Dance And Music

Manipur Dance and Music

Manipur, steeped as it is in ritual inspired by spirituality, is a dazzling repository of folklore, a rich heritage of lilting melodies , and highly evolved dance forms that are famed classical dance forms marked by graceful movements, expressive gesture and exotic costumes. The world renowned Manipuri classical dance forms marked by graceful movement from the Ras Leela dance-drama tradition whose central themes revolve around episodes from Lord Krishna’s life , the celestial love of Radha and the devotion of the gopies (milkmaids)to the Lord. A major force behind current form of the famous Manipur dance continues to be the Govinda Sangeeta Lila Vilas which was inspired by a dream had by the Manipuri king Bhagyachandra.
One of the exotic offerings of the North East is the aesthetic fusion of the religious song and dance forms of Manipur. By the early 18th centaury, Vaishnavism had started filtering into Manipur and in the mid 18th centuary, the full range of kirtan-based songs (in praise of Lord Krishna )and Pung Cholom(Mrindanga dance )had become fully rooted in Manipuri ritual. Surprisingly, this fusion of Ras Leela, which, in time ,has evolved into a world-renowned classical dance form, co-exists with a tradition of indigenous ritual based folk dances. Manipur’s Ras Leela dance is a highly evolved devotional dance drama, of which there are five classic forms. Nightly performances of the Ras Leela are held in temples across the valley on Basant Purnima and kartik purnima. If you are visiting Imphal During this time, take time to catch one of the Finest performances being staged at the Shri Govindaji Temple and Others in the valley area. These compositions feature solo, duet and group performances in a highly stylized dance form. The exotic dress of the performers include the potloi, a stiff circular dress worn by Radha. Posuan is the layered silk worn over the potloi. The Blouse is an elaborate zari encrusted affair nad over her head, she wears a transparent veil maikhumbi through which you can see her expressions. Traditionally, she wears a red velvet blouse teamed with a green potloi, the gopis wear red and the dhoti (pheijom) which Krishna wear is golden.
The pena is an ancient musical instrument of Manipur. The stringed instrument is traditionally linked to the Lai Haraoba festivities and is also played in the recital of the epic of Khamba- Thoibi. The Maibi dance or jagoi is also linked to the Lai Haraoba festivities. The star performers of the Lai Haraoba festival are the Maibis(high priestesses) dressed in spotless white attire who perform this ritual dance (Leitai-Nongdai jagoi), after invoking the deities from the water.

Some of the dances of Manipur are:

Ras Lila

Picture by: Sudhir Anand

The Ras-Lila, the epitome of Manipuri classical dance is inter-woven through the celestial and eternal love of Radha and Krishna as has been described in the Hindu scripturesand reveals the sublime and transcendental love of Krishna and Radha and the Gopies devotion to the lord. It is generally performed in an enclosure in front of the temple throughout the night and watched with a deep sense of devotion. Ras performances are seasonal and varied and performed at the temple of Shree Shree Govindajee in Imphal on the nights of Basanta Purnima, Saradan Pumima and Kartik Pumima and at local temples later. As to the composition, the performance is a combination solo, duet, and group dances  and the highly stylised form of dance has sublimity, subtitle and grace. The richness of the customes gives luster to the beauty of the art.

Nupa Pala

Nupa Pala which is otherwise known as Kartal Cholom or Cymbal Dance is a characteristics of the Manipuri style of dance and music. The initial movements of this dance are soft and serene, gradually gathering momentum. It isa group performance of male partners, using cymbals and wearing snow white ball- shape large turbans, who Sing and dance to the accompaniment of ‘Mridanga’, an ancient classical drum “Pung” as it is called in Manipuri. The Nupa Pala acts as a prologue to the RasLila dances, besides an independent performance too, in connection with religious rites.

Pung Cholom

Picture by: Bullu Raj

Pung or Manipuri Mridanga is the soul of Manipur Sankritan music and Classical Manipuri Dance. It assumes an important ritual character, an indispensable part of all social and devotional ceremonies in Manipur the instrument itself becoming an object of veneration. Pung Cholom is performed as an invocatory number preceding the Sankritan and Ras Lila. It is highly refined classical dance number characterized by the modulation of sound from soft whisper to a thunderous climax.
There is the interplay of intricate rhythms and cross rhythms with varying markings of time from the slow to the quick with graceful and vigorous body movements leading to elastic heights.

Maibi Dance

pic by Bulu Raj

During the festival of Lai Haraoba which is an annual ritual festival of the Meiteis, the inhabitants of the valley of Manipur, the Maibis, the priestesses considered to be spiritual mediums, trace through their dances the whole concept of cosmogony of the Meitei people and describe their way of life. Beginning with the process of creation, they show the construction of houses and various occupation of the people to sustain themselves. It is a kind of re-living of the way of life of the past.

Khamba Thoibi Dance

Khamba-Thoibi dance is a duet of male and female partners, a dance of dedication to the sylvan deity. Thangjing of Moirang, is the depiction of the dance performed by Khamba and Thoibi, the hero and heroine of the Moirang episode of the hoary past. This, with the “Maibi Dance’ (Priestess dance), the “Leima Jagoi” etc. form the “Laiharaoba” dance, in manyways, is the fountained head of the modern Manipuri dance form. This dance is a part and parcel of Moirang Lai Haraoba. It is believed that the legendary hero-Khamba and heroin-Thoibi danced together before the Lord Thangjing, a celebrated deity of Moirang, a village in the South-West of Manipur which is known for its rich cultural and traditions, for peace and prosperity of the land.

Manipur presents a wide spectrum of music and dance form, which are best way to revive and refresh the daily monotonous lifestyle of the people residing here. Both hill and valley people of Manipur are very fond of songs and music and some of them are as follow:

Khullong Ishei It is folk song commonly sung by the Meiteis in villages when they go to work in the fields or go for fishing. There is no set system of words and sentences. The theme of the song is love. The singer adjusts his words and stanzas of verses of his own to the tune.

Pena Ishei This song is accompanied with the music produced through Pena. A Pena is a musical instrument, in which a slender bamboo rod is attached to the round dry shell of gourd of coconut. To produce music, the bamboo is rubbed with that on the curved iron rod. The theme of the song is love story of Khamba-Thoibi.

Lai-Haraoba Ishei These songs are full of erotic mysticism but the real meaning is veiled by the use of innocent sounding words. The rhythm of the tune is its quality. It is sung on the ceremonial occasion at Lai-Haraoba. Some other forms of Music in Manipur
Thabal Chongba is a tuneful song sung during the Thabal Chongba dance. The theme of the song is religious. Nat is a classical music which is used during the ceremonies such as marriage, Upanayanams etc.
Gaur Padas are songs in praise of Chaitanya Mahaprabhu. Dhol is sung with a large cymbal known as Jhal. The song is accompanied with the Manipuri style of beating of the drum. Manohar Sai are the songs named after Manohar Sai who came to Manipur in nineteenth century. The songs are accompanied with small cymbals called Ramkartal and drum called Dhol and the songs are devotional Nupi Pala is a song by women. It is devotional song and the small Cymbal called ‘Mandila’ Khubak Eshei is a clapping music. No cymbals are used and the songs aresung accompanied with the clapping of hands. If the Khubak eshei. If the Khubak Khubak eshei is sung by women only, then it is called Nupi Khubak Esei and it is sung in a standing position.
Ras Lila songs are a class by themselves due to their special thematic approach. The songs carry deep religious essence. The tribal songs and music have variety and quality.

KHUNUNG ESHEI

Traditional folk song ofManipur, often describing the beauty oflandscape, flower, nature, god and beloved one etc. The imageries created by its tune and lyrics are authentic with its own aesthetical exposition. The whole singing style with high pitch and different tonal qualities are unique to the Manipuris and it has been evolved in course of centuries from the soil ofManipur.

PENA

Pena is an indigenous musical instrument of Manipur and has been in use since the time of creation of this Earth. And it was Asheeba who played Pena for the first time. Pena is played somewhat like violin. It has two parts namely, Pena Cheijing (equivalent of a bow) and Pena Maru (main body of the instrument and sound box). The Meiteis believe that the former represents the Universal Father and the latter, Universal Mother.
Pena is an inseparable part of the life and culture ofManipur. It is being played at the rituals and religious functions of birth, death and even marriages, before the Meiteis become Hindus. Even now, Pena is relevant
with the Manipuri cultural and religious life. During the Lai-Haraoba Festivals, the deities are propitiated by playing Pena. The Pena music is the source and origin of all the tunes of various forms of folk songs prevalent in Manipur. Pena is played not only by the Meiteis but also by some tribal communities such as the Tangkhuls and Kabuis ofManipur.

KHONGJOM PARVA

Kongjom Parva literally translated means the Episode of Khongjom (Battle of Khongjom), It is the name of a popular style of Ballads singing in Manipur innovated by one Dhobi Leinou.The mighty British Empire defeated the small Kingdom ofManipur in the bloody Battle ofKhonjom, 1891. Ojha Leinou, himself a good singer and composer, was witness to the massacre of Manipuris by the British and he narrated the heroic feats of the fallen heroes of Manipur – rendered them into soulful music. After his style of singing, this type of song came to be known as Khonjom Parva. Nowadays, the Khongjom Parva singers, apart from the episode ofKhongjom, have included the episodes fromRamayana epics and historical episodes ofManipur, etc. in their repertoire. This popular new-singing style is performed with the accompaniment of a Dholak. Intially, Khongjom Parva has its unique musical form and melody. But in course of time, many varieties of musical notes and different singing styles have crept in. Yet Khongjom Parva still maintains its vast popular appeal. varieties

SUMANG LEELA

Shumang Leela is Manipuri traditional theatre, which is performed in the courtyards, mandaps or any available performance space anywhere itinerant groups surrounded on all sides by spectators.Shumang Leela exudes the odour of the community, village or urban. It plays an important role in identifying the culture and history of the Manpuris. The Moirang Parva (Moirang Chapters) is one of the finest achievements ofthe Meitei theatre. This is an enactment of different episodes in the romantic tales ofKhamba and Thoibi, two immorta1lovers ofMoirang ( 28 miles south west ofImphal).A highly evolved form of music drama or opera, with plenty of dialogue and physical action, the Moirang Parva became anartistic rival to the court-supported theatre ofRas Leela.Gostha Leela and other religious enactment ofthe state.The performing group ( female) would present an episode of Moirang Parva “Loi-kaba” (returning of princess Thoibi who was exiled to Kabow, now Myanmar)

GOUR LEELA

The Manipuris are the followers of Vaishnavism of Bengalknown as Gouriya Vaishnava and worship Shri Chaitanya Mahaprabhu since the late 17th century. GOUR-LEELA or GOURANGA – LEELA means the LEELA (life and activities) associated with Shri Chaitanya and it has become a very popular form of profound religious expression of the devout Manipuri Vaishnavs as well as a fonn of entertainment. It enacts the life of Shri Chaitanya – how he left his wife and relinquished all the worldly pleasures took Sanyas and devoted his life in search of God and Truth; Gour-Leela was first performed during the reign of Maharaja Nar Singh (1844-1850 AD) at Givindji Temple. Later on, it was being performed in various localities ofImphal and distant villages too. Gour-Leela had become very popular and entertaining since little children play the parts of major dramatis personae. Earlier Gour-Leela was being played in Bengali language but now is being substituted by Manipuri language.

KANGLEI HARAOBA

When Asheeba had completed the creation ofthe Earth,he was confused and confounded what sort of living beings had further to be created to populate the Earth. Thereupon the Supreme Deity Atiya Guru Shidaba opened his mouth wide and showed to Asheeba all the living beings inside his mouth. Asheeba was much thrilled and happy. He shouted out all the living creatures from inside the mouth of the Supreme Deity which was mown as ‘LA! HOI LAOBA’ which subsequently came to be called ‘LAIHARAOBA’. The festival of araoba is believed to have been performed by the gods for the first time at the KOUBRU HILLS. Afterwards, it was performed at the LANGMAICHING HILLS as organised by the Nongpok Ningthou and Panthoibi. In this festival at Langmaiching, Lainingthou Khoriphaba also came to attend the festival for which he was supposed to bring his spouse. He was in search of a wife. Closing his eyes and with a polo-stick in hand, Khoriphaba walked around the crowd. Any girl he touched with his polo-stick would be deemed his wife. This particular sequence in Lai Haraoba is mown as LA! NUPI THIBA and this is the distinctive feature of Kanglei Haraoba from other styles of Lai Haraoba.

CHAKPA HARAOBA

When ATIY A GURU SIDABA, the Supreme Deity has completed the creation of the Earth, the CHAKP A clan was given settlement there. At the same time the benign god had made arrangements to make available everything required for human existencei Thus the CHAKP AS had started to establish their village and community. The supreme deity had decided to teach the Chakpas various forms of merry making and entertainments for the prosperity and well-being of the community. The supreme deity transformed himself as a deer and appeared before the Chakpas who chased it and attempted to capture. The Deer fled towards heaven. The Chakpas, while chasing the deer, had chanced to witness the LA! HARAOBA performed by SORAREN and other gods in heaven and they were extremely impressed. They have abandoned the idea of chasing the deer and returned to their village and imitating what the gods had done in Heaven, they had also begun to celebrate LAI HARAOBA on Earth. In the later course of time, slight variations are noticed in the style of Chakpa Haraoba from village to viilages among the Chakpa community. They have thus started to celebrate the festival in honour of the particular guardian- deity of their respective settlements. The Chakpas of Phayeng perform LAI HARAOBA in honour of KOUBRU and LOY ALAKP A deities. Similarly, the Chakpas of Andro celebrate the Festival in honour of PANAM NINGTHOU and PUREIROMBA deity.

MOIRANG HARAOBA

When the gods performed Lai Haraoba festival at Langmaiching, organised as to by Nongpok Ningthou and Panthoibi, MOlRANG HANUBA THANGJING also attended the function. He invited Nongpok Ningthou and Panthoibi to come to Moirang where he had settled, to perform the Lai Haraoba there. Thus was Moirang Haraoba Thangjing born. By tradition Moirang Thangjing Haraoba is performed every year on the 1 st Sunday of the Manipuri month of KALEN, corresponding to May-June. Nine LAIBUNGTHOUS (male) and seven LAlREMMAS worshipped by different clans ofMoirang would be taken in procession up to the Festival arena in front of MOIRANG THANGJING and commence the festival. The nine clan deities or the AIBUNGTHOUS are GURU NONGSHABA, MAHARABA, SORAREN, KHA-NA- CHAOBA, KHORIPHABA, THONG-NANG NINGTHOU, LEIKOI, SANAMAHI and 00-1- THONG NANG. The nine LAIREMAS or the goddesses are the female clan deities are A YANG LEIMA, A YANG LEIMA ATOMBI, PITHRAIBI, HONGDRAIBI, LOKLAO LEIMA, W AIKHU LEIMA and KHUNDINBI. The distinctive feature ofMoirang Thangjing Haraoba is that the Festival is performed in alternative years the ritual of KHONG CHINGBA and LAM THOKP A (outdoor performance). In the third year, the festival is performed in the presence of oirang Thangjing by constructing proper seating accommodations. KAKCHING HARAOBA: There are a number of ‘UMANG LAI’ or (the indigenous deities worshipped by the Meiteis before the advent of Hinduism) in Kakching. But almost all of them are deities worshipped by the different Sageis (clans) of Kakchirig except KHAMLANGBA which is the guardian-deity worshipped by the whole village. The Lai Haraoba festival organized for the KHAMLANGBA came to be known as KAKCHING HARAOBA. Kakching Haraoba is different from other types of Haraoba (festival) prevalent in Manipur in the sense that it enacts a particular sequence known as ‘LAI NGAPRUM TAANBA’ on the concluding day of the festival. This is an elaborate ritual performed by a group which consists of a man holdings seven pieces of stick and another with a bow and arrow along with a few of his associates. They performed the ritual of LAI NGAPRUM T AANBA which symbolizes thanksgiving and the prayer to the village deity ffiUDHOU KHAMLANGBA for the prosperity of the village and well-being of its people which is an unique features of Kakching Haraoba ?