Reebur Sewa Gowloog Lepcha -

about me

I am from Kalimpong and bear a mouthful of a name, Reebur Sewa Gowloog Lepcha. Khamrimo.

I think it could either mean a flower blooming or a flower bud. I love it either way, albeit it is important to be aware of the original meaning. Please do share your knowledge on my name anytime

There’s only so much we can put in words of the thing we most value in ourselves, besides the fact that a superlative usually gives out the impression of singularity, or only to me, haha, honestly to each their own, so I think it depends on the phase that we’d be in at that particular time, I suppose a relevant example would be when asked to choose which maan (masu) to make for dinner!!

Tállom Purtam

What is storytelling to me?

I learnt that the prospect of creating content is very challenging yet productive. It lends one the liberty to express in different manners, that opens up chapters on untreated themes to a folk narrative.

What is sacred to me?

There’s an instant rush of sentiments to this adjective from all kinds of socially formed groups. An aching inkling attached to it of a sense of accountability when simply standing on the very ground of the place trying to explain what it means as well! A simple yet effective example coming from a personal experience is during my first visit to Damsangghiri in 2017 when I saw a tattered Lepcha flag barely moving to the direction of the wind. And it almost looked poetic, enough to make me feel like the flag had no direction. What I do remember is feeling responsible for it but unqualified to act on it.

‘I bet the River remembered the boy who flew paper planes.’

Finding my sacred place

Looks like I’m not the only one who took one enjoyable stroll down memory lane, from water bodies to places I’d visited in haphazard timelines, the one thing that occurred like recurring episodes in my meditative state was the Camelia tree. The colours on it were most vibrant against the darkness, albeit the energy of the darkness here was completely opposite to the generally agreed on view. So I dedicate this piece to my late grandfather, even managed to pen it down haha. All in all quite a memory.

Copyright: The expressions and stories in this project are copyrighted to the respective creator/storyteller, including the artistic/photographic/video/craft material, and cannot be reproduced, reused, or studied without their explicit consent and reference. The stories – in all their variations – are the wisdom of the Mutanchi Rong philosophy, while the expressions here represent the journey and reflections of the respective creator/storyteller. They are reflections—personal journeys inspired by community or longing for a community, but not always representative of it in totality. Each story deserves its own safe space. They are to be engaged with respectfully. They are not research material; they are relations. Receive it with care and respect.

Disclaimer: The stories collected here are for you to learn and engage with the Mutanchi Rong worldview. They support you to reflect on your own process of your relatedness with self, community, land and ancestors. They are not meant as material to be researched on, commercialized, or reused, unless the creator/storyteller allows you to. In advent of a monetization of these stories in any form or kind, the stories should not be altered, tampered with, misrepresented, misappropriated, or politicized. When engaging with stories from Mutanchi Rongkup communities, it’s important to approach with respect, build trust, and ensure mutual benefit. This means not just collecting stories, but also giving back in meaningful ways and establishing intergenerational justice —whether through collaboration, supporting community goals, or ensuring storytellers retain voice and control.

Rather than taking stories for outside use, we urge artists, collaborators, musicians, and creators to work alongside communities , listening deeply, and ensuring they see the value of their knowledge reflected back in ways that matter to them—through visibility, opportunities, or community-led platforms (reciprocity). This is about relationship, not extraction—a cycle of sharing that honours both the story and the storyteller.

We respectfully urge you to not only create space, but to thoughtfully step aside so that storytellers may speak in their own voices and on their own terms. Instead of speaking on their behalf, we encourage you to offer platforms that genuinely honour their agency and authority. It is long overdue to pass the mic—not as a token gesture of inclusion, but as a recognition of rightful place and voice. True solidarity lies in the willingness to shift power, not merely to share the stage. Let those to whom the stories belong lead the telling, with the respect and dignity they deserve.

Funding: This project was funded by Professor Frances Garrett's Borderland Project (University of Toronto).

ᰎᰧᰰᰜᰳᰶ ᰂᰩᰭ: ᰎᰬᰃ᰷ᰥᰧᰭ ᰎᰬᰣᰤᰨᰭ ᰣᰦᰛᰬᰀᰦ ᰉᰧᰶᰢᰦᰮᰓᰫ ᰠᰊᰤᰬᰳᰌᰨᰜᰦ ᰠᰪᰵᰎᰴ ᰣᰪᰰ ᰐᰪᰊᰩᰵ ᰎᰴ ᰃᰪᰰ ᰎᰧᰰᰜᰳᰶ ᰂᰩᰭᰊᰳᰶ ᰕᰦᰳᰢᰪᰵᰓᰫ ᰉᰧᰶᰕ ᰣᰨ. ᰊᰰᰶᰆᰬᰰ ᰕᰦᰳᰍᰪ ᰣᰶ ᰙᰫᰭᰏᰤᰶᰓᰫ ,ᰠᰪᰵᰌᰪᰰᰓᰫ, ᰞᰬᰱᰀᰦ ᰀᰕᰩᰲ ᰎᰴ, ᰕᰪᰕᰧᰶ ᰣᰦᰣᰩᰱ ᰎᰴ, ᰟᰧᰃ᰷ᰥᰤᰨ ᰎᰴ ᰣᰪᰰ ᰀᰕᰩᰲ-ᰀᰜᰧᰳ ᰋᰦᰮᰔᰴ ᰎᰴ, ᰣᰦᰛᰬᰛᰤᰬᰮ ᰂᰩᰭᰓᰫᰠᰴᰠᰦ ᰉᰬᰰᰇᰧᰶ/ᰂᰩᰭ ᰕᰉᰧᰰ/ᰕᰋᰫᰱᰊᰤᰬᰳ ᰣᰦᰛᰬᰛᰤᰬᰮ ᰜᰩᰌᰨᰜᰦ ᰙᰫᰭᰡᰧᰶᰓᰫ,ᰜᰩᰗᰩᰲ ᰏᰤᰶᰡᰧᰶᰓᰫ,ᰚᰦᰵᰍᰬ ᰜᰩᰌᰨ ᰣᰦᰛᰨᰭᰣᰤᰨᰭ ᰕᰦᰳᰡᰴ ᰕᰋᰫᰱᰍᰬ. ᰍᰩᰵᰕᰫ-ᰍᰩᰵᰕᰫ ᰀ᰷ᰥᰩᰵᰀᰦ ᰠᰪᰵ ᰣᰦᰛᰬᰎᰴᰌᰨ ᰕᰫᰊᰪᰰᰆᰧᰶ ᰛᰩᰵᰀᰪᰱᰠᰴᰠᰦ ᰠᰦᰭᰃᰤᰫᰎᰫᰮ ᰍᰦᰮᰋᰩᰠᰦ ᰚᰮᰶᰕᰤᰬᰯᰜᰳᰶ ᰚᰮᰶᰊᰰᰶ ᰎᰴᰀᰦ ᰀᰦᰳ ᰃᰪᰮ. ᰠᰓᰦ ᰐᰪᰊᰩᰵ ᰣᰦᰛᰬᰎᰴᰍᰪᰌᰨ ᰊᰰᰶᰆᰬᰰ ᰕᰦᰳᰍᰪ ᰣᰶ ᰙᰫᰭᰏᰤᰶᰓᰫ, ᰠᰪᰵᰌᰪᰰᰓᰫ ᰚᰴᰍᰬ ᰂᰩᰭᰓᰫᰠᰴᰠᰦ ᰀᰧᰌᰪᰭ ᰍᰩᰳᰜᰩᰮᰠᰦ ᰕᰪᰡᰧᰮᰣᰩᰮᰜᰳᰶ ᰎᰬᰜᰤᰫ ᰎᰴᰛᰤᰬᰮ ᰌᰪᰰᰉᰬᰳᰋᰨᰓᰫᰜᰦ ᰃᰨ ᰕ. ᰣᰦᰛᰬ ᰊᰌᰨ ᰕᰧᰘᰩᰭ ᰏᰴᰀᰦ ᰜᰬᰰᰇᰩ ᰌᰬᰱᰊᰩᰮ ᰣᰦᰉᰪᰵ ᰋᰨᰢᰪᰵᰓᰫᰠᰦ ᰊᰪᰰᰌᰩᰭ ᰎᰴ ᰍᰪᰌᰨ ᰃᰤᰬᰰᰣᰤᰨᰭᰓᰫᰠᰴᰠᰦ ᰍᰩᰳᰜᰩᰮ ᰎᰬᰣᰤᰨᰭᰎᰴᰀᰦ ᰠᰦᰭᰊᰩᰱ ᰠᰦᰭᰈᰬᰭ ᰓᰪᰜᰦᰳᰋᰨᰓᰫ ᰍᰪᰰ ᰠᰛᰩᰵ ᰠᰪᰭᰉᰧᰶᰀᰦ ᰣᰦᰛᰬᰠᰦ ᰎᰬᰜᰤᰫᰀᰦᰳ ᰏᰤᰶᰂᰪᰳᰜᰪᰵ, ᰡᰧᰮᰋᰫᰱᰓᰫ ᰚᰴᰜᰦ ᰃᰪᰮ. ᰡᰬᰰᰜᰦ ᰣᰦᰛᰬᰍᰪᰰ ᰕᰧᰘᰩᰭᰛᰤᰬᰮ ᰠᰋᰦᰜᰦ ᰃᰪᰰᰘᰩᰵᰕᰦᰳ ᰌᰪᰰᰉᰬᰳᰡᰨ ᰚᰴ ᰜᰧᰰᰓᰫᰜᰦ ᰕᰃᰨᰰᰍᰬ. ᰠᰪᰵ ᰛᰤᰬᰯᰍᰪ ᰊᰌᰨ-ᰊᰌᰨᰠᰦ ᰋᰩ ᰣᰦᰛᰦᰮᰀᰦᰳ ᰙᰫᰭᰡᰴ ᰚᰴᰜᰦ ᰃᰨ ᰕ. ᰣᰦᰛᰬ ᰌᰩᰵᰓᰥᰧᰯᰠᰦ ᰊᰰᰶ ᰋᰦᰮᰔᰴ ᰎᰴ ᰕᰃᰫᰰᰍᰪᰠᰦ ᰡᰬᰰ ᰣᰦᰛᰬᰌᰨ ᰌᰬᰱᰊᰩᰮᰜᰳᰶᰎᰴᰛᰤᰬᰮ ᰌᰪᰰᰉᰬᰳᰡᰧᰶᰓᰫ ᰣᰦᰕᰤᰫᰵᰀᰦᰳ ᰃᰪᰮ ᰠᰓᰦ ᰣᰦᰛᰬᰛᰤᰬᰮ ᰇᰧᰶᰠᰦ ᰌᰬᰱᰀᰦ ᰜᰫᰵᰓᰤᰪᰭ ᰃᰦᰳᰓᰫᰜᰦ ᰃᰪᰮ ᰣᰦᰛᰧᰵᰶ ᰣᰦᰛᰬᰎᰴᰛᰤᰬᰮ ᰊᰦᰭᰡᰧᰭ ᰣᰪᰰ ᰇᰧᰶᰠᰦ ᰌᰬᰱᰀᰦ ᰜᰤᰶᰍᰩᰵᰓᰨ ᰣᰨ.

ᰃ᰷ᰥᰧᰠᰁᰬᰕᰲᰶ: ᰃᰤᰨᰮᰋᰨᰓᰫ ᰠᰪᰵ ᰣᰦᰛᰬᰎᰴ ᰕᰫᰊᰪᰰᰆᰧᰶ ᰛᰩᰵ ᰠᰪᰭᰌᰪᰮᰠᰦ ᰆᰧᰵᰶᰊᰩᰵ, ᰅᰭᰶᰊᰩᰵ ᰜᰩᰮᰕᰤᰫ ᰍᰩᰵᰀᰦ ᰇᰩᰜᰪᰵ ᰛᰨᰭ ᰀᰨ ᰡᰴᰀᰦ ᰃᰪᰮ. ᰣᰦᰛᰬᰍᰪᰰ ᰣᰦᰚᰫᰮ ᰊᰌᰨᰠᰦ ᰠᰊᰤᰬᰳᰌᰨᰜᰦ ᰌᰤᰬᰱᰊᰩᰮᰜᰳᰶ ᰜᰩᰮᰕᰤᰫᰎᰴᰛᰤᰬᰮ ᰠᰛᰬᰀᰦ, ᰊᰌᰨ ᰕᰧᰘᰩᰭ, ᰜᰤᰦᰵ ᰣᰪᰰ ᰉᰫᰋᰧᰵᰶᰠᰴᰛᰤᰬᰮ ᰀᰨ ᰡᰴᰀᰦ ᰞᰬᰰᰊᰩᰱ ᰕᰦᰳᰡᰴᰜᰦ ᰃᰪᰮ. ᰣᰦᰛᰬ ᰛᰤᰬᰮ ᰌᰩᰵᰓᰥᰧᰯᰠᰦ ᰊᰰᰶ, ᰃᰤᰫᰙᰳᰶ ᰃ᰷ᰥᰪᰱᰋᰩ ᰎᰴᰀᰦ ᰟᰧᰭᰡᰧᰶᰓᰫ ᰋᰦᰮᰔᰴᰀᰦᰳ ᰀᰨ ᰡᰴ ᰕᰃᰫᰰᰍᰬ. ᰠᰋᰦ ᰣᰦᰛᰬᰠᰦ ᰂᰩᰭᰓᰫ/ᰌᰩᰭᰓᰫᰠᰦ ᰜᰩᰮᰍᰪ ᰉᰬᰰᰇᰧᰶ/ᰂᰩᰭ ᰎᰴ ᰕᰋᰫᰱᰊᰤᰬᰳ ᰣᰶᰛᰤᰬᰮ ᰜᰩᰌᰨᰜᰦ ᰟᰧᰭᰡᰴᰜᰦ ᰕᰃᰫᰰ ᰕ. ᰠᰛᰬᰙᰴ ᰌᰨᰜᰦ ᰋᰩ,ᰜᰤᰫᰀᰦ ᰉᰧᰶᰢᰪᰵᰓᰫ ᰠᰪᰵ ᰣᰦᰛᰬᰎᰴᰠᰦ ᰎᰤᰦᰕᰤᰬᰳᰀᰦ ᰃᰤᰫᰙᰳᰶ ᰃ᰷ᰥᰪᰱᰋᰩᰠᰦ ᰠᰛᰬᰌᰨᰜᰦ ᰐᰦᰰᰣᰤᰨᰭ ᰀᰨᰜᰳᰶ ᰎᰴᰀᰦ ᰙᰪᰲᰋᰦᰱ ᰕᰦᰳᰢᰪᰵᰠᰦ ᰡᰪᰊᰩᰀᰦ, ᰣᰦᰛᰬᰠᰦ ᰣᰦᰋᰵᰶ ᰜᰤᰫᰛᰤᰬᰮᰌᰨ ᰋᰨᰮᰃᰦᰳᰓᰫ ᰉᰧᰶ ᰕ. ᰣᰦᰛᰬᰛᰤᰬᰮ ᰃᰤᰫᰲᰜᰪᰵ ᰊᰰᰶ ᰕᰉᰧᰰᰓᰫ ᰣᰦᰛᰧᰵᰶᰎᰴᰀᰦ ᰙᰪᰲᰋᰦᰱ ᰕᰦᰳᰡᰴᰜᰦ ᰕᰃᰨᰰᰍᰪ ,ᰣᰦᰛᰬᰛᰤᰬᰮ ᰈᰫᰵᰋᰩᰱᰠᰦ ᰠᰛᰬᰌᰨᰜᰦ ᰣᰦᰀᰩᰵᰀᰦ ᰓᰪᰠᰨ ᰡᰴ ᰕᰃᰨᰰᰍᰬ ᰣᰦᰛᰬᰛᰤᰬᰮ ᰊᰌᰨᰠᰦ ᰣᰦᰋᰵᰶᰜᰳᰶ ᰜᰤᰫᰌᰨᰀᰦ ᰡᰫ ᰠᰛᰬᰙᰴ ᰉᰧᰶᰢᰪᰵᰓᰫ ᰣᰶᰛᰤᰬᰮᰌᰨ ᰊᰦᰭᰡᰧᰭ ᰕᰦᰳᰜᰪᰵ ᰇᰧᰶᰠᰦ ᰜᰩᰮᰕᰤᰫ ᰑᰥᰤᰩᰰᰜᰪᰵ ᰙᰫᰵᰃᰦᰳᰓᰫ ᰃᰪᰮ ᰕ ᰣᰨ. ᰣᰦᰜᰨᰮᰌᰨ ᰠᰋᰦ ᰕᰫᰊᰪᰰᰆᰧᰶ ᰛᰩᰵ ᰕᰧᰘᰩᰭ ᰠᰴᰠᰦ ᰠᰪᰵᰎᰴᰀᰦ ᰓᰤᰪᰭ ᰢᰪᰵᰠᰦ ᰋᰩᰀᰦ ᰣᰦᰛᰬᰛᰤᰬᰮ ᰇᰧᰶᰠᰦ ᰜᰨᰮᰕᰤᰫ ᰀᰦᰳᰜᰩᰮ ᰟᰤᰬᰳᰀᰨ ᰡᰴ, ᰀᰦᰳᰓᰬᰭᰀᰦ ᰌᰤᰬᰰᰛᰧᰶᰜᰳᰶ ᰓᰪᰠᰨᰜᰪᰵ ᰣᰪᰰ ᰀᰦᰳᰓᰬᰭᰠᰦ ᰉᰬᰰᰊᰪᰰᰓᰫ ᰐᰦᰰᰊᰩ ᰎᰴᰛᰤᰬᰮ ᰌᰤᰮᰶᰜᰪᰵ ᰊᰰᰶᰊᰧᰮᰶ ᰓᰧᰰᰃᰦᰳᰓᰫ ᰃᰪᰮ ᰕ ᰣᰨ. ᰀᰨ ᰃᰦᰳᰓᰦ ᰠᰪᰵ ᰣᰦᰛᰬᰎᰴ ᰃᰤᰨᰮᰍᰪ ᰋᰨᰋᰩᰮᰓᰫ ᰀᰊᰦᰱ ᰕᰃᰫᰰᰍᰪᰠᰦ ᰡᰬᰰ ᰣᰦᰅᰦᰳᰆᰬᰰᰓᰫᰠᰦ ᰜᰤᰫᰀᰦ ᰜᰩᰜᰤᰩᰭ ᰡᰴᰜᰦ ᰃᰨ ᰕ ᰠᰛᰬᰠᰦ ᰜᰩᰮᰕᰤᰫᰀᰦ ᰣᰦᰛᰬᰍᰪᰰ ᰕᰧᰋᰫᰭ ᰍᰪ ᰕᰧᰋᰫᰭ ᰍᰩᰵᰠᰦ ᰝᰥᰤᰪᰮᰗᰩᰛᰤᰬᰮ ᰔᰦᰳᰡᰴᰜᰦ ᰃᰪᰮ. ᰠᰛᰬᰀᰦ ᰇᰩᰊᰪᰰᰍᰪ ᰣᰤᰨᰭ ᰙᰫᰭᰡᰧᰶᰓᰫ ᰜᰩᰮᰕᰤᰫᰎᰴᰜᰩᰮ , ᰕᰧᰘᰩᰭᰠᰦ ᰆᰧᰰᰶᰋᰩ ᰎᰴᰀᰦ ᰞᰬᰰᰊᰩᰱ ᰓᰪᰠᰨ ᰜᰪᰵ. ᰚᰴᰍᰬ ᰠᰪᰵᰌᰪᰰᰓᰫ ᰠᰴᰀᰦ ᰠᰦᰭᰊᰩᰱ ᰣᰪᰰ ᰊᰌᰨ ᰂᰩᰭ ᰎᰴᰛᰤᰬᰮ ᰜᰫᰵᰊᰦᰳ ᰡᰴᰜᰦ ᰃᰪᰮ ᰕ ᰣᰨ.

ᰠᰪᰵ ᰣᰦᰛᰬᰎᰴᰛᰤᰬᰮ ᰀᰪᰮᰌᰫᰵ ᰣᰦᰀᰩᰵ ᰎᰴᰀᰦ ᰙᰪᰲᰋᰦᰱ ᰕᰦᰳᰡᰴᰠᰦ ᰊᰰᰶᰀᰦ ᰌᰫᰳᰟᰧᰭᰡᰴᰜᰬᰰ ᰀᰕᰩᰲᰎᰰᰶᰠᰴ, ᰌᰬᰱᰇᰩᰎᰰᰶᰠᰴ, ᰠᰪᰳᰈᰩᰎᰰᰶᰠᰴ ᰣᰪᰰ ᰙᰫᰭᰏᰤᰶᰓᰫᰠᰴᰀᰦ ᰀᰦᰚᰫ ᰣᰦᰘᰩᰭᰓᰬᰭᰀᰦ ᰋᰤᰪᰇᰩᰍᰪ ᰣᰤᰨᰭ ᰕᰦᰳᰙᰫᰭᰣᰶ ᰚᰴᰜᰦ ᰜᰦᰱᰌᰰᰶ ᰡᰪᰡᰨ. ᰀᰦᰳᰓᰬᰭ ᰣᰦᰛᰤᰫᰮᰕᰦᰳ ᰉᰬᰰᰀᰨᰜᰪᰵ, ᰝᰪᰚᰫᰮ ᰊᰰᰶᰂᰨᰋᰨᰓᰫ ᰜᰩᰮᰕᰤᰫᰎᰴᰀᰦ ᰝᰪᰚᰫᰠᰦ ᰚᰮᰶᰊᰰᰶᰎᰴᰠᰦ ᰃᰨᰵᰇᰧᰮᰎᰴ ᰜᰩᰒᰶᰢᰦᰮᰓᰫ ᰕᰤᰫᰵᰀᰩᰰ ᰊᰶᰀᰦ ᰚᰴᰜᰦ ᰃᰪᰮ. ᰣᰦᰛᰧᰵᰶ ᰣᰦᰛᰬᰎᰴ ᰡᰧᰮᰢᰳᰶᰠᰦ ᰜᰩᰮᰕᰤᰫ ᰜᰩᰮ, ᰣᰦᰋᰤᰪᰰᰎᰴᰠᰦ ᰜᰩᰮᰕᰤᰫᰜᰩᰮ , ᰚᰦᰵᰍᰬ ᰣᰦᰘᰩᰭ ᰍᰪᰰ ᰃ᰷ᰥᰧᰭᰋᰨᰓᰫ ᰠᰛᰬᰙᰴᰌᰨᰜᰦ ᰋᰨᰎᰤᰬ ,ᰋᰩ ᰜᰤᰦᰵᰎᰴ ᰀᰦᰳᰌᰬᰱᰀᰦ ᰛᰧᰳᰶ ᰇᰩᰜᰪᰵ ᰀᰦᰳᰓᰬᰭᰀᰦ ᰣᰦᰛᰤᰫᰮ ᰐᰦᰰᰊᰩᰠᰦ ᰊᰰᰶᰎᰴᰀᰦ, ᰜᰩᰮᰕᰤᰫ ᰣᰦᰛᰬᰎᰴᰠᰦᰜᰩᰮ ᰀᰦᰳᰓᰬᰭᰠᰦ ᰃᰨᰵᰇᰧᰮᰜᰳᰶ ᰚᰮᰶᰊᰰᰶᰎᰴᰛᰤᰬᰮ ᰜᰫᰵᰃ᰷ᰥᰪᰱ ᰡᰴᰜᰦ ᰃᰪᰮ ᰕ ᰣᰨ. ᰣᰦᰛᰧᰵᰶ ᰣᰦᰛᰬᰎᰴ ᰀᰦᰳᰓᰬᰭᰛᰤᰬᰮ ᰒᰧᰶᰜᰪᰵ ᰌᰫᰳᰡᰬᰮᰡᰴᰀᰦ ᰕᰃᰫᰰᰍᰪ ᰡᰬᰰ ᰣᰦᰛᰬᰌᰨᰛᰬ ᰀᰦᰳᰓᰬᰭᰠᰦ ᰌᰬᰱᰊᰩᰮᰜᰳᰶ ᰣᰦᰕᰤᰫᰵᰀᰦᰳ ᰌᰪᰰᰡᰴ ᰃᰪᰮ. ᰣᰦᰟᰦᰲ ᰚᰴᰍᰬ ᰜᰩᰮᰕᰤᰫ ᰠᰛᰬᰍᰪᰰ ᰠᰪᰵ ᰣᰪᰰ ᰠᰪᰵᰌᰪᰰᰓᰫ ᰉᰬᰳᰌᰨᰛᰤᰬᰮ ᰀᰦᰳᰓᰬᰭᰀᰦ ᰇᰧᰶ ᰛᰧᰳᰶ ᰎᰦᰱ ᰡᰧᰶᰓᰫᰠᰦ ᰣᰤᰨᰭ ᰜᰫᰵᰕᰦᰳᰡᰴᰜᰦ ᰃᰪᰮ.

ᰣᰦᰛᰬᰀᰦ ᰋᰩ ᰀᰦᰳ ᰀᰊᰦᰱ ᰙᰫᰭᰡᰴ ᰕᰃᰨᰰᰍᰪ ᰡᰬᰰᰜᰦ ᰜᰫᰛᰧᰭ ᰃᰤᰪᰮᰍᰪ ᰂᰩᰭᰓᰫᰠᰴᰛᰤᰬᰮ ᰜᰩᰮ ᰓᰧᰶᰡᰴᰜᰦ ᰃᰨ ᰕ. ᰠᰛᰬᰀᰦ ᰠᰪᰵᰌᰪᰰᰓᰫᰍᰪᰰ ᰊᰌᰨᰠᰦ ᰜᰧᰰᰊᰩᰵ ᰜᰩᰮᰕᰤᰫᰎᰴ ᰊᰌᰨ ᰣᰦᰉᰪᰮᰀᰦ ᰈᰩᰭᰂᰪᰳ ᰡᰴᰜᰦ ᰃᰨ ᰕ. ᰝᰪᰚᰫᰠᰦ ᰎᰪᰰᰌᰤᰩᰱᰜᰩᰮᰍᰪ ᰈᰩᰭ ᰡᰴᰜᰤᰬᰰ, ᰝᰪᰚᰫᰮ ᰋᰩᰜᰤᰦᰵ ᰎᰴᰠᰦ ᰣᰦᰋᰤᰪᰰ ᰐᰪᰣᰨ ᰚᰴᰜᰦ ᰜᰧᰰᰀᰨᰡᰪᰡᰨ, ᰠᰛᰬᰠᰦ ᰜᰩᰮᰕᰤᰫ ᰜᰩᰮᰍᰪ ᰝᰪᰚᰫᰠᰦ ᰂᰩᰭ ᰎᰴᰛᰤᰬᰮ ᰇᰧᰶ ᰐᰪᰡᰧᰶᰓᰫᰠᰦ ᰣᰤᰨᰭ ᰕᰦᰳᰡᰨ ᰚᰴᰜᰦ ᰃᰪᰮ. ᰊᰗᰳᰶ ᰃ᰷ᰥᰩᰱᰍᰪ ᰈᰩᰭ ᰕᰋᰫᰱᰍᰪᰓᰫ ᰚᰴᰍᰬ ᰕᰤᰩᰰᰆᰩᰮᰋᰨᰓᰫ ᰕᰪᰛᰩᰛᰤᰬᰮ ᰊᰌᰨᰠᰦ ᰣᰦᰛᰧᰵᰶᰛᰤᰬᰮ ᰐᰪᰡᰴᰀᰦ ᰋᰩ ᰓᰧᰰᰃᰦᰳᰓᰫ ᰊᰗᰳᰶᰜᰦ ᰅᰫᰰᰋᰨᰓᰫ ᰉᰧᰶ, ᰣᰦᰛᰬ ᰊᰬᰜᰨ ᰉᰬᰳᰡᰴᰀᰦ ᰎᰬᰣᰤᰨᰭ ᰕᰦᰳᰡᰴ ᰀᰊᰦᰱ ᰕᰃᰨᰰᰍᰪ ᰡᰬᰰ ᰝᰪᰚᰫᰠᰦ ᰣᰦᰋᰵᰶ ᰣᰦᰉᰪᰮ ᰣᰪᰰ ᰋᰩᰠᰦ ᰇᰧᰶ ᰐᰪ ᰓᰧᰰᰃᰦᰳᰓᰫᰜᰦ ᰃᰨ ᰕ. ᰣᰦᰋᰵᰶ ᰀᰦᰳᰜᰳᰶᰌᰨᰛᰬ ᰓᰩᰵᰢᰳᰶ ᰀᰦᰳᰛᰤᰬᰮ ᰀᰦᰳᰓᰬᰭᰀᰦ ᰠᰮᰶᰌᰧᰵᰶᰍᰪ ᰊᰦᰳᰜᰪᰵ ᰎᰨ ᰡᰴ ᰃᰪᰮ. ᰋᰩ ᰀᰦᰳᰛᰤᰬᰮ ᰛᰧᰳᰶ ᰟᰧᰭᰡᰴᰀᰦ ᰀᰊᰦᰱ ᰕᰃᰨᰰᰍᰪᰠᰦ ᰡᰬᰰ ᰠᰪᰵ ᰣᰶᰎᰴ ᰊᰫᰠᰦ ᰃᰪᰮ, ᰣᰶ ᰝᰪᰚᰫᰍᰪᰰ ᰋᰫᰱᰃᰦᰳᰓᰫ ᰠᰦᰭᰊᰩᰮ, ᰣᰪᰰ ᰇᰧᰶᰠᰦ ᰌᰤᰬᰱᰀᰦ ,ᰝᰪᰚᰫ ᰜᰩᰮᰍᰪᰌᰨ ᰠᰪᰵ ᰜᰫᰵᰌᰪᰰᰡᰧᰶᰓᰫ ᰃᰨ ᰕ.

ᰀᰩᰮᰙᰳᰶ: ᰎᰬᰃ᰷ᰥᰧᰭ ᰎᰬᰣᰤᰨᰭ ᰣᰦᰛᰬ ᰕᰫᰮᰙᰫᰵᰎᰰᰶ ᰑᰥᰬᰰᰠᰬᰠ ᰃᰬᰛᰬᰀ᰷ᰥᰠ ᰓᰨᰃ᰷ᰥᰨᰲᰜᰬᰰ ᰎᰬᰃ᰷ᰥᰧᰭ ᰎᰬᰣᰤᰨᰭ ( ᰀ᰷ᰥᰨᰛᰨᰰᰀ᰷ᰥᰨ ᰎᰫᰮᰙᰫᰵᰋᰩ ) ᰍᰪᰰ ᰀᰩᰮᰙᰳᰶ ᰣᰦᰃ᰷ᰥᰧᰭ ᰕᰦᰳᰢᰪᰵᰓᰫ ᰃᰨ ᰕ.

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