A Mizoram Christmas: Blossoming Memories of a Rural Childhood

Christmas season flowers in rural Mizoram
 

- Written by Dr. Lalzarzoa, 

Kawnveng, Sialsuk 

As the festive season approaches, my thoughts drift back to the idyllic Christmases of my rural Mizoram childhood. In this northeastern Indian state, Christmas was a time of simple joys, deeply intertwined with nature's beauty and community traditions.

The Harbingers of Christmas

For me, three flowers held special significance: Tlangsam Par, Nihawi/Bawngpu/Krismas Par, and Kawihṭhuang Par. Their blossoming marked the beginning of Christmas celebrations  evoked memories of childhood wonder.

Tlangsam Par (Chromolaena odorata)

Tlangsam Par's delicate lavender hues would emerge along roadsides, hill slopes, and forest paths in our village, Sialsuk, as early as mid-November. This flower is not only a harbinger of Christmas but also a valuable herb, used to treat wounds and fever.

Nihawi/Bawngpu/Krismas Par (Tithonia diversifolia)

Nihawi Par, also known as Bawngpu Par or Krismas Par, burst forth with vibrant orange-yellow flowers towards the end of November. Mostly seen in forest cliffs, hill slopes, and mostly Khamhnuai area (Sialsuk), its bright hues illuminated our enthusiasm.

In our community, its blooms symbolised the arrival of Christmas, sparking excitement for festivities.

Kawihṭhuang Par (Leucosceptrum canum & phlogocanthus nees)

Kawihṭhuang Par boasts two species: Ṭhuangpui 

(Leucosceptrum canum) with snow-white blossoms and a smaller, pale red variant, affectionately known as Ṭhuangte or Vatezu (Phlogocanthus nees) in some villages. Its sweet fragrance and delicate beauty captivated our young hearts.

Both the flower buds held a secret treasure – a sweet, irresistible taste. Birds, bees, and hungry rural kids like us would savour its sweetness, a rare treat in our simple lives.

Community Feast – A Time for Togetherness

Christmas meant a grand community feast, (ruaiṭheh) fostering unity and social cohesion. Our village would come alive with the aroma of roasting meat, steaming vegetables, and freshly baked local bread called Chhangban or Zo chhang.

We relished local delicacies such as 'Vawksa' (pork), 'arsa' (chicken), 'Sarep' (smoked meat), and 'Bai' (Mizo curry). The feast reinforced community bonds, strengthening relationships among families and friends.

School Holidays – Wandering the Forest

School holidays were a time for limitless exploration and adventure. We spent hours wandering through the forest and hills, fishing in streams, climbing trees, and discovering wild fruits. We also enjoyed searching for crabs (chakai khawrh) in the shallow waters of nearby streams. Football matches were another thrilling part of our breaks.

Our favorite pastimes included sava veh, or catapulting birds, using makeshift catapults crafted from branches and rubber bands, although we rarely caught any. We also enjoyed thangkam, making bird traps that tested our ingenuity.

Collecting firewood was another essential activity, providing a valuable resource for our community. During Christmas, this task became even more significant, known as thing tuak, or Christmas firewood collection.

We would gather logs, twigs, and branches, carefully storing them in our wooden shed (thingkhawn).Then, our parents would purchase the collected firewood, exchanging it for Christmas pocket money.

This entrepreneurial experience taught us the value of hard work and resourcefulness, lessons that have stayed with us long after our school days.

Childhood Memories

Growing up in Mizoram's countryside instilled in me a profound appreciation for simplicity and community, especially during Christmas.

Christmas was a special time, filled with warm family gatherings and joyful reunions. We shared stories, laughter, and timeless traditions that brought us even closer together. Savory traditional feasts (Krismas ruaitheh) and rare treats delighted our senses. New clothes and cherished memories made the season even more magical.

The rustic landscape came alive with the sounds of the season: rustling leaves, chirping birds, and gentle breezes carrying whispers of Christmas carols.

Those idyllic days remain etched in my heart, a reminder of the true essence of Christmas: love, connection, and community.

Legacy of Memories

Even now, memories of those blossoming flowers transport me back to a time when life was uncomplicated. As I reflect on those idyllic days, I realise the importance of preserving local knowledge and experiences.

Tlangsam Par, Nihawi/Bawngpu/Krismas Par, and Kawihṭhuang Par remain etched in my heart, reminding me of the beauty and simplicity of rural Mizoram's Christmas season.

Theoretical Perspectives

This introspective reflection explores the nostalgia-tinged memories of my rural Mizoram childhood, situated within the context of theoretical frameworks that underscore the interconnectedness of place, community, and nature.

Notably, the following conceptual frameworks provide insight into the formative experiences of my rural upbringing:

1. Topophilia [Yi-Fu Tuan, "Topophilia: A Study of Environmental Perception, Attitudes, and Values" (1974)]: This phenomenon, characterized by an affective bond between individuals and their environment, is evident in my enduring emotional connection to the rural landscape.

2. Biophilia [Edward O. Wilson, "Biophilia" (1984)]: Growing up amidst nature fostered an innate affinity for the environment, cultivating a profound appreciation for the natural world.

3. Social Capital [Robert D. Putnam, "Bowling Alone: The Collapse and Revival of American Community" (2000)]: The robust community ties I experienced in rural Mizoram exemplify the principles of social capital, wherein relationships, trust, and reciprocity generate resilient and supportive social networks.

4. Sense of Community [David W. McMillan and David M. Chavis, "Sense of Community: A Definition and Theory" (1986)]: My childhood experiences align with the four essential elements of sense of community: membership, influence, integration, and shared emotional connection.

5. Place Attachment [Irwin Altman and Setha M. Low, "Place Attachment" (1992)]: The rural landscape and community served as a vital source of identity, comfort, and security, fostering strong place attachment.

6. Environmental Nostalgia [Fred Davis, "Yearning for Yesterday: A Sociology of Nostalgia" (1979)]: Memories of my rural childhood evoke a nostalgic longing for the natural environment and simpler way of life.

7. Collective Memory [Maurice Halbwachs, "The Collective Memory" (1950)]: Shared experiences and narratives within my community created a collective memory, reinforcing social bonds and cultural heritage.

8. Rural Identity [Paul Cloke, "Conceptualizing Rurality" (2006)]: Growing up in a rural setting significantly shaped my identity, influencing my values, attitudes, and worldview.

9. Nature Deficit Disorder [Richard Louv, "Last Child in the Woods: Saving Our Children from Nature-Deficit Disorder" (2005)]: Conversely, my childhood experiences in nature mitigated the potential for nature deficit disorder, promoting physical and mental well-being.

This theoretical examination illuminates the profound impact of place, community, and nature on human experience, underscoring the lasting influence of my rural Mizoram upbringing on my identity, values, and relationships.

Conclusion: A Nostalgic Reflection

Reflecting on my childhood, I cherish those simple joys. Growing up in a humble village family, our simplicity was rooted in community and nature. Christmas in rural Mizoram taught me that true happiness lies in simplicity, relationships, and harmony with nature.

May the spirit of the Christmas season bring you peace, love, and cherished memories.

Bai: Traditional Mizo Cuisine, Enduring Culinary Legacy

Collection of bai - a Mizo cuisine
Pic Courtesy to Ei-in Siamna leh Hmangchang Facebook Group 

'Bai' is a Mizo food item that has been practiced since time immemorial. To prepare traditional Mizo bai, four essential ingredients are indispensable: salt, chilies, saum (fermented Mizo pork typically stored in dried gourds), and chingal (lye derived from wood ashes collected from the fireplace).

Definition from Dictionary:

According to Pu Buanga Dictionary (Dictionary of Lushai Language, 1940), "bai" is defined as:

- Verb: to boil in water with the addition of salt, chingal, and sa-um (occasionally with salt only)

- Adjective: boiled in water with the addition of salt, chingal, and sa-um

- Noun: anything so boiled

Seeing the above dictionary definition, we may define 'bai' like this: "Bai is a traditional Mizo dish, characterized by a flavourful boil of various vegetables, herbs, and sometimes meat, seasoned with local spices and ingredients mostly with salt, chilli, chingal and saum."

Ingredients:

To cook bai, various vegetable leaves, herbs, wild edible plants, and locally grown plants are used. There is no specific item required, and families can choose ingredients based on their preference. Commonly used items include:

- Vegetable leaves (maian, behlawi hnah, etc.)

- Herbs (bahkhawr, runhmui, etc.)

- Wild edible plants

- Locally grown plants

- Bamboo shoots

- Various leaves and greens

- Spices and seasonings

- Maian (pumpkin leaves)

- Behlawi hnah (cowpea leaves)

- Bawkbawn (eggplant)

- Samtawk (mock tomato/bitter tomato)

- Changkha (bitter gourd)

- Mautuai/rawtuai (Bamboo shoots)

- Bahkhawr (culantro)

- Runhmui (Hoary Basil)

- Lengmaser/lengser (Elsholtzia Griffith)

- Bawrhsaiabe (ladies finger)

- Bepui  (Hyacinth bean/Indian bean/lablab)

- Purunzung (spring onion roots)

- Hmarchapui (chili pepper)

- Hmarcha (Mizo chilli)

- Sawhthing (ginger)

- Purun (spring onion)

- Purunvar (garlic)

- Purunsen (onion)

- Baibing (alocasia fornicata)

- Chingit (Szechuan pepper leaf or Indian Ivy-rue or Michiga patta)

- Bal (taro roots)

- Dawlzik (taro shoots and leaves)

- Sapthei hnah (passion fruit leaves)

- Behlawi rah (cowpea bean)

- Be (beans)

- Alu (potato)

- Khanghu (climbing wattle)

- Bepui thla nei/bepui pawr (winged bean)

Optional non-vegetarian ingredients include:

- Arsa (chicken)

- Vawksa (pork)

- Bawngsa (beef)

- Vawksarep (smoked pork)

- Bawngsarep (smoked beef)

-  Ramsa/Ramsarep (wild animals

/smoked wild animal meat)

- Vawklu (pig's head)

- Dried fish

- Chakai (crab)

Notable Variations:

- Vawklu Bai: A highly popular variation made with pig's head, often served in home and various restaurants in Mizoram and considered one of the most beloved and iconic forms of bai.

Cooking Method:

Regular Method:

1. Boil water in a cooking pot.

2. Add harder ingredients first.

3. When water reaches boiling temperature, add softer ingredients.

4. Add chingal or sodium bicarbonate powder, sa-um (fermented pork fat), salt, and chilies (chillies can be added more for extra kick).

5. Stir well in reverse motions.

Smelly Method (for stronger flavour):

1. Boil water in a cooking pot.

2. Add harder ingredients first.

3. When water reaches boiling temperature, add softer ingredients.

4. Add bekangro (sundried fermented soybean) and dried fish for added flavor.

5. Add chingal or sodium bicarbonate powder, sa-um (fermented pork fat), salt, and chilies (chillies can be added more for extra kick).

6. Stir well in reverse motions.

Mizo cuisine is characterized by a predilection for traditional flavours, particularly in the traditional dish bai. Typically, Mizos enhance the flavour of bai by incorporating an abundance of chilies, emphasizing the importance of heat in achieving optimal taste. This cultural preference is reflected in the common saying: "Bai thak lo te chu a tui lo," which translates to "Bai without hot taste is tasteless."

Cooking Time:

Bai cooking usually takes 15-30 minutes, but this depends on the ingredients. Some items may require only a few minutes, while others may take up to an hour.

Cultural Significance:

Even in modern times, Mizo food is never served without bai, especially during feasts and grand celebrations like Wedding, Christmas and New Year community feasts. Bai holds significant cultural importance and makes Mizo food distinct.

The cultural significance of bai, a traditional Mizo dish, extends beyond its culinary value. Notably, all its constituent ingredients - salt, chilies, saum (fermented pork), and chingal (wood ash lye) - are locally sourced and produced, exemplifying the community's reliance on indigenous knowledge and self-sufficiency. This symbiotic relationship between food culture and traditional practices underscores the profound importance of bai in Mizo cultural heritage, highlighting the intricate connections between foodways, community resilience, and cultural identity.

Personal Significance:

For Mizo people, bai evokes nostalgia and longing. Those living far away often yearn for its taste, saying "Bai ka va ei chak e" ("How I am longing to taste bai"). Upon return, family members typically often serve bai as a welcome gesture.

Legacy:

Despite global food influences, bai remains cherished by the Mizo community, although younger generations, such as Generation Z and Alpha, may not appreciate it as much as their older counterparts. However, its unique flavour and simplicity continue to captivate. For non-Mizos, bai offers a distinct culinary experience that requires practical exploration to fully appreciate.

- Written by Dr. Lalzarzoa, Department of History, Government J Buana College.

James Dokhuma: The Sialsuk Son Who Left an Indelible Mark on Mizo Literature (His biography)

James Dokhuma

Written by Dr. Lalzarzoa, Department of History, Government J Buana College

James Dokhuma, a legendary figure in Mizo literature, was born on June 15, 1932, in Sialsuk village, Mizoram, to Hrangchina (Chhakchhuak) and Kapkungi (Ralte Siakeng). As the youngest of 10 children, Dokhuma hailed from a talented family, with siblings including Romani and Laltanpuia, renowned song composers; Lalngaihdami, composer of the celebrated wedding song "Chheih raw khah, a lawi dawn e"; Darawtlovi, a prominent figure in Aizawl; and Thanghnuna, Mizoram's first athlete to participate in the 1951 Asian Games, specializing in javelin throw.

James Dokhuma married Chhuanthangpuii, daughter of Biakkunga of Kulikawn, in 1960, and together they had six loving daughters. Physically, Dokhuma was a sturdy and healthy individual, known for his friendly demeanour, simplicity, humility, and delightful sense of humour.

Despite being a reputed writer in Mizoram, Dokhuma's formal education only went up to class 5. However, his versatility and determination led him to explore various careers. At just 15 years old, he joined the Indian Army in 1945 and served for five years, during which he excelled in Hindi and Nepali. After leaving the army in 1950, Dokhuma ventured into teaching, first at St. Paul's High School in Aizawl in 1954, albeit briefly. He then transitioned to a role as a Sanitary Inspector in Aijal C.D Block before returning to teaching at Hualtu village's middle school in 1960.

In 1961, James Dokhuma joined the Mizo National Front (MNF) movement and served as Block President in Tlungvel Block until 1965. Notably, he was among the 64 signatories when the MNF launched its independence movement in 1966. Dokhuma's leadership roles in the Mizo National Army were diverse, including civil department duties and Block President in the Tlungvel area. He also held the position of Member of Parliament in the underground Mizo government, eventually rising to Deputy Speaker.

In 1968, Dokhuma suffered injuries at the hands of the Indian Army and was captured on March 14. Initially held at Nowgong Special Jail, he was later transferred to Gauhati District Jail. Despite the distance, Dokhuma's thoughts remained with Mizoram. During his imprisonment, he penned his acclaimed novel "Thla Hleinga Zan" at Nowgong jail, completing it in Gauhati jail. Following in the footsteps of Jawaharlal Nehru and Mahatma Gandhi, Dokhuma produced inspiring writings while in prison, including two novels based on the Mizo freedom movement: "Rinawmin" and "Khawhar In".

Later, Dokhuma was shifted to Aizawl prison, where he spent three years before being released on June 21, 1971. Following his release, Dokhuma taught at East Lungdar High School before relocating to Aizawl and settling in the Kulikawn locality with his family until his passing on March 10, 2007. During his tenure at East Lungdar High School, Dokhuma authored two notable books: "Zoram Tualto Kohhran Chanchi" and "Tawng Un Hrilhfiahna." Unfortunately, the Indian Army's destruction of East Lungdar village resulted in the loss of "Tawng Un Hrilhfiahna," but Dokhuma rewrote and published it in 1981.

After his release from prison, James Dokhuma transitioned into civil politics, serving as Joint Secretary under Brigadier Thenphunga Sailo when the People's Conference party was founded. Dokhuma also held the position of Secretary in PC 'B' in 1975. From 1998 onward, he was actively involved with the Zoram Nationalist Party (ZNP) and held the Vice President post for many years until age-related health issues prompted him to step back from active politics.

James Dokhuma was an extraordinary individual who achieved great heights despite studying only up to class 5. His innate talent helped him become an education instructor in the Indian Army, showcasing his exceptional abilities from an early age. Dokhuma's literary prowess earned him numerous accolades, including the Academy Award from the Mizo Academy of Letters (MAL) in 1983, a testament to his contributions to Mizo literature. He was also conferred the prestigious Padma Shree Award in 1985 by the President of India in the literature category, becoming the second Padma awardee in Mizoram.

Dokhuma's achievements didn't stop there. He received an Honorary Doctoral Degree from the University of California, USA, in 1997, recognizing his significant impact on the literary world. Notably, he was the first Mizo writer to receive the Basha Samman award from Sahitya Academy in 1997, a milestone in Mizo literary history. His renowned novel, "Thla Hleinga Zan," was even included in the Congress Library in Washington, further solidifying his reputation as a talented writer within the Mizo community.

According to Mizo historian B. Lalthangliana, James Dokhuma was renowned for his exceptional oratory skills and engaging conversation in the 1960s. Dokhuma's talent was first showcased to the public through Meichher, a monthly magazine published by the Adult Education Wing, Department of School Education, Government of Mizoram, since 1975.

Dokhuma's writings significantly impacted Mizo literature. Notably, his article "Ka thu hretu" was included in Middle School textbooks. Furthermore, his book "Irrawadi Lui kamah" was a prescribed textbook for Class 12 Mizo subjects. Two more books, "Tumpangchal nge Saithangpuii" and "Thla hleinga zan," were studied by college and university students specializing in Mizo subjects.

Dokhuma's works greatly inspired students of Mizo literature, earning him frequent invitations to deliver special lectures at colleges and universities. He excelled in debate, elocution, and extempore speeches, showcasing his exceptional communication skills. Dokhuma's writing prowess earned him numerous awards in essay and article writing.
James Dokhuma, a devout individual and active member of the Salvation Army, served as a local officer at Kulikawn Church and held key positions in church activities. His eloquent prayer language showcased exceptional vocabulary and phrasing skills in Mizo. Dokhuma's commitment extended beyond literature to environmental activism, where he passionately promoted forest conservation. Notably, he surrendered his personal gun to the Environment and Forest Department to raise awareness. His dedication earned him the esteemed appointment as Wild Life Chief Warden, a position he held for many years.
James Dokhuma operated JD Press from his humble home, printing numerous significant literary works that enriched the cultural landscape. A man of simple tastes, Dokhuma shunned unfair wealth accumulation, prioritizing inner substance over material riches. He steadfastly refused to engage in unethical practices, despite potential advantages. Dokhuma's unassuming and non-modernized home reflected his character, prioritizing simplicity and integrity over outward appearances.

As is well-known to the public, James Dokhuma left behind an impressive literary legacy, comprising 39 books, 40 poems, and 400 essays and articles, all published for public consumption. Notably, his Christian novel "Gabatha" was translated into English, expanding its reach beyond the Mizo community. One of Dokhuma's last known writings was the nostalgic piece "Gone are the days," published in his alma mater Sialsuk Government Middle School's Golden Jubilee Souvenir. This article gained further visibility through its republication in Zo-Life Magazine.

Pu James Dokhuma's exceptional attention to detail was evident in his remarkable ability to accurately gauge the exact number of pages and words that could be written with a single fountain pen ink jar. This unique trait showcased his immense curiosity and unwavering passion for writing.

I'd like to share a personal anecdote about my visit to James Dokhuma's home in January 2007, located on Dr. Pika Road in Kulikawn, Aizawl. When I arrived, his daughter briefed him on my research interests and connection to Sialsuk, his birthplace. With the aid of his wooden stick, he warmly greeted me, inquiring about my parents, showcasing his remarkable humility and kindness.

His family's love and care were evident, despite their modest means. His wife, Pi Chhuani, anxiously shared, "If only we had the means, I'd consult a doctor for him." This poignant moment encapsulated Dokhuma's down-to-earth nature and unwavering values.

Despite visible fatigue, he graciously responded to my questions for the next two hours. When the two hours were over, he asked, "Do you have any more queries?" I looked at his face and recognized that he was tired. Although I had more questions, I didn't feel like asking them. "I don't have any more queries," I said. "Thank you for sparing your valuable time. Take rest, and when you recover, I'll meet you again."

As I prepared to leave, he rose, weak but courteous, apologizing for not being able to escort me to the front yard due to his illness. I offered payment for the books I purchased, but he hesitated, saying, "As you're from my village, I should give them to you free. However, I need to buy medicine, so I'll accept your offer reluctantly." With deep gratitude and respect, I took my leave, wishing him a speedy recovery.

Tragically, I learned of Pu James Dokhuma's passing on March 10, 2007, just two months after our meeting. I am humbled to have been one of the last individuals to conduct a meaningful interview with him before his demise.

On that day, I had brought my camera intending to take a photo with him, but seeing his frail condition, I hesitated. I didn't want to capture his illness, but rather remember him in his vibrant spirit. Little did I know that would be my last opportunity. Upon learning of his passing, my decision not to take the photo became one of my greatest regrets.
(I would like to acknowledge the significant contribution of B. Lalthangliana's "Zoram Encyclopedia (Zoram Tinreng Bu)" (RTM Press, Chhinga Veng, Aizawl, 2003) to this biography, particularly pages 141-142.)---------------I am pleased to share that I have written a biography of the renowned James Dokhuma in Mizo language (Mizo tawng). For those interested in learning more about his life and legacy, you can access the biography at: https://azararalte.blogspot.com/2015/01/james-dokhuma-biography.html

Sialsuk's Gift to Mizoram: Pu Laltanpuia, A Legendary Mizo Song Composer

Mizo song composer Laltanpuia, Sialsuk 

Written by Dr. Lalzarzoa, Department of History, Government J Buana College

Mizo song composer, Pu Laltanpuia (also known as Sialsuk Laltanpuia or C Laltanpuia) was born on June 16, 1915, in Sialsuk, Mizoram. He was the third of 11 children born to Hrangchina (Chhakchhuak) and Kapkung (Ralte Siakeng). He had 10 siblings.

Pu Laltanpuia possessed a well-built physique, being strong and handsome, standing 5'10" tall. He showcased exceptional talent in handicrafts, particularly bamboo and cane craftsmanship. He was a kind, open-minded, and humble person. Although shy and reserved, he was well-versed in various topics due to his regular reading habits.

Not only was Pu Laltanpuia talented, but his siblings also exhibited remarkable skills. His siblings included song composer Romani, writer James Dokhuma, and Lalngaihdami, composer of the celebrated wedding song "Chheih raw khah, a lawi dawn e." Darawtlovi (popularly known as Darawti), a notable figure in Aizawl, and Thanghnuna, Mizoram's first athlete to participate in the Asian Games (1951) under the Javelin throw category, were also his siblings.

In 1944, Pu Laltanpuia married Rotluangi, the inspiration behind his song "Zatlang lawi ang." They were blessed with two children, Chuhthangi and Laltinthanga, and 20 grandchildren. His wife Rotluangi passed away on November 28, 1982.

Sialsuk Laltanpuia

Among his composed songs, the patriotic song "Kan ram hi kan ram a ni" and love song "I am dun ang" (also known as "Aw Sialkhawpui ka pianna hmun") remain popular to this day. His song "Kan ram hi kan ram a ni" is sometimes referred to as "Zoram hi kan ram a ni" due to a misinterpretation by the first singer. However, the correct lyrics is "Kan ram hi kan ram a ni." Excluding his 'Tlar thum zai' compositions, Pu Laltanpuia penned 40 songs. While some of his songs are not well-known in modern times, others are featured in Mizo literature textbooks.

Pu Laltanpuia's first composed song, dated May 27, 1934, was based on the English tune "Dearest Song." In 1935, he wrote "Zatlang lawi ang sakhming khuavela thang tur hi, Chham ang zal reng ila rianghlei ka chantawk," considered his first original Mizo love song. He was renowned as a pioneer in love song composition in the Mizo community, second only to Durra Chawngthu.

Most of Pu Laltanpuia's compositions date back to 1955, 11 years after his marriage. Alongside fellow musicians, he formed the "Awmhar Champion" group. whose members were affectionately known as "Berhvate". His musical repertoire included various popular genres, such as lengzem hla (love songs), hla lenglawng (secular songs distinct from love songs and gospel), and kaihlek hla (gospel-inspired love songs blending spiritual melodies with romantic themes). Additionally, he composed poignant khawhar hla (dirges and elegies), paying tribute to loved ones. Those who knew him well were impressed by his instant talent for song composing, particularly 'Tlar thum zai', a traditional Mizo three-line ballad, which showcased his spontaneous creativity and solidified his position as a gifted songwriter.

Laltanpuia, Sialsuk

Pu Laltanpuia was deeply enamoured with nature and held a profound affection for the villages and landscapes of his homeland. He often climbed Chaihte Tlang, a hill situated just above his house, where he drew inspiration and composed many of his songs. A patriot at heart, he yearned for the freedom of the Mizo people, and his songs reflect his ardent feelings.  

He was deeply devoted to his village, and this love resonated through his song. During the turbulent Mizoram disturbance period, his birthplace, Sialsuk village, was ravaged and reduced to ashes. In response, he penned the heartfelt song "Sialsuk Kan Hla," a poignant tribute to his beloved village. The song was born from tragedy. On June 15, 1966, the Indian Army's burning of Sialsuk left an indelible scar. Homes, rice stores, and livestock were consumed by flames, leaving the villagers with unimaginable losses. Compounding their misery, a deceased community member needed to be buried amidst relentless rain, while the homeless villagers sought refuge in nearby forests.
His lyrics poignantly capture the anguish: 
Vanhnuai mi hril Sialkhawpui zopui khawia'n nge maw i awm?

Ka rawn zawng che, piallei hawktui thlafam dairial maw i chan le?

Lungchim tea chhungtin par ang vulna kan run nuam,

Hmelma doral darfeng valrualin senmei pui hrang an lo ban e.

Chinlai khua kim deng zel la, aw, tuarah vanpui a chim, Ka tan khua rel reng em lo ni, ka tawng hmelma te diriamna; Turnikir vanglai khuangruahpui cham reng sumtualah, Awmlai hrang nen suihlung an rual za, Suar ang kan chim khawtlang hnawmah.

(Translation: 

Sialkhawpui Zopui, village of renown, beneath the open sky,

As I searched for you, the torrential rains claimed your fragile existence;

Our beloved homes, where families once gathered with joy,

Now reduced to embers, ravaged by enemy fire.

Spreading across all the villages, oh, our sufferings are like a sky now fallen, Is this nature's order, that I endure mockery from my foes? The torrential rains reached their peak in our village, Heavy rains entwined with death's dark presence, We all succumb to the relentless downpour.)

His compositions were not only a testament to his love for nature but also a reflection of his personal experiences and emotions. His final composition, "Mamte, ka ui em che," was a heartfelt lament for his granddaughter, Lalchhawnkimi (daughter of Laltinthanga), who passed away on November 29, 1994. This poignant composition, penned in December of the same year, exemplifies his enduring love and sorrow.

Pu Laltanpuia, a Mizo song composer whose heart often yearned for Mizoram's rise and struggled with loneliness, penned the iconic lyrics, "Lungrualna hi ram leh hnam tan himna kulhpui ber a lo ni" ("Unity is the safe refuge and fortress for country and nation"), passed away on April 8, 1997, at the age of 83. On his final day, Pu Laltanpuia attended an entertainment program organized by Mizoram Upa Pawl (MUP) Sialsuk Unit at Sialsuk Government Middle School-I. When he failed to return home by late evening, his family searched for him and discovered his lifeless body on the verandah of A.H & Vety department quarters located on the other slopes of Chaihte Tlang, just a short distance from their house. It is believed that weakened by age, he had climbed the hill after the programme and succumbed to exhaustion.
His funeral programme was held on April 9, 1997, and he was laid to rest at Sialsuk Public Cemetery (Thlanmual). During the procession, school students from Sialsuk village and members of the Young Mizo Association (YMA) marched alongside his body, paying their respects with the traditional Mizo cloth, 'pawndum'. This solemn ritual, accompanied by the 'pawndum', symbolized the high esteem in which Pu Laltanpuia was held in Sialsuk. The Laltanpuia Lungphun Committee organized a meaningful event to honour his legacy on December 7, 2012. His memorial stone was unveiled at Sialsuk thlanmual, and the inauguration ceremony took place at Laltanpuia Hall, a community hall named in his honour. The event featured a grand programme and a community feast.
Source: Laltanpuia thu leh hla zirhona, Published by Laltanpuia Lungphun Committee 2012. Printed by Zorin Compugraphics, Aizawl.
The Mizo tawng (Language) version of Pu Laltanpuia's life story can be accessed in this link: Mizo hlaphuah thiam Laltanpuia (Sialsuk) chanchin

Sialsuk Laltanpuia memorial stone:

Laltanpuia, Sialsuk