Inkhawm leh Pathian biakna hla kan neih hmasak ber a nih avangin, kan hla sak hmasak ber a ni bawk.
He hla hian thuchah tluangtlam leh fiah tak a keng a: mizo kristian hla hmasa ber
Today, every Sunday morning across Mizoram (which has a literacy rate of over 91% and a Christian population of nearly 87%), the notes of that original tune still echo. While contemporary Mizo Christian music includes electric guitars and drums, the foundational theology remains rooted in that first translation. The Hla Hmasa Ber is not a relic; it is a living seed. Every time a Mizo congregation sings “Ka Lal Isua Ka Nuam E” or “Hmangaihna Chu,” they are walking a path paved by the raw, revolutionary poetry of “Thisen Luang A Awm E.” Inkhawm leh Pathian biakna hla kan neih hmasak
Mizoten Sap hla ni lo, mahni thiamna leh irawm chhuaka hla an phuah hmasak ber hi kum atang khan a inṭan a. Hemi hma hian harhna a lo thlenin, Sangha vuakna hmun (Tuivai sangha tlangvuakna, 1906) ah te ringtu hmasate chu Thlarauva khulin an lo zai tawh a ni. The Hla Hmasa Ber is not a relic; it is a living seed
One evening, sitting on a log outside his hut, watching the mist roll over the Tlawng River valley, Thangchuha began to hum. It was not a Welsh tune. It was a lengkhawm melody—the kind his grandfather used to sing when traveling alone through dangerous jungles. But the words were different. They were not about avoiding spirits or boasting of headhunting. Instead, they were about grace.
Mizo Kristian hla hmasa ber chungchang kan sawi dawn a nih chuan, kum 1894-a Mizoram luhchilhtu missionary hmasa, J.H. Lorrain (Pu Buanga) leh F.W. Savidge (Sap Upa) te kha kan sawi hmaih thei lo vang. Mizote Kristian kan nih hnu hian rimawi leh hla hian kan nunah hmun pawimawh tak a luah a, chu chu a bul ber erawh missionary-te’n hla hmasa ber min zirtir atang khan a ni. Hla Hmasa Ber: "LALPA KA LO HNAI A"
Cookie List
