate articulations as required such as, application of beats and bars containing different expressions of stress and breathing-pauses. The songs of joy, marriage, etc., which have achieved popular attraction have gained a full-fledged musical shape. But songs like narratives, devotional song, etc., of naive character are required to be collected from the rural areas in their original form.
In folk music, a voice with natural gifts befits the songs; it is successful if it breaks, bends and twists according to the requirements of the regional form of music, which is easily imitable. In some songs in the North India, a regular break in the voice in succession along with a stress in particular beats create a new feature in performance. For example, in the songs of the various hill tribes in the Northeast like Chin-Kuki-Mizos, Khasis, Nagas, etc., ‘yelling’ is an essential element and indispensable feature of music. A large number of Indian folk songs are meant to be sung by groups, invariably led by an individual for most of the work is turned out of collective effort.
4.2.3. Vocal and Instrumental Music: Most of the prevailing forms of folk music are associated with expression of feeling, hope, fear and aspiration or conveyance of social message or celebration of childbirth, engagement, wedding, etc.  Some of the popular musics existed in India are: Gidha and Bhangra from Punjab; Kohli and Lavani from Maharashtra; Dandiya from most parts of western India; Bhopa, Jogi, Langas, Manganiyar and Sapera musics from Rajasthan; Bauls from Bengal; Naatupura Paatu from Tamilnadu; Dollu-Kunita from North Karnataka, Bhavageete from Karnataka; Uttarakhandi Music from Uttarakhand; Pandavani from Chattisgarh and Orissa; Dhrupad in Udaypur, Benaras, Gwalior and Vishnupur; Kheyal in Delhi, Gwalior, Jaipur, Agra and Maharashtra; Tappa from Punjab, Rajasthan and Bengal; Thumri in Uttar Pradesh, Bengal and Punjab; Kuki-Lakoila from Northeast, etc.
4.2.4. Musical Instruments: The folk musical instruments are commonly crafted by the musicians themselves, of commonly available materials like, bamboo, horn, skin, gourd, pot, coconut shell, etc. The instruments have been fabricated Some of the common instruments with their own name in the local dialect are: Andelu, Banam, Bansuri, Charchari, Chenda, Dhol, Dholak, Ektar, Ghungharu, Gopichand, Harmonium, Idakka, Jhorka, Kanjira, Khol, Kuki-Gosem, Kuki-Pengkul, Manjira, Ottu, Pena, Pung, Rabab, Sarangi, Saringda, Shuddha Madalam, Sitar, Tambura, Tuntuna, Urumili, Vina, etc.


5. CONCLUSION
The exploration of the nature and concept of folk music reveals its important distinctive characteristics: rooted in the heart of the people; simple, natural and participatory; learned almost by osmosis - from childhood music is heard and imbibed along with ones mother's milk; practiced, performed and honed through numerous public activities; and serve as powerful medium of communication with God and one another. Though, several variations and modifications are detected in the course of development, folk music can still be projected into the core of all the available genres of music.
On the other hand, it is evident that the adaptations of folk music by popular and classical composers as well as a modern analogue of written tradition and commercial recording have substantially diluted the folk music. Generally, in the contemporary world, composers or performers are too obsessively pre-occupied with success and fame. The contention is that the prevailing unsustainable state in which all the people are now living has changed music into commodity. Due to these reasons there is lack of inner urge to bring out the infinite intrinsic grace and charm of folk music. Therefore, it is crucial that discipline, devotion and dedication must be imbibed by all in order to maintain the significant role of folk music. As always, the future of folk music in this quickly changing world lies in each and everyone’s heart and it is the responsibility of people to revitalize its role in the society.
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CHAPTER TWO
THE KUKIS AND THEIR FOLK MUSIC

1. INTRODUCTION
The Kukis  (or Kuki people) are one of the indigenous tribes living in the three adjacent countries of India, Myanmar and Bangladesh. Today, majority of them (roughly 5 millions) are found across the length and breadth of the present North East India. They are simple, truthful, hard working and brave people guided by socio-political customs on kinship. Effortlessly, these people can be recognised by their rich traditions of customs and culture, especially by folk-music which is an indispensable component of their festivals, works and leisure time.  Some sorts of their music are coarse and some are sweet however, all of them are equally emitting from the heart of the people. Therefore, music is aptly considered as their life-force, the cause of their culture and the nitty-gritty of their entire life. Taking all these points into consideration, the task of this chapter is to explore the historical background of the Kuki community as well as a brief survey of the rich heritage of Kuki folk songs and the commonly available musical instruments.

2. HISTORICAL BACKGROUND OF THE KUKIS
Kuki is a generic term comprising of numerous ethnic tribes who unanimously claim a common ancestry, share common culture and speak same language such as, the Chuckma, Lushei, Hrangkhol, Reang, Lunkim, Changsan, Thangeo, Thadou, Aimol, Chothe, Chiru, Koireng, Kom, Purum, Anal, Lamkang, Moyon, Monsang, etc.  Through linguistic affinities they are identified as member of the Tibeto-Burman linguistic family.  In the following, an attempt is made to briefly bring out the origin, expansion and life setting of the Kukis.
2.1. Origin and Migration
The origin of the Kuki people is shrouded in mystery due to paucity of historical records. The most prominent ones are the theories of Thimjin (darkness) and Khul (cave). There is a legend about a great catastrophe called Thimjin caused by a creature called “Awh” (probably, solar eclipse) which completely engulfed the sun for seven days and seven nights. During the dreadful darkness, all, except those whose descendants are now known as ‘Milui Khongsai’ had undergone a general transformation; some into various types of animals, others into birds and even flies, depleting the human population. Another most widely accepted theory is that they originated from Khul or Sinlung meaning ‘Cave’ and is seemed to have happened after the great catastrophe of Thimjin.  The modern native writers on the bases of etymological and historical coherence suggest that the Chin-Kuki-Mizo racial groups originated most probably from Tibet or from the land beyond the Great Wall of China, around the banks of Yangtze and Huang-ho rivers of China.  Probably, the Kukis came out of China during the reign of the Chinese emperor Chhinlung around 200 B.C.E. or Shih Hungti around 225 B.C.E.  The migration route of the Kukis is traced back to the banks of Yangtze and Huang-ho rivers of China; from there, they moved towards the southwest to Tibet in three waves, namely, the Kuki-Chin, Pyu-Burmise-Kachin, and Lolo. Leaving behind the latter two groups, the Kuki-Chin groups advanced further and finally reached the Chin Hills, and the valleys of the Irrawadi and Chindwin in Myanmar.  They further moved on to the land of the presently so called North East India, where they finally settled permanently.

2.2. Kuki Country (Zale’ngam)
The wingspan of Zale’n-gam and the composition of its people are unimaginably great. The territory inhabited by the Kukis extends from the Naga Hills in the north down into the Sandoway District of Burma in the south; from Myattha River in the east, almost to the Bay of Bengal in the west. It is almost entirely filled up by hills and mountain ridges, enclosing the alluvial valley of Manipur, and hence spreads out westward to the south of Sylhet. The territory then runs almost due north and south, with cross-ridges of smaller elevation, through the districts known as the Hill Tipperah and the Lushai Hills (now in India), the Chin Hills (now in Myanmar), and the Chittagong Hill tracts (now in Bangladesh). Today, their total population in this entire area of 1, 24,500 sq. km. is about 10 million. Out of these, the largest Kuki concentration areas are Tripura, Mizoram and Manipur in the North East India.
2.3. Manipur State and the Kukis
A brief account of the geographical setting of Manipur and the nature of the Kukis living in it is given in the following.
2.3.1. Geographic Location of Manipur: Manipur is one of the eight north eastern states of India, having an area of 22,346 sq. km. with a population of 27, 21,756 (2011 census),   lying north of the Tropic of Cancer in between the latitudes 23° 50´ and 25° 41´ North, and longitudes 93° 02´ and 94° 47´ East. Its boundary is surrounded by Myanmar in the east and south, and Nagaland state in the north, Assam state in the west and Mizoram state in the south-west. There are ten districts in Manipur which can be grouped into two: Valley Districts comprise of Imphal East, Imphal West, Thoubal and Bishenpur; and Hill Districts constitute Churachandpur, Sadar Hills, Senapati, Tamenglong, Ukhrul, Chandel. More than 60% of its inhabitants are the valley people, viz., Meiteis, Bamons and Pangals and 40% are hill tribes, namely Kuki tribe and Naga tribe.
2.3.2. The Kukis of Manipur: Manipur is a hill grit state primarily inhabited by three main ethnic communities – the Meiteis (mostly Hindus), and Kukis and Nagas (Christians).  In this tiny state of Manipur the population of the Kukis is about 600 000 with an area of 9500 sq. Km. As per the Constitution with regards to Scheduled Tribes Lists Orders 1956, Part X-Manipur, out of twenty nine Scheduled Tribes, the Kukis consist of twenty two tribes namely Aimol, Anal, Kom, Lamkang, Monsang, Moyon, Mizo (Lushai), Paite, Purum, Ralte, Sukte, Simte, Thadou, Vaiphei, Zou, etc., the remaining seven tribes such as Angami, Kabui, Kacha Naga, Mao, Maram, Sema and Tangkhul are Nagas.
The Kukis (also known as ‘Khongjai’) are highly concentrated in the hill districts of Churachandpur, Sadar Hills and Chandel.  On the basis of the time frame of the migration, Col. J. Shakespear classified the Kukis of Manipur into two: The Old Kuki Clans of Manipur are Aimol, Anal, Chawte, Chiru, Kolhen, Kom, Lamgang, Purum, Tikhup and Vaiphei. The New Kuki clans of Manipur are too great in number that they couldn’t be appropriately pointed out except for few clans like Thadou, Gangte, Paite, Khongsai, Ralte, Simte, Sukte, etc.
2.4. Political Administrative System
The traditional Kuki Government rules on national traditions and customs, in which the hereditary chiefship is the crux of it.  For administrative convenience their political administrative set up is layered into four tiers as follows:
2.4.1. Kuki Kho (Village) Administration: Every Kuki village is a self-sufficient and independent administrative unit guided by customary laws. The ‘Kho Haosa’ (Village Chief)  is the administrative head and custodian of customs and culture with absolute judicial and executive power over the villagers. The Chief with the assistance of the nominated officials called “Kho Semang, Kho Pachong and Kho Lhangsam,” governs so that his decisions are final and binding. The office of village Chief is heredity in nature - the first born son must be the successor.
2.4.2. Kuki Lhang (District) Administration: Villages situated in a compact geographical area are grouped together into a Lhang (District) which is exactly of the same pattern with the village administration. The Kuki District Administration is under the executive head of the Lhang Haosa (District Chief) assisted by the elected Cabinet members such as, Lhang Semang, Lhang Pachong and Lhang Lhangsam.”
2.4.3. Kuki Gamkai (State) Administration: A number of Lhang comes under Gamkai administration, which is comparable to one State of the present day India. The leaders of a number of Lhang democratically elect Gamkai Haosa, Gamkai Semang, Gamkai Pachong and Gamkai Lhangsam for a period of one term i.e., commonly three years.
2.4.4. Kuki Inpi (Kuki Government): Until the Britishers invaded “Kuki Country” Kuki Inpi has been the National Government and apex administrative bodyof the Kuki Nation since time immemorial.  The Kuki Inpi is governed by the Nam Kumpi (National Chief, equivalent to English “Emperor”), Nam Semang (Prime Minister), Nam Pachong (Defence Minister) and Nam Lhangsam (External Affairs and Public Relations Minister).
2.5. Economic System
The traditional economic system of the Kukis can be identified as subsistence economy where agriculture is the main occupation. Shifting (jhum) cultivation is the basis of economy, supplemented by hunting, fishing and food collection from the jungle. In their economic pursuit, they also have well-organized corporate labour groups called Lawm. Men are good in making agricultural and household implements like dao, hoe, axe, spade, basket, casket, etc. In every Kuki village there is a professional blacksmith who helps the villagers in manufacturing almost all the things they needed such as swords, spears, bows, gunpowder, bullets, brass buzzle-loaded guns, etc.  Gradually, as the Kukis settled in the plain areas, they began to take up the permanent cultivation system and shift from barter to monetary system.
2.6. Socio-Cultural Structure
2.6.1. Marriage: The Kuki men seek wives among the daughters of maternal uncles (daughter of mother’s brothers) to establish a proper institution of family.  Only after proper marriage a person could participate in social, political and religious activities with greater human status.  There are three types of marriage in the Kuki society, viz., (i) Chongmou (an arranged marriage), (ii) Jol-jam (an eloped marriage) and (iii) Ki-gai (a marriage due to pregnancy). In any of the marriages, the bride price is compulsory though slight differences are maintained from one tribe to the other. But, in all cases, mithun,  gong, necklace, ear beads, traditional shawl, etc. are some of the usual gifts included in the bride price. It is also important to note that the eldest daughter’s price follows the price of her mother.  Furthermore, the marriage is considered suitable to form a stable family only after the couple has atleast one child and performed child-birth related ceremonies such as, (i) Naodop-An (birth ceremony), (ii) Naolhalho (blessing and retaining the soul of the child), (ii) Naominvo (name giving ceremony),  (iv) Naopui (taking the child to the maternal uncle for his blessing).
2.6.2. Family and Household Council: The family is the primary unit in Kuki society, consisting of parents, grandparents and all unmarried children. Each family traces its descent through the male line to a common ancestor, whereas the female line is absorbed in the clan of her husband at marriage. In this patriarchal family system, the father is the head who possesses exclusive authority and responsibility to look after all the properties and rights of the family. He also acts as the family priest by performing all religious duties. In the family circle there are numerous kinship terms designated to their relatives such as, ‘Pu’ (grandfather), ‘Pi’ (grandmother), ‘Pa’ (father), ‘Nu’ (mother), ‘Gang’ (the man who marries the sister of an ego’s father), ‘Ni’ (the sister of an ego’s father), ‘U’ (elder brother or sister), ‘Nao’ (younger brother or sister), etc.
Every family has household council comprising of the family stewards (Tu-le-Be), the maternal relatives (Pute or Sungao), and soul mates (Jol-le-Gol). There is also a customary practice of meat division in order to acknowledge the social status of one’s relatives. Everyone has wilfully performed or executed the required responsibility in regard to his/her status, connected with the family in all the occasions and activities.
2.6.3. Lawm (Village Labour Corps): Lawm (probably, traditional youth club) is one of the most important social institutions, which comprises of both male and female members, engaged mainly in agricultural work and other social activities for the welfare of the villagers. T.S. Gangte observes that “Lawm, as the basic life giving system is a revelation of the basic concept of the community-based economic system of the Kukis,” and he terms it an agro-based economic institution.  There are three divisions of Lawm, such as Lawm-pi (elder group), Lawm-lai (adolescent group), and Lawm-neo (children group). Every Lawm has a Lawm-upa (senior member), Tollai-pao (supervisor) and Lawm-tangvo (assistant supervisor). The Lawm is also a centre of learning discipline and social etiquette for the young people.
2.6.4. Sawm (Bachelors’ Dormitory): Sawm is another form of socio-educational institution of the Kukis where all the able-bodied boys of the village sleep together at night in any chosen house. The purpose of Sawm is to offer free-compulsory services to the community and to safeguard the village from external dangers like invasions from enemies as well as internal dangers like conspiracies and disputes, fire, theft, gambling, quarrelling, and other untoward incidents. It is also the place where the young boys learn discipline, folk stories, folk music, customs and culture which a young man ought to learn from the Sawm-upa (leader). It is an essential institution of the Kukis from where came abled generals; intelligent Semang, Pachong and Lhangsam of the village.
2.6.5. Khankho (Moral-ethical Principle): Khankho is the term that encapsulates all the religious and social dimensions of the people’s moral-ethical principles. It can mean ‘the way or manner a person should conduct himself/herself in life’, or ‘the norms one adheres to while living on earth’. Khankho is acting according to what is required of a person at various moments in life. In simple Khankho may be defined as a life of an integral harmony with God, creation and fellow human beings.  Under this obligatory term, no one is expected to receive a reward of profit or gain in return for rendering such service.
2.7. Artistic Expression
The indigenous Kuki music is rather a crude kind of music especially the songs commonly called Pula-pala and through these songs the past history or genealogy could be traced vividly.  They also make their own musical instruments such as, Gosem (mouth organ), Lhemlhei (jaw harp), Khong (drum), Sumkon (trumpet), etc.  In relation to craft more than women, men are engaged in making most of the prominent hand-made implements like, Bengkong, Longkai, Namkol, Pocha, Godal, Paipeh, Suh, etc. They also have hand-weaved dress and clothing in distinctive patterns like, Saipikhup, Pondum, Thangnang, Khamtang, etc. The men wear a typical shirt called Boitong, a loincloth (Delchen) and keep their hair long and tie it together over their head called Tuhcha Som, covered by Delkop (turban). The women wear a loincloth which is wrapped round their waists, breast cloth which is wrapped round the torso and also dress their hair (Sampheh and Samkop). All these clothes are woven from cotton which is spun by the women.  
2.8. Kuki Religious Belief
The nature and beliefs of the Kuki primal religion can be understood from their concept of God, Spirit, household deity and life after death, as given below.
2.8.1. The Concept of God: The primal Kuki religion (Sakho) is centred on the One Supreme Being called ‘Chung Pathen’ (above Holy Father). He is believed to be the creator  and sustainer of the universe; benevolent, infinite, unfathomable, omnipotent and omnipresent.  On special occasions like birth, marriage and death, sacrifices were offered to Him in order to please, receive blessings and maintain right relation with Him.
The existence of divine beings in various forms was acknowledged however, they seem to be the manifestations of Pathen viz., Nungjai or Thennu who is perceived as the consort of Chung Pathen;  Noimangpa is ‘one who rules the subterranean world or underworld’ with the permission of the Supreme God; Pheisam/Maltong (one without leg from the thigh) is believed to have powers to make people rich or poor.
2.8.2. The Concept of Spirit: The Kukis also believed in the existence of both benevolent and malevolent spirits, residing in the natural world.  Benevolent spirits are classified into two such as Chomnu (dwarf female spirit) and Sapi (the spirit who safeguards women and children). Malevolent spirits are Thilha (spirit of the dead), Lhadam (ghost), Gamhoise (forest sprite), Inmunse (village evil sprite), Joumi (being of forest), Kulsamnu (female serpent who is the gate-keeper), and Kaose (similar to vampire), etc.  They can take the form of tiger, fire, rain, human form, etc. Animal sacrifices are offered to the spirits in order to placate them.
2.8.3. Indoi (Household Deity): The word Indoi is derived from two words, In meaning, ‘house’, Doi meaning, ‘magic’. It is the personal household deity, hung at the portico of every Kuki house as outward manifestation of the presence of the Supreme Being. Indoi is symbolized by seven articles bound together – (i) Vohpi-maikem (a female pig skull with staunched forehead), (ii) Khaokol (bamboo bangle), (iii) Kelchal-kiheh (a curved horn of a he-goat), (iv) Tengdop (spear), (v) Chemkol (dao), (vi) Beval (a circular jar stand made of split bamboo), (vii) Hailhi (a small gourd jar).  Every family has to perform Hun (feeding of the Indoi) which usually falls in the month of March and April.
2.8.4. The Concept of Life after Death: They believed that the souls of the deceased reside in a place called Mithikho (the village of dead) and Peugal (paradise) where the souls of the righteous persons dwells in peace and luxury. The path leading to Mithikho is believed to be blocked by a female devil Kulsamnu who is particularly fond of torturing the soul of the dead especially children. At the time of a person’s death an appropriate person performs Kitom (trudging with shout and striking doorpost with dao) to back the dead in order to let him/her overcome the ‘difficult passage’ from Kulsamnu on his/her way to Mithikho. However, with the influence of Christianity and the growth in scientific knowledge their belief and worldview have changed drastically.
2.9. Feasts and Festivals
Most of the feasts and festivals or rituals and ceremonies of the Kukis are related to agriculture pursuits. Here, few of the important ones in which the village community participates are discussed.
2.7.1. Kut: The Kukis observe various kinds of feast and festivals related to jhum cultivation called Kut.  There are four main Kuts: Mimkut (job’s tear), Changkut (paddy), Pawlkut (straw), and Chavangkut (after slash). Today, these festivals are amalgamated under the banner of an annual autumn festival, called Chavangkut, which is celebrated on the 1st of November.
2.7.2. Sa-ai le Chang-ai: A person who aspires to perform Sa-ai (animal subjugation) or Chang-ai (paddy subjugation) must undergo a preparatory ritual called Tolso (to appear in the courtyard).   On the completion of the ritual the celebration of the grand feasts such as Sa-ai for man and Chang-ai for woman could be performed.
Sa-ai is a feast denoting dominance over the fierce animals killed. A man is responsible to hunt wild animals not only to provide sufficient meat for family but also to provide feast for the villagers at least once in his lifetime in honour of his prestigious achievement as a skilled hunter.
Chang-ai is a feast denoting bountiful harvest of paddy or victory over the soul of paddy. The feast is performed by the housewife after accumulating abundant grain for years. The two days feast is celebrated by killing of she-pig and carrying of the accumulated paddy by the youths from the field to the house of the host.  It is believed that Kulsamnu dares not harass the souls of those who have performed Chang-ai on the way to Mithikho.
2.7.3. Chon: Chon means ‘feast of glory.’ It is a ritual performed in commemoration of the accomplishment of a person’s strength, prowess and faithfulness in his or her activities. Thus, Chon is the acme of all rituals and celebrations in the life of the Kukis.

3. FORMS AND KINDS OF KUKI SONGS
The Kukis have a plethora of bawdy and sweet sorts of music which condition the life situation for good or bad. Kuki music is closely associated with birth, marriage, death, festivals, leisure, planting, weeding, harvesting, etc. Mostly the songs serve as a powerful medium to communicate peace, blessing, curse, sadness, happiness, bloodshed and love to individuals as well as to community.  Moreover, song plays a tremendous role for teaching, sharing, learning and guiding each other in the society.  In the following, these innumerable Kuki folk songs are classified into twelve types, viz., occupational songs, valour songs, feast and festival songs, mourning songs, songs of history, love songs, songs about animals, recreational or children’s songs, lullaby songs, get-together songs and songs based on tunes.
3.1. Occupational Songs (Natoh La)
Agriculture is the most important occupation for the traditional Kuki people. Many other occupations like hunting, fishing, weaving, etc. are the operations that come under this activity and almost all of the activities are accompanied by music.  They ingeniously manage to ease the burden of their work with the help of songs. The rhythmic character is largely dictated by the nature of their work. The only accompaniment to most of the work songs is the noise created by implements like pestles, spades, knifes, sickles and so on. Some of the occupational songs are briefly expounded in the following.
3.1.1. Khong La (Drum Beating Song): Khongchoi (‘holding drum in the hand’) is a direct competition between Lawm (village labour corps) and the evil spirit of the land, in which beating of drum is the central of all the activities performed. During Khongchoi, every morning the entire members firstly gather at the entrance hillock called Khomol, from where the Lawm Upa (leader and drummer) leads the roles by initiating every change of movements from morning till dusk with strict regulation.  On reaching the field a boy and two girls of indubitable moral characters come out dancing in the middle of a circle formed by others who sing according to the rhythm of drum beating. The return journey from the field is the same as was in the morning.  One such Khong La (drum beating song) runs as follows:
“Kalenchon toh somil’a vailou koning eitam lhangse lhanghui lhin nalethen.
Eitam lhangse lhanghui lhin nalethen langchompa toh nitnom molkho song’e.”
Free Translation:
As I go to the field along with my drum, the mountain wind may brush away the devil and its agents.
All the evil spirits that could harm me may be swept away by the wind so that I could fulfil my wish to play drum.
3.1.2. Lawm La (Songs of Corps): Once in a year, a day is observed as a day of carousing for village labour corps called as Lawm Junehni. The next day, all the youths have to concentrate on their activities with exceeding memory flashing back in their minds. One of the songs composed by recollecting this festival day is given in the following:
“Goltoh changang kikhenin, vailou koning kisel lavao gamjang’a tang lam’e;
Kisel lavao gamjang’a atang lap, lenchom levao kajah lonlhi long’e.”
Free Translation:
Separated from friends after the fete, as I went to the field, the mithun horn in the fete kept flashing back in my mind and so was the drum-beating sound. Recalling the exceeding memory of the occasion, I shed my tears.
3.1.3. Lamlha’ng La (Hill-path Song): According to Mr. Lhunkholam, this song is normally related to harvesting, sung by three people on the way. One such song runs thus:
“To nilhumkon ava oleng jenjen, hohkom tolthing najing laijabol’e,
Najing’o napal lai, tongnem babil lakai lou napam’e.”
Free Translation:
Before sunset, birds are flying and perching in the big bushel trees,
This resembles a blooming flowers my beloved wears in her ears.
3.2. Valour Songs (Han-ngam La)
Warrior songs are related to animal hunting, invasion and battle, composed and sung to honour the warriors, and to defame the enemies. Two of the songs are given below.
3.2.1. Ha’n La (Gallantry Song): Han La is sung only on the day of Chon or Sa-ai by the performer to celebrate his achievements.
“Kathang’e kathang’e, haosa navang kholaija;
Keima lojang kathang’e, keima lojang kathang’e.”
Free Translation:
I am delighted and famous, chief, in your village
I am delighted and famous.
3.2.2. Gal La (Warriors’ Song): There are numerous sorts of warriors’ or war song such as, song of the British War, Song of the Japanese War, etc. One song of the Japanese War composed by Kuki people is given in the following:
“Japan selang asoleh;
Ki-an hih’o sapmangpa;
Kikhulsin’o setleijah.”
Free Translation:
Japanese are beaten;
But, don’t hold high yourselves, Britishers;
Dig your own grave.
3.2.3. Jangcha La (Song of the Eastern Region): This song is not a popular song but it is still retained by some Kuki tribes such as, Paite and Zou.
“Lhang’a kabel mangpan bon allang manghen ei tia,
Allang mansang selbang lentang vusai tohmin thangkhom me.”
Free Translation:
The chief of the south to whom I seek shelter, wanted me killed like a fowl ,
Instead, I somehow grew up like mithun, famous for killing even elephants.
3.3. Feast and Festival Songs (Kipa-golnop La)
Feasts and festivals occur twice or thrice in a year related to success and prosperity. All these festive events are centred on the primal religious deities and every necessary thanksgiving to the Almighty and its manifestation is done on these days. The Kukis work hard in order to become rich enough to offer or perform Chon le Ai (feasts and festivals) and get recognition in the society. Five main songs of feast and festival are discussed in the following.
3.3.1. Sa-ai La (Animal’s Subjugation Songs):  On the celebration of feast that marks a male hunter’s greatness in killing many wild animals, men used to sing this song of Honour and Prestige. The following is a song sung as choral accompaniment to dances by the young boys and girls throughout the night:
“Haocha paolai munjang asang sol khong’o,
Minpha lhanglhum meibang in ajam’e.
Katha vabang paotheihen tongdon theileng’o,
Chinmang lamtol nisum velbang tante.”
Free Translation:
This sol  is erected in honour of our powerful and glorious chief,
My fame is spreading like the cloud atop the mountain.
If these killed animals be alive again, I wish to tell them of my fame. This dancing-yard of my elder brother will be round like the sun’s halo.
3.3.2. Salu La (Animals’ Head Song): Whenever, a hunter killed great animals like tiger, lion, mithun, elephant or such animals, the head is placed in the courtyard of the Chief in the presence of all villagers to celebrate the victory with dance, brandishing of weapon and shout of subjugation. One of such song runs as follows:
“Tuipi dungjui phaisim bu, tang’a lhone sakol keijo’e
Tumpang sel lamlaija lhai, muvan laithang chung’a achong’e
Mi atihen bul kaphut, sa atikang thal kaphut,
Soising ichun dah ichoi pigo jiha kachong’e.”
Free Translation:
I killed the owl that flew over the river, the tiger that prowled in the hill,
The mithun that ran on the hilly track, now, the spirit of eagle hovers over them.
I enchained lots of men, I pierced numerous animals.
Gong in the hands of my mum Soising and I stand atop the wilting bamboo stem.
3.3.3. Chang-ai La (Paddy Song): To mark her achievements in accumulating great amount of paddy a woman performs a grand feast by offering the meat of mithun to all the villagers. All the boys and girls have to encircle the killed mithun and sing a song to invite the paddy soul to continue flourishing in the family. The Chang-ai La goes as follows:
“...Chang letno, jouloija lawmtang kainale chang’o letno;
Selpang lam’e, kajou jang som sel kalole sel’o lam’e.”
Free Translation:
Paddy, overflow in the field where Lawm work.
Dance may be performed beside mithun again and mithun may also perform.
3.3.4. Mipahna La (Song of Exaltation): The Lawm (village labour corps) members have to gather in front of the house of the selected well-to-do family and lock the main door by singing Mipahna La. In return the prosperous family must respond them through song with their offering of rice beer pot or pig. This responsive song runs thus,
“Nang kapah’e, nang kapah’e xyz,
Nang singsung’a jule sa beimo’e...”
Free Translation:
We honour you xyz, we honour you xyz,
May your house flourishes with plenty of meat and rice beer.
3.3.5. Kilhahna La (Send-off Song): Normally, on a farewell occasion, the Lawm members build a campfire at Khomol (resting place on hummock) where all extend their gifts along with a farewell drum beating and singing the following song:
“Miphung changdin goljin bang lhatang’e,
Lung kitohsa damdei jin bang tang’e...”
Free Translation:
We bid you farewell like a guest, as you accept the title of someone.
We bid you farewell as we bid to a well known guest.
3.3.6. Laljudon La (Drinking Song): This is a song composed by a girl during the feast of drinking of the great and famous people in the village called Laljudon ceremony, which runs as follows:
“Nathing noija phaimit jol jinang lhang’e
Asamang cheng kaitui jang hun jol’in
Pigo huikai kakot tolom’e
Tindal khon them ka phalhang to lom’e.”
Free Translation:
Beneath the trees, my eyes move around to draw animals towards me
Like drawing water to my house through bamboo pipe
My door is beautified by the drooping bamboo stems with leaves
While the sound of the deep-toned gongs fill my house.
3.4. Mourning Songs (Lunghem La)
The Kukis believed in the existence of life after death in a place called ‘Mithikho’ (village of the dead). In physical separation songs are sung to release emotions, to bring comfort to the bereaved family, to recollect the good things done by the deceased and to pay homage to the departed soul normally for three days.  There are two popular mourning songs, which are discussed below.
3.4.1. Lapi or Thilhahna Lapi (Key Funeral Rite Song): For those who do not have their own clan funeral rite song, this song can be used at the time of death as the last funeral rite song, which is as follows:
“Peole loh inbon longthing sahang alam’e, Josa ahei lemlem’e.
Khumlhan thongte kalhunle, kavan sajang kalam’e, lamtol’a kahei
lemlem’e...”
Free Translation:
Like two streams Peo and Loh float Sajo animal in their currents twirling around,
So do I, the corpse of my son that lies on the floor on my return from the field.
3.4.2. Latah or Toumun La (Sitting Song): According to Mr. Lhunkholam Chongloi, Latah refers to the tune used for singing lyrics on the achievements of a deceased during his/her life time, on his/her funeral by the elderly people who are sitting around the mortal body. One of the most popular Latah is the Sepai La (Army Song), which runs:
“Vaimang lentol cham chung’a phung namtin,
Jingtin jangkolva bangin kalam’e.
Kolva bangin laming ting phung namtin,
Lenna lhangvai tol anem dildel’e.”
Free Translation:
In the courtyard of the powerful and rich, amidst the nations and tribes,
Every morning I dance like a Kolva (big bird)
Like a Kolva I dance with the nations and tribes
The ground of the whole region is soft and gentle.
3.4.3. Kaa La (Dirge): It is a dirge usually sung by the elderly people especially old women in the house of mourning.
“...Amin sai-ang nasatle, banjal jaitha jehin lang
Sahlhong sai-ang sattang ngem van no-e, van Jamang ohe.”
Free Translation:
If the enemies cut you, then why not open your arms
And, cut your enemies’ bodies as well, O my beloved son Jamang!
3.5. Songs of History (Khanglui-thusim La)
The origin, development and experiences of the Kukis could be comprehended from the lyrics of the history songs. As orally transmitted, there may be slight variants in different places and time but it is accepted that these songs serve as the most authentic sources of the history of the people.  The most common songs of history are given in the following.
3.5.1. Phung Lapi (Clans’ Songs): One of the most well known clans’ songs is Chongthu Lapi, which is briefly given in the following:
“Noimang Khoa Kapen na, vangkho libang lhingna e.
Gamhai theibang kasen nin, umin changbang eichoije.
Lomgol changkhu mangvop tang, golpin haucha eiti e...”
Free Translation:
In the village of my older brother where I was born, people are great like sea.
I am a child like a raw mango in the jungle but my clan people honour me.
Many friends around me and they called me son of well-to-do.
3.5.2. Thimjin La (Song of Tremendous Darkness): There is a legend about a great catastrophe called Thimjin (darkness) for seven days and seven nights.  As the two Khongsai brothers namely, Lunkim and Lenthang burned the skulls of dead animals to make them awake they sang Thimjin La, commonly known as Khongsai Lapi (Khongsai Song) as follows:
“Kachung thimpi ajin in, sangtha simlun taival na,
Akhumei loujing bange, chungleng alvan abome...”
Free Translation:
When tremendous darkness prevails over me, I overcome by burning the skulls of the animals I killed,
The smoke rises upward like darkness and the birds of the sky flock around it.
3.5.3. Tuipisan-kan La (Song about Dried up of Red Sea): In remembrance of the providence of God by drying up the Red Sea, the Manmasi (Manaseh) children composed the song as given below.
“Kulpi mangpa chon laiya thim twipisan pa hung kang’e;
Sunleh meilom’a, janleh meilhangin eipuiji...”

Free Translation:
It was during the grand feast of the King that, the Red sea dried up;
By day we were guided in a pillar of cloud, by night in a pillar of fire.
3.6. Love Songs or Attribute Songs (Lungset La)
Kuki love songs are of different kinds, some based on true love, false love, unrequited love and tragic love. The profundity of love songs is used by the young people as language to express their feeling of love and concern, to communicate joy and sorrow, to praise and appreciate, to maintain respect and attention, and to encourage and comfort each other not only during youthful life but also, even after it is consummated in marriage.  Love songs keep the lovers emotionally attached and keep their love alive. The six popular songs of love or attribute are given in the following.
3.6.1. Khuptingle Ngambom La (Ngambom Song): Khuptingle Ngambom is a tragic love story about two lovers who couldn’t fulfil their desire due to the untimely demise of the lady in the course of their romantic glitz. Right after the death of Khupting, when Ngambom was cutting off the flourishing branches of the big Thingzabong (banyan tree),  he felt the sweet tune around him and sensed the presence of his beloved late Khupting’s spirit. According to Mrs. Nemjating, to find solace this half-mad Ngambom snatched his Gosem (a kind of flute) and blew the sweet lyrical music.
“Kasemgo pantang onthing lehsang’a, Ting’o dalang kasai nahi’e.
Kasemgo pantang lengvan chung teng’a, mela mudin thimun hung leng’o.
Simlam kalham le, sim nungahtoh kaki saisaije.
Mallam kalham le, mal nungahtoh kaki saisaije.”
Free Translation:
Atop the bending banyan branch, I am blowing my Gosem, Ting’o.
While I am playing my Gosem, do appear in the form of eagle.
As I cut the western branches off, I dance mildly with its damsels.
As I cut the eastern branches off, I dance mildly with its damsels.
3.6.2. Nanglhunle Jonlhing La (Nanglhun Song): Jolhing is a beautiful lady who is forced to marry Seikam by her parents in the absence of her beloved Nanglhun. The following is the song composed by Nanglhun to express his love to Jolhing after her marriage.
“Lhummei hungkai thinthen’e jougam lei, huiva hungmao gol tongson kabol’e.
Gol tongso la hiponte, sim huiva onthing lella kalung jon eisang’e.”
Free Translation:
The Cloud is spreading sparsely in the whole of our hill-land; meanwhile, to me the pigeon’s buzz resembles your voice, my beloved.
Beloved, it isn’t your voice but, the pigeon on the bending tree that draws me.
3.6.3. Maneithangja La (Maneithangja Song): As Maneithangja is going away from home he let his two beloved ladies Jolhing and Jolphal stay on the Kemsang (high platform) in order to keep them from harms. On his return, he sings a song asking them to drop down the thread but the two ladies didn’t reply thinking that the wild bear imitate the voice of Maneithangja. Maneithangja La is given in the following:
“Chung’a Jolhingle Jolphal chonpat jang chan hin lhah in,
Maneithangja kahung’e.”
Free Translation:
Jolhing and Jolphal, drop down your cotton yarn from the platform,
I, Maneithangja am coming.
3.6.4. Sehkhothangle Malkhom La (Malkhom Song): Malkhom, a woman possessed by evil spirit was killed by her beloved, a clean man Sehkhothang because he was ashamed of the condition of his beloved. After the death of Malkhom, her spirit composes a song called Sehkhothangle Malkhom La. This song can be sung at anytime and anyplace.
“Amo’l tin’a, e-nei ngelngel nga neimo;
Ada’m tin’a, e-nei kaka nga neimo.”

Free Translation:
“You are still mentioning me by waiting in the hills;
You are still looking and weeping for me in the valleys!”
3.6.5. Lenchonghoi La (Lenchonghoi Song): When the seven brothers of Lenchonghoi returned from their mission so as to replenish their food-stuff, they asked her to open the ten layered iron doors in the following song:
“Ka-u ka-u Lenchonghoi jo, thihpi thosom kot neihon’o;
Buchun sagi abeitai, mechun sagi abeitai.”
Free Translation:
My sister, O my sister Lenchonghoi! Open the ten layered iron door.
The seven packets of boiled rice and seven packets of curry have been exhausted.
3.6.6. Ahsi-somleng La (Meteor Song): Whenever a man witnesses the falling of meteor in the sky at night while sitting on the Kem (platform), this song is usually sung. The first stanza of the song is given in the following.
“Ahsi-somleng vanlai jol ageitai,
He, hung’o golpa isomlang jontaite...”
Free Translation:
The roaming star (meteor) has reach the highest heaven,
Hey, my soul-mate, let’s head towards the sawm.
3.7. Animal Songs (Sa La)
The entire life of the Kukis is hard to separate from the nature around them. Especially, animals and birds always play important roles in making the life of the country more meaningful as fellow living beings. The interaction and the close relationship of human with nature are obviously recognised from the existing songs of the Kukis, which are given in the following.
3.7.1. Sa La (Animal Song): This song is mostly sung during Sa-ai and Chang-ai however, it can also be sung at any moment.
“Sa hungloi, sa hungloi, den’a molsa hungloijo;
Alen tumla tilouva, aneo tumla tilouva, den’a molsa hungloijo...”
Free Translation:
Come soon, animal of the mountain, come soon;
Big or small, animals of the mountain, come soon.
3.7.2. Jangsel-kap La (Mithun Song): Jangsel Kapla is a song about shooting a wild mithun, which goes as follows:
“Sonlai kalung deicheng to vailoukon,
Nathing changsel len lungdei tuijang lai
Nathing changsel len lungdei,
Banjal lhahna theilou kolmang tenga thangsoh naimo.”
Free Translation:
I went to the field along with my loving folk,
In front of the folk I easily killed the big ferocious mithun like drawing water,
In front of the folk I killed the big ferocious mithun.
The news of my arms’ prowess spreads up to the corner of the world.
3.7.3. Vakhu-mimpholjot La (Dove Song): A person is believed to have composed this song after listening to the song sung by a couple of doves in the field.
“Pa’mlou keng’a khu van, kangthing chom’e suhdu kul kul.”
Free Translation:
At the vicinity of the field, doves fetch sticks by singing, suhdu kul kul.
3.7.4. Sangah La (Wild Cat Song): This song is composed by a little rodent (Buipi) as asked by the people during the Dapa Chon Festival, which runs as follows:
“Lamsah’a sangah eh tum, phe loh loh,
Lamlhang’a sangah eh tum, phe loh loh.”
Free Translation:
On the upward stretch of the road, the wild cat has excreted spitefully.
On the downward stretch of the road, the wild cat has excreted spitefully.
3.8. Recreational Songs or Children’s Songs (Chapang La)
In the Kuki villages, the life of the people are inextricably connected with routinely singing of their hopes, fears and aspirations at times of leisure or free moments. They know the art of enjoying their leisure remarkably by singing, dancing and playing, sometimes accompanied by music.  Four main recreational songs are:
3.8.1. Khongbai La (Locust Song): It is a song composed by basing on the locust’s dance.
“Khongbaijo lamlou vo-e, nanao akap akap’e;
Akale kap tante vo-e, hinkho gapam tading’e.”
Free Translation:
O Khongbai (Locust)! Stop dancing, your baby is crying;
Let the baby cry, I may enjoy my life first.
3.8.2. Bembom La (Female Spirit Song): It is a song sung during the night to the blowing Gosem by a boy, accompanied by a dance from a girl who is holding Pocha or Sinkhup (basket) in her hand. Then, the invisible female spirit (Bembom) is said be dancing which is indicated by the slow budging of the basket. The song (in form of instrument music) used to invite and dismiss the Bembom is as follows:
“Chung’a Pathen hin dongin lang, noiya bembom hung lam mo.
Chekit to chekit tan ne, sul jahmo nu chekit tan, gai jahmo nu chekit tan.”
Free Translation:
Above, ask the Holy God and below, you bembom (female spirit) may dance;
Be off, disgraceful female spirit, you may depart.
3.8.3. Maloi La (Maloi Song): In the olden days, believe it or not, when young boys and girls sing song called Maloi La near the Maloi (a kind of small plant) the leaves of the plant used to join together. It is a very simple and interesting song which runs,
“Maloijo deikoi deikoi, maloi nang pheiphung chung’a lanu dalang sai hite.”
Free Translation:
O maloi! Embrace whom you like, maloi, let’s court your beloved on my lap.
3.8.4. Bem Pulunglung La (One of the Khongsai Songs): Children join hands together, jump around and sing the song which has no specific meaning i.e., “Abem’o bem palunglung, Khongsai bem’o bem palunglung...”
3.8.5. Lutthelthel La (Winding Song): In the evening play all the people join with hands together, the main person has to hold the post and from the last person all should enter between the hands of the first person and the post. When the twining is complete all move back to uncoil it. It is a typical song sung accompanying the play but the actual meaning of the song remains obscured. The song runs, “Luthelthel luthelthel, sajo banna luthelthel...”
3.8.6. Pipen-sel’a-pang La (Song About Hide and Seek): It is a game song where all children keep both hands at the back and one person goes around to place a stone on someone’s hand. In the meantime he/she asks another person through song where the stone has been placed. Today, the meaning of the song is unknown to the younger generations. The song goes, “Pipen sel’a pang, chongnu changpa sel’a pang...”
3.9. Lullaby Songs (Nao-oi La)
From the moment of delivery till a child is grown up a mother fondles spontaneously in her arms with pleasant lullaby songs called Nao-oi La (Swaying Songs). Nao-oi La is a store house of unwritten literature.  One of the Kuki lullabies is placed in the following:
“Sohlu chung’a kakal’e, kanao pon cha kalhah sah,
Galavah tang’e katileh Sangah meichol aham’e;
A —— O —— AO —— Nanaove.”
Free Translation:
As I climb up the gooseberry tree, I drop my babe’s cloth.
As I supposed to fetch it, I hear the sound of the long tailed wild cat.
A —— O ——AO —— My dear babe.
3.10. Seasonal Songs (Kum-kiheichin La)
In Kuki calendar, a year is divided into five seasons such as Khallai, Nipi, Chuhlai, Chavanglai and Phalbilai. The change of seasons is the indicators to let them follow up the appropriate kind of work to be pursued, which have been retained in the song format since antiquity. The songs are hard to particularly point out but there are several songs emerged from the heart and experience according to change of time and seasons.
3.11. Get-together Songs (Lenkhom La)
Lenkhom La is a kind of song that had emerged from the heart and soul of the first generation Kuki Christians amidst the strong current of western sacred music. The songs are composed to associate the life and work of the people in all occasions such as, worship, festivals, sports, mourning, Christian calendars, etc. Most of the songs are accompanied by drum and dance. Today, almost all the songs are compiled together in a book called Lathah Bu.  
3.12. Songs based on Tune (Akaija-kingam La)
There are innumerable Kuki songs composed by known and unknown people, but have great influence in the community. These songs are of different subjects and could be easily identified from the tune. The two popular types of these sorts of songs are given in the following.
3.12.1. Lakoi La (Curve-tuned Song): Literally, Lakoi La may be translated as ‘Curve-tuned Songs’. Including Meijin Lakai, Kaingui La and Lalaideng, which seem to lose their familiarity with the people, there are eight types  but for the present discussion only five of them are considered.
(a) Lam La (Dance Song): This is a responsive song accompanied by dance.
Dancer: Kalam’e jalaija, kalampi ding toidonlai neipeuvo.
Audience: Toidon lai napeng’e, laiya golmang changna bang kiheijo.
Free Translation:
Dancer: I am dancing amidst the audience, so send me a young match.
Audience: We’ll send you a match; make sure that you move like a swaying leaf.
(b) Lunglen La (Melancholic Song or Nostalgic Song): A piece of the melancholic song is given below.
“Thimthu ka im seitang’e, seitang’e;
Leng vansang’a ngai lhaulha, hung tolkum kitno...”
Free Translation:
Let me disclose the story I have kept secret, let me disclose;
The spirit of my beloved in heaven above, come down to earth again.
(c) Dongma La (Lovers Song): Any lover may sing this song the moment he/she misses his/her lover. The song goes:
“Gol genu toh kideipet kingaipet,
Kah’a samtui long jongle vaponte,
Kol heipin kitu jongle keh ponte.”

Free Translation:
While in a sweet embrace of love with my beloved,
No drop of water could pass through our entwining,
Even Burmese axe fails to split us.
(d) Kholai La (Free-village Song): This song could be sung by children or adults on the way or atop the raise platform at the portico of the house. The song runs as follows:
“Heni Mong’o heni Mong, kholai lam’a toidingdeng, neiga koupih’o;
Neiga koupeh teitei’o Sonkho lanu chintongnem sitki joujam pah.”
Free Translation:
Aunt Mong o! Aunt Mong, bring me the gorgeous lady in the village
Bring the lady of Sonkho (the boy’s name) who is placid like Joujam flower.
(e) Lacho’m La (Hopping Song): It is a peculiar type of song on any subject composed in hopping tune. One of the songs runs thus:
“Kapute in’a kabam thimlom lom’e
Selki le khongcha kathoh soh bim beme
Choming’e nei-ot nun, chomkil chomkah, choming’e nei-ot un.”
Free Translation:
I am dancing well in my uncle’s house
With playing on the mithun-horn and small drum
Make way, let me hop all around.
3.12.2. Satnem La (Satnem Song): The song is composed by a person called Satnem, which conveys his dreams of glory and honour in the entire region. The song goes:
“Lhanglhum meibang jamtou tang’e, kadou vangkho soning’e
Kadou vangkho soning’e, laija sauphei soning’e.”
Free Translation:
Like a spreading cloud at hill-crest, my domain would spread over my enemies.
I would establish a new village and sit like a Lord with thighs stretched out.

4. FORMS AND KINDS OF KUKI MUSICAL INSTRUMENTS
It is rather abstruse to ascertain the year as to when the Chin-Kuki-Mizo started using folk musical instruments, but it is clear that the instruments are not refined ones because those are crafted by the musicians themselves and not by artisans.  The instruments have been fabricated of commonly available materials such as, wood, bamboo, animal skin, animal horn, peritoneum, gourd, fibre, etc. The Kukis have different kinds of musical instruments for different occasions which enhance the festivity spirit and air a sense of solemnity. These instruments were useful not only for raising the festival spirit, but also for adding solemnity to certain serious occasions. In the following attempt is made to describe some of the commonly known folk musical instruments of the Kuki people by classifying into four types viz., solid instruments, percussion instruments, wind instruments and stringed instruments.
4.1. Solid Instruments (Idiophones)
These musical instruments comprise of resonant materials that release sounds when struck, shaken or flexed. The following instruments are six of such instruments used by the Kukis.
4.1.1. Khutbeh (Clap): Handclap is the striking of the palms together with a sudden explosive sound. Traditionally, the Kukis used it as a constant drone to communicate pleasure, appreciation and approval, and also in rhythm to match singing songs.
4.1.2. Dangka-lheng (Cymbals): Cymbals are bronze or brass plates with a slight convex bend. There are varying degrees of concavity from the flat plate-like shape to deep bell shape. These instruments produce resonance by concussion or clashing of two bodies against each other - rim against rim, rim against surface or surface against surface.
4.1.3. Dah (Gong): It is a Burmese plate made of brass with a small convex bulge (or boss) at the centre. Gong has a pair of holes pierced at the circumference or on the rim where a strand is passed. The plate is held vertically in the hand by the strand and is beaten with a club or struck with hand. There are two kinds of gong: Dahpi (big gong) which is valued because of its clarity and reverberations when it is beaten or struck; Dahcha or Dahbu (small gongs) which are in set of three viz., Laipongbu (biggest), Dolpabu (medium) and Dahthihbu (smallest) with equal intervals of about half tone.
4.1.4. Kengkeleh (Wooden Gong): This instrument has a very grave, loud and far-reaching sound when struck with a stick. Commonly it is used in the field to scare and chase away birds and animals.  In the field where appropriate musical instrument is not available people used it to accompany songs as it produces a pleasing sound.
4.1.5. Dingdong (Xylophone): It consists of six wooden slats laid across two laces which are tied at one end each. The slats are arranged accordingly with the lowest note being nearest the player’s body and the rest receding in ascending order. Dingdong is played with two small clubs.
4.1.6. Selki (Mithun’s Horn): This instrument is made from the horn of domesticated mithun without any metal attachment. It is played by beating with stick to keep the timing for singing especially Lakoi La.
4.2. Percussion Instruments (Membranophones)
These are the instruments from which sound is produced by beating or striking of a stretched membrane of animal skin. Kuki Khong (Kuki drum) may be cited as an appropriate example of percussion instrument. This Khong is a cylindrical instrument, made of wood bored out of the solid tree trunk covered at both faces or heads with animal skin which is stretched by hoops fastened to the barrel. The two membranes are strained by interlaced strips of leather bound round the barrel and tighten up the instrument of the desired pitch. In order to give more resonance a small hole is made at the centres of the membranes. This instrument is simply played with club without any possibility of drumming finesse. There are two types of Khong such as, Khongpi (big drum) and Khongcha (small drum).
4.2.1. Khongpi (Big Drum): Khongpi is an important instrument specially used during grand feast and festival as it produces shrill reverberations which is appropriate for use among large audience.
4.2.2. Khongcha (Small Drum): Khongcha is normally used in Church service, family functions and individual singing.
4.3. Wind Instruments (Aerophones)
These musical instruments are not provided with keys but the vibration of air in, through or around them and the direct contact of the fingers with the holes enable the production of tones with accuracy. Some of the well known wind instruments used by the Kukis are briefly described in the following.
4.3.1. Gosem  (Mouth Organ): It is similar to the Scottish bagpipe, made from a hollowed gourd as container, into which the cane reeds are inserted. The mouthpiece of small reed (or bamboo) pipe with an aperture cut above the node as a receptacle for escaping saliva while blowing is inserted downwards into the calabash. Two rows of pipes are arranged at the belly of the gourd at right angle. The upper row consists of three pipes and the lower row four pipes. All the inserted seven pipes end in the nodes and there are free pipes outside the gourd where small oblong openings are on the under-side. At the centre of the cut away openings splices or vibrating tongues made of metal plates (normally brass) weighted with wax are fastened with wax at the shafts. All the reed pipes have small orifices in their sides. When a particular note is to be produced, the hole to be played is closed and thus on blowing a pressure is built up in that tube to make the splice vibrate. This instrument produces various notes but monotonous, similar to the sound of the flapping wings of hornbill.
4.3.2. Pengkul or Totorot (Trumpet): Pengkul is a trumpet made of bamboo shafts of different sizes, joined one after another by inserting the smaller ones to the bigger tubes. The smallest tube is the size of a finger serving as the mouthpiece and on the other end the biggest tube is attached to an open dry gourd in order to produce a better resonant sound. From the mouthpiece to the end of the gourd the length of this trumpet may be about five feet. Pengkul has a raucous sound that verges on harshness but is one of the most valued instruments commonly used for signal and welcoming officials in the village or guests during the festive occasions.
4.3.3. Sumkon (Trumpet): It is an instrument made from brass or horn, without metal attachment for the mouthpiece or vibrating tongue rather, the lips of the player produce the vibration of air. This instrument has closed associations with warning concerning judgement, battle and celebration of victory.
4.3.4. Kuli (Flute): There are two classes of Kuli viz., ordinary Kuli and beak Kuli. Ordinary one is made from an inter-node of bamboo shaft by retaining one node. Just about one inch near the node there is a hole into which the musician blows; on the side of the cut open end there are four holes. There is also another pattern called beak Kuli where both the ends of the bamboo shaft are cut open and the blowing end is pressed into a narrow opening. Just near the beak along the tube there is a fipple hole and near the open end there are four holes. When a current of air is blown through the beak, it strikes against the edge in the fipple thus producing sound. The melodies are created to both the flutes by closing and opening the finger holes on the body of the pipe.
4.3.5. Theile (Flageolet): This flute is made of dry bamboo pipe containing two holes for movement of fingers near the node at the lower end and the mouthpiece is the cut away open end with a square hole at the upper edge. It is played from the open end.
4.3.6. Theiphit (Bamboo Tubes): Theiphit consists of ten simple bamboo tubes of graduated lengths. By blowing at the open end, the tubes produce four notes, viz., Doh, Ray, Me, and Soh. Players hold different tubes and blow at regular intervals to harmonize with the note played by other person. This is the common harmonisation at the time of victory or happiness, usually accompanied by dance.
4.3.7. Changkung (Straw Pipe): This instrument is made of paddy stalk by slitting the cortex of the tube with four or five lines all round near the node through which the air has to pass and the other end is cut open (node-less). It is blown mildly by putting the node end inside the mouth and hence produces a distinct sound similar to that of clarinet.
4.3.8. Lhemlhei (Jaw Harp): It is a peculiar mouth instrument made of a slit piece of bamboo, used exclusively by women. The player has to make her tongue vibrated by jerking the string tied at its root.
4.3.9. Nado (Leaf): Tree leaves are used for producing peculiar kind of musical sound not necessarily to accompany song but to produce its own music. Usually, both boys and girls blow this instrument skilfully.

4.4. Stringed Instruments (Chordophones)
These are musical instruments which produce sound from the plucking or bowing of strings stretched over or into the bulging body that serves as sound box. There are two stringed instruments used by the Kukis as given in the following.
4.4.1. Selangdah (Fiddle): This instrument is carved from one block of wood. The head or the resonator has the shape of a flying bird (dove or pigeon) with a tiny looking glass glued on the breast and the whole back body covered with parchment.  It has strings stretched along a narrow neck and then over a bulging sound box. Selangdah may be played with a bow strung with animals’ hair or bamboo piece to produce the reverberating grave sounds.
4.4.2. Godah (Stringed Bamboo): Godah is a crude stringed instrument, made from internodes of bamboo by retaining both the nodes. Normally, three strings are made by incising the outer bark of the bamboo and the strips are raised to insert the moveable bridges at each end in order to make the strings taut and tuneable. The bamboo-set itself is used as a sounding board by cutting away on the under-side.

5. CONCLUSION
From the analysis done in the whole chapter, it is identified that the Kukis are traditional people strictly directed by their customs and cultural practices. They have a distinct living system and practices completely of their own origin and obviously associated with land, forest, animals and plants. The society was communitarian in nature where sharing and caring for one another are the main ingredients. Several sorts of merry-making and festivals are observed in the village as a means of learning, recreation and building relationship. In all the activities, their loves for social bustle and allegiance to folk music mostly accompanied by dances are easily recognised.  However, most of their heritages are dissolved into western way of life due to the embrace of Christianity, the interaction with different people, the introduction of mass media and the influence of western music. But, it is highly believed that these rich traditions of music can still be preserved without diluting the intrinsic nature and utilize them as the common forms of entertainment and history-telling among these people where majority of them are illiterate. Most importantly, the sorts of folk music which are supportive to Christian teaching could be appropriately shaped in relevance to the time and need for use in Christian worship as they are original, easily available, familiar and participatory.
Unwittingly, young generations indulge in singing or listening to western music and dressing in provocative clothing, and thus, have lost their sense of traditional values. Some people are bold enough that their own cultural moorings are maintained on some of the happy occasions, almost all the traditional music and dresses are discarded except for the some used in special occasions. The only way of safeguarding the Kuki folk music seems to be knocking off feet on the avalanche of western influences in the Church worship. Thus, it is important that the Kuki people maintain their traditional cultural identity in the face of continuous serious erosions of their traditional way of life because it is the lodestar and the unifying force, within the Kuki country, inspite of such mindboggling cultural and linguistic adversity and amazing proliferation of denominational feelings.









CHAPTER THREE
FOLK MUSIC IN KUKI CHRISTIAN CHURCH WORSHIP

1. INTRODUCTION
In Kuki society, with the expansion of Christianity, folk music was neglected by projecting it as associated with heathen rites and customs. The early Kuki Christians themselves substantially prompted the influence of western culture against the native culture. In worship, the western music was considered as sacrosanct and thus, the use of it was regarded as appropriate and essential. The denial of the viability of the indigenous music in worship has vehemently affected the progress of the music in Kuki Christian Church. Nevertheless, overtime, a host of people come to realize the necessity of revitalizing the value and importance of folk music for communicating the Gospel effectively. Therefore, it is important that the attitude of the people towards folk music and the situation of folk music in Kuki Christian Church worship be brought to light with the help of information collected through written sources and field study. This chapter is divided into three sections such as, historical overview of Kuki Christian Church, situation of folk music in worship, and data analysis and findings.

2. KUKI CHRISTIAN CHURCH: A HISTORICAL OVERVIEW
Kuki Christian Church is a conglomeration of several churches, serving as a platform to propagate indigenous ‘Church Restoration Movement’  among the denominational churches planted by the western missionaries. In this endeavour, brief investigation is done on the mission work of the western missionaries who have come from different denominations, in order to elicit the true nature of Kuki Christian Church in Manipur.
2.1. The Coming of Christianity among the Kukis
The coming of Christianity among the Kukis in Manipur has two phases: the coming of the American Baptist Mission (ABM) and the Welsh Presbyterian Mission (WPM).
2.1.1. American Baptist Mission (ABM): Rev. William Pettigrew  was the first English missionary who came to Manipur on 6th January, 1894 under the auspices of the Arthington Aborigines’ Mission (AAM), though he latterly joined the ABM in 1896. His work among the Meiteis wasn’t successful because they held on to the tenets of Vaishnavite Hinduism as the principal religion by the ‘Royal Edict of 1705’. Moreover, his works were nipped in the bud from Imphal by Major Maxwell, the Political Agent due to fear of trouble, and rather suggested him to concentrate in the hills of Manipur.  He then approached the Chief Kamkholun Singson of Senvon Kuki village for permission, but was denied. This led him and his wife Alice Goreham to move the mission field to Ukhrul (Tangkhul inhabited area) in February 1896, and set up mission center and school in February 1897 with 20 boys, including some Kuki students. Later on, in 1910 Rev. and Mrs. U.M. Fox came from America to Ukhrul, to assist Rev. Pettigrew, which greatly enhanced the mission work, resulted into the establishment of Kuki Church with 155 converts in 1916 at Tujangvaichong village. In 1917, Dr. Galen George Crozier came to Manipur and took charge of the new mission at Kangpokpi. Later, in 1921 Pettigrew joined them but, they parted their ways due to uncompromising differences and that marked the beginning of Christian division in Manipur. As a result, Dr. G.G. Crozier resigned from the ABM in 1932 and left Manipur for Jorhat where his wife was living. Thereafter, he started assisting his wife who was well verse in Greek, in the translation of first New Testament into Kuki language with the assistance of Mr. Ngulhao Thomsong.
2.1.2. Welsh Presbyterian Mission (WPM): In the early part of December 1908, with a wish to set up an independent mission field Watkin R. Robert, an independent missionary along with Dr. & Mrs. Peter Fraser sent by the Welsh Mission Society arrived at Aizawl. In 1909, Kamkholun Singson, Chief of Senvon Kuki village in the South West of Manipur who had rejected the Gospel when approached by Rev. Pettigrew changed his mind when a copy of St. Mark’s Gospel (some say St. John’s Gospel) sent by Watkin Roberts reached his hand.  In response to the Chief’s invitation Mr. Roberts accompanied by Mr. Thangkai and Mr. Lungpau reached Senvon on 5th February, 1910.  On hearing the Gospel preached by Mr. Roberts, the Chief and six villagers were converted to Christianity on the very day.  With the request of the Chief of Senvon, Roberts immediately went back to Aizawl and sent three Bible students namely, Savawma, Vanzika and Thangchhingpuia to be evangelist teachers and arrived at Senvon on 7th May, 1910. With the conversion of some seventy (70) persons the first Church among the Kukis was established at Senvon in 1913. Mr. Roberts started an indigenous mission called the “Indo-Burma Thadou-Kuki Pioneer Mission” (IBTKPM), which existed till 1919. Gradually, the Indo-Burma Thadou-Kuki Pioneer Mission was rechristened as “Thadou-Kuki Pioneer Mission” (TKPM) and in 1924, TKPM was further renamed as “North-East India General Mission” (NEIGM).
2.2. Establishment and Expansion of Churches
The establishment and expansion of churches among the Kukis before the beginning of Church restoration movement may be discussed into two periods: The Unreceptive Period (1894-1919) and The Rapid Denominational Expansion Period (1920-1958).
2.2.1. The Unreceptive Period (1894-1919): At the beginning, the Kukis were unreceptive to the gospel because for them to accept Christianity means to be subjected under their enemies’ domination. The imposition of the western way of belief by considering their primal religious beliefs and cultural practices as heathen was a threat to their religio-cultural integrity.  Moreover, at the dawn of World War I, the Kukis refused to join the labour corps for they wanted to defend their ancestral land, avoid religious pollution by crossing the oceans and failure to distinguish Christian mission from British Government policy as Pettigrew was the recruiting officer. Consequently, a historic offensive against the British was launched, known as “Kuki Rising” (1917-1919).
2.2.2. The Rapid Denominational Expansion Period (1920-59): In the following, emphasis is laid on the rapid Church planting or denominational expansion in both the northern area and southern area of Manipur since the year 1920.
(a) Church Growth in the Northern Area: In 1910, the first converts such as Nehseh Chongloi and Ngulhao Thomsong came from Naga Hills to Manipur to assist the mission work at Ukhrul center. Later on, with the conversion of Teba Kilong, Longkhobel Kilong, Seilet Singson, Yamkithang Sitlhou, Tongngul Gangte, Helkhup Chongloi, Pakho Sitlhou, Thengneilal and Dongkhup the work was expanded to the Kuki areas.
Before leaving Manipur for the United States Rev. U.M. Fox went to drop the villagers of Tujangvaichong and bid farewell to the Chief Songzapao Kipgen. Unexpectedly, twelve people including the chief were converted and received baptism at Karong on 12th December 1914, followed by baptism of another ten people on the next day at Maram village. Rev. Fox established the first Baptist Church among the Kukis where Lhingkhosei and Letngam were entrusted to be Pastor and Deacon respectively.
The suppression of the Kukis at the World War I, the shift of mission center from Ukhrul to Kangpokpi by Dr. and Mrs. G.G. Crozier along with Kuki evangelists such as, Ngulhao Thomsong, Jeba Kilong, Tongkam Singsit, Letjavum Singson and Pakho Singson, and the spread of revival movement (1921–1924) radically changed the perception of the Kukis in every aspect, resulted into rapid expansion of Christianity among the Kukis from 1920 onwards.  Thereafter the Baptist Church expanded like a wild-fire in the Kuki areas: in 1919 at Tongkoi and Chaljang villages; in 1920 at Karakhun, Songphel Kholen, Gelnel, and Kachai Kuki villages; in 1922 at Tongchin village and so on.
Later on, due to the effect of the World War II, Indian independence and internal differences the Kukis started forming their own associations bearing the name Kuki Christian Organization (KCO), later on, changed to Kuki Christian Association (KCA) with its office at Motbung. The era of the American Baptist Mission came to an end in 1955. In the same year, the indigenous Baptist Church made its beginning when the last missionaries Dr. E.E. Brock and Rev. J.S. Anderson left Manipur according to the termination notice served by the Government of India due to Naga Problem.  This led to the restructuring of indigenous Baptist Churches; Kukis churches formed an association called Kuki Baptist Convention (KBC).  But, later on, without losing KBC, the old associations viz., Kuki Baptist Association (KBA) and North-East Kuki Baptist Association Manipur (NEKBAM) were revived and renamed with a narrower identity such as, Thadou Baptist Association (TBA) and Chongthu Baptist Association (ChBA). It is also evident that thenceforth, other tribe/clan also started forming associations such as, Vaiphei Baptist Association (VBA), Chin Baptist Association (CBA), Kom-Rem Baptist Churches Association (KRBCA), etc.
(b) Church Growth in the Southern Area: Church was first established at Senvon village in 1913, followed by Leisen, Khopibung, Maite, Bualtang and Chawnkhozo villages in the south. After the naming of IBTKPM into TKPM, the first Conference of the TKPM was convened at Senvon on 26th December 1914 where about one hundred people participated. Again on 12th January, 1922 another conference was held at Zehra Dawn, where 400 delegates attended including Watkin Roberts and family. In 1923, mainly due to the mission work strengthened by the school at Senvon (estd. in 1916) converts had rapidly increased to 2840 persons.  In order to expand the Mission work, TKPM was renamed as North-East India General Mission (NEIGM). However, in 1928 the (NEIGM) was divided into two: North-East India General Mission (NEIGM) under H.H. Coleman and Indo-Burma Pioneer Mission (IBPM) founded by Rev. W.R. Roberts.  
Under NEIGM, Mr. Paul Rostad was in-charge of the Bible School at Lakhipur which was later transferred to Churachandpur. The launching of medical work by Dr. G.G. Crozier had opened a new door for NEIGM. Thus, the combination of education and medical work greatly fostered the development of the Church among the Kukis. In 1940, there were already 11,013 members with total full-time workers of 114, spreading over 143 villages.
The NEIGM was further divided into the following Tribe/clan presbyteries: Evangelical Convention Churches (ECC) for the Paites, Evangelical Christian Association (ECA) for the Thadou-Kukis, Manipur Christian Organization (MCO) for the Vaipheis, Evangelical Association Churches (EAC) for the Hmars, Evangelical Synod Church (ESC) for the Gangtes, South East Manipur Anal Christian Association (SEMACA) for the Anals, Evangelical Church of Manipur (ECM) for the Baites, etc.  On the other hand, the IBPM was also divided into the Independent Church of India (ICI) and the Evangelical Free Church of India (EFCI), both of which are confined to the Hmar community only.  Meanwhile, in 1930 the Presbyterian Church was established in the southern Manipur and was recognized by the Presbyterian Church of India (PCI) in 1959.
2.3. Church Restoration Movement (1959 to the Present)
With the embrace of the new belief the erstwhile unity of the Kuki people has been collapsed irreparably. The spirit of denominationalism took hold of the peoples’ mind that day by day denominational churches were increasing in number. In that critical juncture, the leaders had to contemplate and envisage about the One Church based on the Bible in order to bring together the various denominations into one fold. If any division is detected, it must be the peoples’ own created church and therefore cannot be accepted as the Church of Jesus Christ.  Basing on this concept, from 1959 onward “Church Restoration Movement” is relentlessly going on till today in admonition to the division of Church and for the establishment of the “One Church of Christ” among the Kuki people.
2.3.1. Kuki Christian Church Movement (1959-1979): The first meeting on restoration of the Church was held at Keithelmanbi, Military Colony on 5th-8th March, 1959 where seven representatives  from five different associations were present – (a) North East Kuki Baptist Association Manipur (NEKBAM) consisting of Kuki Baptist Convention (KBC) and Kuki Christian Association (KCA) or North East India General Mission (NEIGM) from Manipur;  (b) Kuki Baptist Association (KBA) from Naga Hills, Assam (present Nagaland); (c) Ngalsong Presbytery (NP) from North Cachar Hills, Assam; (d) Kuki-Chin Baptist Association (KCBA); and (e) Kabo Valley Thadou Baptist Association (KVTBA) from Burma. The main issue of discussion was on the use of one common Bible and one common Hymn Book for all the Kukis who are speaking one common language. Thus, “All Kuki Literature Society” was formed to meet the urgent needs of the people.  
The second meeting was held at Molnom, Lamka on 15th-16th May, 1959 where representatives from KBC, KBA and KCA were present but representatives from NP, KCBA and KVTBA couldn’t attend. Anyhow, the present members resolved to form a council by the name, “Kuki National Christian Council” (KNCC) in which Pu Rev. Dr. T. Lunkim  was elected as President and Rev. Khupzapao Singson as Secretary. The meeting entrusted Pu T. Lunkim and Rev. Seikholet Singson to draft Constitutions for the governing of the proposed Council.
The third meeting was held at Molvom, Naga Hills District, Assam on 26th-28th August, 1959. After thoughtful deliberation all the representatives unanimously approved the creation of a platform organization KNCC by renaming to “Kuki Christian Council” (KCC), and the constitutions drafted by Pu T. Lunkim and Rev. Seikholet Singson received approval.  It is important to note that all the six presbyteries viz., KBC, KBA, KCA, NP, KCBA and KVTBA, using common language, one Bible and one Hymn Book were now united under the umbrella of Kuki Christian Council.
The fourth meeting was held at Songpijang, North Cachar Hills, Assam on 12th December, 1959. The present members determined two important matters related to doctrine and theology: first, the problem of baptism was solved by accepting all forms of baptism (immersion or sprinkling or pouring); second, as it was ‘between the times’ of transition, the untrained leaders decided to wait for theologically trained persons to emerge from among them. On the other hand, as Rev. M. Jones, a Welsh Missionary was still stationed at Haflong the Kuki Christian leaders felt it iniquitous to establish the One Church as long as the missionary was with them.  New office bearers of Kuki Christian Council were elected namely, Pu T. Lunkim as President, Jem. Thanghem, M.C. as Vice-President, Khupzapau Singson as Secretary, Tongkhosat as Treasurer to look into the said matters and to organize annual meeting every year in the month of November before the mission is accomplished. Thereafter, there were few noticeable achievements such as, sharing of resources, organization of annual meetings every year and the translation of Bible into Kuki by Pu T. Lunkim from May 1964 to June 1971.
It took twenty years time to dismantle the denominational structures till the fifth meeting of Kuki Christian Council was held at Chalwa Baptist Church, Sadar Hills District, Manipur between  6th and 9th April, 1979. The meeting disapproved the previous decision of acceptance of all forms of baptism but concentrated on ‘back to the Bible’ – ‘to say what the Bible says and to stop where it stops’. Moreover, the name of their organization was rechristened by changing the word ‘Council’ to ‘Church’. At 1: 00 pm on 8th April, 1979 the long awaited dream of the Church Restoration Movement among the Kuki Christians was translated into a visible form when Rev. Mangkholet Doungel, President inaugurated ‘Kuki Christian Church’ in the presence of about 200 Christians; all unanimously affirmed their faith by reading the “Keima Tahsan” (Apostolic Creed).
2.3.2. Kuki Christian Church Movement (1979 to the Present): The Executive Committee of Kuki Christian Church under the leadership of the first President Rev. Mangkholet Doungel and the first Secretary Pu T. Lunkim registered with the Government of India on 29th May, 1979 bearing the registration number 2628. Furthermore, KCC is also a registered body in the Illinois State, United States of America on 21th August, 1980 bearing the registration certificate number 42569. From 1979 Kuki Christian Church becomes the platform for Church Restoration Movement among the Kuki Christians in India and abroad.  With the initiative of Pastor Satkhosei, KCC acquired a large area of land for building Centre at Deulahland, Imphal from the Government of Manipur. Today, this place is becoming the location for Kuki Christian Church Assembly (KCC-A) Headquarter, KCC Manipur Synod Headquarter, Trulock Theological Seminary, Restoration Theological College, Kuki Theological Association, Kuki Movement For Human Rights, Christian Hospital Imphal, Christian Nursing School, Christian Recording Studio, Communication Centre, Upper Room Press, Kuki Literature Society, etc.
Kuki Christian Church is functioning under the administrative unit called Kuki Christian Church Assembly and it is headquartered in Manipur. The present leaders of KCC-A are: Elder N. Lhungdim, Moderator, Pu Rev. Dr. T. Lunkim, Adm. Secy., Rev. Dr. Hollet Khongsai, Associate Adm. Secy., and Rev. Thangtinsat Thangeo, Finance Secy. The administration is divided into four Synods: Manipur Synod, Nagaland Synod, Assam Synod and Tripura Synod. In all the synods as can be construed, the impetus which drives the Kukis into denominationalism is still powerful but, it is the unwavering hope of all that eventually, they will come to the realization that the “Family of God is One.”
Table 1. The Present Demographic Detail of KCC Synods
Synod Moderator Executive Secy. Number of Pastor/ Evangelist No. of Church and Parish Member
Manipur Rev. Janglet   Lunkim Pu Rev. T. Lunkim 70 Pastors 172 Churches    23 Parishes 200,000
Nagaland Elder Seikhothang Changsan Rev. Thangkhochon Hangsing 7 Pastors 22 Churches        2 Parishes 4000
Assam Rev. Letpao Lenthang Rev.  Avum Haolai 20 Pastors 56 Churches        6 Parishes 10,000
Tripura Mr. Kunga     Darlong Rev. Henvung  Changsan 60 Pastors/ Evangelists 30 Churches 2000

3. THE SITUATION OF KUKI FOLK MUSIC IN WORSHIP
Since the beginning of Christian mission activities among the Kukis in 1894, the new system of belief has brought about tremendous change in the life and belief of the Kuki people, which eventually led to cultural transformation.  The traditional lifestyle, dressing and pattern of housing are abandoned and importance is given to western education, literature, sanitation, community health, moral-ethical life and western fashion alongside the teachings of Christianity.  It also widens the worldview of the people and opens their eyes to detect their failures, superstitious beliefs and ignorance. Acknowledging all the positive elements brought in by Christianity, it is also important to look into its untoward impacts in the life and worship of the Church. In this section a search is done on the present situation of folk music in worship in Kuki Christian Church.
3.1. Western Music against Folk Music
While admitting the social change taking place among the native people with much euphoria, there are also wild charges that Christianity is responsible for the degradation of many customary and traditional practices, including folk music. Thus, in general, analysis is done in the following on how western music was introduced in the Church and became popular among the Kukis.
3.1.1. The Missionaries and Western Music: Most of the missionaries coming to spread the Gospel among the Kukis knew something of the art of music generally, and of western Church music in particular. In the exercise of their responsibilities they were constantly surrounded by music, which was one of the most potent forces through which the life and work of evangelisation was carried on. Not that every missionary was skilled or learned musician but he/she knew sufficient of the history, theory and practice of the western music on which so much of the success of his work depends. The missionaries’ interest in Church hymns was obviously known from their management of voice and part correctly, and their abilities to read musical notes (tonic solfa and staff notation) and play musical instruments like guitar and piano. Their love for music was highly commendable but the sympathy between the singers and the recipients was lost due to unsuitability of the music for that context. In the beginning, though the Christian music was appearing quite as beautiful a form of art, yet when the Kuki converts heard it, they perceive nothing but a most excruciating jargon, intolerable to ears. Moreover, coming from different denominational backgrounds, every missionary wanted to employ his or her own choice of music in Church worship, which created confusion among the people.
In fact, before the arrival of the missionaries, the Kuki folk songs already consist of the concepts of the Creator God, spirit, heaven, life after death and so on, but it is unfortunate that without any slightest attempt to incorporate these concepts they roughly reject the native songs by considering them as unchristian. For these missionaries, in order to propagate the Gospel rapidly the native music was a stumbling block in their activities. Owing to these reasons, they failed to respect or understand the values of the Kukis traditional music as acceptable kind of music in the Church.
3.1.2. The Missionaries’ Attitude towards Folk Music: The tribal communities with their traditional beliefs, values and customs were modified tremendously as a result of their contact with Christianity. The changes, which were brought by the missionaries, were the direct consequences of their teaching of the Christian faith. At the same time their attitude towards traditional culture was greatly responsible for rejecting some elements of culture and for retaining others.  As such, J.H. Hutton and J.P. Mills were right in saying that it was the missionaries and their messages that have destroyed the traditional culture of these people.
In relation to Church music, the missionaries not only inculcated the western music but also went on to the extent of considering the native music as dangerous for it was closely associated with the primal religious worship and they were afraid that the new converts were often tempted by the old lifestyles and practices even to the extent of losing their new faith.  With machiavellian intent western education was provided to the people who were not aware of the things other than their own heritages. They were taught to appreciate the new world view and way of life so as to proselytize them into the fold of new belief. Slowly but certainly, the converts began to discard their own culture and restraint themselves from the observance of rituals and ceremonies associated with the primal religions. As a result of instilling negative attitude in their minds, one by one the Kukis ignored everything related to their own, including folk music and musical instruments.
The Kuki songs like Hanla (Valour Song), Sa La (Animals Song) and such others are thought of by the missionaries as only instigating the people to wage war or slaughter wild animals. Moreover, the western musical instruments are regarded as more convenient and appropriate than that of folk musical instruments for use in Christian worship. Gradually, the Kuki traditional music and instruments lost their importance in the religious and secular life of the people and thus, ceased the development and transmission of the available folk music. Later on, with the support of the early Kuki Christians, the western missionaries took the responsibility for the considerable weakening and diminishing of the folk music.  Hence, western hymns and choruses dominated the Church’s worship and the western music was established as the music of the believers at the expense of the discarded traditional folk music.
3.1.3. The Early Christians’ Attitude towards Folk Music: Despite the tremendously alienation brought about by Christianity to their identity and culture, the Kuki Christians’ attitude towards folk music is still reprehensible. Let us briefly look into the two common understandings of the people about folk music in the following.
(a) As Heathen: When Christianity came to the Kuki people they were not capable of differentiating the content of the Gospel which is not subject to changes of the situation of the time, place or people, and the interpretation of the Gospel which is subject to change from time to time, place to place and culture to culture. O.M. Rao has rightly pointed out that the most difficult task to these innocent people was to interpret the new belief of Jewish milieu, inculcated to them in western colonial concept and culture into their own context.  With the acceptance of Christianity they forsook their old faith, way of living and practices like drinking wine, divination, sorcery, necromancy, sacrifice to spirits and observance of taboos. Many were filled with joy and victory in Christ for they have overcome the evil spirits and therefore, unknowingly everything related to their old way of life was given up by considering them as impure, and even the few who cling to those practices did so in a quite perfunctory fashion.  Eventually, the Kukis totally fell into prey to the missionaries’ zeal of negation of all culture as heathen. Thus, maintenance of certain position and notion of rejecting folk music in worship has become the requirement of Christians in order to remain Christians in good standing.
(b) As Uncivilized: The disappearance of folk music in worship was due to the missionaries’ disapproval and inevitable consequence of the imposition of an alien value system with the opening up of the region to the process of modernization that touched every facet of tribal life.  Unfortunately, because of all these factors Christianity in western form was seen as a means of higher standard of life and culture. Had the Kuki Christians given equal attention and shown any real interest to/in indigenous musical culture, there might have been less ground for the charges that Kuki converts are de-nationalized, the church is a foreign institution, and the traditional heritages are uncivilized.  Even in the present days, the Kuki Christians generally discard their own traditional music because they regard it as uncivilized when compared to that of the western music. Therefore, proper interpretation of the scripture is needed to distinguish the destructive elements to Christian tenets and the socially valuable musical culture.
3.1.3. The Imposition of Western Music in the Church: Whether missionaries are inclined to admit or not, their messages prioritizes cultural change because culture was thought of as the only way of establishing, consolidating and perpetuating the Church in society.  These missionaries forcibly restraint the people from following their customs and cultural practices but encouraged them to take up the so called, ‘Christian modes of life’. The Kukis couldn’t accept the new rules because their life is rooted in their customs and cultural practices, which was deeply imprinted in them. Moreover, to accept the western lifestyle is regarded as similar to giving in to the hands of their enemy who wishes to impart the philosophy of individualism much against the communitarian life of the people in order to take control over the land and the people.  Nevertheless, the zeal of the western missionaries eventually led the mission to a great success with the support of the new converts. The Christians started discarding whatever culture was related to them and particularly, indigenous music was squeezed out of the picture and the western sacred music was introduced in the Church. Thenceforth, the Church music was closely associated with choir, musical instruments like guitar, keyboard, tonic solfa, western hymn tunes and hymns with translation of the accompanying words into the appropriate Kuki language for use by the Kuki converts in worship service.
3.2. The Waning of Folk Music
After Indian Independence, with the establishment of proper transport and communication, the western music has reached to the people through radio, record player, cassette player, compact disc, books, magazines, etc. The coming of television and satellite channels endeared the people to get closer to the secular music by watching the programmes related to music such as, M.TV., Channel V, movies, etc. Western music becomes so popular that from the remotest villages to the city the role of the Kuki traditional folk music in the Church was rapidly replaced by it. Hence, the western music and the hybrid form of western and traditional music rapidly flooded into the Kuki inhabited areas and the western music becomes the music of both the literate and illiterate youths.  The western pop and rock musics have rapidly flourished in Manipur and for most of the people these become the common entertaining music. The western music becomes the language of the youth, to express their feelings, and experiences. Thus, use of western music is noticed at every Church, shop, supermarket, hotel, restaurant, party, gathering and function. Many educated Christians have become familiar with a fair number of the hymns most commonly sung in Western Churches and can sing them quite well. There are some who are even able to do part singing and have learned to read musical notes like tonic solfa and staff notation. However, it must be admitted that the majority congregation does not usually sing hymns well and that destroy the identity of the western melodies.  On the other hand, the new music, while it has conveyed much of the original musical value, often failed to appeal to the Kuki Christians because of the lack of the proper indigenous metrical form.
3.3. A Critique of Western Music
In both the sacred and secular world of the Kukis, the western music is popular. Nevertheless, this influence has marred and robbed the imagination, identity and the beauty of the people’s culture. Since early Christendom there was a practice of observing Sunday as a day of worship which is obligatory and mandatory for all Christians. In the Sunday Church service, choir members, musicians and drummers occupy special places to lead the worship in western way.  Furthermore, one way or the other, Church related activities such as worship service, Sunday school, Bible class, gospel concert, Christmas, Easter and other activities are becoming incomplete without the mention of western music. Different genres of music like gospel country song, gospel rap song, gospel rock music are extensively directing the worship of the Church and are appreciated by the people especially the youth than their own music.  People sought for training in western music like tonic solfa or staff notation, western way of singing, playing instruments like guitar, drum, violin, piano, etc., etc. at the cost of high fees. Generally, People accept and consider it as the only valid and essential music for use in Church worship. Probably, most of the present available music is a hybrid of the western and the folk music or western tune with lyrics in Kuki because those traits in the exotic system which conduced to the development of the indigenous music were borrowed and assimilated.  The Christian leaders as well as the congregations are substantially influenced by the western hymns and other contemporary gospel songs. Nevertheless, so far, to this highly illiterate people, the western music is foreign and sometimes superfluous.
3.4. Attempts Made for Revitalization of Folk Music
Predominantly, both in the secular and sacred world of the Kukis the western music has become greatly appreciated and extensively gained popularity to all sections of the community – young and old, rich and poor, chiefs and villagers. However, fortunately, there are few people who have silently preserved the rich cultural heritage of the Kukis, attempting to revitalize and popularize among the younger generations with the intend to introduce music with traditional tunes to aid in the indigenous way of worship so that the western music may not rob away the musical taste of their own.  Several earnest attempts have been made to revitalize the folk music but here discussion is done only on some having considerable achievements in their attempts as individuals or organizations.
3.4.1. The Needs to Revitalize Kuki Folk Music: Folk music, which has been robbed away from the hearts and minds of the people, needs revitalization because this important indispensable heritage is serving as a means of communication for the traditional Kukis. Firstly, this rich variety of folk music plays important roles in communicating the feelings, experiences, livelihood, culture, customs, faith, past history and nature of the Kuki society.  Secondly, the undue use of western music has transmitted western ideas, culture and belief to the people which, they would never be familiar with. So, if not tackled in a suitable way, constant overlooking of the folk music as insignificant would be leading to the loss of the people’s own identity in the long run. Thirdly, today, many are totally or partially alienated from their own music due to over-domination of the native music by the foreign music. Though, youths are unfamiliar with the use of folk music, it is expected to undoubtedly bring about peace, unity and well-being in the society.
3.4.2. Contributions of Institutions: There are many opinions among the Kukis that Kuki Christian Church music will never be improved until all the western system of music and the instruments like reed organs that savours western music are cast out of the church music. The matter is really worthy of serious consideration both by pastors and congregations in the rural as well as in urban.  There are few steps taken up by the institutions to revitalize the traditional folk music in different aspects, as given in the following:
(a) The Custom and Culture Department of Kuki Inpi: The department is constantly engaged in the work of preserving and promoting the available resources. In 2000, Mr. Seikholun Doungel, Secretary and Mr. Haokhothang Baite, Vice President of Custom and Culture Department have published a book named, Kuki Customary Law (Kukite Chondan), which was distributed to all the Kukis of Manipur as a manual for learning all matters about Kuki culture in general and music in particular. This Department, as the present custodian of customs and culture, it provides a place and opportunity to the people through museum, library, books, seminars, etc. Occasionally, training programmes on folk music have been organised for interested individual or group which greatly provoke the interest of the people to popularize it in the cultural and Christian festivals. During the time of grand feast and festivals like Chon, Hun, Kut, etc., the Kuki tribes used to celebrate with different types of traditional displays mostly group singing accompanied by dances in every village. One of the biggest festivals is the harvest festival known as Chavang Kut which is celebrated on 1st November every year. On the day of Chavang Kut all Kuki tribes from different places meet together to showcase their rich traditional music and dances as thanksgiving to God, alongside the Budget Session.  Kuki Students’ Organization, the youth department of Kuki Inpi is always playing active role in mobilizing the need and importance of the traditional music for transformation and liberation of the Kuki society.
(b) Kuki Literature Society (KLS):  Since the formation of KLS on 27th December, 1937 at Kangpokpi Mission Compound under the leadership of Mr. Ngulhao Thomsong, Chairman and Ms. Ngahkhokim, Secretary, giving appropriate guideline to writers, leaders and common people was underscored. The spelling and pronunciation used in the Pathen Lekhabu Theng (Kuki Bible), Houbung La (Hymn Book), Lathah Bu (Kuki Get-together Song Book) are complying with the instructions and guidelines laid down by the KLS for Kuki language.  Following their guidelines books such as Khanglui Thimthu le Zaila, Thugil Lagil Bu, etc., are published by the Thadou-Kuki Text Book Committee, which become genuine sources particularly of Kuki songs. The KLS has been engaging on the development of Kuki and its cognate dialects through publication of books, research papers, promotion of Kuki traditional culture and custom, dance and music, etc.
(c) Theological Institutions: There are two theological colleges which have taken serious challenges towards traditional music such as, Trulock Theological Seminary (TTS) established in 1992 and Restoration Theological College (RTC) established in 2011. Trulock Theological Seminary since its foundation on 25th July, 1992 stands as a monument of Dr. D. Singson’s fruitful contributions to the Church and society with regards to promotion of indigenous cultural heritage. Gradually, he earnestly engaged in collecting traditional songs, musical instruments and Kuki dresses, all of which are still available in the Trulock Theological Seminary Library. The college museum has proper infrastructure to accommodate all interested people from all walks of life. Moreover, he personally has initiated the teaching of traditional music to the young people in the Church. Today, Dr. Hollet Khongsai the incumbent Principal of TTS diligently takes over the onus of promoting customs and culture by running library, museum, employing competent instructors in Kuki music to train students in singing and involves himself in playing instruments in worship. Dr. Satkhokai Chongloi, Principal of RTC has constantly been engaged in the work of contextualization of the form of worship in the College and the Church. According to Dr. Satkhokai Chongloi, the genealogy of the Kukis could be traced back to the Bulpipa (Origin or the first man through him comes all the Kukis) i.e., Christ. The idea is that directly or indirectly, the Kuki people are from God and their culture including music is also given by God. He vehemently stood by the view that by becoming a Christian one does not need to discard all the cultural traits of his life because Christ is the source of everything, including culture.
(d) Christian Youth Fellowship or Khanglai Christian Kiloikhom (CYF/KCK): Khanglai Christian Kiloikhom (KCK) is the body that shoulders the responsibility of revitalizing the folk music in all the Church and its related activities. The leadership of KCK Rev. Thangminchon Haokip, President, Miss Chongboi Khongsai, Gen. Secy. and Elder Sholun Khongsai, Choir Director have made efforts to rediscover the value of folk music and popularizing it all over the state as a better means of communicating the gospel. In every local church promising young men and women are occasionally trained in good Kuki music according to the need of the time to be showcased in special occasions of the Church like Christmas, Good Friday, Easter, etc.  Every village organizes cultural band to encourage the use of appropriate folk musical instruments to accompany the singing of its lyrics which are at the same time both Christian and traditional. Some of the well known groups of marked musical ability are Mongbung Cultural Troupe, Khengjang Cultural Troupe, Khongsai Veng Cultural Troupe, etc.
3.4.3. Contributions of Individuals: Out of the several musicians or leaders who have made remarkable contributions in the field of Kuki music, two of the well-known personalities are mentioned in the following.
(a) Pu Rev. Dr. T. Lunkim: Pu T. Lunkim is the serving Administrative Secretary of Kuki Christian Church (India) and Chairman of Kuki Movement for Human Rights. Pu T. Lunkim is a religious leader, statesman and human rights activist, who is specialising in the origin, culture and traditions of the Chin-Kuki-Mizo people. Being the Kuki priest (priests are custodians of culture) before embracing Christianity and the first generation Christian, Pu T. Lunkim happens to be the most well versed person in Kuki belief, culture and customs, today. Thus, it is appropriate to call him the epitome of Kuki culture. Time and again in his speech he counters the western garb of Christian belief which emphasizes on the change of culture rather than change of heart because he feels that it distorts the closeness of the Bible culture with that of Kuki cultural practices. In fact, since his younger days, he is interested in folksong which has greatly helped him to imbibe in himself all the elements of Kuki music and other traditional practices for use in communicating Christian message to the Kukis in the course of evangelistic campaign.
Gradually, he along with colleague Elder Otkhothong have introduced folk music in worship in the Kuki Christian Church, initiated the teaching of folk music in Sunday school and included in the curriculum as a requirement for Kuki students studying in the Trulock Theological Seminary and Restoration Theological College.  In both the two seminaries, Pu T. Lunkim is intermittently engaged in teaching the subject called, “Gospel and Culture.” To preserve and propagate this rich cultural heritage which the young people are virtually unfamiliar with, he is fully engaged in recording all his collections, conducting seminars in several places. As a prominent composer, musician and a man who lived by himself the Kuki cultural and traditional principles, his works and contributions towards music are highly appreciated by all as authentic sources of Kuki folk music. Several hymns of his composition are published in the Kuki Gospel song book named, Lathah Bu (Get-together Song Book). One of the well-known songs composed by him at the request of the Kuki Inpi (Kuki Traditional Government) is the Kuki national song which receives recognition from majority of the people called, Kuki Nam La (Tah Chapa).
(b) Jangkhosat C. Misao: Mr. Misao is a celebrated folklorist and musician from Kangpokpi town, Sadar Hills District, Manipur, who is specifically good at singing in traditional tunes and playing Gosem (Mouth Organ). He is famous for his collection of traditional songs, culture books, dresses and instruments in his private library, “Kuki Custom, Culture and Tradition Store,” started from 1957. Among his works, one which gets public recognition is the book called Kukite Chondaan (Custom and Culture), published at Kangpokpi in 2001.  As a resourceful person, his availability is tremendously endorsed by the Kuki people living in Manipur. Today, many young people especially, research scholars flock to him to learn about customs, culture, folklore, folktales, folk-music, etc. at his house in Kangpokpi.

4. DATA ANALYSIS AND FINDINGS
This section deals with the research data collected through questionnaire randomly distributed among the congregations of the six district centre churches of Kuki Christian Church, Manipur. The study is divided into three parts such as, the background of the respondents, presentation and analysis of data on the situation of folk music in worship in the Church, and brief findings of the analysis.
4.1. Background of the Respondents
In order to find out the situation of traditional folk music in worship in Kuki Christian Church, Manipur, field research has been done through questionnaire in the six districts because these are the main districts where Kuki Christian Church is established. The locations of these churches are in town or city where majority of the population are migrants from the villages because of their employment or business or searching for jobs or education purpose. There have been more diffused social relationships when compared to that of the village and the economic system is more commercial in nature. The people are more adapted to the western ways of life in their dressing, speaking, eating, drinking, relationship and worship. A research, therefore, cannot just ignore the importance of these district centre churches and their congregations because the picture of the Kuki Christian Church in general can be derived from the visible scene of the selected six churches.
The questionnaire has been distributed randomly to the congregations of the six district centre churches of Kuki Christian Church in Manipur such as, Imphal Christian Church in Imphal-East district, Langol Christian Church in Imphal-West district, Tuibuong Christian Church in Churachandpur district, Litan-Mongkot Christian Church in Ukhrul district, Kangpokpi Christian Church in Sadar Hills district and Moreh Christian Church (Lhangnom Christian Church, Canaan Veng Christian Church and Moreh Town Christian Church) in Chandel district. For analysis, the researcher has distributed a total of 400 questionnaires, out of which 250 samples have been received back. Using the 250 samples analysis and interpretations has been done to find out the situation of Kuki folk music.
4.1.1. Total Respondents, Age Group and Gender Ratio
Fig.2. Total Respondent, Age Group and Gender Ratio
Gender Total Respondent Age Group
(18-35) (36-70)
No. % No. % No. %
Male 136 54.4 82 53.5 53 54.6
Female 114 45.6 71 46.4 44 45.3
Total 250 100 153 100 97 100

The total strength of the respondents is 250, consisting of 136 (54.4%) male and 114 (45.6%) female. Out of 250 respondents, 153 (61.2%) belongs to the age group of 18-35 and 97 (38.8%) respondents belongs to 36-70. Within the age group of 18-35, there are 82 (53.5%) male and 71 (46.4%) female, and from within the age group of 36-70, there are 53 (54.6%) male and 44 (45.3%) female. Thus, the table indicates that in the field study equal importance is given to both genders from different stage of life. The chosen respondents are all capable enough to exercise their own judgement fairly in regard to the matter related to folk music.
4.1.2. Respondents’ Qualification and Marital Status
Fig.3. Qualification and Marital Status
Gender Qualification Marital Status
Under
Graduate Graduate Single Married
No. % No. % No. % No. %
Male 105 58.9 33 45.8 61 51.6 68 51.5
Female 73 41.0 39 54.1 57 48.3 64 48.4
Total 178 100 72 100 118 100 132 100

The qualifications of 178 (71.2%) respondents, consisting of 105 (58.9%) male and 73 (41.0%) female are under-graduates and 72 (28.8%) respondents, consisting of 33 (45.8%) male and 39 (54.1%) female are graduates. The marital status of the respondents is classified into two such as, single and married (including once married). Out of 118 (47.2%) single respondents, 61 (51.6%) of them are male and 57 (48.3%) are female, and out of 132 (52.8%) married respondents, 68 (51.5%) are male and 64 (48.4%) are female. It is crucial to note that in the researcher’s field study, importance is given to people with under-graduate qualification and also to married (including once married) people because this section of people may appropriately represent the majority of the whole congregation of Kuki Christian Church.
4.1.3. Respondents’ Occupation and Spending of Leisure Time
Fig.4. Occupation and Spending of Leisure Time
Occupation Male Female Spending
Leisure Male Female
No. % No. % No. % No. %
Student 45 33.0 27 23.6 Family 24 17.6 42 36.8
Employed 48 35.2 25 21.9 Friends 45 33.0 27 23.6
Unemployed 21 15.4 33 28.9 Music 26 19.1 19 16.6
Business/Others 22 16.1 29 25.4 Others 41 30.1 26 22.8
Total 136 100 114 100 136 100 114 100

The occupations of respondents are classified into four such as, students, employed, un-employed, and business and others. The student respondents consist of 45 (33.0%) male and 27 (23.6%) female; respondents employed in Government office or private company consist of 48 (35.2%) male and 25 (21.9%) female; un-employed respondents comprise of 21 (15.4%) male and 33 (28.9%) female; respondents engaged in any kind of business comprise of 22 (16.1%) male and 29 (25.4%) female. The ways of spending leisure time are divided into four groups such as, with family, with friends, in music and in other activities. There are 24 (17.6%) male and 42 (36,8%) female who are spending leisure time with family; 45 (33.0%) male and 27 (23.6%) female with friends; 26 (19.1%) male and 19 (16.6%) female in music; 41 (30.1%) male and 26 (22.8%) female in other activities. It is obvious that the occupation of the majority of the respondents is ‘Employed’ in Government office or private company. Apart from it, most of the respondents prefer to spend leisure time with friends more than with family or in hobbies.
4.2. The Present State of Folk Music in Worship
Keeping in mind the changes that are taking place in the society due to education, globalisation of communication, the researcher tried to collect the views and opinions of the congregations by circulating questionnaires. The questionnaire is designed in the easiest way (objective type) for the literate or semi-literate people to respond. In the following, presentation and analysis of the 250 questionnaires is done with the objective to discover the present situation of folk music in worship in Kuki Christian Church.
      Fig.5. Do you like folk music?

Frequency
No. %
Yes 108 43.2
No 142 56.8
Total 250 100

Out of the total respondents of 250 there are 108 (43.2), who like folk music, whereas, the majority of 142 (56.8%) respondents, comprising of 73 (53.6%) don’t like folk music. The table shows that the majority of the respondents (56.8%) have no desire whatsoever to value folk music.
    Fig.6. Are you interested in watching or listening to folk music on TV/radio?

Frequency
No. %
Yes 101 40.4
No 149 59.6
Total 250 100

The data suggests that 101 (40.4%) respondents have watched or listened to folk music programme on TV or radio whereas, 149 (59.6%) respondents have totally avoided watching or listening to folk music related programmes. Thus, it is evident that majority of 59.6% respondents have no interest in watching folk music programme.
   Fig. 7. Which of the following type of music are you familiar with?

Frequency
No. %
Folk Music 24 9.6
Western Music 65 26.0
Hybrid Music 161 64.4
Total 250 100

The data suggested that 24 (9.6%) respondents of are familiar with folk music, 65 (26.0%) of 37 (27.2%) with western music and 161 (64.4%) with hybrid music of western and folk music. Thus, it is evident that a majority of 64.4% is appreciating and upholding the hybrid kind of music.
     Fig.8. Have you ever witnessed the use of folk music in worship service?

Frequency
No. %
Yes 154 62.0
No 66 26.6
Don’t Know 28 11.2
Total 248 100

The study reveals that the majority of 154 (62.0%) respondents have witnessed the use of folk music in worship; 66 (26.6%) respondents have not witnessed the use of folk music in worship; 28 (11.2%) respondents don’t know whether they have witnessed or not. It is found that a majority of 62.0% have witnessed the use of folk music in one way or the other in worship service.
      Fig.9. Does your local Church adopt folk music in worship?

Frequency
No. %
Yes 30 12.0
No 146 58.4
Don’t Know 74 29.6
Total 250 100

In response to the question asked about the adoption of folk music in worship in the respondent’s local churches, 30 (12.0%) of them answer it as ‘adopted’; 146 (58.4%) answer it as ‘not adopted’; 74 (29.6%) answer it as ‘don’t know’. The data shows that 58.4% of the respondents have not observed the adoption of folk music in the Church worship.
       Fig.10. What type of music is commonly used in the Church worship service?

Frequency
No. %
Folk Music ___ ___
Western Music 118 47.2
Hybrid Music 132 52.8
Total 250 100

The research shows that none of the 250 respondents has seen folk music as commonly used in the Church worship service, 118 (47.2%) have seen western music as commonly used in the Church worship service, and 132 (52.8%) have seen hybrid of folk and western musics as commonly used in the Church worship service.
          Fig.11. Is folk song an appropriate means for communicating the Gospel?

Frequency
No. %
Yes 95 38.0
No 121 48.4
Don’t Know 34 13.6
Total 250 100

To the 250 respondents, who are quite aware of the music situation of the Church, the question about the appropriateness of folk song as a means for communicating the Gospel message was asked. The data shows that out of them, 95 (38.0%) respond it as appropriate; 121 (48.4%) respond it as inappropriate; and 34 (13.6%) respondents couldn’t say anything about it. Hence, it is discovered that a majority of the respondents of 121 i.e., 48.4% couldn’t perceive or understand the suitability of using folk song in the Church. In other words, most of the congregations accept the prevailing western song or Kuki song in western tune as the better type of song than that of their own traditional folk song for use in the Church worship service.

         Fig.12. (a) Is it necessary to rediscover and incorporate folk song in worship?

Frequency
No. %
Yes 88 35.2
No 130 52.0
Don’t Know 32 12.8
Total 250 100

When the respondents are asked about the necessity of rediscovering and incorporating folk song in worship, out of 250 respondents, 88 (35.2%) respond it as necessary; 130 (52.0%) respond it as unnecessary; 32 (12.8%) couldn’t take clear stand on the subject. Obviously, it is evident from the collected data that a majority of 130 respondents couldn’t think of the necessity of rediscovering and popularizing folk song in the Church worship service. Probably, it can be assumed that the congregations are satisfied with the existing genre of song which is adopted by the Church.
     (b) If yes, which kind of song can be effectively adopted in Church worship?
Frequency
No. %
Occupational Song 12 13.6
Valour Song ___ ___
Festival Songs 14 15.9
Mourning Song ___ ___
Songs of History 7 7.9
Love Songs 5 5.6
Songs about Animals ___ ___
Songs based on Tune 19 21.5
Recreational Songs ___ ___
Lullaby ___ ___
Seasonal Songs 15 17.0
Get-together Songs 16 18.1
Total 88 100

There are 88 respondents who have chosen different types of songs which they think could be effectively adopted in Church worship. Out of 88 respondents, 12 (13.6%) of them prefer ‘occupational songs’; 14 (15.9%) prefer ‘festival songs’; 7 (7.9%) prefer ‘songs of history’; 5 (5.6%) prefer ‘love songs’; 19 (21.5%) prefer ‘songs based on tune’; 15 (17.0%) prefer ‘seasonal songs’; 16 (18.1%) prefer ‘get-together songs’. It is identified that among the 88 respondents, a majority of 21.5% prefer ‘songs based on tune’.
       


Fig.13. (a) Can folk musical instruments be aptly adopted in Christian worship?

Frequency
No. %
Yes 82 32.8
No 133 53.2
Indifferent 35 14.0
Total 250 100

When the respondents are asked if folk musical instruments be aptly adopted in Christian worship, 82 (32.8%) agree to accept the possibility; 133 (53.2%) could not see the possibility; 35 (14.0%) are indifferent to the subject. There are 53.2% of respondents who couldn’t think of the possibility of utilizing the Kuki musical instruments in the context where sophisticated and refined instruments are popularly used by most of the Churches.
            (b) If yes, which type of instrument do you think may be suitable?

Frequency
No. %
Solid Instruments
E.g., Dah (Gong)   10 12.1
Percussion Instruments
E.g., Khong (Drum) 37 45.1
Wind Instruments
E.g., Gosem (Mouth Organ) 20 24.3
Stringed Instruments
E.g., Selangdah (Fiddle) 15 18.2
Total 82 100

In this section, 82 respondents are asked to choose the type of suitable instrument for use in Church worship. 10 (12.1%) of them prefer to choose solid instruments; 37 (45.1%) respondents prefer to choose percussion instruments; 20 (24.3%) persons prefer to choose wind instruments; 15 (18.2%) respondents prefer to choose stringed instruments.
   

Fig.14. In today’s context, can folk music be a relevant tool for liberation?
Frequency
No. %
Yes 97 38.8
No 115 46.0
Indifferent 38 15.2
Total 250 100

When the respondents are asked about the possibility of folk music as a tool for liberation in the technological mass media saturated environment, 97 (38.8%) of them opine it as relevant, 115 (46.0%) consider it as irrelevant and 38 (15.2%) couldn’t take any stand on the subject. Thus, it is evident that a majority of 46.0% respondents couldn’t consider folk music as a relevant tool for liberation in today’s context.
       Fig.15. As a Christian, what is your personal attitude towards folk music?
      (a) Positive Attitude
Frequency
No. %
Precious 54 45.0
Spiritual 35 29.1
Civilized 31 25.8
Total 120 100

Among the 120 respondents who have positive attitude towards folk music, the majority of 54 (45.0%) respondents consider it as precious, 35 (29.1%) consider it as spiritual and 31 (25.8%) consider it as civilized. Considering the overall position, it is clearly that even though the influence of alien music is tremendous, there are people who regard the Kuki folk music as precious, spiritual and civilized.
     

(b) Negative Attitude
Frequency
No. %
Worthless 15 11.5
Heathen 87 66.9
Uncivilized 28 21.5
Total 130 100

The research shows that out of 250 respondents, 130 of them have negative attitude towards folk music in relation to Christian tenets. There are 15 (11.5%) respondents, who regard folk music as worthless; 87 (66.9%) respondents, who regard it as heathen; 28 (21.5%) respondents, who regard it as uncivilized. The data shows that the main reason for the dumping of folk music could be the projection of it as heathen. Nevertheless, great numbers of people do have the projection that folk music is worthless and uncivilized to be revitalized it in today’s world.
4.3. Major Findings
From the analysis of the questionnaires received back from 250 respondents, comprising of 136 male and 114 female, the following are the points, discovered as major findings.
4.3.1. Likeness towards Folk Music: The research data reveals that 43.2% of the respondents are in favour of folk music, whereas, people the percentage of people who dislike folk music of any kind ranges around 56.8%. This picture clearly shows that folk music is not the most popular kind of music among the Kukis.
4.3.2. Interest towards Watching or Listening Folk Music: It is found that 40.4% of the people have watched or listened to folk music programmes on TV or radio regularly or occasionally whereas, 59.6% are not having any interest at all in folk music or its related programmes. Avoiding their own traditional folk music people are more interested in watching or listening to other kinds of music.
4.3.3. Familiarity of Music: The research shows that majority of the respondents of 64.4% are familiar with hybrid music of folk and western music, 26.0% are familiar with the western music and only 9.6% are familiar with folk music. This indicates the inability of the people to opt for purely western music or folk music alone, though tremendous western influences are detected in every aspect of like.
4.3.4. Witnessing the Use of Folk Music in Worship: The data point out that a majority of 62.0% people has witnessed, 26.6% of them haven’t ever witnessed and 11.2% are not aware of the use of folk music or not in worship service of the Church. The study indicates that there are churches that consider other types of music as foreign and undesirable to them but scantily or abundantly, in one way or the other manage to use the folk music.
4.3.5. Usage of Folk Music in the Church: The data reveals that most of the local churches don’t employ folk music as a means for communicating the Gospel as responded by a majority of 146 (58.4%), out of 250 respondents.
4.3.6. The Dominant Music in the Church: It is clearly found that none of the respondents has seen folk music as commonly used in the Church worship service. There are 118% of people who view folk music as having a dominant role in the Church but 52.8% viewed the hybrid of folk and western music as the type of music used in most of the Kuki Christian Church.
4.3.7. Folk Song: An Appropriate Means for Communicating the Gospel: Out of the total percentage, there are 48.4% of people who couldn’t accept folk song as an appropriate means for communicating the Gospel because they consider anything related to folk music as uncivilized and heathen, which have nothing to do with the present mission and ministry of the Church.
4.3.8. The Needed Music for Incorporation in Worship: A majority of the respondents of 52.0% don’t see the necessity of rediscovering and incorporating folk songs in worship. These people are of the view that even if the folk songs are rediscovered, it may not be effective enough. Nevertheless, there are 35.2%, who firmly believe in the necessity of rediscovering folk songs for use in worship. Out of 35.2%, a majority of 21.5% is of the view that ‘songs based on tune’ like Lakoi La (curve-tuned song) can be effectively adopted in Church worship.
4.3.9. Type of Instrument Suitable for Christian Worship: The study reveals that majority of 53.2% couldn’t think of the possibility of adopting the traditional folk musical instruments in Christian worship because better polished western instruments are more preferable to the young people, today. Nevertheless, 32.8% of the people still find the possibility of adopting folk musical instruments in the Church. Out of 32.8%, a majority of 45.1% prefer the Percussion Instruments like Khong (drum), etc. to be a suitable instrument for use alongside other kinds of music.
4.3.10. Folk Music as Tool for Liberation from Alien Cultural Domination: As the data shows, 46.0% respondents couldn’t accept folk music as a relevant tool for liberation from western cultural domination in the technological mass media saturated environment.
4.3.11. Peoples’ Attitudes towards Folk Music: On the attitude towards folk music in relation to Christian tenets, the respondents are divided into two groups: people with positive attitude are 120 and people with negative attitude are 130. Out of 120 respondents with positive attitude, a majority of 45.0% views folk music as precious. On the other hand, out of 130 respondents with negative attitude, a majority of 66.9% regard folk music as heathen in form and practice in relation to Christian tenets.

5. CONCLUSION
Had not Christianity been introduced among the Kukis, their life conditions would have oriented otherwise from the picture, which is visible as complete transformed society culturally, socially, economically and religiously. It is admitted that Christianity is responsible for bettering the life of the Kukis with or without touching the essential worldview of the converts. Nevertheless, on the other hand, two major negative impacts are discovered that, the new belief has distorted the erstwhile unity of the Kukis by implanting the spirit of denominationalism as inculcated by the western missionaries who were from different Christian sects and alienating the people from their cultural identity with the introduction of western music in the worship of the Church. After the missionaries left, the main problem faced by the people was the denominational divisions amongst themselves, who are known to be indwelled by the same Spirit of God. Since 1959 an indigenous Church unification movement called Kuki Christian Church Movement or Church Restoration Movement is persistently going on to admonish denominationalism. To certain extent, the movement was successful in bringing together the Kuki Christians into the Kuki Christian Church though later on, many hold back to denominations. Nevertheless, till today, Kuki Christian Church is the strongest indigenous Church unification movement among the Kuki people.
The attitude of the Kuki Christian towards folk music is derived from the missionaries’ understanding of the Kuki traditional religion as pantheistic and worship of devils. At present, even after the Church is well established, a vehement western ecclesiastical paternalism and unfamiliar interpretation of the Bible is still prevailing in the Church. In the Church, the form of worship is dominated by western models of worship such as, hymns, tunes, musical instruments and dances embellished by western gear. In the Church negligible efforts have been taken up to change the western way of worship. Gradually, as some of the Christians and Christian institutions themselves started feeling the undesirability of foreign music in worship, they began to compose Christian songs, which are compiled together in two song books called Lathah Bu or Lenkhom Labu (get-together songs) and Khutsut La (hand-written Songs). Still then, there are people who still deny the importance of folk music, which vehemently impede the preservation and application of this rich heritage in Church worship.
The analysis and interpretation of the field research data clearly shows the present situation of folk music in worship and helps to identify the tremendous effects of the western music on the people. The study reveals that Kuki Christians significantly altered their lifestyle not simply because they were dazzled by the superficial matters and prestige of the western missionaries but because of their incapability of differentiating the content of the Gospel and its interpretation. Seemingly, the Kuki Christians squander lots of time and resources in their attempt to adjust with the western music in the Church. Eventually, most of them are inclined to appreciate the popular music. Due to the change in attitudes and lifestyles of the Kukis, many of the respondents think that folk music couldn’t be an effective means of communicating the Gospel. The research findings also indicate the criticality of folk music in the mass media saturated environment, and the possibility of aggravating the situation and adding confusion in the Church. Even though some facts are uncovered there are still many areas which cannot be responded adequately by one humble venture of this magnitude. However, it is believed that to certain extent the blind projection of folk music as heathen and uncivilized could be turned to another dimension of understanding the relationship between Gospel and culture.



CHAPTER FOUR
THEOLOGICAL REFLECTION AND APPROPRIATION
OF KUKI FOLK MUSIC IN WORSHIP

1. INTRODUCTION
Music has been the accompaniment of worship since the coming of Christianity among the Kukis. But, folk music and musical instruments have been condemned as indecent by the large proportion of the population. Gradually, a fresh awakening of longing to enter into the true life of worship is felt by some responsible Kuki Christians by arguing the legitimacy of the western music. Some people have started using the native heritage of music not only to make Christ’s Church the true home of humankind, but also as the offering of the Kuki nation’s gift to the crucified and risen Lord. Despite the attempts, the presence of folk music is rarely felt in worship in most of the Kuki Christian Church because a majority of the population is still considering the rooting of the Gospel in the soil of the Kuki land as unchristian. Here, in this chapter, in order to vehemently affirm that the Gospel should be expressed and interpreted in indigenous forms and that in methods of worship, the spiritual heritage of the nation should be taken into use, the study would be based on the important references from the beginning to the end of the sacred canon under the main headings of theological reflection and appropriation of Kuki folk music in worship.

2. THEOLOGICAL REFLECTION
In Mk. 16: 15, the mission of the Church is clearly given by Jesus Christ when he says, “Go into the entire world and proclaim the Good News.” Jesus himself lived as an example of what he meant and that is to make disciples as they are – wholly and with their total personality, with their own languages, cultures, traditions, etc. This shows that rather than abandoning one’s own culture and traditions, when Christian values are absorbed into a particular culture, that very culture becomes enriched and glorified. Moreover, the heart of Christian worship is the realizing of a communion, whereby a person may be made fit to stand in His presence and offer his/her gift. Though, the reasonable offering is of oneself, in the presence of God no one can make that gift unless He enables the worshipper so to do. So worship is a seeking, a means and a finding of the grace whereby the worshippers may offer and present themselves.  To ‘present oneself’ refers to offering of life, identity, culture, wisdom and knowledge. Owing to misinterpretation or manipulation of these aspects of the Gospel, indigenization of the Christian worship was neglected by the missionaries and therefore, folk music was not accepted in the Church.
In the 95th Psalm, there is a glad invitation, “O come, let us sing unto the Lord; let us heartily rejoice in the strength of our salvation,” which the spirit Christian would naturally find it hard to resist.  Martin Luther says that if any Christian would not sing and talk of what Christ has wrought for them, they show thereby that they don’t really believe.  This clearly indicates how much singing is important for Christians to praise God and affirm their faith. Scripture does not tell us how to sing, as far as the art is concerned; but it does tell us how to sing as far as the heart is concerned. St. Paul says that believers are to “sing with the spirit and with the mind” (1Cor. 14: 15). Singing with the spirit of the New Testament sense is singing in concert with the Holy Spirit whose task is focusing on Christ. The deliberate purpose of Christian singing is to exert all the dynamic of this powerful expression to glorify God.
However, it is important to contemplate on the present Gospel message in worship which is wrapped in the western music like a piece of butter floating on the water in a vessel.  For the Kukis, in order for the water to gain any enrichment from the butter, folk music needs to be employed in the Church. If so, music can be effective as St. Augustine says, “The voices flowed into mine ears, and the truth was poured forth into my heart; whence the agitation of my piety overflowed, and my tears ran over, and blest was I therein.”  Bearing in mind the powerful effect music had upon people’s emotions, which could distract the worshippers’ minds from their devotions, the atmosphere of worship have to be carefully and suitably managed in relevance to the situation of the people. Most importantly, the desired atmosphere of worship can possibly be maintained only by the use of folk music not with the objective to popularize but to value it as the appropriate music given to the people. In this section, attempt is made to theologically reflect on the values of folk music, biblical mandate and feasibilities of folk music for use in worship.
2.1. Music as God-given Gift
When the Psalmist says, “He put a new song in my mouth, a hymn of praise to our God” (Ps. 40: 3), it clearly indicates that music is of divine creation and not merely of human artistic creation. Jesus and his disciples sang a hymn after the meal in the upper room before Jesus went up the mount of Olive (Matt. 26: 30; Mk. 14: 26). As found in this passage, Jesus and his disciples wouldn’t have used music at the poignant moment if it is not of divine origin. Paul advises the young churches to “teach and admonish one another in all wisdom, and... sing psalms and hymns and spiritual songs with thankfulness in your hearts to God” (Col. 3: 16; Eph. 5: 19). Undoubtedly, St. Paul knew that music is a divine powerful gift and therefore, urged everyone to make use of this gift to reflect God’s glory, holiness and authority. It is given to surround humankind and to fulfil their emotional desire which nothing can meet. In Gen. 4: 20-22, there are three brothers – the first brother was a farmer, the second brother, Jubal was a musician and the third brother was a tool maker. This shows that even in the primordial period when humans were concerned about their basic needs, there were needs of other dimensions which was met by music alone.
The biblical references clearly affirm that music is of divine creation, given to humans to meet their needs and proper exercise of it has wonder working power. John Calvin says that among other things adopted for men’s recreation and for giving them pleasure, music is either the foremost, or one of the principal arts and we must esteem it as gift from God designed for that purpose.  God gave us this gift of music that we might develop it and use it to express our creativity in praise and worship. It is discovered that music is a neutral element that can’t be judged as good because of its association with sacred context or as bad because of its association with secular context, but must be judged only by its content.  A person has the right to choose the kind or genre of music he or she prefers but to reject music totally is to run contrary to God’s intention for the person. It is noteworthy that rejecting one’s own music in favour of foreign music is not commendable because it is a kind of hypocrisy which is totally against the tenets of Christianity.
The Psalmist says, ‘Sing joyfully to the Lord, you righteous; it is fitting for the upright to praise Him... Sing to him a new song; play skilfully and shout for joy.” (Ps. 33: 1-2) As mentioned above, it is believed that God gives different sorts of music to every community, through which He expects them to praise and worship Him meaningfully. With the ability to exercise this gift humans could possibly encounter the power of darkness and overthrow the forces of darkness like David who used music to cast the spirit away and calm down the troubled Saul (1Sam. 16: 23).  The Kukis have plethora of musical heritage with simple, meaningful and sweet tunes and words, composed by common people for the benefit of the whole community. In order to appropriately used Kuki folk music to glorify God, the giver of this gift, it must draw attention towards God, should be from the heart and should be more vocal. Therefore, it is legitimate to assert that the Kuki folk music is a God-given gift to express their experiences and to convey the Gospel messages among them within and without the Church.
2.2. Folk Music as Powerful Means of Communication
Music promotes experiences of extreme for its makers and listeners, turning the perilous emotional edges, vulnerabilities, triumphs and antagonisms of life into hypnotic, reflective cadences. Mere words alone can be and often are very strong, but couple them with the right music (i.e., in the framework of folk rhythm and melody) can be burned into the mind and consciousness indelibly. It is clear that the Lord placed the ability to generate and respond to music within the human race, which has emotional-mental stimulation unmatched by any other means of communication.
In the Bible there are several instances where folk music is used as a powerful language to praise or thank God, to express feelings, to convey Good News, to manifest the healing power, to fight against opponents, etc. In Exod. 15:1 it is found that Moses and the sons of Israel sang song of praise to the Lord. Israelites’ song with dance was the organic part of the praise and worship in occasion such as, at the receiving of the laws of God at Mount Sinai (Exod. 19: 16-19), at the threshing of grain and treading of grapes, celebration of desert well, and in welcoming the valour army from battle.  Hannah expressed thanks to the Holy God and the Rock for answering her prayer for a son, Samuel. Her song foretold the coming of the first king of Israel, the expected messiah. Thus, it became the national hymn of victory (1Sam. 2: 2-11). The Song of Solomon is the finest collection of beautiful songs expressing or demonstrating love. With music as a powerful language to convey the healing power of God, David overthrew the forces of darkness, casted the spirit away and calm down the troubled Saul (1Sam. 16: 23). David also danced to the tune of music as a sign of triumph before the Ark of the Covenant (1Chr. 13: 8). Under the leadership of Joshua, with the sound of the trumpet and loud shout the walls of Jericho were destroyed (Josh. 6:20). The functions of music in the book of Chronicles are: invocation of God’s presence, thanksgiving, prophecy, engaging in supernatural warfare against the Lord’s enemies, invitation of congregation both Israelites and other nations (1Chr. 6: 31-47; 2Chr. 5: 11-14). In the Gospel of Luke the angels are employing powerful song as a means to proclaim the message of peace and goodwill by announcing the birth of Jesus to the shepherds (Lk. 2: 13-14). Paul and Silas exemplify the same convictions in the Philippians’ jail as they first pray and then sing (Acts 16: 25). The references indicate that the people burst into songs of praise each time God did great things and in addition to praise, music is also used to get inspiration, strength and therapy as well.
The devil simply knows what God has always known that music is a powerful way to get a person’s ideas implanted and affect the behaviour of mankind.  So, human desire has used and abused music to detract and frustrate the intended purpose of God creating music for humankind such as, to extol God’s worth, to know God and to retain fresh fellowship with God.  Human desire has gripped and influenced our present generation to sin, compromise, lust, deceit, etc., by using music as one of the most effective tools. In a pragmatic world of business, the essence of music is manipulated that sellers compose a catchy tune, present it in a clever way, and the product becomes known. Music is used to extol the virtue of the product, tell people many reasons why life is not complete until the product is bought, and keep people coming back for more after they have experienced it. On the other hand, there are some artists of real integrity who, while not knowing God in Christ in the biblical sense, have done real service to the musical art. There are some businesses which retain integrity to the art. And there are some churches which have realized the vast potential of the musical ministry.
Today, many scores of churches are ignoring music or snubbing it as a frill. But, in Kuki society, where the oral tradition is more prominent, both vocal and instrumental music could be appropriately used to communicate ideas, values and to perpetuate the history of the tribes. This great communicative power can be effectively used as a good means of extolling God, teaching biblical truth and spreading the message of the Gospel to others.  It allows a perfect corporate or individual expression of real importance to and about God and could penetrate the mind and heart. Moreover, folk music is a vital means of communication because it asserts one’s identity, regenerates the Life, maintains intimacy and sustains a sense of belongingness.
2.3. Folk Music as Alternative Medium
Desmond A.D. Abreo rightly says, “What is urgently called for, is an alternative form of communication. In this alternative communication, the people will achieve greater control over their communication which will give them the opportunity to express their own concerns, voice, their own thinking and enable them to control their own learning process.”  In fact, folk music as an alternative medium meets most of the important characteristics of being an alternative such as, dialogic, local, interpreting the universal, promoting values, democratized, development oriented, promoting dignity of people, culturally rooted, non-profit, promoting culture of peace and harmony, etc. Most importantly the characteristics like participatory, revelatory and liberative must be considered seriously for the Kuki people. These are the good reasons for which the alternative forms of communication particularly folk music, has to be adopted in Christian Church worship.
Communication is basically participatory, a two-way process and interactive because it shares meaning and establishes and maintains social relationships. In participatory communication people are more important and they have the control over the media so that they can participate, receive opportunity to express their own concerns and voice their own thinking. Folk music is easily accessible to all sections of people in the society. The participation is made easy because it is inexpensive; it doesn’t need any specialised training like the professional commercial music; and it is devoid of official control of the copyright, quality or quantity by organised institutions that is against equal participation.  The participatory characteristics of folk music can be drawn more vividly from the events recorded in the Bible. For instance, when God drown the Egyptian army who were chasing the Israelites in the Red Sea, the participation of all the Israelites along with Moses, Miriam and Aaron was evident as singing folk songs of thanksgiving, accompanied by tambourine and dancing (Exod. 15: 1-21). The same way, one of the most basic functions of Church music must be to involve the whole congregation, the choir, soloists or performers into the heart of worship. Congregational music encourages the worshipper to sing out their faith and also give them a sense of belongingness into the worship community.  A challenge ever before those who plan for corporate worship is participation. The woeful lack of lay involvement in most of Christian worship can do more to lift up the ministry of all Christians in our worship.
Music is a medium through which the inexpressible is expressed. God’s spirit brings revelation about the transcendent, ineffable and the incomprehensible knowledge to human spirit through music.  At the dedication of Solomon Temple, when the song was raised with musical instruments in praise to the Lord, the house of the Lord was filled with a cloud, so that the priests couldn’t stand to minister; the glory of the Lord filled the temple (2Chr. 5: 13-14). In Revelation, John heard the sound of music before the throne-the song of Moses and the song of the Lamb as a characteristic expression of the redeemed (Rev. 5: 9; 14: 3; 15: 3). So, folk music is a channel through which humans reveal their secrets to themselves and God, and it is also a good vehicle used by God to reveal the secrets to humankind in understandable manner.
A.D. Manuel says, “Communication which liberates, enables people to articulate their own needs and helps them to act together to meet those needs. Folk music enhances the people’s sense of dignity and underlines their right to full participation in the life of society. It aims to bring about structures in society which are more just, more egalitarian and more conducive to the fulfilment of human rights.”  Folk music seeks to release man from the baser emotions so that his/her mind and spirit are free to rise to the spheres of meditation and liberation. There are songs of liberation, victory and assurance in Rev. 7: 15-17; 11: 17-18,  which could be a vital tool for the liberation of the people from alien cultural domination. The customs and cultural practices related to folk music heritage should be evaluated in the light of Christian teachings with liberation motifs and then modified or retained keeping in mind the modern trends of growth.  Like what A.D. Manuel has said, communicators now have an awesome responsibility to use and develop indigenous forms of communication because there is no music better serve as means of communication than that of folk music, which is liberative.  This liberation can be achieved by the earnest struggle of the people against the dominant music with the help of Jesus, the liberator.
2.4. Folk Music in Worship
For most primitive people the origin of life is a sound; it was God’s hum, shout and croak that stirred creation within the void. Music springs simultaneously from our emotional instincts and from the extra-sensory harmony, which can’t exist in itself but is usually ancillary to action. Music and action ritually succour and control the seasonal processes of the earth; God is appeased in the interests of practical efficacy.   This concept of music is evident in the life and worship of the Israelites - Israelites’ song with dance was the organic part of the praise and worship at the receiving of the laws of God at Mount Sinai (Exod. 19: 16-19) and in many other occasions. There are many references in the book of Psalms, where praise and worship is carried out by shouting, crying, clapping, singing, dancing along with playing of instruments like, tambourine, harp, trumpet, strings, cymbals and so on (Ps. 9: 1-2; Ps. 33: 1-3; Ps. 47: 1; Ps 81: 2; Ps. 105: 1-2; Ps. 149: 1-3; Ps. 150: 3-6). Both in the Old and New Testaments the biblical worship is a saving event oriented towards covenantal relationship between God and humankind. The perfectly expressed description of worship is found in Isaiah 6: 2-3; 2Chr. 7: 1, “Holy, Holy, Holy is the Lord of hosts; the whole earth is full of his glory, cried one Seraph to another and the glory of the Lord filled the Temple”. The above passage shows that music is one of the gifts upon the altar, handmaid and not an end in itself.
Music is as close to worship as breathing is to life itself.  It is the natural speech of worship.  In the worship service, music calms the nerves and prepares people for an attitude of worship. It strengthens worshipful feelings and gives a sense of peace, and helps the worshippers discover and understand what he worships or better still, whom he worships.  Music helps in the development of a right conception of God, for, although intended primarily for purposes of worship, music also serves to teach and instruct both the performer and the listener if the words have penetrated their mind and heart. It can cleanse emotions and desires, uplift the depressed, heal the troubled heart, exalt the people above mean levels of living and inspire them to high endeavour. It expresses and fosters the sense of human fellowship, whether in joy or in pain. During the Church worship, if concentration were directed on the thought of the hymn or song there would scarcely be consciousness of another’s presence. This becomes simply the best way for believers to sing the praise of God.
Kuki occupational songs like hunting songs are acts of worship in that they invoke the God’s help in securing a desired end; even play songs call on metaphysical sanctions to ensure success, either of the community or, less commonly of the individual. They don’t distinguish between the sacral and the expedient. Their music is religious in being concerned with origins, but is practical ‘music of necessity’ in fulfilling social and therapeutic needs. The Kuki music is religious in that it seeks, in accord with inherited beliefs, to release men and women from the burden and contagion of the world, absorbing rather than asserting the mind and flesh. Surely the Christian Church does not lack for spiritual and spirited music to sing; but all too often it lacks spirit motivated, spiritual singers to join in the song.  For the Kukis Christians, it is vital to create opportunity to employ their own music to express feelings and attitude. Only then, even the most timid people who are unable to speak out could express feelings in song and through which sentiments of gratitude and awe can be awaken on the part of the worshippers.
All the significance of the faith is celebrated and confessed in music. All the moments and acts of worship have found expression in song – adoration and thanksgiving, penitence and supplication, the aspiration after holier living and the hope that reaches out to life beyond death. Amidst despair and impoverishment, through folk music the Kukis generate hope of the promised life of the future God’s reign.  Braaten says, “It is dynamite in the present and dynamism towards the future. It mediates a world of judgment on the present and a vision of hope in the future.” So, the future oriented hope of new earth and new heaven can be totally realized now on earth, ahead of time through the proper use of folk music in worship to express people’s real life experience, to reconcile one another, to praise and interact with God, and to affirm their faith. Considering all the points, it can be asserted that folk music may be the most suitable form of music for the Kukis.

3. APPROPRIATION OF KUKI FOLK MUSIC IN WORSHIP
Ralph P. Martin says that to worship God is to ascribe to Him supreme worth, for He alone is worthy. Worship is not just a mood or feeling; it is active response to God whereby we declare His Worth and express the relationship between God and humans.  The essence of worship is the celebration of God for what He is to us with earnest prayer and intense music. St. Paul says in 1Cor. 14: 8, “If the trumpet does not sound a clear call, who will get ready for battle?” This request is often meant that people need more clear distinction, so that they shall know what thought their minds are being directed, or to what attitude of heart they are being led, by each act and at the various points of a service. Each of the several notes, words and performances of worship should be clearly sounded and familiar with the people. In order to create an acceptable worship in the sight of God, the spiritual orientation towards cultural restoration of the Church as individuals or community from the prevailing broken picture to the original state is necessary. The following is an attempt to appropriate the Kuki folk music in worship.
1. The Kukis are on the verge of losing their culture, especially their music because of an expression of agreement to have qualities or beliefs that is not supported by real conviction called ‘Hypocrisy’. In the era where the threat of globalization or modernization is vehemently engulfing the life of many people, the majority of the Kukis also give into it at the expense of their own identity. Especially, the younger generations are ashamed to be recognized themselves as Kukis though, because anything related to Kuki culture is considered by them as inferior to the western way. Despite their meagre knowledge of western lifestyle, they strive to be contented and happy imitating the western culture uneasily. Therefore, for the Kukis, realizing the hypocrisy prevalent in the society might just get them to understand what is good or bad and that must be the first step towards the restoration of the damage or lost cultural values and practices.
2. Christianity is like a plant that is transplanted; its new growth may be affected by a different soil. So, knowing that the faith and practice of the Bible teachings are manifested in diverse ways according to the genius of various peoples, the affirmations of faith and experience are essentially not the same at every time, place and culture. Because of this reason, it is important to determine the context of the text and reading the text in the light of its context and applying the text by reflecting on the similarities and differences between the world of the text and the Kukis’ world, and drawing out the relevance to the present reality. The Gospel must be translated and diffused in and through God-given one’s cultural treasures. The Bible should be read in the context of the Kuki contemporary realities and re-interpret in order to find out the necessity of incorporating indigenous culture to form Christian identity. In this way, the Church must respect, preserve, promote, popularize folk music with its pristine purity and make the fundamentals of folk music thematically based on Christian values for use in worship.
3. In fact, at this critical juncture, it warrants the need for capable, well trained and committed ministers with clear vision for Kuki Christians, as such, have to aim at and attain. The Church leaders have a great deal of responsibility to respond it positively to this ongoing process of revitalization of cultural practices. They must have the burden to overcome some out-of-date distinctions between their cultural heritage as heathen and western culture as spiritual.  In unity, the leaders should begin with refinement of leaders’ role, and determination to dismantle systems that alienate the Kukis from their own identity as human beings.
4. Paradoxically enough, it is precisely the conception of Church music as an ‘entertainment’, or a sort of ornament designed to prettify the worship, that has produced so much bad church music over the decades that is a scandal as well as contradiction of the much proclaimed Gospel message in the Kuki Christian Church. The search for suitable kind of music is the need of the hour, not as an addition to the Christian worship but as an integral element of it. Any attempt at improving the standard of church music must take the kind of music used as its starting point. They must be ready to use the appropriate kind of Kuki music in the Church, from the most rustic genre to the prevailing genre because it is simple, flexible, easy to learn, energetic, melodious and participatory.
5. It is vital to consider appropriate music and instruments on the basis of the need and proposed program utilization. Maximum attention needs to be given to make wise use of the marvellous folk songs and tools. Most of the folk songs and instruments are fitting for worship and the congregations have to be open to the possibilities. Music is always more a matter of heart than art, but artistic expression can surely be made on a variety of Kuki songs and musical instruments. Folksongs that sound archaic could be turned to modern music in order to maintain identity and to meet the needs of the people. The Church must foster folk music as a valuable aid not only in the rendering of the developing liturgy, but in the teaching of doctrine and in missionary work.
6. A willing person who is sensitive to the Holy Spirit with good “hands on” experience in music leadership, and who is more committed to ministry than to music is ideal to be music composer. The heart of the composer or performer of musical expression must be set on God and bringing Him praise and honour, then he will be bound to offer a sacrifice of integrity. He/she must seek a text which is biblically sound and set it to music which helps communicate that text in an artistic, relevant way. Those words and music have to be evaluated in the light of biblical truth and be selected for its relevance to the service theme. In Christian expression the music must always be the servant of the text – it must help make it meaningful and communicative.
Many composers today seem to cherish their ‘freedom’, but fail to appreciate the pass to which this so called freedom has brought them, i.e., the steady increasing alienation of their audience. Must against this common approach, the composers must find it a challenging and stimulating task in an age where patronage of the old type has disappeared. They must be conscious about heightening of the message of the service by making the music appropriate to its spirit and the danger of thoughtlessness or desire for personal display. Above all, the Kuki hymns must be composed to cover all the moments of human experience – the despairs and triumphs of a nation’s history; the needs of the common day, as a person goes forth to labour until the evening; the feast and festivals of a Christian people’s year; the wrestling of the mind with the dark problem of evil and of conscience with sin; the rapture of the human spirit withdrawn in communion with the Eternal. If so, folk music must certainly serve worshippers, it must be intelligible to the congregations, it must clearly convey its intended meaning to ordinary folk and the tune must fit the words. Folk musicians must take great responsibility to reflect the spirit and teaching of the service through simple and clear music quality so that a congregation can sing together with cheerful voice.
7. The Church choir can take the responsibility of revitalizing folk music by singing the Christian folk songs as much or as often as possible. This can be the best way to inspire the hearts of the Church goers. The choir also can produce audio or video cassettes or CDs on different Christian subjects in the form of education, entertainment and preaching by employing folk music, folk dance, folktales, etc. The CDs must be made available to all sections of people in the society.
8. The Kukis have mixed feelings about the consequences of changes in musical technology. While they feel technology has been a great inspiration in their own musical growth, they perceive it as important also to the growing commercialism of music and the resulting adulteration of traditional musics, a process they feel would lead to the loss of some historic music skills. Despite the new eclecticism and unavoidable commercial considerations, Kuki musicians must deeply concerned about their cultural identities even as they try to meld the best of outside musical styles and the possibilities afforded by new technologies into something that is individually their own. All the musical elements must be turned to the Kukis’ own historical experiences and cultures, most particularly their language, themes and sounds that can be expressed through new folk music forms.
9. An undue dominance of the music may obscure the structure and design of the service. Music may be justified by offering a definite act of worship to the Almighty – it must be an offering of real intrinsic value and it must represent sacrifice. Music should not provide the people with a gratuitous musical entertainment that merely evokes pleasant sensations, but as something stimulating to the religious emotions. Church music should arise out of the needs of the service itself and should not be imposed upon it, as it were from outside, as a mere adornment. The music should bear a proper relation to the other external aids to worship, neither being dominated nor interfering with them. The music must be adequate to fill its required place in the service, but it must not be allowed to become redundant and so impede its progress.
10. Since worship is essentially corporate, the spontaneous outburst of praise must be expressed in a way in which all can join harmoniously. Failure to grasp this simple principle can cause confusion in the Church just like that of the Corinthian Church where everyone has a psalm, a doctrine, a tongue, a revelation and an interpretation. The place of folk music in the Church service couldn’t be considered complete unless it takes into account the share of the congregation. In every worship service, the congregation should be encouraged to take an active part in the singing. The Church should take steps to remove the unfamiliar sorts of music from the Church worship so that the audience wouldn’t be the mere spectators or imitators of alien lifestyle but the body of worshippers. This will certainly manifest that God as not the author of confusion, but of peace and also fulfil the heartfelt need of the people which the Christian hymns with western musical notes couldn’t achieve.
11. The Church must not commit a mistake to confine the choice of music to one style. It is reasonable enough to give importance to one style, but not to the exclusion of others because exclusive use of one form of folk music will generally be found to be too monotonous. In the Church worship service all the forms of Kuki folk songs such as, occupational songs, valour songs, feast and festival songs, mourning songs, songs of history, love songs, songs about animals, songs based on tune, recreational songs, lullaby songs, seasonal songs, and get-together songs must be given equal treatment. There is also the essentiality of fitting all the forms of Kuki musical instruments such as, solid instruments, percussion instruments, wind instruments and stringed instruments to accompany the songs sung in the Church. All the forms and kinds of Kuki folk music needs to be ready to make adaptations to the present time, place and culture in order to bring worship and common life into closer relationship.
12. Music must be accepted as the voice of human, and a remarkably subtle and expressive voice rather than considering it as the voice of God, which needs no further exegesis. It must be a part of the people’s offering to God; surely therefore it should represent the best they can offer. Nevertheless, the adoption of western music which originated from completely different setting would only lead to mere imitation and to beguile the listeners by providing them as an aid and not as a medium of worship, let alone offering of the best. Therefore, folk music must be used by the Kukis to help a congregation to worship by uplifting or disposing the feelings and thoughts of worshippers towards God; and use also as the immediate expression form, when people sing their praise or prayer.
13. Culturally, the Kukis are remained in bondage as long as they aren’t freed from the system of foreign cultural domination. They must have unbending hope, set goals and aspirations in order to strive along towards establishing a kind of harmonious worship in the Church. Both the Church and congregations must anticipate this hope for future which demands rational, systematic and purposeful actions with definite directions so that they may enable to renew their strength and courage to challenge, encounter and overtake the commercialized music which downgrades the Kuki folk music.
14. Folk music can be used for therapeutic purpose not only for those listening but also for those who are providing it. The Church must have therapeutic music practitioners who could immerse in the study and practice of Bible-based healing. They must be engaged in the study and practice of folk music as a unique and powerful form of energy medicine that supports mind-body-spirit healing, transformation, and transition. In clinics, hospitals, hospices, senior-nursing homes, funerals and memorials, they must play individually or collectively-tailored folk music to facilitate comfort, relaxation, transition, and to provide a supportive non-threatening healing environment for patients at bedside, critically ill, elderly, children, birthing mothers, the dying, etc. Apart from the Church worship, this could be an effective form of worship which folk music could provide everywhere in every situation.
15. In order to popularize folk music, the interest of the people on music be re-kindled by giving them proper education for awareness and inculcating the values of it. The Church pulpit can be used as a platform for teaching, preaching and learning the importance of singing and adopting folk music in the Church. When the people understand the values and importance of their music, their minds will be broadened and their attempt to popularize folk music can become significant. It is important that all should be educated with love and identification of their own culture in order to develop a sense of belonging to a person’s identity.
16. Today, one of the reasons for the simply disappearance of folk music is due to lack of literary work. Therefore, literary work on folk music must be given importance in the secular and sacred world of the Kukis. Some of the existing folklorists and musicians must take the initiative in composing and publication of the available songs or music in a book form. The books must be made available for all the people for use in praise and worship in Kuki Christian Church.
17. The cultural mission of the Church must look beyond, communicating the Gospel message through music. With utmost care in its missionary zeal, the Church must enter into a greater venture in preserving, nurturing, promoting and popularizing folk music through systematic and professional academic courses. As everything couldn’t be changed overnight, a long term policy must be made, utilizing all her resources to develop the existing two theological seminaries such as, Trulock Theological Seminary and Restoration Theological College in order to equip the students in appropriate use of folk music in the Church. Under the aegis of Kuki Theological Association (KTA) and the Church, exhibitions, trainings, symposiums, consultation programmes, seminars, etc., at different levels can be organized. In every local Church, seminars and special training programmes must be conducted for the congregations as a step to gently incorporate the folk music in the life cycle rituals and Church activities. These efforts could build up the older generations in peace and comfort, and younger generations in self-discipline and spiritual strength.

4. CONCLUSION
In fact, so far, Kuki Christians are mere imitators of the western cultural expressions of the Gospel that has no root in the soil of their land. As the context of the west and that of the Kukis are completely different, whatever is appropriate for the western Christendom couldn’t be assumed as essential and applicable for the Kuki Christians in Manipur. Therefore, in this venture, interpretation of Christian faith is derived from the local culture without squeezing the true idea of the text out of the picture. However, there is a subtle danger of making the music of worship in Kuki Christian Church an end in itself, instead of a means to a greater end. Of course, there is the tendency to easily abuse folk music but it does not invalidate ‘use’ if the true end of worship is upheld that is to the glory of God as an act of praise, act of prayer and act of confession of faith.
Having felt the need to affirm the Kuki culture as Christian culture for the Kukis and to eliminate the negative understanding or attitude of the people towards folk music, the researcher has done a humble theological reflection and provided few possible suggestions for incorporating folk music in worship. The study shows the importance of realising the unidentified presence of the liberator Jesus Christ in Kuki music and for every Christian to be liberated from the system of cultural domination in worship. In this way, the goal of Kuki music is focused as not to imitate alien music or not to be trammelled by the rustic tradition, but to utilize this God-given material as a living force of the people. Music is God-given gift to all humankind as a powerful means of communication to build relationship between God and human, and human and human. Several instances in the Bible articulately demonstrate the proper use of folk music as a powerful means of communication essential for therapeutic purpose, teaching and spreading the Gospel and meeting the inner needs of the people which nothing else can provide. Much against the conventional understanding of the Bible, several references in the Bible reveals that the giver God expects from humankind to extol and approach Him through one’s own music. In both the Old and New Testament, the characteristics of Folk music is evident; as an alternative medium it is commonly available to all sections of society for expressing experiences, feelings and hopes which the mass media failed to give importance. Therefore, comparing the Bible on music and the situation of folk music in Kuki Christian Church it can be realised that there is a felt need and a clear desire for forms of worship which shall be racy of the soil, and more truly reflect the Kukis natural and characteristic life. This is the picture of the completeness in the whole system of worship and can be possible only when folk music has a prominent place in worship.
To popularize folk music collective effort may be more powerful, meaningful and effective than individual efforts. Nevertheless, it is good if the Church emphasizes on both the collective and individual efforts to carry forward the tasks or practical strategies. It is the great responsibility of the local Church to start the effort by giving mass education and awareness and to make use of the folk musicians, folklorists, leaders, young people, etc., for the success of the programmes. The Kuki Christian Church must rapidly come to a self-conscious maturity, and this must inevitably influence their worship so that, the Kuki Christians will experience and enjoy deeper and meaningful worship.









CONCLUSION

Christianity has brought about tremendous change in the life, belief and worldview of the Kukis. In the process of change, the communitarian nature of Kuki society and cultural heritages of their own origin are dissolved into the western way of life. The traditional is frequently set to one side and more popular expression sets in. Owing to their inability to differentiate the cultural from the religious, their folk music was considered as subservient to the western music. This resulted into change of value system and rejection of their native music in the Church. Today, in the mass mediated environment, the attitude of the Kukis towards folk music is aggravated by the tremendous influence of the western music with the help of radio, television, internet, etc. Taking these two aspects into serious consideration in this research, treatment is done on folk music in general, the nature of Kuki folk music in particular, the situation of Kuki folk music in Kuki Christian Church and theological reflection, so as to reveal the values of folk music, attitude of the Kukis towards their folk music, wrong understanding of folk music due to misinterpretation of the Bible, biblical mandate for folk music and the possibility of incorporating it into Christian worship. In doing so, there is growing confidence to change the iridescent folk music into a flourishing music in the secular and sacred world. Therefore, this attempt to rediscover and promote folk music in its purity, originality and dignity is mandatory, timely and necessary.
An exploration of folk music discloses its important distinctive characteristics such as, God-given; rooted in the heart of the people; simple, natural and participatory; learned almost by osmosis; and powerful medium of communication with God and one another. Because of its style, form and distinctive characteristics folk music projects and places itself into the heart of all the available genres of music, and thus, it is appropriate for use in praise and worship in the Christian Church. To rational human, who is endowed with the knowledge of love, to naturally love their own music is their obligation. If indifference is detected it may be due to failure of the person to understand the truth or to realise the immense value of folk music both as a means and an aid of worship. The study shows that by virtue of its musical simplicity, rural and archaic evocations of its texts, if assimilated into Christian teaching, folk music can play important role in maintaining the ambience of life and worship of the people.
The Kukis are the people who can be easily identified from their rich traditions of music, which is closely associated with land, forest, animals and plants. For them, music is an indispensable medium of expressions, learning and building relationship, and the driving force of their works, festivals and spending leisure time. From the analysis of the twelve (12) forms of Kuki songs and four (4) forms of instruments, it is discovered that the Christian concepts of God the creator, the sustainer, the provider and the in-dweller, and the concepts of judgement, life after death, heaven and hell are already reflected more or less the same in the folk songs. Along these lines, it can be reasoned unambiguously that Christianity is the ‘sophisticated demonstration’ of the Kukis’ primal belief. Therefore, the need arises for the folk songs and folk musical instruments to be rediscovered and splendidly utilized in worship by preserving the intrinsic nature and by incorporating Christian messages. This way, the Kuki people can enjoy a new form of liberation from foreign cultural domination and come to understanding the real taste of Christianity in their own format.
The study divulges that worship and music are inter-connected and complementary to each other. Like flesh and blood there is an intense and inseparable bond between Christian worship and music. As such, there is a widespread and increasing demand that Church music should more nearly approach the standard of efficiency which is found in secular music, and to meet this demand the Church is mechanically orienting towards the secular music at the expense of folk music. The Kuki Christians keep on sidelining their folk music by projecting it as anti-Christian for a more lucrative means of life through modern technology. Majority of both the leaders and congregations don’t understand the real difference between western music and folk music and also have no feeling that their music really matters. The field research indicates that the state of folk music in the Kuki Christian Church is unimaginable; willingly the people seem to have dumped it because it is thought of as rustic, uncivilized, unsuitable, unattractive and heathen. Fortunately, there are some attempts made by organisations and individuals for the improvement in a serious spirit but the public aren’t much attracted to these efforts. In order to feel the more prominent presence of Christianity among the Kukis, all the people have to be ready to incorporate the folk music into Christian life, to enrich the Gospel and make it a real Kuki Christianity. In this fashion, Christianity can be an integral part of society capable of encompassing and digesting the cultural forms and idioms which are society’s means of expressing itself.
It is admitted that Christianity is bettering the life of the Kukis culturally, socially, economically and religiously but one area which needs cross-checking is in relation to the over-influence of western music in worship that places the Kuki music into a vastly misunderstood area as far as information is gathered from the extant written sources and field study is concerned. Often, musical ball bounces back and forth between traditional and popular, which has great value is thrown out in favour of the fresh and unproven. Now, the people have gone too far that their concept of Christian music is completely founded on the western music. Nevertheless, looking back the Bible carefully, it is noticed that there is no such indication that one particular type of music is ‘Christian music’ and the rest unchristian. So, the benchmark standard to measure the viability of music is that, if it has biblical mandate and if it serves the two main purposes of music in worship i.e., offering to God and edification of the faithful. On the other hand, music, though reigning supreme in the human heart, is subjected to restrictions of time, place and education, unless the context is seriously considered, the relative beauty of music couldn’t be grasped. In this way, only Kuki folk music may be appreciated as the suitable kind of music to be undauntedly adopted in worship in Kuki Christian Church. So that, the expectation of the giver God from them to make heavenly use (offering to God) of it can be fulfilled and that will much more redound to their eternal comfort, if with voices the people join their hearts when singing in His holy place. Moreover, the Kuki Christian Church must use music not just for the sake of elegance but for expressions of the strong emotions, finer feelings of human and effective means of communicating the Gospel.
Today, the western missionaries who had no knowledge about the cultural conditions of the people cannot always be blamed for not having acculturated the worship but every responsibility of enculturation rests in the hands of the Kukis who have been born and brought up in their own cultural tradition. Courage and determination is needed to accept the reality and to promote folk music in the Church worship. Rediscovering the values of the lost traditions of music and popularizing it means utilizing it without diluting the intrinsic nature. It doesn’t mean that one should go back to primitive period of “bows and arrows” again or to bluntly rediscover all the forms of the old rustic music. The intention is that the Gospel message has to be interpreted within the context of the Kuki culture in order to make it meaningful. All sorts of folk music which are supportive to Christian teaching should be incorporated with the teachings of the Bible and appropriately moulded as a channel to convey the Gospel. By making use of the folk tunes, songs and instruments in the worship services, festivals and celebrations the Kukis can come closer towards God and the foreignness of Christ can be overcome. On the other hand, it is important to know that the attempt to revitalize and castigate the folk musical traditions doesn’t mean either to belittle the achievements of the western music, but to understand that the past contains much from which all can learn without slavishly imitating for the establishment of suitable musical creativity in the Church. Crossing all the hurdles, the Kuki Christians must go ahead undaunted and must be careful in balancing valid contemporary expression with that which is worthy from the traditional music.
It is to be noted that in reality there cannot be Christianity without any historical setting. Christianity in itself has no particular culture to be upheld. The Jewish culture found in the Bible is the Christian culture for the Jewish Christians and the western Christian culture brought to the Kukis by the missionaries is the Christian culture of the western Christians. In the same way, the Kuki Christians must maintain their own culture in practising Christianity because it is their Christian culture. It is not only important that Kuki Christians should live worthily in their faith as Christians, but also should be worthy of their citizenship as Kukis. Therefore, there should be a convergence of the two modes of existence - Kuki Christians must be identified as true Christians as well as true Kukis. In other words, all the Kukis must be convinced of their cultural identity to live a meaningful and effective life. This model can offer a promising vent towards the realization of the true teaching of the Bible and the leeway of appropriating folk music meaningfully in Christian worship. Only then, Kuki Christians will enjoy the desired taste and beauty of music and also receive the Gospel understandably through it, which the western music failed to provide them for so long time. This humble venture is only an indicative attempt to rediscovering folk music in worship so as to give immeasurable inspiration for the work to be carried on to higher heights or greater goals. Therefore, further in-depth or extensive study on this particular subject is called for and will be helpful in formulating an acceptable model of worship relevant to the Kuki Christian Church.




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Haolai, Alun K. KBC Diary (1958-1993). Vol. 1. Imphal: Alun K. Haolai, 1994.
Hustad, Donald P. Jubilate: Church Music in the Evangelical Tradition. Carol Stream: Hope, 1981.
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Jamir, A. Temjen. Popularisation of Folk Music in Christian Worship. Mokokchung, Nagaland: Clark Theological College, 2001.
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Kipgen, Mangkhosat. Christianity and Mizo Culture. Jorhat: Mizo Theological Conference, 1997.
Kleinig, John W. The Lord’s Song: The Basis, Function and Significance of Choral Music in Chronicles. Sheffield: JSOT Press, 1993.
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Laldena, Christian Missions and Colonialism: A Study of Missionary Movement in North East India with Particular Reference to Manipur and Lushai Hills 1988-1947. Shillong: Vendrame Institute, 1988.
Lawhead, Steve. Rock Reconsidered. Downers Grove: Inter-varsity Press, Illinois, 1981.
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Longchar, Wati A. Traditional Tribal Worldview and Modernity. Jorhat: Eastern Theological College, 1995.
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Lunkim, T. Kuki Christian Church. Imphal, Manipur: Upper Room Press, Kuki Christian Church, 1998.
Lunkim, T. Kuki Christiante Hetding (Precepts for Kuki Christians). Imphal: Kuki Christian Church, n.d.
Manuel, A.D. Communication and the Church. Bangalore: United Theological College, 1994.
Martin, Ralph P., ed. Worship in the Early Church. Grand Rapids: Eerdmans, 1974.
Maus, Cynthia Pearl. The Old Testament and the Fine Arts. New York: Harper and Brothers Publishers, 1954.
Meerwarth, A.M. The Andamanese, Nacobarese and Hill Tribes of Assam. New Delhi: Manas Publications, 1919.
Miller, Hugh M. History of Music. New York: Barnes and Noble Incorporation, 1971.
Misao, Jangkhosat C. Kukite Chondaan (Custom and Culture). Kangpokpi: Kuki Custom, Culture and Tradition Centre, 2001.
Mitchell, Robert H. Ministry and Music. Philadelphia: The Westminster Press, 1978.
Orr, N. Lee. The Church Music Hand Book for Pastors and Musicians. Nashville: Abingdon Press, 1991.
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Paranjoti, Violet. The Church and Western Music. Bombay: Gospel Literature Service, 1972.
Pratt, W.S. Musical Ministries in the Church. New York: G. Schirmer Incorporation, 1923.
Priestly, M. Music Therapy in Action. London: Student Christian Movement Press, 1975.
Pudaite, Rochhunga. The Education of the Hmar People. Churachandpur: Sielmat, 1965.
Rao, O.M. Focus on North East Indian Christianity. Delhi: Indian Society for Promoting Christian Knowledge, 1994.
Ray, Sukumar. “Folk Music in Bengal.” In Indian Music: A Perspective. Edited by Gowry Kuppuswamy and M. Hariharan. Delhi: Sundeep Prakashan, 1980.
Sambamurthy, P. History of Indian Music. Madras: The Indian Music Publishing House, 1994.
Sanjenbam, Vedaja. Manipur: Geography and Regional Development. New Delhi: Rajesh Publications, 2009.
Sanyal, Ritwik. Philosophy of Music. New Delhi: Somaiya Publications Private Limited, 1987.
Scott, James George. Gazetteer of Burma and the Shan States. Rangoon: Myanmar, 1900.
Shakespear, J. The Lushei Kuki Clans. Part 1 and 2. N.p.: 1912, reprinted, Aizawl: Tribal Research Institute, 1975.
Shaw, William. Notes on the Thadou Kukis. Edited by. J.H. Hutton. Calcutta: The Asiatic Society of Bengal, 1929.
Singson, D. Dr. Tongkhojang Lunkim and His Lectures. Imphal: Trulock Theological Seminary, 1994.
Slotki, W. Chronicles, Soncino Books of the Bible. London: Soncino Press, 1952.
Songate, Hanglien L. Hmar History. Churachandpur: Manipur, 1977.
Sonthong, H. Shongthu Kuki Custom Book. Imphal: Tarun Printing Work, 1978.
Sonthong, H. Thugil Bu (Book of Valuable Contents). Imphal: Kuki Baptist Convention Printing Press, 1996.
Soppitt, A.C. A Short Account of the Kuki-Lushai Tribes. Aizawl: Firma KLM Private Limited, 1976.
Takatemjen. Studies on Theology and Naga Culture. Delhi: Indian Society for Promoting Christian Knowledge, 1998.
Terry, Lindsay. How to Build an Evangelistic Church Music? New York: Thomas Nelson Incorporation, 1974.
Thanga, L.B. The Mizos: A Study in Racial Personality. Guwahati: United Publishers, 1978.
Torrey, C.C. The Chronicles History of Israel. New Heaven: Yale University Press, 1954.
Uderhill, Evelyn. Worship. London: Nisbed and Company GB, 1936.
Vaiphei, Kim. Manipur Gamma Christian Hou Hunglut Chuleh Kukite Lah’a Pathen Hou Kipat Thusim (The History of the Coming of Christianity in Manipur and among the Kukis). Translated by Rev. Seikholet Singson. N.p.: n.p., 1999.
Vaiphei, Prim S. Church Growth among the Hill Tribes of Manipur. Imphal: Goodwill Press, 1979.
Vaiphei, Prim S. The Growth of Baptist Church in Manipur. Imphal: Goodwill Press, 1981.
Vaiphei, Th. Lamboi. Advent of Christian Mission & Its Impacts on the Hill-Tribes in Manipur. Imphal: Frontier Mission Society, 1997.
Vanlalchhuanawma. Christianity and Subaltern Culture: Revival Movement as a Cultural Response to Westernization in Mizoram. Delhi: Rev. Ashish Amos of the Indian Society for Promoting Christian Knowledge, 2006.
Vumson. Zo History. Aizawl: Firma KLM, Private Limited, n.d.
Webber, Robert E. Worship Old and New. Michigan: Grand Rapids, 1982.
White, Emmons E. Appreciating India’s Music. Madras: The Christian Literature Society, 1957.
Willet, Herbert Lockwood. Studies in the First Book of Samuel. Illinois: The University of Chicago Press, 1917.
Wilson, John F. An Introduction to Church Music. Chicago: Moody Press, 1965.
Wonde, A.S. Vandes. The Word of the Old Testament. Michigan: William B. Eerdmans Publishing Company, 1982.
Zawla, K. Mizo Pi Pute leh an Thlahte Chanchin (The History of Mizo Ancestors and their Descendants). Aizawl: Hmar Arsi Press, 1976.
ENCYCLOPAEDIAS, COMMENTARIES AND DICTIONARIES
“Kukies.” Encyclopaedia of Indian Tribes and Castes. Vol. 12. Edited by S.M., Channa. New Delhi: Cosmo Publication, 2004.
Bauman, Richard. “Folklore.” International Encyclopedia of Communications. Vol. 2. Edited by Erik Barnouw. New York: Oxford University Press, 1989.
Compton’s Encyclopedia. Vol. 8. Chicago: A Britannica Publication, 1987.
Dickinson, Peter. “Music as Worship.” A New Dictionary of Liturgy and Worship. Edited by J.G. Davies. London: Student Christian Movement Press Limited, 1986.
Douglas, J. D., ed. The New Bible Dictionary. London: Inter-varsity Press, 1970.
Encyclopaedia Britannica. Vol. 15. Chicago: William Benton of Encyclopaedia Britannica Incorporation, 1970.
Encyclopaedia Britannica. Vol. 2. New York: Encyclopaedia Americana Corporation, 1951.
Freedman, David Noel et al., eds. The Anchor Bible Dictionary. Vol. 4 (K-N). New York: Doubleday, 1992.
Freedman, David Noel, ed. Dictionary of the Bible. Michigan: William B. Eerdmans Publishing Company, 2000.
Gallaher, Robin. “Deborah.” The IVP Women’s Bible Commentary. Edited by Catherine Clark Kroeger and Mary J. Evans. Illinois: Intervarsity Press, 2002.
S.V., ed. Encyclopaedia Britannica. Vol. 15. Manila: William Benton Publisher, 1972.
Weaves, Dorothy Jean. “Hannah.” The IVP Women’s Bible Commentary. Edited by Catherine Clark Kroeger and Mary J. Evans. Illinois: Intervarsity Press, 2002.
UNPUBLISHED MATERIALS
Changsan, D.M. “The Idea of Creation in the Traditions of the Kukis.” Manuscript of a lecture delivered at a Seminar on Theologizing in the Northeast Indian Context from Kuki Perspective, at Trulock Theological Seminary, Imphal, June, 1996.
Chongloi, Hemkhochon. “An Analysis of the Kuki Understanding of God: An Attempt Toward Recapturing Kuki Primal Religion.” M.Th. thesis, Serampore College, 1995.
Chongloi, Satkhokai. “Culture and Traditional Unity: Context of the Church’s Mission among the Kuki People in Manipur, India.” D.Min. dissertation, The Union Theological Seminary - Philippine Christian University, 2003.
Doungel, Henkholun “Sociological Study of the Customary Laws of the Kukis.” M.Phil. thesis, North Eastern Hills University, 1992.
Doungel, Henkholun. “A Study of the Selected Civil Laws of the Book of the Covenant and its Implication to the Customary Laws of the Kukis of Manipur.” M.Th. thesis, Union Biblical Seminary, 2003.
Haokip, L.H. “A Study of Interaction between the Kuki Religion and Christianity.” M.Th. thesis, Serampore College, 1995.
Haokip, Thongkhosei. Towards Overcoming Church Division in Manipur: A Perspective Drawn from the Kuki Peoples’ Experience. Manuscript of a lecture delivered at a Seminar at Academy of Integrated Christian Studies on 3rd September 2004.
Hatlang, Goujakap “Impact of the Gospel of Christ upon the Paite People.” D.Miss. dissertation, SAICS, 1996.
Khamkholun, Leivang. "Christian Leadership: A Model for the Evangelical Convention Church in India.” M.Th. thesis, Seoul University, 1996.
Lunkim, T. Christian Church le Anatoh. Manuscript of a lecture delivered at the General Assembly of the Kuki Christian Church held at Kangpokpi Christian Church, Sadar Hills District, Manipur on 11th February, 2011.
Lunkim, T. Kuki Christian Council (Kiboldoh Lonale Tohgon Ni). Manuscript of a lecture delivered on Kuki Bible Day at Imphal Christian Church on 20th June, 2008.
Shimray, Shimreingam. “The Impact of Christianity on Tangkhul Nagas of Manipur: A Socio-Cultural Analysis.” M.Th. thesis. Tamilnadu Theological Seminary, 1994.
Singson, D. “The Kuki Christian Church of India.” D.Miss. dissertation, Illinois, Evangelical Divinity School, 1985.
Thumra, Jonathan H. “The Religion of the Meiteis of Manipur: A Study of the Impact of Hinduism with Special Reference to the Charity Vaishnavism, on the Meitei Culture.” D.Th. dissertation, Senate of Serampore College/University, 1971.
JOURNALS, DOCUMENTS AND RECORDS
Bowler, David. “The Heritage of Music.” Sola Scriptura: A Journal for Biblical Studies. Vol. 3. (January 2002): 73.
Doungel, Chungkhokai. “Chavangkut: Autumn Festival.” In Kut Festival-Souvenir 1991. Imphal: The Eastern India Offset and Letter Printing press, 1991.
Kuki Baptist Convention, KBC Thusim (History of KBC). Imphal: Kuki Baptist Convention, 1993.
Kuki Inpi, Kuki Customary Law (Kukite Chondan). Manipur: Custom and Culture Department, Kuki Inpi, 2000.
Kuki Inpi, Brief Outlines of the Kuki Inpi (Kuki Government). Imphal: Publicity Wing, Kuki Inpi, 2004.
KUMHUR, The Kuki People and Their Country. Washington D. C.: The Publicity Wing, Kuki Movement for Human Rights, 2005.
MBC, Manipur Baptist Convention, Annual Report 2000-2001. Imphal: MBC, n.d.
INTERVIEW AND PERSONAL CORRESPONDENCE
Changsan, Henvung. Executive Secretary of Kuki Christian Church-Tripura Synod. Interview, 29 January 2012.
Changsan, Khupneh. Deacon of Lhungjang Christian Church, Sadar Hills District. Interview, 18 June 2011.
Changsan, Khupneh. Deacon of Lhungjang Christian Church, Sadar Hills District. Letter to the researcher, 23 August 2011.
Chongloi, Lhunkholam. Folk Musician, Langol Housing Complex, Imphal. Interview, 4 June 2011.
Chongloi, Lhunkholam. Folk Musician, Langol Housing Complex, Imphal. Letter to the researcher, 1 October 2011.
Chongloi, Satkhokai. Principal of Restoration Theological College, Imphal. Interview, 29 June 2011.
Hangsing, Thangkhochon. Executive Secretary of Kuki Christian Church-Nagaland Synod. Interview, 20 January 2012.
Haokip, Thangkhosei. President of Kuki Inpi Manipur (KIM). Interview, 20 June 2011.
Haokip, Thangminchon. President of Kuki Khanglai Kiloikhom (Christian Youth Fellowship)-Manipur Synod, Kuki Christian Church. Interview, 5 June 2011.
Haolai, Avum. Executive Secretary of Kuki Christian Church-Assam Synod. Interview, 18 January 2012.
Khongsai, Chochong. Treasurer of Kuki Christian Church-Manipur Synod. Interview, 15 January 2012.
Khongsai, Hollet. Principal of Trulock Theological Seminary, Imphal. Interview, 27 June 2011.
Khongsai, Lungjathang. President of Konghom Kuki Inpi, Sadar Hills District. Interview, 11 June 2011.
Khongsai, Nemjating. First Generation Christian, Lhungjang Village, Sadar Hills District. Interview, 15 June 2011.
Touthang, Hemlet. Pastor of Chongthu Baptist Church, Bilei Village. Interview, 21 June 2011.


WEBLIOGRAPHY
Shaked, Guy. “Music in the Bible.” Available at URL: //http://www.geocities.com/Vienna/Choir/4792/bible.html (25 July 2011).
Singh, Pukhrambam Lalitkumar. “The People of Manipur.” Available at URL: //http://www.e-pao.net (25 January 2011).
“General Characteristics of Folk Music.” Available at URL: //http://www.britannica.com/EBchecked/topic/212168/folk-music/261472/General-characteristics-of-folk-music (1 April 2012).
“Latin American Music.” Available at URL: //http://en.wikipedia.org/wiki/Latin_American_music.html (30 July 2011).
“Folk Music.” Available at URL: //http://en.wikipedia.org/wiki/Folk_music# (24 July 2011).
“Indian Folk Music.” Available at URL: //http://www.artistspages.org/indian_folk_music.htm (5 August 2011).
“Folk Music.” Available at URL: //http://www.culturalindia.net/indian-music/folk-music.html (6 August 2011).
“Folk Music.” Available at URL: //http://www.indianetzone.com/6/folk_music.htm (8 August 2011).
“Folk Music.” Available at URL: //http://chandrakantha.com/articles/indian music/folk music.html (11 August 2011).
“Provisional Population Totals Paper 1 of 2011: Manipur,” Office of the Registrar General and Census Commissioner, Ministry of Home Affairs, Government of India, Available at URL: //http://censusindia.gov.in/2011-prov-results/prov_data_products__manipur.html (13 October 2011).
Haokip, George T. “Kuki-Chin-Mizo: The Lost Tribe of Israel.” In The Sangai Express (11 September 2008). Available at URL: //http://thesangaiexpress.manipur.us/2008/09/11/Others/Articles.htm (8 October 2011).

APPENDIX I
QUESTIONNAIRE

This questionnaire is prepared decisively to gather the opinions of Church members from all sections of the Kuki society to support the research. It is meant only to obtain valuable response and important information from the people, which is strictly an academic exercise.

Name: __________________________________________
Sex: (a) Male _____
        (b) Female _____
Age: _____
Marital Status: (a) Married _____
                         (b) Single _____
Occupation or Designation: _____________________________________
Qualification: (a) Under-Graduate _____
                       (b) Graduate _____
                       (c) Post-Graduate _____
Full Address: __________________________________________________________              
        ________________________________________________________________

Q.1. Do you like folk music?
(a) Yes _____
(b) No _____

Q.2. Are you interested in watching or listening to folk music programme on TV or radio?
(a) Yes _____
(b) No _____
Q.3. Which of the following type of music are you familiar with? Or Which one do you prefer more?
(a) Folk music _____
(b) Western music _____
(c) Hybrid of folk and western musics _____

Q.4. Have you ever witnessed the Church adopting any element of the traditional folk music in worship service?
(a) Yes _____
(b) No _____

Q.5. Does your local Church adopt folk music in worship?
(a) Yes _____
(b) No _____
(c) Don’t Know _____

Q. 6. Which of the following type of music is commonly used in the Church worship service?
(a) Folk music _____
(b) Western music _____
(c) Hybrid of folk and western music _____

Q.7. Is folk song, an appropriate means for communicating the Gospel?
(a) Yes _____
(b) No _____
(c) Don’t Know _____


Q.8. In your opinion, is it necessary to rediscover or revitalize the value of Kuki folk songs and incorporating it in the Church worship?
(a) Yes _____
(b) No _____
(c) Don’t Know _____

If yes, which one (s) can be effectively adopted or used in the Church worship?
(a) Occupational Songs (Khong La, Lawm La, Lamlhang La) _____
(b) Valour Songs (Han La, Gal La, Jangcha La) _____
(c) Feast and Festival Songs (Sa-ai La, Salu La, Chang-ai La, etc.) _____
(d) Mourning Songs (Lapi, Latah, Kaa La) _____
(e) Songs of History (Phung Lapi, Thimjin La, Tuipi-san-kan La) _____
(f) Love Songs (Khuptingle Ngambom La, Nanglhunle Jonlhing La, etc.) _____
(g) Songs about Animals (Sa La, Jangsel-kap La, Sangah La, etc.) _____
(h) Songs based on Tune (Lakoi La, Satnem La) _____
(i) Recreational Children’s Songs (Khongbai La, Luthelthel La, etc.) _____
(j) Lullaby Songs (Nao-oi La) _____
(k) Seasonal Songs (Kum-kiheichin La) _____
(l) Get-together Songs (Lenkhom La) _____

Q.9. In your opinion, can folk musical instruments be appropriately adopted in Kuki Christian worship?
(a) Yes _____
(b) No _____
(c) Indifferent _____



If yes, which one (s) will be suitable?
(a) Solid Instruments (Khutbeh, Dah, Selki, etc.)  _____
(b) Percussion Instruments (Khong) _____
(c) Wind Instruments (Gosem, Pengkul, Sumkon, etc.) _____
(d) Stringed Instruments (Selangdah, Godah) _____

Q.10. Today, in the technological mass media saturated environment where western music is inevitably endorsed by all people, do you believe that folk music as an alternative medium has vital role to play for the liberation and unification of the people?
(a) Yes _____
(b) No _____
(c) Indifferent ____

Q. 11. As a Christian, what is your personal attitude towards folk music?
Positive Attitude
(a) Precious _____
(b) Spiritual _____
(c) Civilized _____
Negative Attitude
(a) Worthless _____
(b) Heathen _____
(c) Uncivilized _____





APPENDIX II
FOLK MUSIC IN THE BIBLE
1. Folk Music in the Old Testament
Music played an important part in Hebrew culture since the time of Jubal, the son of Lamech and the inventor of music (Gen. 4: 21). The Bible is the main source for the study of music in ancient Israel related to the sacred service (2Chr. 29: 25) and praise of God (Ps. 150); the apostrophic-prophylactic (Exod. 28: 33) and ecstatic-prophetic (Isa. 10: 5); communication (Num. 10: 1-9); War (2Chr. 20: 28); events of joy (Exod. 15: 20) and sorrow (Isa. 14: 11). Various accounts suggest that different styles of singing were also employed like, solo (2Sam. 23: 1), choral (2Chr. 20: 21), a Capella (Exod. 15: 1) or with instrumental accompaniment (Ps. 149: 1-3), responsorial (Ezra 3: 10-11), or antiphonal (1Sam. 18: 6-7).
1.1. Vocal and Instrumental Music: Some of the important vocal and instrumental music evident in the Old Testament are briefly discussed in the following.
(a) Israelites’ Song: It is the song of thanksgiving accompanied by tambourine and dances performed by the people along with Moses, Miriam and Aaron after deliverance from Egyptian captivity and destruction of Egyptian army in the Red Sea (Exod. 15:1-21).  Israelites’ song with dance was the organic part of the praise and worship in occasion such as, at the receiving of the laws of God at Mount Sinai (Exod. 19: 16-19), at the threshing of grain and treading of grapes, celebration of desert well, and in welcoming the valour army from battle.
(b) Deborah’s Song: It was in the second half of the twelfth century B.C.E. Deborah, the only female judge in the Old Testament has proclaimed the greatness of Yahweh to the contagious nations through triumph song, which is regarded as the finest ode of triumph preserved in Israelite literature (Judges 5).
(c) Hannah’s Song: Hannah expressed thanks to the Holy God and the Rock for answering her prayer for a son, Samuel. Her song foretold the coming of the first king of Israel, the expected messiah. Thus, it became the national hymn of victory (1Sam. 2: 2-11).
(d) Psalms: The Book of Psalms  or the ‘hymnal of Israel’ seemed to have been compiled during and after the Babylonian Exile. The songs are deep expressions of experience, gratitude, triumph, thought, blessing, emotion, adoration, reverence, awe, praise and faith. In Psalms praise and worship is done by shouting, crying, clapping, singing, dancing along with playing of instruments like, Tambourine, Harp, Trumpet, Strings, Cymbals and so on (Ps. 9: 1-2; Ps. 33: 1-3; Ps. 47: 1; Ps 81: 2; Ps. 105: 1-2; Ps. 149: 1-3; Ps. 150: 3-6).
(e) The Song of Songs: The Song of Solomon is the finest collection of beautiful songs of love. 1Kgs. 4: 32 clearly bring out the number of song written by King Solomon as 1005 which may include “The Song of Songs”.
(f) Hezekiah’s Song: In gratitude towards God for having him yet fifteen more years of earthly life, King Hezekiah sang the doxology accompanied by stringed instruments (Isa. 38: 20).
(g) Music in the Chronicles: The first Book of Chronicles tells us how very carefully the music of the Temple was to be organised: seventeen singers, three cymbal players, eight psalterers, six harp players, seven priests to blow the trumpets and the wise chief Levite must be song master. David instituted the choir and as the agency for the ritual pronouncement of God’s name and His accomplishments at the Jerusalem Temple, at the command of the Lord through prophets Nathan and Gad (1Chr. 16: 4, 8, 14, 35). In Chronicles the sacrificial worship at the Temple is seen as inextricably intertwined with the functions of music such as, invocation of God’s presence, thanksgiving, prophecy, engaging in supernatural warfare against the Lord’s enemies, invitation of congregation both Israelites and other nations (1Chr. 6: 31-47; 9: 14-16; 15: 1-16; 16: 39-40; 23: 2-5; 2Chr. 5: 11-14; 7: 1-6; 8: 12-15; 20: 18-30; 30: 21-22; 34: 12-13).
(h) David’s Music: With the power of music David overthrew the forces of darkness, casted the spirit away and calm down the troubled Saul (1Sam. 16: 23). David also danced to the tune of music as a sign of triumph before the Ark of the Covenant (1Chr. 13: 8).
(i) Temple Music: In Hebrew worship, music was considered as the language of Jewish liturgy. Music was used to intensify devotion, prayer and praise, and even the scriptures were not uttered without melody.
1.2. Musical Instruments: At present some 700 artefacts - actual remains of musical instruments have been excavated,  however, focus is made only on some of the important instruments found in the Old Testament.
(a) Horn (Shofar): Shofar is made of ram’s horn; its shape is semi-circular, capable of producing one tone and is used mostly for fanfares or signals.  It was a solo instrument at significant cultic and national events: theophanies (Exod. 19: 13-16), the Day of Atonement (Lev. 25: 9), the New Moon feast (Ps. 81: 3), transporting the Ark (2Sam. 6: 5), during battle (Judges 3: 27), the Day of Judgement (Joel 2: 1), in victory celebrations (1Sam. 13: 3) and for destruction of the walls of Jericho (Josh. 6:20). Trumpet was the one used by Nebuchadnezzar’s orchestra (Daniel 3). This long horn with a turned-up end was the national trumpet of the Israelites and that remains to our day in the synagogue from the music played in the Temple.
(b) Trumpet (Hatsotsra): Trumpet is made of beaten silver or bronze or sometimes of ram’s horn (Ps. 150: 3 – 5; Num. 10: 2). It is blown for communication, alarm, war, celebration, at the temple service, at coronations and in connection with vows to God (Num. 10: 2-10; 2Kgs. 12: 13; 11: 14; 2Chr. 23: 13; Ezra 3: 10; 2Chr. 15: 14).  As ordered by God, Moses made two trumpets for summoning the people, directing the site for camping, informing about war and festivities. It was principally not a martial instrument but a sacred instrument.
(c) Lyre: Lyre is a small harp like instrument which was probably borrowed from the Egyptian culture.  It is made of Almug wood with 12 and 10 strings and were usually played with a plectrum (1Kgs. 10: 11-12; 1Sam. 16: 16; Ps. 33: 2). Lyre is associated with nearly every type of musical occasion from praise of God and prophecy (Ps. 150: 3; 1Sam. 10: 5) to grief, victory celebrations (2Chr. 20: 28), debauchery (Isa. 5: 12),  and in banquets and Temple worship (Ps. 81: 2; 1Chr. 15: 16; 2Chr. 5: 12; Isa. 24: 8; Ezek. 26: 13).
(d) Harp (Kinnor): The Kinnor is the first musical instrument mentioned in the Bible (Gen. 4: 21), and is the only stringed instrument referred to in the Pentateuch. It is the instrument that David played with his hand to cast away the evil spirit from Saul (1Sam. 16: 23). It is a wooden instrument, David’s being made probably of Cypress (2Sam. 6: 5).
(e) Lute: It is a guitar like instrument used by the Israelites, Mesopotamians, Hittites and Egyptians.
(f) Psaltery: The word “psaltery” is derived from Greek Psalterion, which denotes a kind of harp instrument plucked with the fingers without plectrum, primarily made of Cypress wood and later of Almug wood. David was able to play both the Psaltery as well as the Harp.
(g) Cymbals: There are two types of cymbals such as saucer like plates (7-12 cm), held by hand loops, beaten in a vertical position, and smaller ones (3-7 cm), fastened to two fingers of one hand. The Bible mentions cymbals played by Levites at the religious ceremonies (1Chr. 15: 19; Ezra 3: 10; Neh. 12: 27; 1Chr. 15: 16; 2Chr. 5: 13; 2Sam. 6: 5 and Ps. 150: 5).
(h) Drum/Timbrel/Tambourine (Top): The book of Genesis mentions two descendents of Cain-Tubal, who have invented the timbrel.  This instrument has a form of 25-40 cm, frame over which was stretched a membrane. Often, it was played by women as a solo instrument in connection with dancing. This had both cultic and secular use (Exod. 15: 20; Ps. 149: 3) and prophetic ecstasy (1Sam. 10: 5). Drums were played for joyful feasts (Isa. 5: 12), processions (1Sam. 18: 6) and other celebrations except worship (Ps. 81: 2; 2Sam. 6: 5; Gen. 31: 27).
(i) Bells/Jingles (Pa’amon): This instrument could have come from the Egyptians. Bells of gold, placed between pomegranates were attached to the lower hem of the Aaron’s high priestly robes (Exod. 28: 33, 34; 39: 25, 26). It also refers to the metal discs or cups fixed to the bridles of horses either as an ornament or in order to produce a jingling sound.
(j) Flute (Saraq): It is a pipe instrument probably blown from the end. In the Old Testament, Saraq is mentioned only once in Daniel chapter 3.
(k) Reed Pipe (Halil): A single or double-pipe reed instrument similar to the clarinet or oboe is used to accompany ecstatic prophecy (1Sam. 10: 5), festival processions (Isa. 30: 29), joyful revelry and mourning (1Kgs. 1: 40; Jer. 48: 36) as well as secular debaucheries (Isa. 5: 12).
(l) Organ (Ugab): It is often identified as a vertical flute which is sometime mistaken as a stringed instrument. The word occurs only four times in the Old Testament as an instrument of praise, joy and mourning (Gen. 4: 21; Ps. 150: 4; Job 21: 12; 30: 31).
(m) Cornet: An idiophone, a clay rattle consists of an oval hoop on a handle, affixed with rods carrying loose rings is jangled together when it is shaken. In the Bible, various shapes of rattle were seen as used in orgiastic cultic activities (2Sam. 6: 5; 1Chr. 13: 8).
2. Folk Music in the New Testament
2.1. Vocal Music: It is evident that the destruction of the Jerusalem temple in 70 C.E. set the stage for new forms of musical expression among the Jews. Restriction is made on the public music and dance on the Sabbath; hymns borrowed from the synagogue worship were modified to reflect their new theological understanding like the “worthy art thou” hymnic fragments in Rev. 4: 11; 5: 9-10, and the songs of victory and assurance in Rev. 7: 15-17; 11: 17-18.
In the New Testament, emphasis on music is upon personal or congregational singing. In the Gospel of Luke the angels are singing their message of peace and goodwill, announcing the birth of Jesus (Lk. 2: 13-14).  In the parable of the prodigal son, on the return of the son, the father warmly welcomes the son with music and dancing (Lk. 15: 21-25). We find mention of the hymn sung by Jesus and his disciples after the meal in the upper room before Jesus went up the mount of Olive (Matt. 26: 30; Mk. 14: 26) which probably might have been the hallel.  Paul advises two of the young churches to “teach and admonish one another in all wisdom, and... sing psalms and hymns and spiritual songs with thankfulness in your hearts to God” (Col. 3: 16; cf. Eph. 5: 19). He suggests to the Corinthian Church that “I will sing with the spirit and I will sing with the mind also” (1Cor. 14: 15). James exhorts any of his readers who are suffering to pray; any who are cheerful to sing praise (James 5: 13). Paul and Silas exemplify the same convictions in the Philippian jail as they first pray and then sing (Acts 16: 25). In Hebrews we find the affirmation, “In the midst of the congregation I will sing praise to thee” (Heb. 2: 12), and similarly in Romans, “Therefore I will praise thee among the Gentiles, and sing to thy name” (Rom. 15: 9). In Revelation, John heard the sound of music before the throne-the song of Moses and the song of the Lamb as a characteristic expression of the redeemed. (Rev. 5: 9; 14: 3; 15: 3). Today, the songs in the New Testament are used in the liturgy of the Church: the Magnificat (Lk. 1: 46-54), Benedictus (Lk. 1: 64-79) and Gloria in Excel Sis Deo (Lk. 2: 14).
2.2. Musical Instruments: There are four musical instruments mentioned in the New Testament.
(a) Single or Double-Pipe: This is a popular Greco-Roman reed instrument played both at weddings and funerals (1Cor. 14: 7; Matt. 9: 23; 11: 17).
(b) Lyre: This may be a large Roman instrument (Rev. 14: 2).
(c) Trumpet: This is the most frequently mentioned instrument (11 times) in the New Testament (1Thess. 4: 16; 1Cor. 15: 52)
(d) Cymbals: The “noisy gong” (1Cor. 13: 1) was probably a resonating device, a bronze vase at the back of the Greek theatre.













APPENDIX III
KUKI NATIONAL ANTHEM (KUKI NAM LA)

1. Chungmang Pathen nei choiyo,
Kagam dei um Kuki gam,
Solam Chindung hin juiye,
Chinte lalna Chin gamse,
Lhanglam Arakan gam hop,
Vailu saina Lushai gam.
2. Lhumlam twikhanglen’a lut,
Sahlam jonin achetai,
Chittagong kongkaimun ho’n,
Tipra gamsung hopsoh in,
Hingchal tolpi kimvelsoh,
Samang vaina Cachar gam.
3. Pute lamna Lamding gam,
Hakai leipha Karbi gam,
Changbang dimna Dimapur,
Nigai chutai Nichuhgal,
Ajuiye Kuki leidung,
Ahopai Khonuma dung.
4. Akaltou tai Patkai lhang,
Akan paitai Kanjang kho,
Eimani Manipur gam,
Pute kholui Kuki kho,
Solam luttai Kachin gam,
Chungmang Pathen neichoiyin.
Li Li Li... – Ha Ha Ha...

FREE TRANSLATION

1. Let Almighty lift us up,
The land I love Kuki land,
Eastern boundary is Chindung,
The land where Chins are reigning,
Including Arakan land,
All head hunting Lushai land.
2. Western boundary is the Sea,
It goes upward to the north,
Passing through Chittagong port,
Covering the whole Tripura land,
Circling areas of Silchar,
Including the whole of Cachar.
3. Running towards Lumding land,
Covering the soil of Karbi,
Including Dimapur land,
Passing through Nichuguard Gate,
Following Kuki Dolong,
Touching Khonoma river.
4. Running up to Patkai range,
Crossing Kanjang village land,
Covering Manipur golden land,
Passing though Kuki village,
Reaching Kachin in the East,
Let Almighty lift us up.
Li Li Li... – Ha Ha Ha...