Meghachandra Kongbam
Love of art and beauty is nature of the people of Manipur and it is hard to find a Manipuri who cannot sing or dance. It is the result of the royal patronage from the earliest time to develop a civilization of its own in different stages of human development. Manipur has a long and glorious history from the beginning of the Christian era. The recorded history of kingship started from 33 A.D., which marked the coronation of Nongda Lairen Pakhangba. The Cheitharol Kumbaba, the Royal Chronicle of Manipur written in Meitei script recorded the events from the founding of the ruling dynasty in 33 CE until the abolition of the monarchy and subsequent merger of the state with India in 1949. It is considered as the oldest chronicle of the region, written on handmade paper made from bark of trees, in locally made ink, with a quill or a bamboo pen. After Nongda Lairen Pakhangba, 75 kings successively ruled over the kingdom of Manipur. The independence and sovereignty of Manipur remained uninterrupted until the Burmese invaded and occupied it for seven years in the first quarter of the 19th century (1819-25). Then came British Paramountcy in 1891, and later on Manipur was merged in the Indian Union on 15 October, 1949. King Bodhchandra (1941-1955) was the last King.
Manipur is situated on the eastern frontier of India with Myanmar. It has an area of 22,327 square kilometres comprising of the hills and the valley. The valley is at the centre surrounded by hills on all sides. The valley covers about 1/10th of the total area of the State. Meitei is the major community living in the valley and there are 33 recognised scheduled tribe groups settled in the hills. The recognized tribes who have made their home in Manipur since ages are Aimol, Anal, Chiru, Chothe, Gangte, Inpui, Hmar, Kharam, Khoibu, Koirao, Kom, Lamkang, Liangmai, Mao, Maram, Maring, Mate, Monsang, Moyon, Paite, Poumai, Purum, Ralte, Rongmei (Kabui), Simte, Suhte, Tangkhul, Tarao, Thadou, Thangal, Vaiphei, Zeme and Zou having their own distinct culture and tradition. Their costumes are colourful and their way of life cheerful. The folk dances of tribal people have great vigour and energy and they captivate the beholders with their exotic costumes and simple but graceful rhythm.
Fighting for honour and justice is in the blood of every Manipuris. Frequent battles among the native chieftains and against enemies like Burmese and Chinese have brought the rich heritage of martial arts which constitutes a significant area of culture of the people of Manipur.
The Meiteis have their own religion with its own myths and legends, gods and goddesses, priests and priestesses, rituals and festivals. They believe in a Supreme being- Taibang Mapu Sidaba and His two progenies- Sanamahi and Pakhangba. The Meiteis however embraced Hinduism extensively since the beginning of King Kyamba (1467-1508 AD). Groups of religious preachers from North India came to Manipur and this continuous influx of Brahmin families accelerated the process of proselytisation. Hinduism could not destroy the timeless Meitei religion and culture.The tribal people have had their own indigenous religion though some of them adopted Christianity
Rich in Traditional Media
Before the arrival of newspapers, television, radio and film in Manipur; the Kingdom of Manipur had its different forms of rich traditional media to inform, educate and entertain the people. Various performances of traditional media in Manipur were created with aesthetic elements to carry the messages while entertaining to the masses. The advent of Vaisnavism into the lives of Meitei community with the King’s order in the 15th Century also attempted to revolutionise the whole of Manipuri society and it also enriched the performing arts of Manipur derived from the new religion.
Lai Haraoba
The celebration of annual Lai Haraoba (Festival of the Gods) in different localities in the valley of Manipur since time immemorial is not only a social, cultural and religious expression of Meitei worldview in ritualistic mode, but also a living example of powerful traditional medium of mass communication practice in Manipur. It is observed in the months between February and May-June at neighbourhood shrines dedicated to the local Umanglai (Sylvan God) deities and it can be as short as three days or can even exceed a month. It is a festival in which the creation of the cosmos, the settlement of the Meitei people and its civilization are performed through songs, dance and rituals. Langdren (traditional drum) and Pena (traditional stringed instrument) are the main musical instruments associated with Lai Haraoba. The dances and songs are predominantly performed by the Maibi, who is also priestess who tends to the Gods and Goddesses and who conducts the ritual in the temple of the deities. Maibis use 364 hand gestures during the dance sequence. It starts with the re-enactment of the creation of the cosmos by nine male deities and seven female deities. This is followed by dance a representing, through fine gestures, the development of the human body in the womb, the birth of the child, the growing up stages, the building of houses, civilisation through cultivation of land and various stages of weaving. There are also various dance sequences depicting the continuity of life. Thus, the Lai Haraoba Festival is an institution imparting education with entertainment to the masses through dance, music and drama depicting the prosperity of human being and its civilization.
episode of Tangkhul and Nurabi in Lai Haraoba is an action packed drama for the audience. It describes the meeting of Tangkhul representing Nongpok Ningthou, a Meitei God and Nurabi representing Goddess Panthoibi. They are clad in the costumes of Tangkhul Tribe (one of the ethnic tribes of Manipur). In this episode, they quarrel over a piece of land and then reach at their final reconciliation. Exchanges of romantic words and riddles having sexual motifs are a significant part of Lai Haraoba. The episode indicates the good and pure relationship between the hill and valley people. In his book- Manipur and the Mainstream (1975), N. Tombi Singh describes the importance of Lai Haraoba in the development of Manipuri dances, “The well-known festival of Lai Haraoba mostly performed between the spring and the rainy season is the most comprehensive feast for dances. The kings and members of the royal family, the leading members of the King’s court and the regional chiefs took part in these festivals, along with the common people, not only as spectators and remote promoters but as actual participants in the dance and other ritual performances. One can realise the importance of these festivals as the breeding grounds for the Manipuri dances.”
Beyond food and shelter, the urge to communicate each other is another fundamental need of human being and this urge is a primal one since the growth of human civilization. The urge to express, communicate, and share something beautiful among the human beings gives birth to performing arts. These performing arts were the medium of mass communication known as folk or traditional media before the birth of modern means of mass communication like press, film, radio and television. These performing arts have changed its structure continuously over centuries, modifying to the needs of changing situations, yet continuing to be functionally relevant to society.
Theatrical forms of Folk Media
We have seen that folk performance is a composite art in India. It is a fusion of elements from song, dance, pantomimes, versification, epic and ballad recitation, graphic and plastic arts, and religious and festival pageantry. It encompasses ceremonial rituals, beliefs and social value systems. Yakshagana of Karnataka, Jatra of Bengal and Orissa, Nautanki of Uttar Pradesh and Ankit Nata of Assam are some good examples of theatrical traditional media in India; Manipur has rich theatrical forms like Ras Leela, Goura Leela, Udukhol, Gostha Leela and the popular Shumang Leela.
The Ras Leela had its origin in the vision of King Chingthangkhomba (1759-1762 AD), popularly known as Rajarshi Bhagyachandra. It is said that the King was blessed with divine powers. Lord Krishna appeared in his dreams and asked him to install his idol made from a jackfruit tree growing at Kaina hill to worship it. After the installation of the idol of Shri Govindaji, the Rajarshi hurried with his plan to perform a Ras Leela. As the image of Srimati Radha had yet to be installed, the role of Radha had to be played by a young girl, while the image of Govindaji was placed in the middle of Rasmandal during the performance. Bimbabati, the young daughter of Rajarshi played the role of Radha. She was later known as Shija Laioibi which means a princess who became goddess or a princess who looked after God. She refused to marry and spent her whole life as a devotee of Lord Krishna. She died in Nabadwip, the birth place of Lord Chaitanya. The first Ras Leela was performed at a specially constructed Rasmandal at the foot hills of Langthabal, the palace of Rajarshi. The Ras Leela depicts the story of Shri Krishna’s divine love sports with the Gopis of Brindaban. There are five kinds of Manipuri Ras Leelas namely Vasanta Ras - performed during the full moon in March-Arpil; Maha Ras - performed during the full moon in November- December throughout the night at the large Mandap (Congregation Hall) of Shri Govindaji Temple in Imphal; Nitya Ras, Kunja Ras and Diba Ras - to be performed only during the day. The Manipuri Ras Leela is unique in terms of character, costume and ornament. It spreads the message of divine love to the masses.
Goura Leela which is said to have started during the reign of King Chandrakirti (1850-1886) is a traditional ritual oriented theatre of Manipur which depicts the life and activities of Chaitanya Mahaprabhu and his Bhakti movement. The performance which originally lasts for three days is full of songs, dances and acting. The sequences of the Goura Leela performance on the first day are of six episodes namely Brahma Mohan, Prabhu Janma, Ganga Snan, Sukriti Brahman Udhar, Bal Leela and Bol Bikram. Five episodes namely Nityananda Bal Leela, Qazi Udhar, Digvijaya Pandit, Jagai Madhai Udhar and Kali Daman are played on the second day. Six episodes namely Hi Lanba, Prabhu Samkokpa (shaving of Prubhu head), Sachi Bilap, Abdaita Bhojan, Sarbabhouma Sangga and Samudra Poton are performed on the last day of the Goura Leela performance. The artistes in the Gaura Leela are versatile in singing, acting and dancing. It spreads the message of devotional movement to counter the caste system and religious and social superstitions of the Hindu society of the time.
Udukhol Leela is one of the Bal Leela of Shri Krishna which was introduced during the reign of King Churachand (1891- 1941 AD). It is believed that at the end of the Dwapur era, to destroy all evils, Shri Hari incarnated into the universe. The two sons of Kuber namely Nal Kuber and Manigriba were growing as a tree for about 100 years in the bank of the Yamuna River during the Dwapur era due to a curse of Narada Muni. The two brothers were returned to their human form by Shri Krishna. The theme and presentational style of the Leela showcase the rich cultural aspects of Manipur in the field of performing arts.
Goshta Leela, also known as the Sanshenba in Manipuri is generally performed by young boys in the age group of four to five years. It depicts the story of Shri Krishna with his Gopa friends enjoying their life tending the cow-herds and playfully during the period of his boyhood. Every year on the day of Gosthastami, Goshta Leela is presented at the temples of Shri Govindajee and Shri Bijoy Govindajee in Imphal and Gopinath in Ningthoukhong maintained with royal patronage.The rendering of these stories combines divine inspiration with a lively spirit of fun. It is celebrated on the eighth lunar day of Hiyangei (Kartik) month, seven days after the Goverdhan Puja.
Shumang Leela (courtyard play),
It is enacted in the open courtyard, watched by an audience surrounded from all sides, is one of the most popular forms of Manipuri theatre. An area of 18’x18' space is sufficient for a performance. Two chairs and a table are sufficient props for a play. In the middle of the open space a lighting device is placed. A troupe of 10 to 12 professional artistes performs in a play. Female roles are played by men performing in a falsetto voice. The actors speak their dialogues in stylised high pitched tones to make themselves heard by the audience and it has since then become a convention. Shumang Leela is a travelling theatre group and their plays are booked in advance. A play usually covers some two hours. A play usually can stretch upto two hours. Shumang Leela season starts from Yaosang festival in February – March and it continues throughout the year with some break during rainy season. Shumang Leela traces its origin from the comic skits of court jesters of King Chandrakirti (1850-1886 AD). With the introduction of better acoustic system with digital and sound effects and music, it has become more effective and very popular medium among all sections of people. It plays a great role for educating social values to the general masses with entertainment. h of these traditional theatre forms has its unique styles and presentation to carry the messages effectively to reach the masses.
Ballad forms of Folk Media
Like Alha of Uttar Pradesh, Laavani of Maharashtra, GeeGee of Karnataka, Villupattu of Tamil Nadu and Kabigan of Bengal; Manipur has various ballad forms which narrates the stories of Mahabharata, Ramayana, Moirang Epic and historic events of mighty kings of Manipur. Wari Leeba (Narrative Art Form), Lairik Thiba-Haiba (Chanting Slokas and intonating the version in Manipuri), Pena Phamshak (Singing with Pena) and Khongjom Parva (Narrating Khongjom war episode with Dholak) are popular ballad forms of Manipur. The performer of Wari Leeba narrates the whole events of Mahabharata, Ramayana or Moirang Kangleirol (Moirang epic), stories of Meitei mythology episode wise in the Mandaps (large hall attached to Hindu or Meitei temple) and Shangois (an open large hall at the courtyard of Meitei’s living house). Performances of Mahabharata and Ramayana are usually performed during Kang Chingba (Rathajatra) festival which lasts for 10 days and Durga Puja festival which last for five days. Stories of Meitei mythology are narrated at Panthoibi Iratpa festival which lasts for 15 days. (Panthoibi Iratpa or Panthoibi Puja is a religious festival of the Manipuri people dedicated to goddess Panthoibi, the goddess of courage, war, bravery and wisdom of Sanamahism. The festival falls on the same day of Hindu festival of Durga Puja). The performer usually male wears a white pheijom (dhoti) with bare torso sits on a Kouna (water reed) mat covered with a white cloth. He enacts all characters of the story employing variable tones, enabling the audience to visualize the events. He uses a pillow as a prop to express any dramatic sequence. He communicates with audience with his narrative skills during the performance. The tradition of Lairik Thiba-Haiba is one of the important media and an art form in which the Sanskrit Slokas of Lakshman Digvijaya and, or the Gitgovinda of Jaydeva is chanted by the Lairik Thiba performer with proper rhythm after which the meaning in Manipuri is intonated by the Lairik Haiba. In this process, the meaning of text goes deep into the minds of the audience. This traditional narrative art form is said to have been started during the reign of King Pamheiba (1709-1747 AD).
The artiste of Pena Phamsak narrates the episodes of Moirang Kangleirol (Moirang Mythology). The performer wears white Pheijom (dhoti) with bare torso, ornaments and white turban in the performance. He uses the traditional stringed instrument Pena as prop while narrating the stories in the tune of Manipuri Folk songs. In Lai Haraoba Festival, the Pena singer wears Khamen Chatpa Pheijom (chocolate colour printed dhoti), Resham Phurit (green colour made of velvet) and white turban.
Khongjom Parva is a musical narration of the Battle of Khongjom fought between the Manipuris and the British in April 1891. It is ballad form of traditional performing arts using Dholak. The performer narrates the heroic deed of Paona Brajabashi who sacrificed his life for the cause of Manipur in Khongjom war in 1891. Paona Brajabashi was a Manipuri military officer, born in 1833, reaching the rank of Major by 1891. The Manipuri armies fought gallantly at the Battle of Khongjom under Major Brajabashi where Manipur lost its sovereignty to the British. Dhobi Leinou introduced singing of Khongjom Parva by thumping of hands on the knees and sometimes using an empty tin to thump upon. Today, the theme of singing Khongjom Parva includes the stories of Khamba Thoibi epic, the Ramayana, the Mahabharata and the exploits of the kings of Manipur. With the rhythmic beats of Dholak, the balladeer narrates the story mesmerising the audience. The male performer of Khongjom Parva wears white Pheijom and Pumyat or Ngaksham Kabi Phurit (collar or collarless white full shirt). The female artiste wears Phanek Mayek Naiba (striped loin cloth), shirt and white Innaphi Chaddar. When the performer sings Moirang mythology, it is known as Moirang Parva which is a folk song based communication.
There are numerous folk dance forms of Meitei Community and the thirty three different tribes in Manipur. These dance forms performed in the festivals carry relevant messages of love, unity, traditional identity and moral value systems. Traditional media is always strong in a land with rich culture.
Visual communication as Folk Media
As a part of Manipuri culture, there are many folk games in Manipur which carry different messages. Apart from the performing arts in traditional media, there are visual forms of traditional media in Manipur. Andro is an old scheduled caste village in the eastern part of Imphal valley in Manipur wherein a sacred fire that is still preserved lies. It is believed that this is a place where fire was first discovered. When someone visits Andro, we can find a three-four feet high stick with a piece of white paper erected at someone’s gate. It is traditional visual medium which communicates to the villagers that pork or any meat is available at the particular house. Anyone can visit the house to buy pork or meat. Folk arts and traditional media are the aesthetic components of the concepts of belonging and affinity in a cultural context. In traditional societies, art is an integral part of the process of living in a community.
Traditional Paintings of Manipur
Illustrations like humans, animals and birds accompanied with manuscripts are found in Subika Laisaba, which deals with astrology and Khutlou with the contents to find clues of lost articles, was supposedly written in 18th and 19th centuries. These illustrations were not for public exhibition. Did the people of Manipur ever think of using images to tell a story before the advent of cinema? Have they ever thought of narrating a story through pictures or paintings like Pattachitra- narrating a story through scroll painting on traditional cloth as practiced in West Bengal and Odisha, or in any forms of images exposing through light like shadow puppetry which is practiced in some regions of the country? When we trace back the history of Manipur and its people on how they told stories to the masses, it was found that the practice was only through face to face communication.
Mutua Bahadur, a renowned cultural archivist of Manipuri culture stated that the movement of paintings in Manipur was a late phenomenon, which started with the work of Ningthoujam Bhadra Singh (1861-1927) who was appointed as a royal painter in 1881 AD. He learnt the art form from Mangsatabam Angangmacha, the Karigor of the Royal Court, during the reign of King Chandrakirti. These paintings are found depicting various themes such as Gods and Goddesses of Hindu religion, Boat races, Expedition of King Chandrakirti and epic story of Khamba and Thoibi of Moirang Kangleirol. These paintings were used to be exhibited on the wall of frontal shed of the different houses and outdoor houses of well to do families, courtrooms and temples. The Hindu temples and mandaps are well decorated with the paintings based on the themes of Hindu mythology. Most of the paintings are sketched in cloths, papers and wooden planks etc. and in the medium of water colour. The art works of Bhadra & R.K. Yumjaosana are the two notable schools of traditional paintings in Manipur. Through this visual medium, it however, conveys a message of the stories of the Hindu mythology or epic story of Moirang Kangleirol and others.
Living with Music
Music is a part and parcel of the lives of Meitei community and other tribes in Manipur. Music stimulates the energy of life; and is a source of relaxation in the journey of one’s life. In Meitei community, a child grows up with rhythms of music. ‘Tha tha thabungton, Nacha morambi pobige, Pobi sanam nambige, Heibong charong amatang, Thadabiraku thabungton’. (Moon, moon, young moon, let me carry piggyback your morambi child. Please throw down a bunch of figs, young moon). A mother carries her child piggyback by wrapping with a nahong, a cloth specially made for carrying a child on the back and singing the Naoshum Ishei (Lullaby) in the Shumang (Courtyard) gazing at the shining moon. The lullaby- Tha Tha Thabungton has a definite form in music and in text. The mother does not follow a grammar of music but she sings along the way of social tradition with the beauty of music which makes the child goes to sleep.
When the child grows up, he or she comes across the Lai Haraoba Festival in the village and lives on the sounds of music, the dance movements and the texts of the folklore associated with the festival.
There is a rich tradition of folk songs known as Khulang Ishei (pastoral folk song; rural love songs) in Meitei community. It is usually delivered in duet, exchanging romantic emotions between a lad and a lady through meaningful literary verses in natural tunes without any musical accompaniment. The verses are intelligently and intellectually created. High literary proverbs describing emotions, romance, things, places and situations are the components of Khulang Ishei. When they go for work in the fields or go for fishing, it is sung to break the monotony of physical work. It is also a mode for self expression of one’s feelings. When someone hears the song, he or she responds to it in the same tune. There are instances of folk songs during paddy cultivation which are Loutaa Isei (Song during tilling of field), Nonglao Ishei (Song to please the Rain-god), Loungaak Ishei (Song to drive out birds when the paddy is riped), Lourok Ishei (Harvesting song), Loukaa Ishei (Song during the trip carrying loaded paddy from field to home), Phousu Ishei (Song during paddy pounding using suk (pestle) and sumbal (mortar). Khulang Ishei is also known as Khunung Ishei (rural folk songs).
The HINDU reported on what the music maestro A. R. Rahman had said, “I have heard the Rudraveena and Mizhavu earlier, but the two folk forms from the Northeast were new to me. I realised how ignorant we are about that part of our country. I went to Manipur and discovered so much beauty there- the State has a beautiful soul. What stuck on was the simple lifestyle of the people, their philosophies,”
Manipur has three kinds of folk songs- Ritual or devotional songs, Ballad songs and Work songs. Ritual or devotional songs are abundantly found in Lai Haraoba Festival and Nat Sankirtana; Ballad songs are associated with Pena Phamsak and Khongjom Parva. Work songs appear during paddy cultivation and fishing in Manipur.
Traditional musical instruments like- Haraopung (Drum), Pena (Stringed instrument), Toudri (Wind instrument), Pere (Wind instrument) and Shenga (cymbals) are age-old. In the ancient book of Cheitharol Kumbaba- the Royal Chronicles of Manipur, it records, “Sakabda 76 ta Khuiyoi Tompokna ningthou oiye. Mahakthakta saji maunna pung tingduna yeibada sajigum khongnge. Madudagi kei maunna amuk tingbada keigum khongnge. Adu matungda san maunna tingbadagi pung makhol thokkhiye.” (In 154 AD, Khuiyoi Tompok became the King. During his time, when the drum was made up of deer skin, it sounded like bellowing deer. And when it was made up of tiger skin, it sounded like roaring tiger. Thereafter, when it was made up of cow skin, it sounded like the sound of drum). Another ancient book Ningthourol Lambuba, a detailed history of the Kings in Manipur reproduced by Oinam Bhogeshwar Singh published in 1967 also recorded the making of the drum during the reign of King Khuiyoi Tompok. In his book-The Background of Assamese Culture (1948), Raj Mohon Nath wrote in the chapter- The Manipuris, “Khuiyoi Tompok in 154 AD is credited to have introduced drums, cymbals and other musical instruments and greatly patronised the art of music.” King Khuiyoi Tompok ruled the Kingdom in 153 - 264 AD. An interesting account in the book was the mission of a cultural troupe from Assam, Manipur and Burma to China. It writes, “The powerful Tai king concluded an alliance with Tibet, wrested a part of China and in 707 AD invaded Manipur. The Manipur King Naothingkhong was defeated and the country passed into the complete control of the Tais for full ten years. This king sent an embassy to China accompanied by dancers, singers and musicians of different nationalities of Assam, Manipur and Burma. They played on eighteen kinds of musical instruments of which the big cymbals of gun metal and one-stringed instrument were specialities.” The two musical instruments referred to in the book might be Shenga and Pena. King Naothingkhong ruled the kingdom in 663-763 AD.
With the entry of Vaisnavite religion into Manipur in the 15th Century, the seeds of the Vaisnavite songs and music were sown in Manipur. Vaisnavite religion set its foot in Manipur when the King of Pong in Burma had presented an idol of Lord Vishnu to King Kyamba (1467-1508 AD) in the year 1470 and the idol was worshipped at Lamangdong in Bishnupur District, Manipur. The Cheitharol Kumbaba authored by Saroj N. Arambam Parratt mentions a joint expedition to Burma and the exchange of gifts between the two kings. It says, “They also exchanged their servants. Lowan the trumpeter, servant of Choupha Khekhomba, the King of Pong, was exchanged with Sekta the pung (hand-beaten drum of the Meiteis) drummer, servant of Meetingu Kiyamba”. When King Bhagyachandra alias Chingthangkhomba installed the statue of Shri Govinda at Langthabal, the Ras Leela was first performed on the 11th Day of Lunar Calendar of the Month of Hiyangei Month in 1779, Friday. It continued for five days. As the Kirtan was mandatory to be performed ahead of the Ras Leela, King Bhagyachandra created a new kind of Kirtan known as Nat Sankirtan. The King himself played the Meitei Pung (Manipuri drum). During the reign of King Chandrakirti (1850-1886 AD), the Nat Sankirtan was perfected. With the wave of Nat Sankirtan music; musical instruments like Khol, Kortal, Mandila, Jhal, Manggang, and Moibung were introduced in Manipuri music. Other musical instruments like Dholak, Dafat, Khanjuri, Pakhawaj and Tabla became a part of Nat Sankirtan music.
In India, there are two classical music traditions- Hindustani Music in North India and Carnatic Music in South India. Arrival of the Hindustani Music in Manipur during the reign of King Churachand (1891-1941 AD) added a new chapter in Manipur music. Gopimohon Sharma from Cachar in Assam settled at Thangmeiband Hijam Dewan Leikai in Imphal taught the Hindustani classical music to Hidangmayum Dwijamani Dev Sharma, Maisnam Thambou, Kala and others. Maisnam Thambou became a pioneer Guru of Hindustani music in Manipur. When Dwijamani Dev Sharma became Education Advisor in Manipur Administration, Hajarimayum Madhu Sharma for vocal music and Loitongbam Menjor for Tabla and Pakhawaj were deputed to Bhatkhande Sangeet Vidyapeeth, Lucknow for five years on government stipend. Other notable figures who studied at the Vidyapeeth on government stipend were S.N. Chand, Kshetrimayum Ibetombi, Nongmaithem Pahari, Sanasam Ibopisak, Mithailal, Nongthon, Asem Bimala, and Laishram Mema.
The Government Music College Imphal formerly Manipur Sangeet Vidyalaya was established on May 6, 1962 and the Government of Manipur took over the college on July 1, 1976. Renamed as Shri Shri Balmukunda Dev Music College on May 6, 2000, it was the only government music institution in Manipur affiliated to Bhatkhande Sangeet Vidyapeeth, Lucknow since 1962. The college runs five courses on vocal, flute, sitar, violin and tabla for five years.
Manipuri modern music derived from the Hindustani Music and now an amalgamation with Manipuri folk and modern beats from different parts of the world has become a popular music in Manipur. The song- ‘Ningba Pumba Loina Kaire, Leiduna Keidouni Meitei Leimasu Khonglengbikhre’ performed in the first Manipuri proscenium play- Nara Singh staged at the Mandap of Shri Shri Govindaji Temple on September 30, 1925 under patronage of King Churachand, became a popular modern song and later 30th September was observed as Matam Ishei Numit (Modern Music Day). Considering the Manipuri modern music as a popular art form, the Manipur State Kala Akademi organised a two- day seminar on Manipuri Modern Music on August 14 and 15, 1977 at the auditorium of Jawaharlal Nehru Manipur Dance Academy in Imphal. Following the seminar, the Apunba Manipur Matam Ishei Kanglup (AMMIK)- Pan Manipur Modern Music Association was formed on September 10, 1977 for development of Manipuri modern music. The year between 1970 and 1990 is regarded as the glorious period of Manipuri modern music.
Manipur has had a rich musical heritage from the beginning. In India, music is generally classified into three categories, namely folk music, Classical Music- Hindustani or Carnatic and Modern Song. However, Manipur has four. Renowned writer, lyricist and Sahitya Akademi awardee Dr. Jodhachandra Sanasam broadly classified the evolution of Manipuri music into four namely a) Manipuri native songs and music, b) Manipuri songs and music under the influence of Vashnavite Culture, c) Manipuri Songs and music under the influence of Hindustani music and d) The current modern songs and music. Each of these musical forms has its own identity, tune and beats, and has its own school.
Music in Manipuri Cinema
Manipuri music plays an important role in Manipuri cinema. Aribam Syam Sharma first introduced lullaby in his maiden film music in Matamgi Manipur (1972), the first Manipuri film produced by Karam Monomohan. The song- Tha Tha Thabungton, Ngalli Chikna Nongmadon rendered by Ayekpam Kamala is still a captivating film song. Nongmaithem Pahari also composed a lullaby- Pari Chingnunggi Hari Khonglakle Tao penned by B. Jayantakumar in S.N. Chand’s Ngak-E-Ko Nangse (1974), sung by Arambam Jamuna. S.N. Chand employs all four kinds of Manipuri music-
i) a folk musical performance Pena Phamsak,
ii) a Nata Sankirtana performance–Basak,
iii) a Hindustani classical song- Nil-khonglaba nonggi mapei mapei rendered by Aarti Mukherjee and
iv) a modern song Ningthirabi Ahingse rendered by S.N. Chand in his maiden Manipuri film- Brojendragi Luhongba (1972).
Bollywood singers have also made their presence in Manipuri cinema. Manipuri filmmakers wanted to have the experience with the Bollywood singers introducing them the rich Manipuri language and literature. On the other hand, the Bollywood singers also loved to sing the songs in Manipuri, a Tibeto –Burman language.
After Aarti Mukherjee, the Queen of Melody Lata Mangeshkar sang two songs –Nungsiba Magi Ithak Ireida with Laishram Mema and Pammuba Nungsiba with Aheibam Shyam Singh in Meichak directed by L. Banka Sharma. The songs composed by Aheibam Shyam Singh were recorded at Mumbai in 1982. L. Banka Sharma recounts that, “There was a strong mass movement in Manipur demanding the inclusion of Manipuri language in the Eighth Schedule of the Indian Constitution. Then I took the decision to request Lata Mangeshkar, the most respected playback singer in India to sing Manipuri songs in my film- Meichak to popularise Manipuri language. Many people criticized me for spending lots of money to request Lata Didi.” There was a delay in the production of the film. However, the film was released in 2000. Filmmaker Banka Sharma made another effort to arrange Bollywood singers in his Film- Madhabee. Udit Narayan, Sadhana Sargam, Jayshree Shivram, Anuradha Paudwal and Usha Mangeshkar sang the songs composed by S. Tijendra Singh in Madhabee. In the film- Chatledo Eidi directed by Makhonmani Mongsaba; three Bollywood singers namely Alka Yagnik, Udit Narayan and Poornima Shrestha sang the songs composed by S. Tijendra Singh. Udit Narayan , Sadhana Sargam and Anuradha Paudwal sang songs composed by S. Tijendra Singh in R.K. Kripa’s Lei-eeAma. Kumar Sanu and Kavita Krishnamurthy sang in Mandir composed by Chandam Shyamacharan and Moirangthem Tikendra. Khun Joykumar composed three songs for Sonu Ningam, Kumar Sanu and Kavita Krishnamurthy in Nongju Ahing. Oken Amakcham composed two songs for Kumar Sanu and Priya Bhattacharya in Laibak directed by W. Ibohal.
Arrival of Proscenium Theatre
Sahitya Akademi awardee playwright Arambam Somorendra, in his article- Manipuri Drama, was of the view: “Western drama was a bye-product of the acculturation which Manipur had after its contact with the British Indian Empire in the 19th century. Western education was introduced in Manipur in the last quarter of the 19th century along with Bengali script and language which was in vague in the state for a considerable period of time. And as such we find a Bengali play- Pravas Milan as the first proscenium drama held in the year 1902”.
Lairenmayum Ibungohal Singh (1895-1966) who was the first Manipuri playwright, in his book- Introduction to Manipur (1960) narrated that the modern drama-Pravas Milan was first staged in the Raja Dumbra Singh’s compound where there was the palace in the beginning of the King Sir Churachand Singh’s reign under the direction of Gulap Singh Selungba and one Sarat Babu. The actors were Lal Gopal Sharma, Lalji Sharma, Maibam Yaimabi Singh and others. Actresses were Chingakham Gopal, Nanowbi Sana, Laishram Kulabidhu, Oja Bihari Singh, Nongmaithem Thanin Singh and others. From his account, we know that in the beginning of Manipuri drama, the female roles were enacted by male actors.
Arambam Somorendra discovered that the pioneers of proscenium drama in Manipur were teachers who hailed from Cachar and Sylhet districts in Assam who were thoroughly acquainted with Bengali drama of that period especially of the Girish School. Some Bengali employees of the State also contributed in the development of Manipuri drama with the establishment of the Bamacharan Bandhav Natyasala in 1903 where many Manipuri drama aspirants took part. The Bengalis presented drama during the Durga Puja every year. A few years after, Bengali dramas were presented in the Johnstone High School compound by the students during the Saraswati Puja. Main actors and actresses amongst the seniors were- Khwairakpam Nabakishore Singh, Chingakham Mayurdhaja Singh, M. K. Birachandrajit Singh, Nongmaithem Thanin Singh, Masun Tomba Sharma, Thokchom Mangoljao Singh and others; amongst the juniors- Laishram Kirti Singh, Leisangthem Chaoyaima Singh, Lairenmayum Ibungohal Singh, Maibam Rajani Singh, Khondram Dhanachandra Singh, Oinam Niladhwaja Singh, Haobam Kanhai Singh, Ahanthem Tombi Singh, Takhellambam Damoo Singh, Nongmaithem Radhakanta and others. Then in 1914, the first drama in Manipuri- Arjungi Maithiba (a translation of Bengali drama Partha Parajay) was presented by the students class VII of the Johnstone High School in the school compound during Saraswati Puja. Khaidem Nongyai Singh and R.K. Thambalsana Singh gave a splendid performance. (Ibungohal 1960).
The first original Manipuri drama –Nara Singh, a historical play was written by Lairenmayum Ibungohal Singh in 1902, while he was studying law in Dacca. The drama was staged at Palace Mandob on September 30, 1925. In the same year, another drama-Babhrubahan Pokpa by the same author was also staged in the portico of the Palace main building.
In 1931, Sorokhaibam Lalit Singh’s Sati Khongnang and Areppa Marup and in 1933 Asangbam Minaketan’s Bhagyachandra were staged at Yaiskul. Some prominent actors and actresses of the time were Khondram Dhanachandra Singh, Mayanglangbam Jatra Singh, Sorokhaibam Lalit Singh, Chingakham Angoubi Singh, Hijam Irabot Singh and Smt Shaikhom Keinya Devi. (Ibungohal 1960).
Manipur Dramatic Union was founded in 1942 just before the WWII and the Dramatic Hall was constructed at Yaiskul in Imphal from active patronage of the State administration and public donation. After the WWII, Rupmahal Theatre and Aryan Theatre constructed their respective halls in Imphal. With regular shows on Saturday and Sunday at these theatre halls, Manipuri audience got into the habit to visit theatres. Manipuri drama got national recognition when Manipur Dramatic Union’s folk drama- Haorang Leishang Saphabi was adjudged the best play in the folk category of the National Drama Festival in New Delhi 1954.
Theatre legends like Ratan Thiyam, Heisnam Kanhailal and Lokendra Arambam from Manipur brought the Manipuri theatre into global stage. Ratan Thiyam’s 1984 play Chakravyuha (The Wheel of War), which catapulted him onto the world stage in 1984, was awarded the Fringe Firsts Award of the Edinburgh International Theatre Festival 1987 and the Diploma of Cervantino International Theatre Festival 1990, Mexico, and has since been performed more than 100 times around the globe. Heisnam Kanhailal staged his plays- Pebet and Memoirs of Africa at Tokyo, Toga and Niigata in Japan in 1987. His Migi Sharang was adjudged as one of the six best plays in the third Cairo International Festival of Experimental Theatre in 1991. Lokendra Arambam’s mesmeric production – Macbeth: Stage of Blood made an unforgettable spectacle when it was performed on a floating stage on the River Thames in West London for five days from August 20 to 24 in 1997 as the sun sets on the river, with the audience watching from Watermans riverside location. Manipuri theatre took a good stride because of the fertility of Manipuri culture.
The rich Manipuri theatre contributed a lot in the evolution of Manipuri cinema. The pioneer film makers namely S.N. Chand, Aribam Syam Sharma, G. Narayan Sharma, G.C. Tongbra, Moirangthem Nilamani were renowned theatre personalities. Main artistes in the first Manipuri film-Debkumar Bose’s Matamgi Manipur (1972) like G. Ravindra Sharma, Birbabu, and Amujao were from Manipur Dramatic Union, Ksh. Rashi, Lokendra Arambam and Aribam Syam Sharma from Aryan Theatre, Roma from Roop Raag, and Kangabam Tomba from Society Theatre. Main artistes of S.N. Chand’s Brojendragi Luhongba (1972) like S.N. Chand was from Leimayol Arts Centre; Oinam Biramangol, Laishram Netrajit and Binodkumari from Rupmahal theatre. Almost all the artistes in the beginning of Manipuri Cinema belonged to the theatre. Similar was the case with make-up artistes and costume designers. The strong theatrical movement and literature in Manipur had impacted towards the growth of good film culture in Manipur.
References:
1. Shyam Parmar, Traditional Folk Media in India (1975), Gekha books, New Delhi.
2. Wahengbam Lukhoi Singh, Lai Haraoba (1989), Manipur State Kala Akademi
3. Sunitibala Yumnam, Performance as Philosophy in the context of the Lai Haraoba, The NEHU Journal, Vol XVI, No. 1, January-June 2018, pp.119-133.
4. N. Tombi Singh, Manipur and The Mainstream (1975), Chitrebirentombichand Khorjeilup, Imphal, Manipur.
5. R. M.Nath, The Background of Assamese culture (1948), Shillong Assam.
6. L. Ibungohal Singh and N. Khelchandra Singh, Cheitharol Kumbaba, Fifth Edition 2015, Manipuri Sahitya Parishad.
7. Saroj N Arambam Parratt, The Court Chronicle of the Kings of Manipur - Cheitharol Kumpapa (2005) Original Text, Translation and Notes Vol. 1. 33-1763 CE (Royal Asiatic Society Books).
8. O. Bhogeshwar Singh, Ningthourol Lambuba (1967), Imphal Manipur.
9. Lairenmayum Ibungohal Singh, Introduction to Manipur (1960), Imphal Manipur.
10. B. Chaitanya Deva, An Introduction to Indian Music, Second Revised Edition 1992, Publication Division,New Delhi.
11. B.K. Ahluwalia and Shashi Ahluwalia, Social Change in Manipur (1984), Cultural Publishing House, Kamla Nagar Delhi-110007. Manish Gaekwad, Creating Harmony with AR Rahman, August 03, 2018, The Hindu.
12. https://www.yidio.com/show/harmony-with-a-rrahman/season-1/episode-3/links.html, Retrieved on 17 September 2019.
13. Jodhachandra Sanasam, Isheigi Hourakpham Amasung Manipuri Matam Ishei, Ishei (Vol-3, September 2012), Apunba Manipur Matam Ishei Kanglup. Imphal.
14. Meghachandra Kongbam, Manipuri Matam Ishei, Masigi Saphu amasung Karamba Maikeida, paper presented in the 3-day State Level seminar on Development of Manipur Matam Ishei with Traditional Value and Identity organised by Apunba Manipur Matam Ishei Kanglup. Imphal on August 9-11, 2019.
15. W. Bhagirath, “Gostha Leela, Udukhol, Goura Leela and other leelas”, paper presented at Seminar on Manipuri Theatre: Past & Present, (Imphal: Jawaharlal Nehru Manipur Dance Academy, January 12-13, 1980).
16. Elangbam Nilakanta Singh, Present Trends in Goura Leela, Paper presented on Goura Leela Seminar, Organized by Manipur State Kala Akademi, Imphal, September 1, 1986.
17. Shyamsunder Singh, Manipurgi Shumang Leela Amasung Theatre (1980) Manipur
18. Sahitya Parishad, Imphal
(The author of this article is a Film Critic of national repute and is a member of the International Federation of Film Critics, India Chapter (FIPRFSCI-India). He is also a member of Film Critics Circle of India(FCCI). The author won the Golden Lotus for the Best Film Critic at the 63rd National Film Awards, 2115. The author is a Post Graduate Degree holder in Journalism from Benaras Hindu Universityand retired as the director of Information and Public Relations, Government of Manipur He authored much acclaimed “Manipuri Cinema” (2021) a comprehensive Book on Manipuri Cinema.)
