Mek'rodemzai (Mek-ro--dem-zay)

The descended bloodline of the abyssal-bearing denizens and former kingdom of the Lamias, after the fall of Mekrozahd and its slaves. The Mek'rodemzai still retain a portion of the former identity of the ancient magocracy, but have abandoned their arcane past - seeing it as the bringer of inequality and tyranny. The Mek'roszai reside as an isolated, hidden and a xenophobic group of feral Tieflings that make the Vashara and Duat'tera desert their home. They hold nomadic traditions, being forced from place to place and finding sanctuary only in the changing oasis' of the deserts and ruins across the two deserts - they have been persecuted and used for generations by both the Ankh'herans & Ozon'Siiari as slave labourers, and few retain much of their former cultures - only in mobile form, and adapting to the arid wilds and controlling the precious resource of water and food between the nomadic clans.
The Mek'rodemzai are keenly aware of their ancestry, both due to their desire to preserve their personal pride as a people and also due to their enemies using it to oppress them - spawned deliberately out of the centuries of decadent hedonism with devils and demons, practising sacrificial worship of their ancestor's arrogance and hubris. At least, this is what their enemies have recorded in historical memory. The Mek'rodemzai remember this differently, retaining the knowledge of how they were once the slaves of the Mekrozadhi and their Despot leaders - they built their empires without the aid of the gods but relied too heavily on both enslavement and magic. They realised that they could be truly free and self-reliant - embracing freedom in spite of fate, as the gods had denied them freedom from slavery, and still deny freedom from slavery even at this point in the present. They turned to the dark gods because they allowed them to embrace their own individuality and their own freedoms - and the divines had cursed them because of this.
The Mek'rodemzai rely on the practice of archaic shamanism and the belief in animism in nature, finding magic in the words they weave and the alluring songs they sing within the desert. They call the deserts their home and have adapted well to it - most outside their society and clans call them bandits, thieves, rogues and devil-tongued liers. But none recognise that they have an unbroken will and tenacity to brave and survive in the inhospitable wastes, holding secrets of the deserts and the ruins - some say they even hold powers to manifest and manipulate malevolent spirits of the desert. But these nomadic tribes have merely attuned to the ancient mystical energies of the desert.

Naming Traditions

Feminine names

Feminine names usually end with: 'ana', 'ari', 'arna', 'eda', 'ela', 'en', 'eshi', 'ia', 'ika', 'ina', 'ini', 'ise', 'ora', 'omi', 'ona'. The longer the name, the more prominent standing one has within the clan (usually taken after a coming of age ceremony or successful trial). The shorter names are ones who have been seen to be of lesser standing.
The patronymic of a daughter is in reference of a succubus or inccubus lineage - Suque (Pronunciation: Soo-que), or Inque (Pronunciation: In-que) - followed by the name of the eldest parent. For example: Suque Tuthadaraba, means 'Succubi-blood daughter of Tuthadaraba', whose eldest parent is a father.
The full name would be Arnanaath suque Tuthadaraba Apikela. The family name is 'Arnanaath', their lineage is a succubi (suque), whose eldest parent is 'Tuthadaraba', and her given name is 'Apikela'.
For example:
Apikela, Ebomi, Cascamara, Khadi, Dharashana, Neitari, Teshi, Kamimah, Alytine, Ransenen, Ahadhati, Tawana, Notria, Ranlika, Asvasini, Khalika, Danusili, Adelina, Gira, Bahudari, Kamrici, Savalika, Theolah, Elentha, Eborusi, Sunashana, Esnanna, Muvarna, Urmilaka, Aksani, Nikanella, Pherise, Corene, Vaneda, Havati, Dianora, Ghorashana, Aneti, Zelanie, Kylia, Obemara.

Masculine names

Masculine names usually end with: 'adus', 'amon', 'anda', 'arba', 'armun', 'athi', 'atru', 'dogi', 'eta', 'ili',  'muni', 'nos', 'phon', 'shin', 'udi'. The longer the name, the more prominent standing one has within the clan. The shorter, is seen to be of lesser standing.
The patronymic of a son is in reference of a succubus or inccubus lineage - Suque (Pronunciation: Soo-que), or Inque (Pronunciation: In-que) - followed by the name of the eldest parent. For example - Inque Cascamara, means 'Inccubi-blood son of Tuthadaraba', whose eldest parent is a mother.
The full name would be Ezaron inque Cascamara Donmua. The family name is 'Ezaron', their lineage is a incubi (inque), whose eldest parent is 'Cascamara', and his given name is 'Donmua'.

For example:
Donmua, Bazyses, Rudrasin, Tuthadaraba, Uassurwanda, Vasasarathi, Mandarshin, Kuwatena, Sushadogi, Hanradus, Aealops, Osorhur, Larnus, Lealix, Kadharmun, Shadimuni, Akili, Bakentou, Netros, Ranatavant, Tuthaziya, Kortus, Dandahatru, Dramon, Drivarcas, Suvarnabali, Alinumant, Jaikarna, Midartus, Locarus, Thargos, Vibhanavant, Kraphon, Jihhuti, Havijihva.

Family names

Family names or surnames come first, followed by a patronymic or series of patronymics then their given name. Their names and surnames have been given flair and changed through their Abyssal origins while maintaining a sense of their ancestral Mekrozadh lineage. The beginning of the family names sound softer and more gentle, often even a little melodic - whereas the end towards an Abyssal style of 'un', 'mon', 'uth', 'ez' or 'roth'. The most popular names end in 'roth' or 'thar'.
For example:
Arnanaath, Ezaron, Orzoth, Sarthrollon, Molvaxad, Burgurauk, Kidramen, Tolrimath, Allmomon, Surror, Golgrimauth, Dorthroz, Orothon, Duebalroth, Trohalathar, Qreixerath, Stostayez, Harmonuth, Vouath, Styinalaath, Breorotha, Khondamez, Coryxiouth, Devataama, Zithasarma, Irbamunez.

Other names

Typically, for friends and family, their full names are not exchanged on a daily basis rather they have an everyday name - which is mostly the name of the ancestral tribe (Cubi), city (Ubi Menzel) or country (Vashara/ Duat'tera), or any other term used to show relevance. This tends to follow a family through several generations.
For example:

• Of an ancestral tribe: Cubi-Erazon (Pronunciation: Cue-bii Er-a-zon).
• Of a city: Ubi-Menzel (Prn: Oo-bi Men-zel).
• Of a country: Ubi-Vasha (Prn: Oo-bi Va-shar), or Ubi-Duata (Prn: Oo-bi Doo-a-ta)
• Of a friend: Ubi-lai (Prn: Oo-bi Lai).
• Of a family member: Ubi-dem (Prn: Oo-bi Dem).

Culture

Major language groups and dialects

The Mek'rodemzai speak a combination of Common, Infernal and Abyssal - their own dialects are a humanized & written version of Abyssal, which they refer to as 'Demzay'.

Culture and cultural heritage

The Mek'rodemzai do not have much in the matter of materials, artefacts or arts - they preserve the majority of their history and culture through memory, song and dances that illustrate past events. They carve masks and carpets to denote particular historical events of value, and even wear it in their clothing. Each family and tribe passes down a shawl or scarf that is constantly amended, added and interweaved into - each one making a single colourful square with their own personalised symbol that denotes their character and small story of their life when they become adolescents - sometimes it is a successful hunt, a tragedy or hardship, or making their parents proud.

Shared customary codes and values

Their main values are keeping to themselves and their own people - isolation and self-preservation; as history has left them to be mistrustful and xenophobic to others. They have a large communal society and thus rely on both one another, and their need for self-preservation and self-sufficiency - one must be able to provide for oneself, in order to then be able to share amongst the community.

Common Etiquette rules

No one, not even family nor partners, touches another person headscarf or attempts to remove it. Only those who have been permitted by the owner can touch it - to damage, steal or destroy a Mek'rodemzai headscarf is a great insult to the person and causes them great shame, for it is greatly linked to their familial identity & their own personal identity.
When referring to one another, the Mek'rodemzai always say their full name - unless they are mutual friends or family, in which they refer to one another with their nicknames. Outsiders of the family, or the clan, cannot use their nicknames - as it is a formal social agreement.
Whenever they eat or drink together, the youngest has the first bite & drink, then follows with the next in line until it reaches the eldest. When they reach the end of a meal or drink, the eldest takes the last bite or swig. Any leftovers or inedible material is then used in all its parts - nothing goes to waste. It is a tradition that places value on new life and a reminder that the elders must take care of themselves and survive, and that everything is precious and must be utilised.

Common Dress code

The Mek'rodemzai prefer loose-fitting clothing, long tunics, sleeveless cloaks and distinctive head-cloths, as they have adapted to their desert climate and keeping with their cultural heritage. They prefer to wear on their head a kufiya, held by heavy woollen coils with the ends wrapped around the face and neck when hiding from the sunlight. Other members of the Mek'rodemzai wear sleeveless tunics, sitwals (which are loose-fitting silk or cloth pants) tightened by leather or rope cords, dark or light fabrics. Whilst in the desert sun, they tend to wear scarves or headscarves, decorated in their individual tribal styles - some even wear goggles made from animal hooves.
Most tend to cover their shoulders, arms and legs - but leave enough room for them to loosen their tails and wings. The ideal is to remain tied to their cultural heritage, but always capable of being on the move and adapted to the changing heat of the desert.

Art & Architecture

ART

The Mek'rodemzai have a proud heritage of singing and dancing in their own art form. Their dancing has been referred to be part-dance and part-martial art, a practice that is a mode of expression that is both quite sensual & flirtatious with close-contact and partner on partner dances with changing leads - singular and independent dancing is an alluring movement that is a combination of spinning, to-the-beat coordinated moves and a free-spirit that makes use of the area and environment around it.
Singing is a popular and ingrained practice amongst most members of the Mek'rodemzai, both of individual, partnered or communal groups - males hold deep-voiced and lower ranged singing reminiscent of a harmonised vocalisation. Males would often group together in choirs, taking turns in singing, each reaching deeper tones while the others formulate spontaneous beats with their feet, clapping their hands or whipping their tails to the ground. Female Mek'rodemzai usually sing individually, or in a kind of 'musical duel' - their voices ranges are vast, but they typically hold long-lasting high notes to challenge one another power and longevity of their voices. They take their power from their music and use it to aid them practically even in their daily lives - resonating the vibrations within the sands to form shapes, illusions and otherwise.
One song-form that they hold in high regard, is a culmination of their own practice of celebration and euphoric release, is based entirely in Abyssal - intense, fast and aggressive; ranging from melodic singing to almost near unintelligible screaming, depending on the emotional release one has within them. Otherwise known as 'Sor Khaal-Rad Qalab', or the "Scream of Heart Thunder". Depending on the issue or situation, the Mek'rodemzai would practice this as the ultimate expression of their feelings or emotions - and practice this often as a practice of relieving stress, sorting out issues & expressing one's truth.

ARCHITECTURE

As a primarily nomadic group, they do not hold permanent settlements and are always on the move - therefore the common structures they make are usually great tents they can carry on their backs or on the backs of pack animals. They have two kinds of tents, the Dry Tents & Rain Tents.
Dry Tents, are usually open-plan multi-room tents made from fur, hair, leather, cloth or even silk (for the more noble) with drawn or closed tent walls to allow air or wind through - supported by collapsible poles made from animal bones or scavenged wood. Used to protect them from the scorching sun, heat, light winds & to provide privacy in the night.
Rain Tents are much hardier and usually made from leather, canvas and fur - designed to be pentagonally shaped with sloping sides so it is easy to collect rainwater from and has only two doorways, the second being hidden and used as an escape.

Birth & Baptismal Rites

The Mek'rodemzai practice a baptismal rite for newborn babies by being washed naked in the nearest oasis, river or sea-water (less so within rivers). The clan takes the communal cauldron (the crucible), that they use in all communal functions to share soup, stews & celebratory drinking - in which all other children have been immersed entirely under the surface of the water, and fill it with water. It is expected of the babies to cry after being immersed in order to show how healthy their lungs are, and how strong they are - those that do not cry show bad omens and misfortune. The same water is then boiled in a fire, and they are dipped in once more in a second baptism - for the feral Tieflings, it is a practice that shows how well the individual can sustain the hot temperatures, but for others outside their culture, they see this as a cruel act. The hot and cold baptisms are to symbolically show that the world can be both warm and cold, and to always remember not to languish too much in either one. Through each immersion within the water, they are dried by a family cloth weaved for this occasion that they will carry for the rest of their lives as their headscarf or kufiya - usually, the materials are collected by both parents, and the eldest parent knits the name they have chosen for their child into the ends of the cloth.

Coming of Age Rites

When children begin puberty, and their voices change they begin to practice and hone their talent with singing and dancing - mothers would teach their children to dance while fathers taught their children to sing; then they would be invited to join the community in the chieftains tent to participate in the Sol Khaan-Rad Qalab. If they are able to survive this night and participate fully in song without their voices breaking, they are considered fully-fledged members of their clan & adults in their own right. After this ceremony, they are allowed to add their own story to the 'living tapestries' of their tribe - creating a single square to add to the tribe canvas of individuals.

Ideals

Beauty Ideals

The clans of the Mekro'demzai find that an individuals voice and noise is a beautiful and desirable trait - males are ideally seen to be deeper and favour short but powerful voices. Females are ideally seen to be softer and favour those able to produce long-lasting and resonating voices, capable of hitting high notes.
It is considered that skin that turns from light to dark is a beautiful trait - reflected in their fashion, hair, horns, makeup and even skin colouring - even in tattoo styles that turn from multi-chromatic colours to monochromatic. Males tend to wear darker colours on the outside and brighter colours on the inside of their clothing and fashion - meanwhile, this is inversed for females, who tend to wear brighter colours on the outside and darker colours on the inside of their clothing and fashion. This is also seen with the attraction of their eyes, if they have contrasting sclera and iris colours i.e. black sclera and bright blue iris being the most favoured, or white sclera and pupilless deep blue eyes.
Additionally, greasy or wet hair and smooth skin under their clothing is seen as beautiful and intimate between partners & couples - those who do not appear to show calloused hands or feet indicate that they are not providing hard work or effort for their families or clans, and are regarded as ugly.
Their horns also denote a sense of beauty and luck - upward-facing horns denote an individual believed to be blessed with good luck and fortune, whereas those with downward facing horns often are seen as troublesome and mischievous, attracting both of these qualities wherever they travel.

Gender Ideals

Boys or males are put in dark exteriors and light and colourful interiors, considered to appear strong and more interesting on the inside. Males tend to grow their hair out and never cut it, hiding their faces with veils, or for those with more noble rank, with masks made of bone, cloth wood or even precious metals.
Girls or females are put in lighter and colourful exteriors, then darker interiors, considered to appear more vibrant and approachable, opulent even. Both genders however follow the idea that they are judged by who they are and their actions - and that their outward appearance is to fit a social role, but are more complex and unpredictable up close and personal.

Courtship Ideals

Unlike other societies - the courtship of the Mek'rodemzai is set between competitive talents and skills between different clans & their own clan members. Males and females within their own clans would determine matchmaking through formal dances and competitions on 'rest days' or 'rest nights' - males would be set to win affections through public or private displays of singing or dancing, sometimes duelling between others to show off their skills to potential courted partners, while females would be set to compete in physical contact and sword duels.
Another courting act is the 'stolen kiss' - where potential partners would attempt to catch their others by surprise and steal a kiss. The one caught by surprise is entitled to steal the kiss back before being able to pursue other courtships, and the one that stole the kiss must keep it safe and be aware always. This practice has helped them to keep themselves always aware of their surroundings and to act in surprise.

Relationship Ideals

Sex is not considered a sacred act amongst the Mek'rodemzai - rather, relationships are based upon one's ability to make others laugh, maintaining a proper perspective while dealing with sensitive issues; being playful and teasing, defusing volatile situations with humour is what maintains a relationship. The key factor is always being fun.