The literature of the Chakmas is as rich and diverse as other literatures of the world.Chakmas are the leading tribe in Bangladesh and one of the leading in India.They have distinguished cultures,traditions and literatures.They have produced all genres of literature throughout history.Yet they have been cornered by the powerhouses in the history.In this paper we will try to show in spite of the hurdles they face against super powers throughout the ages they keep continue their journey in the cultural and literary domains.They have old,genuine and promising literature but still unfocused and unsung.Their literature is very original,dimensional and diverse in scope.Their poetry,epics,puzzles,songs,plays contain their distinct values,cultural identity,philosophy,daily domestic lives and their mythology.
A BRIEF INTRODUCTION TO THE CHAKMA PEOPLE:
The Chakmas, also known as the Changma, are a community that inhabits
the Chittagong Hill Tracts of Bangladesh, the North-East Indian States
like Mizoram, Arunachal, and Tripura and the Rakhine State of Myanmar.
In Myanmar the Chakmas are known as the Daingnet people. A tribal group
called Tongchangya is also considered to be a branch of the Chakma
people.
Scholars differ on the
origin and history of Chakma. Two main theories have been put forward
about the earlier history of Chakmas. Both assume that they migrated to
their present homeland. The most convincing theory links Chakmas with
central Myanmar and Arakan, and with groups such as the Sak/Chak/Thek
who live in the Chittagong hills and Arakan. It is evident that the name
Chakma derives from the Sanskrit word ‘Saktiman’, beholder of power.
Burmese kings hired Chakmas as ministers, advisers and translators of
Buddhist Pali texts. As employees of the king, they wielded power in
Burmese court disproportionate to their number.
The Arakanese
referred the Chakmas as Saks or Theks. In 1546, when the king of Arakan,
Meng Beng, was engaged in a battle with the Burmese, the Sak king
appeared from the north and attacked Arakan, and occupied Ramu of Cox’s
Bazar, the then territory of Arakan. But later defeated by the
Arakanese, the Chakmas entered the present Chittagong Hill Tracts and
made Alekyangdong present –day Alikadam, their capital. From
Alekyangdong they went north and settled in the present-day Rangunia,
Rauzan, and Fatikchari upazillas of Chittagong District.
The other
popular view assumes that Chakmas migrated to the Chittagong hills from
Champanagar in northern India. It is also guessed that the Chakma
derived their name from Champanagar. According to oral history, the
Chakma left Champanagar for Arakan in Burma where they lived for about
100 years. They had to leave Arakan for Bangladesh in or around
sixteenth century, when Bangladesh was governed by Muslim rulers, (The
Mughals) before the arrival of the British.
In Arakan the Chakmas
were nomadic shifting cultivators. But on the arrival in Bangladesh, the
Chakma chiefs made a business contract with the Muslim rulers,
promising to revenue or tax in cotton. In return they were allowed to
live in the hill region and engage in trade with the larger society.
By the late eighteenth century, British authorities had established
themselves in the southern districts of Bangladesh. The British formally
recognized a definite territory of the Chakma raja (the paramount
chief). In 1776, Sherdaulat Khan became the Chakma raja. He fought
unsuccessfully against the British. Further fighting between the Chakma
and the British took place between 1783 and 1785. In 1787, Janboux Khan,
son of Sherdoulat Khan, made a peace treaty with the British
Government, promising to pay the latter 500 mounds of cotton. The
British recognized the office of the Chakma raja throughout their rule.
Different Chakma rajas maintained good relations with the authorities of
central administration and the Chakma increasingly came in contact with
the Bengali people and culture. The present Chakma raja Debasish Roy
maintains a good relation with the government of Bangladesh.
The Culture of the Chakmas:
The Chakmas are the largest ethnic group in the Chittagong Hill Tracts,
making up more than half the tribal population. They are divided into
46 clans or Gozas totalizing a number of 0.8 million people. Almost all
the clans speak the same language, Changma or Chakma, have the same
culture, and profess the same religion, Theravada Buddhism.
Language:
The Chakmas speak a language which belongs to the Tibeto-Burman family.
In the present time many of them have been influenced by neighboring
Chittagongian, an Eastern Indo-Aryan language closely related to
Bengali. Many linguists now consider the modern Chakma language (known
as Changma Vaj or Changma kodha) part of the Southeastern Bengali branch
of Eastern Indo-Aryan language. Changma Vaj is written in its own
script, the Chakma script, also known as Ojhopath. Chakma language is
written in an alphabet which allowing for its cursive form, is almost
identical with the Khmer and the Lanna (Chiangmai) characters, which was
formerly in use in Cambodia, Laos, Thiland and southern parts of Burma.
Dress pattern:
The Chakmas are unique in their etiquette and can easily be
distinguished from other tribes. The Chakma women wear an ankle length
cloth around the waist which is also called Phinon and also a Haadi
wrapped above the waist as well as silver ornaments. The Phinon and
Haadi are colorfully hand weaved with various designs. The design is
first embroidered on a piece of cloth known as Alaam. The male wear
Phinon with a distinctive design.
Marriage and Family:
Polygamous marriages are permissible among the Chakma, although they are
less common today than in the past. Marriages are usually arranged by
the parents, but opinions of potential spouses are considered. If a boy
and girl love each other and want to marry, the parents usually give
their consent provided the rules of marriage allow them to do so.Chakma
rules of exogamy forbid marriage between people belonging to the same
Gutti or Gusthi.
Kin groups and descent:
The paribar or family
is the basic unit in Chakma society. Beyond the family and homestead,
multihousehold compounds are the next widest unit, the members of which
may form working groups and help one another in other activities. Next
are the hamlets, comprised of a number of homes. They form work groups
for economic activities requiring travel, such as swidden cultivation,
fishing, and collecting etc. hamlet people are organized and led by a
leader called the Karbari. The village is the next larger group who
arrange a few rituals together. Descent among the Chakmas is
patrilineal. When a woman marries, she leaves her own family and is
incorporated in to that of her husband. Property is inherited in the
male line. Despite the patrilineality, some recognition is given to
maternal kin. For example, an individual’s mother’s family will
participate in his or her cremation ceremony.
Kinship Terminology:
Different names are used to address a father’s brother and a mother’s
brother to and address a father’s sister and mother’s sister. But
interestingly, in the grandparental generation the distinction between
paternal and maternal disappears. All grandfathers are called Aju while
grandmothers Nanu.
Festivals:
The most important festivals celebrated by the Chakmas are Bizhu and Buddha Purnima.
Bizhu is the most important socio-religious festival of the Chakmas.
This festival gave birth to the Bizhu dance. The festival lasts for
three days and begins on the last day of the month of Chaitra. The first
day is known as Phool Bizhu. On this day, household items, clothes, are
cleaned and washed, food items are collected to give the house a new
look with the veil of different flowers.
The second day known as
Mul Bizhu day starts with the bath in the river. People wear new clothes
and make rounds of the village. They also enjoy especially made
vegetable curry known as Pachonton, different home made sweets and take
part in different traditional sports. The day ends with the Bizhu dance.
The last day known as Gojjepojje din involves the performances of
different socio-religious activities. Some believe that Bizhu is
celebrated with the objective of getting rich havest.
Buddha Purnima:
It is celebrated on the full moon day in the month of Baishakh. It
actually encompasses the birth, enlightenment (Nirvana), and passing
away (parinirvana) of Lord Buddha. On the day, the worship devotees go
to the monastery with Siyong (offerings of rice, vegetable and other
fruits and confectionaries). The Buddhist priests known as Bhikshus lead
the devotees for chanting of mantra composed in Pali in praise of the
holy triple gem: The Buddha, The Dharma(his teachings), and The
Sangha(his disciples). Apart from this, other practices such as lighting
of thousands of lamps, releasing of Phodona (an auspicious lamp made of
paper in the form of a balloon) are also done as and when possible.
Music:
If we need to talk about their literature we have to go
to their music first.Like other races music plays an important role in
their personal,social and religious life.Their main musical instrument is flute.Every youth can play this instrument very well."Khangarange" is also made of bamboo which is a complex instrument,usually played by girls.
Their are some songs which are used by the mothers when their baby want to take a nap.
There is a religious song which is quite long "Gojena Lama".
"Gojena" means 'almighty',all powerful..like 'hamd' of Muslims.
Another type of song is "Uvageeta" (song of the youth)which are sung by every youth.
There "gankuli"a group of boys who form a band are also seen in them..It is the business of the youngsters.
They move from this village/"mouja" to that "mouja" singing some portions from the Epic..Everyone welcome them wholeheartedly.
At
the end of the day in a beautiful winter night 'gankuli"sat beside the
fire and play on their flute.Their evokes a heavenly atmosphere.
Elders
smoke "hokkah"and move their heads in unison with the rhythm of the
music.This worked as a form of social gathering.With it bond between
elders and youngsters grow stronger.
Their chief epical poetry is "Chatiga chara".In it there is a description how they came to Chittagong.It is similar to "Aenid" by Vergil.In
around 1118-1119 there was "Roang" war in the reign of king
"Sermatia".Chakma's fought this war under the general "Radhamohon".He is
as heroic as Achilles to them.."Chatiga Chara" written in that time.There is another folktale "Tanabee".Here is a vivid description of "Tanabee" an exceptionally beautiful woman!Their is detail descriptions of her beauty and her sorrows which will stire every heart of the reader..It is quite similar to "Rupban""Komola Sundori" in Bangla folktale.(Tribesman of Chittagong Hill Tracts"_Prof. Pierre Bssaignet,1958,page-105)_ "Their one of the chief epic "Radhamohan and Dhanapati" is quite similar to "Romeo Juliet" by Shakespeare."
Chakma Script, Brahmic script
Chakma script
is also called Ojhapath, Ojhopath, Aaojhapath. The forms of the
letters have resemblances to that of the Burmese script.
Chakma language is more the most advanced of the tribal languages. Some old puthis are extant in this language. One of them, Chadigang Chara Pala
was written on palm leaf. This puthi reveals that the Chakmas
originated in Nepal and after roaming about in several Southeast Asian
countries came to old Burma and Arakan before settling in the Chittagong
Hill Tracts. Their original name was 'Tsak', in the Arakani language
they were called 'Chak', in the dialect of Chittagong 'Chamua', and in
the Chakma language 'Chakma'.
The alphabets of the Chakma
language are similar to the alphabets of Thailand's Ksmer, Annam Laos,
Cambodia, Syam and South Burma. Tara, the scripture of the
Chakmas, is written in the Burmese script. When spoken, the Chakma
alphabet has a soft sound and is generally articulated from the bottom
of the tongue. It is primarily based on sound and has a Chinese tone. In
many respects (including philology, prosody, folklore, idioms and
phonology) it is close to Bangla. All sounds of bangla language are
also available in the Chakma language. Efforts are now being made to
write the Chakma language in the Burmese or Myanmar script. A book of
primary reading in Chakma has also been published from Rangamati. Its
author is Nayanram Chakma.
There are many songs written in the Chakma language. These have been composed in colloquial Chakma. The language of the book Gozel Lama written by the Chakma poet Shivcharan in 1777 is almost like Bangla. Its introductory song is similar to those in purbabanga-gitika. Radhaman Dhanapadi and Chadigang Chara Pala
are two important lyrical poems. The metres used in Chakmas and Bangla
verse are almost similar. The syntax of the two languages are also
identical. The numbers in Chakma language are pronounced as in Bangla.
The minus symbol in Chakma is called 'farak' and the sign of
multiplication is called 'duna'. The other symbols are the same in both
languages. In the Chakma language s (anusvar) is called 'ek fuda', t
(bisarga) is called 'dvifuda' and u (chandrabindu) is called
'chanfuda'.
Chakma folk literature is quite rich. It has many
folklores and fables. A traditional folk song of the Chakmas is
'ubhagit'. Proverbs and traditional sayings are a unique feature of the
Chakma language. These sayings mainly centre on farming, animals and
birds, nature, society, religion and the mystery of the human body.
These sayings in the Chakma language are called 'dagwa kadha'. In
conjugation and declension present day Chakma language is close to
Bangla, Assamese, Rajbangshi, Garo, Sanghma and Chittagonian. This
language has 6 regional forms. Within the Chakmas different clans have
their distinct dialects.banglapedia(collected)
....The
vast majority of the Chakma are followers of Theravada Buddhism, a
religion that they have been practising for centuries. Chakmas speak in
'Changma Vaj' or 'Changma Kodha' - Chakma language. Many linguists
consider the language a part of the Southeastern Bengali branch of
Eastern Indo-Aryan language.
Here are some extract from Chakma and Lusai poetry-
(2)
"lagera dunda chara
pani dibo kan
dungkhya ma dukht possyan
dodu dibo bone."
--"Here is planted the tobacco tree,who will water it?
Who will care rather than parents to their baby?
(4)
"chikon chyrat chikon chey
hoje jagob tore chigon bey"
-set trap to fishes in the little fountain
darling,I like to call you in little pet name!
*see here a beautiful girl says to her enticed lover-
"chotti dogan hale gals
shopone dele nados gale gans"
--In the stationary shop so many blue glasses you can see-
If you see me in dreams don't curse me-
(13)
the ardor and deep love unexpected:
"teda de teda dhan kini
daki na parob nab dini"
-I do buy rice with 2-1 tk by your name
but,oh my dear! I can't call you by name!
(3)
"Dola pari vagna
khadi dilbo khobna
tar pebadaye mui
rot dine gororyor vabna"
-Often I collect "Jagna" fruit
and put it in the "macha"upward.
All day and night I think
How I can get my beloved.
_"Ha lya kunot badha megh
Jeiya judade smorone ak"
-See!The western sky is moving towards the departing sun-
Our body is different but one is our soul.
(14)
Women in the Hill Tracts have been
highly politicized through their struggle against state oppression,
especially with regard to ethnic and national identity. Earlier it was
explained how the term Jumma, a source of collective identity has been
used as marker to offer the hill people a new sense of being. Women too
have internalized this in many ways. One of the indicators of this is
evident in many of the protest songs and poetry written during this
period and sung by activists. Kabita Chakma a young activist poet’s
famous poem is called Joli No Udhim Kittei. (Why Shall I not Resist! __
originally written in Chakma and Bengali)
Why shall I not resist!
Can they do as they please -
Turn settlements into barren land
Dense forests to deserts
Mornings into evening
Fruition to barrenness.
Why shall I not resist
Can they do as they please -
Estrange us from the land of our birth
Enslave our women
Blind our vision
Put an end to creation.
Neglect and humiliation causes anger
the blood surges through my veins
breaking barriers at every stroke,
the fury of youth pierces the sea of consciousness.
___ I become my own whole self
Why shall I not resist!
(Chakma, 1992.7)
She also writes of the day when the struggle will end. Here she does not talk of revenge but of love.
Someday
Someday my heartland
will light up in the sun -
This jhum, this forest
will be full of light, wonderful light.
The Kajalong river will overflow its banks
sweeping away the hurt and humiliation
Then may this land, the forests of my heart
drench ecstatically in showers of love.
The
imaginings of the homeland in these poems is not novel to the psyche of
the hill people. Traditional folk songs contain much imagery that
depicts the individual in intimate relation with her/his natural
surroundings. The concept of desh or country
therefore implies both physical space (the hills, the forests, the sky, the stars above) as well as their personification.
Though
Kabita’s poems are an example of the more articulate voices of Chakma
women, the feelings she expresses are not exceptional. Women in their
own way have admitted that despite differences in culture and language
among the different communities, the hill people have been drawn
together by the common bond of resistance against the repressive forces
of the Bangladesh state. Many women claimed that they needed to
participate in the resistance movement because it was the only way to
ensure their dignity. Many claimed that it was the only way to ensure
their existence, both physical and cultural. Even if they did not
directly participate in the movement they gave economic or moral
support.
one child asking his mother..
“We
cannot survive without opening our mouths, how long are we to lock up
our voices, the time has come to take to the streets. So Mother don’t
prevent us anymore.”
1)
Mother, we have to go
Join the demo in the street
We have to face the bullets.
Oh Mother, don’t forbid us
Don’t pull us from behind
The streets quake
With the slogans
And the sound of protest.
We all have to fight!
Mother don’t worry about us
Stay calm and happy
If we are killed
Then think yourself to be the mother of a Shahid *(martyr).
UNRISD
UNITED NATIONS RESEARCH INSTITUTE FOR SOCIAL DEVELOPMENT
The Chittagong Hill Tracts (CHT) Accord and After:
Gendered Dimensions of Peace
By Meghna Guhathakurta
Chakma, Kabita. 1992. Joli No uddhim Kiteye (Why Shall I not Resist). Nari Grontho Probortona , Dhaka
a beautiful poem
পাহাড়ের কান্না,
by Dipak Chakma
পাহাড়ের কান্না
পরীরা আনলো খবর পাহাড় নাকি কাদঁছে,
এসো পাহাড়ী সবাই এসো কেঁদে কেঁদে ডাকছে।
তোমাদের দূঃখ দেখে ঘূম আসে না মোর,
দিন-রাত চেয়ে থাকি জানিনা কখন হয় ভোর।
তোমাদের তো শান্তি আর হবে নাকো আরো,
এসো তোমরা সবাই এসো আবার অস্ত্র ধরো।
অস্ত্র ধরো যুদ্ধ করো অধিকারের জন্য,
অধিকার পেয়ে আমরা সবাই হবো ধন্য।
আমাদের অধিকার দিতে হবে একদিন,
যতদিন পাবো না কো যুদ্ধ করবো ততদিন।
ও পাহাড়ী ভাই বোন আমার, আগের মত নয়,
তোদের হতে হবে একতা সাহসী, বীরযোদ্ধা, কোশলী ও নির্ভয়।
অধিকার কেউ কাউকে দেয় না, অধিকার আদায় করে নিতে হয়,
হাজার লক্ষ জীবন দিয়েও আমাদের করতে হবে জয়।
এসো হে তোরা সবাই পাহাড়ে চলি,
কেঁদো নাকো পাহাড় তুমি-এ কথা বলি।
মা । দীপক চাক্মা
by Dipak Chakma
যে
মরে পেদঅ বিদিরে দোলেদালেন দশ মাস রিগিয়ে যে মত্তেই কেলচ রে মানি নেজিয়ে
যে মরে জনম দিনেই পিত্তিমিয়ান দেগিয়ে যে মরে জনমান আল্লেং গরি যিয়ে যে
মর গু-মুদর হাবর দো দিয়ে যে মরে হিয়ে দুলি দিদি গাধিয়ে যে মরে হিরিংহিরিং
দোলনত অলি ডাগি ঘুম নেজিয়ে যে মরে শিব শরন, তান্যেবির লামা শুনিয়ে যে
মরে হবি ডবির পচ্ছন শুনিয়ে যে মরে জুনো পহরত ধুদুক বাজে শুনিয়ে যে মরে
পল্লে অঝা পাঠর আং শিগিয়ে যে মরে বাজিবাত্তেই বুকর দুধ হাবিয়ে যে মরে
নিত্য দোল স্ববন দেগিয়ে যে মরে আগ্গুয়ানার পত্তান দেগিয়ে যে মরে আঘরতারা
ননিয়ে গরি শিগিয়ে যে মরে নহে নহে হেবার জিনিস রাগেদিয়ে যে মরে আথ্যা,
অজবা বাজ ন মাদিবার হুয়ে যে মরে আরছাল্লুয়া ন অবাত্তেই হুয়ে যে মরে
আল্গেতিনাঙ ন অবাত্তেই বত্তা দি যিয়ে যে মরে আলাবেলাত্তুন ধরি দুগ পেনেই
পালিয়ে যে মরে ইজিবিজি, আবা আবা, কভাযাং শিগিয়ে যে মরে ভাত জোড়া তৈল তৈল
হোনেই হাবিয়ে যে মরে কজ, মশা, পুগির হামর হানাত্তুন বাজিয়ে যে মরে গরম
হালত বিজোন বিজি দিয়ে যে মরে গিল ধক আহর দিনেয় রাগিয়ে যে মরে দেবা হালা
গরিলে ডাগি ডাগি তোগিয়ে সিবে মর মা, সিবে মর মা।
About Dipak Chakma
I'm Chakma
Mother is an important phenomena in their literature.The example above is rich with the passions,emotions for mother.The hills,nature and their locality is also get mother like treatment by them.
Here we are giving some chakma Dhadha(puzzles)_
সংগৃহীত কিছু চাকমা বানাহ্(ধাঁধাঁ):
by বিজয় বিনাসন চাক্মা
সংগৃহীত কিছু চাকমা বানাহ্(ধাঁধাঁ):
Uday Robi
১.রক্ত হায় সাচ্চান(মাংস) ফেলেই দে………..হুচ্চেল
২.সাচ্চান ফেলেই বাগলান হায়……………তেত্তোলগুলো
৩.হামা মাদাত্ গুদলা…………………….চুলসুদো
৪.ঝরা ঝরা ভাদ্ নহায়,দলা দলা হায়(ব্যাটারি)-
নিয়েইবো চিবিলে চোক্ষুন জ্বলজ্বলায়………………..বাত্তি
Utpal Chakma
১.গড়া হাবিলে পিড়ে পেই, আগা হাবিলে পিড়ে নেই…………নখ
২.হাজা লক্কে হবা, পাগিলে বগা………………..চুল
Dipak Chakma
১.চামড়া বন্দুক, বয়েরর গুলি-
হোজোরে এই নাগত্ লাগে……………..পাদবাজ
২.মোজোরি ভিদিরি পুঅ ডাঙর অয়………..পুত্তিংগুলো
Chiranjeeb Chakma Tawnaw
১.ভিদিরে সাস্ বারে আড়………………..শামুক
Alojati Chakma
১.এ হুলে এক টেঙ, ও হুলে এক টেঙ……….রেগা
Trishi Chakma
১.লোহ্ রে লোহ্ লোহ্ রে ধোস্যি জাঙারে-
বৃন্দাবনত্ আগুন বাজচ্যে মারেই দিবো হনে………..বেল(সূর্য)
Arun Chakma
১.জেদা থাক্কে এক মলে দুই…………………সিলোন
Bijoybinason Chakma
১.গাজ উগুরি সিবিদি তবা……………………বগা
২.টিগিনিত ধোরি হাবং যারে, বারিজে হাল্যি ঝাড়ে ঝাড়ে………………..বাচ্চুরি
৩.বারে আড়হোরা ভিদিরে চাম, হন হদাই বানেল এই অমহদ হাম…………..জুমোর
৪.দি হিত্যা ধোরোনি মধ্যে সুড়ুঙ, তে বাজে গুড়ুং গুড়ুং………………….ঘন্ডি
৫.এ হুয়ো পানি ও হুয়োত যায়, মধ্য হুয়োবো শুগে যায়………………মদ সুয়ানা।
৬.মুঅ দি হায় পুনোদি ডুল বাজায়………………………….শুগোর
৭.এক পাদায় বুড়ো অয়……………………………শন
৮.মরা উগুরে হাক্কে সেজেরাই…………………………….হুনি
৯.লুদি বান্যে ধুব ছাগল……………………….হুমুরো
১০.হুক্কুরুক হাক্কারাক গাজহ্ গুত্তে, হয় দিন থেবে পানিত দুপ্পে?……হাঙারা
১১.দুঅ আগে উড়ি ন যায়, ঠুট আগে ফুদি ন হায়……………….হলাত্তুর
১২.ভুই দুপ বিজি হালা, যে বুঝে তেয়্যু ভালা………………………..লেগা
১৩.যার জনম সাগরত ঘরে ঘরে যায়, এক্কা গড়ি পানি দিলে হুদু পোল্লেই যায়……নুন
১৪.কন মিলেত্তুন দাড়ি উদে?………………..পাদি ছাগল
১৫.দাত নেই কান নেই মাদিত্ তলে
শেষ রক্ত বিন্দু
by sangma
“”আমরা এখানেই থাকবো;
রক্তে আবার আগুন জ্বালবো,
যেখানে যেখানে আগুন নিভে গেছে;
প্রতিবাদের আগুন, প্রতিরোধের আগুন।
তোমার যারা পিছিয়ে যাবার
চলে যাও এ স্থান ছেড়ে।
আমরা এখানেই থাকবো;
এখানেই শেষ রক্ত বিন্দু চাষ করবো,
বাতাসে ছড়িয়ে দেবো নবান্নের ঘ্রাণ
এই শ্যামলিমার রূপ সুধা করবো পান।
আমরা এখানেই থাকবো;
এখানেই দেখবো প্রভাত ফেরির মিছিল,
এখানেই করবো বেঁচে থাকার যুদ্ধ
সকাল হলে জেগে উঠবো এখানেই
সবগুলো দিন শেষে এখানেই ঘুমিয়ে পড়বো”
what a powerful,rebellious writing!
