CHAPTER 3
A BACKGROUND TO THE STUDY OF MANIPURI PEDAGOGY
Repertoire of Manipuri Dance
The repertoire of Manipuri dance is extensive. There are innumerable festivals, the Sankirtanas, the singing styles and a larger variety of participative community dances known to Manipur and still practised.
The repertoire of Manipuri dances can be classified into four broad categories. The first group would comprise the pre- Vaishnav dance forms or dance rituals. This would include the Lai- Haraoba and the presentation of singing and enactment of the stories of Khamba thoibi .
The second group would constitute the dance and the dance music sections of the various JaatRaas in Manipur. The Holi pala the khubak eshei and other numbers today presented on stage are part and parcel of such seasonal festivities only.
The third group would constitute the different types of Sankirtana traditions. The Ariba pala and Anouba pala the Bangadesh kirtana and the Nata Sankirtana, and others such as the Manohar sai and drumel come under this. Part and parcel of these Sankirtana was the group dancing, the various types of walking or group forms executed either through clapping or through the playing of small cymbals called manjira or large cymbals called kartaala.
A forth group may be considered for the ballad forms which have both a vocal as well as a miming aspect to them. Among these would be the presentation through solo duet rendering in the forms known as the wariliba, the haiba thiba, etc. A most important part of Manipuri repertoire is recognized by the generic term jagoi. At the artistic level, one may consider ‘jagoi’ as the main type of artistic dance. It is somewhat difficult to have a definitive meaning of the word jagoi which literally only means dance .
The traditional Gurus of Manipur have divided jagoi into several sub categories such as the punglon jagoi, and Mottouba jagoi and just lila.
There is a further subdivision which is made by adding the adjectives nupa or nupi, Nupa standing for man and nupi standing for women.
Amongst the further divisions are the cholam, the dance of the ghosta lila (also called the sansenba jagoi) and the spear dance.
There are various types of choloms, and the different varieties of the kartalis. The choloms are both lasya and tandava . Those belonging to the feminine group are the choloms of the small cymbals, namely, the manjira cholom and those of the tandava type are the kartaala cholams with large cymbals. The dance of the pung which is performed by men a solo or by hundred men, may be said to be the highest achievement executed by a dance-performer . The range of sound which can be produced through the pung has only to be heard to be believed. Among percussion instruments, there is no other mridanga which can command the same range of communicative sound as pung.
There are other cholom dances too, such as dhol cholom and the manjira cholom. Amongst the kartali dances are the clapping items performed only by woman known as the nupi khubak eshei and only by men known as the nupa khubak eshei. These are group dances in which a number of interesting group formations can be seen and the dance is built on clapping of hands at cross rhythms to the basic rhythm played by the accompanying pung. All the cholam and the kartal cholom/dances are pure nritta. There is no abhinaya nor is there any song accompaniment. Originally performed in the context of the Rath Yatra, these numbers are now performed independently as part of stage repertoire.
Like the cholom and the kartalis, the thang haiba and the takhousaba or the sword and the spear dance, which belong to the tandava category, have now became part of the artistic repertoire. Originally, these were performed either in the context of ritual magical performances or as part of a sequence in the Lai haraoba . When incorporated as an artistic number, these are called thang ta jagoi. These are vaguely reminiscent of the kalairis of kerala and are purely martial dances.
The nupi jagoi , the women’s dance mentioned above is the graceful variety quite distinct from the tandava type of dancing which is divided into two main sub- divisions the first bhangi jagoi, and the second punglon jagoi i,e. that which is performed only to the mnemonics of the pung, the Manipuri Mridangam. The bhangi jagoi is marked by seriousness of purpose, a slow tempo and a very careful delivery of movements which are controlled and restrained. It comes under the category of what we have call the smitanga ; the punglon jagoi is executed in a fast tempo or in old three tempos like the three kala tirmanam of Bharatanatyam. The mnemonics have a particular tempo metrical pattern and a repetition ending in triplets of three. All these should be considered both as male and female and as pure abstract dancing. It must however be remembered that none of those numbers are dissociated from the repertoire which we have mentioned in the context of the sankirtana.
Manipuri Raas Lila
Maharaj Rajarshi Bhagyachandra for the conceived, designed and introduced Manipuri Raas Leela, during his reign in between 1762-1794, as he adopted the sermons of Vaishnavaite religion, the cult of Gouriya Vaishnav which spread all over the Kingdom of Manipur but it was successful mainly in its valley area.
There is a legend explaining the reason why Maharaj Bhagyachandra dedication to Lord Krishna who was affectionately entitled Govindaji in Manipuri tradition. It is a such:
Once, the Burmese under the game plan of Khelemba (Khelei Nungangba Telheiba), uncle of Bhagyachandra, attacked Manipur. With rudely Charging for an unauthorized act of ascending to the throne of Kangla in the absence of his elder brother Gouraasyam, Bhagyachandra was driven out of Palace”. While Bhagyachandra was taking shelter at Tekhao, Khelemba cunningly sent thirty men with a letter to the Ahom King, Swargadev Rajeshwar Singh mentioning in it that Bhagyachandra was an imposter and should be executed. With confuse King Swargadev wanted to take up a test of reality upon Bhagyachandra. As part of the test, Bhagyachandra was asked to tame a wild elephant called ‘Rajamohan’ living inside a big enclosure with a public view. He was told that if he was able to succeed in the said test, he would be regarded as the real King of Manipur and also would be helped with army and wealth to regain his throne. Bhagyachandra was thus put under an unpredictable state of his future.
Worrying about pitiful condition, Bhagyachandra spent the whole night fasting, meditating and praying the almighty Shri Govindaji for a blessing. Suddenly he fell into a dream in which the Lord Krishna came out and consoled him saying that he need not be worried anymore and told him that he would win the game. The Lord further told him that He would remain growing as a jack fruit tree in the Vasmukha Giri the place which was at that time known as the Kaina Hill. The God again instructed him to carve an image resembling to him with the said tree and advised him to worship the image after regaining to throne.
On the scheduled day of the test, the wild elephant ‘Rajamhan’ could be easily tamed and controlled by the King with a slight touch. With knees-down in front of him the wild elephant obeyed the king who soon rode on the back of the elephant in front of the advices. Sitting on the back of the elephant and going round inside the court before the audience Bhagyachandra demonstrated his truthfulness of being the real king of Manipur. It was seen as a divine act and people praised him with respect and admiration and they all prayed to him and as krishna’s avatar.
At the time of “Govinda Nirupana” , it is mentioned that Bhagyachndra was reminded of carving Govindaji image after he regained the throne. Bhagyachandra resorted to carve out seven images from the jackfruit tree growing in the Kaina Hill and he did so. The images that skilfully carved out with the scalpers were named as Govinda, Bijoy Govinda, Anu Prabhu, Nityananda, Advaita, Gopinath and Madanamohon.
The carving of the image of Shri Govindaji was completed on Friday the 12th Hiyangei (October-November) in the auspicious hour of Mahendra of the year, 1698 Sakabda/1776 A.D. The name of the Cheithaba was Heisnam Khongam. This image of Shri Govindaji was crafted by Sapam Lakshman Singh who took eleven months in the making of it. He wholeheartedly crafted the image with the witness of King Bhagyachandra.
An important time may be as that on Tuesday, the 3rd day of Kalen (April-May) of the year, 1701 Sakabda/1779 A.D., the palatial building was shifted to the rejuvenated Canchipur capital. Conceiving the idea of making the Raas Leela played at Vrindaban by Radha-Krishna into a ritual-performance, the king called a conference called the Brahma Sabha ( a conference of scholars) comprising of the Pandits Guru Sidhanta Bachaspati, Bhaskar Sharma, Guru Swaroopananda, Guru Shriroopa Pramananda, GouRaashyam Sharma etc. and they discussed among themselves consulting the 10th canto of Shri Mad Bhagavata. After the discussion, Bhagyachandra entrusted Guru, Kabo Khumbongba to create a dance-form according to his likes and dislike on the existed folk forms. Thus, Maha Raass was designed as a dance form solely depending on the Bhagavata Bhava Raasa. It was really an impressive dance to the audience.
Strictly maintaining all norms the Maha Raas was played for full five days continuously at Langthabal Palace (Canchipur) from Friday, the 11th day of Hiyangei (October-November) of the year, 1779 A.D. at the Raas Mandal of the Palace with full participation of the public. An excerpt from “Cheitharol Kumbaba”. It is clearly mentioned in the Cheitharol Kumbaba, the royal chronicle of Manipur as “In the 1701, in aceordance with the cosminc or actitioner Maibam Chakrapani; Monday the 5th May of Poinu (Nov-Dec) was San Kranti, the day of worshipping Sri Krishna, on the 11th day, Friday, worshipping of Gopindaji was inaugurated at Raasmandan of Canchipur (palace); Raasa was played for five days).” The King, the artiste, the noblemen and all others enjoyed with pleasantest moods.
During the performance of the Nata Sankirtana, that preceded the first Raas Leela, Bhagyachandra played on Pung while his uncle Ngoubram Shai was acting as the leader of the vocal group (Esheihanba) and Dhar Shai played the part of supportive singer (Duhar). : they all performed their parts with full absorption and dedication as true devotees to Shri Krishna and Radha.
In the introductory part of this Raas, Princess Bimbabati (Shija Lai-Oibi) played the part of Radha, Ngangbam Ningol Harimati as lead Gopi (Makokchingbi) and Maharani Devhatti, Bhatti, Bhagyabati, Chandumukhi, Priyosakhi, Bhanumati and other royal ladies participated as Gopis. And the play was heartily acclaimed by the audiences.
Rajashree Bhagyachandra Maharaj introduced another two forms of Raas during his reign, i.e. Kunja Raas and Basanta Raas. Both may be described as follows.
Kunja Raas : Rajashree Maharaj Bhagyachnadra happened to be in a very unhappy mood thinking about the absence of any cultural activity on the Mera Wakhinba whereas Maha Raas was played on the full moon day of Kattika i.e. Mera Waphukpa. So, he called a meeting of Brahma Sabha. Scholars told him on the basis of Bishwanath Chakravarty’s Shartha Sandarshini Tika that a raas was played on the full moon day of the month of Ashwin. He ordered to devise a Raas to be performed accordingly. The first Kunja Raas was played on the full moon day of Ashwin or Mera (October-November) of Sakabda 1796 on the night of Mera Wakhinba at the Langthabal Palace.
Basanta Raas : This Raas was also introduced by Maharaj Bhagyachandra introduced Basanta Raas after due consultation with his Brahma Sabha. The full moon day of Cheitra was believed to be Shri Baladeva Raas Yatra. He, studying “The Geet Govinda” , came to know about “the Raas played in Basanta” by Shri Krishna. He also introduced this Raas taking the basic of using of Shringar Raasa in a Drishya Kavya in Sakabda 1738 on Tuesday, the full moon day of Sajibu (April-May) at Langthabal Palace.
In this first play of Basanta Raas, the first performers who played the part of Radha, Makokchingbi, Gopi in both Kunja Raas and Basanta Raas were the same persons who took part in Maha Raas mentioned above.
Besides Maha Raas, Kunja Raasa and Basanta Raas which were introduced by Maharaj Bhagyachandra, there were also another two forms of Raas, namely, Nitya Raas and Diva Raas. They as described as follows :
Nitya Raas : Rajarshi Bhagyachandra introduced Nitya Raas with a different taste. It was constructed dased on song about the Raasa, but not through playing roles of Krishna, Radha, Makokchingbi etc as done in Raas. It was observed with the name ‘Raas Leela’ by Maharaj Churachand Singh in his time . With beating drums (punglon) as raga, the Sutra follows with Raga Alap, Brindavan Varnam, Krishna Abhisar, Radha Abhisar in order and it include Brindavan thokpa, Gopis performed Bhangi Achouba.
During the reign of Sir Chandrakirti Maharaj, the Nitya Raas was performed in the form of Raasa only, but it was Sir Churachand Maharaj who gave the real soul to the Nitya Raas . He introduced the Raas of Drishya Kavya format on the 27th of the July 1904 A.D., the 15th day of the Ingen Wednesday, the age of Khorikhol Bole Singh, Sakabda 1823; in such a way that a grand mandop (recreation hall) was erected before the Hapta Bangla and the first Nitya Raas was played with Borsaheb Ongbi Sanatombi taking the part of the lead dancer. The teachers who were the makers of this Raas were Sana Chandrahas, Thokchom Moriba,Huidrom Oja Jhulonmacha, Bamon Thouranisabi etc. Nilamani or Ibohal, son of Amusana played the part of Krishna, Sanajaobi, daughter of sanakhya Nityaipat as Radha and the part of Mokokchingbi or lead dancer was taken by Borsaheb Ongi Sanatombi. Raasdhari was Huidrom Oja Jhulon Macha, the part of sutradhari was played by Amusana, the mother of the Krishna saba and other daughters of the king were playing the roles of Gopis.
Diva Raas : As another kind of Raas, Diva Raas was introduced during the reign of Sri Churachand Maharaj. But it was not introduced by the king. It was Akham Oja Tomba who introduced it. People were surprised and talked about it as a problem when there was an announcement that a raas will be performed in broad daylight by Akham Oja Tomba. The king immediately asked the pandits for the reasons to play the raas during the day time. After discussion in Brahma Sabha, the Pandits gave their explanation that the Diva Raas performed secretly in Ambhuja Kunja and so it can be played in day time also, and after that the king gave his consent to play Diva Raas in day time. The king along with the gurus framed uo the rules and regulations for the steps to be taken up in presenting the Raas and then left the responsibilities of designing the Diva Raas for public audience to Shri Akham Oja Tomba who was residing Sagolband, now lacating in Imphal West.
This new Raas was first presented to the Lord at the Mandop of Hidangmayum Agyaton of Sagolband Salam Leikai in 1940. This Mandop is also known as Saraaswati Mandop Achouba and after this presentation the Raas came to be known as ‘Diva Raas’.
The teachers who had been taking pivotal roles towards fulfilment of this Raas were Nongmaithem Oja Chaigoi, Shamandhuram Oja Chaoba/Ruba, Maibam Oja Thambal etc. Hidangmayum Madhumangol Sharma played the part of Krishna, Nungsitombi Devi, the younger daughter of Salam Mutum/Babuyaima as Radha, Salam Ningol Thoibi Devi (elder sister of Radha sabi) as Ananga Manjuri, Hidangmayum Ningol Binotkumari/Dinakumari of Bamon Leikai Nahabam as Makokchingbi. The part of Sutradhari was played by Chandrajini of Keishampat Thokchom Leikai Ruhini Devi of Konok Thingel Thangmeiband and the Raasdhari was Akham Oja Tomba, Rajkumar Akesana etc. Their active roles in presenting the Diva Rasa ware wide acclaimed.
MahaRaas
Along with the various stories played with the MahaRaas, there are altogether 18 krams performed in the Raas Leela. They are:
(i) Beginning of Raaga (Raga Houba): From Mridanga Raaga of Raasdhaari to Baishnav Bandana.
(ii) Krishna Abhisar: From Krishna’s departure to his arriving at the destination.
(iii) Radha Abhishar: From the appearing of Radha and the Gopis then their worshipping of Sri Krishna upto the remain of a lone Gopi with expressing sorrow state.
(iv) Krishna Amadi Radhi-Gopi Awai Akhum Tounaba: it is of Questions and answers exchanging in between Sri Krishna and Gopis. It includes Sri Krishna’s calling upon the Gopis upto the interactive episode in between Krishna and Radha in presence of the Gopis.
(v) Prathana (Khurumba): Worshipping of Sri Krishna by the Gopis and their heartily serving of Lord Krishna.
(vi) Gopi Lengthorakpa (Appearance of Gopi): It indicates the presence of all Gopis by coming out in a sequence to begin the Raas Leela.
(vii) Jagoi Mapop: It covers Gopis’ beginning the Raasa with a worship of Krishna and Radha, describing the uniquely beautiful postures of Krishna and Radha and describing the enchanting beauties of Brindavana.
(viii) Bhangi Pareng Achouba: It deeply signifies the inner construction of the Tribhanga Murti of Sri Krishna in the minds of the Gopis and their devotedly worshipping of the Murti.
(ix) Krishna Nartan & Radha Nartan: It is the expressing of the mighty power of Sri Krishna in the dance form and the beautiful dance of Shrimati Radhika attending to Lord Krishna.
(x) Krishna Antardhan: It is the scene of hiding of Krishna to control the egos of the Gopis.
(xi) Krishna Thiba: It shows searching for Sri Krishna by the Gopis and moving out beyond the boundary of Thandhali.
(xii) Radha-Krishna Lengtharakpa (Appearance of Radha & Krishna): Here Sri Krishna appears out to see the Ahankar of Shrimati Radhika.
(xiii) Gopisingna Radhaga Unnaba (Meeting of Radha and the Gopis): Knowing the selves’ egocentric attitudes shown off by themselves, the Gopis sorrowfully worshipped Sri Krishna for forgiving of their sins; and if it is not done, their wish of committing suicide by jumping into the water of the Jamuna River.
(xiv) Krishna Abhinglut: It is Krishna’s blessing upon the Gopis and forgive the sins of Radha and the Gopis. It is soon followed by the appearance of Sri Krishna and His permitting the Gopis to play the Raas.
(xv) Ex Gopi Ek Sagam: Here it is Sri Krishna’s expressing His eternal presence by giving back the belongings of the Gopis who are now freed from sins and their whole heartedly dedicating to Him and then playing of Jalkeli.
(xvi) Gopi Brindavana Pareng Bhangi: Here the Gopis dance to describing the beauties of Brindavana and play joyfully for getting back Lord Krishna.
(xvii) Prathana: Prayers of the Gopis to the statues of Krishna-Radhika, hurling of flower to serving both and their performing Aasti.
(xviii) Prahasaman: Here the play of Raas Leela completes and they all leave the Mandali. These well 18 krams (patterns) are contained in MahaRaas .
Costume of Raasa Lila in Manipur
The Manipur Raas dances are not only widely known for their graceful and delicate movements but also their resplendent costumes are equally beautiful as well as valuable
The design of the costume had been originally conceived by Raja Bhagyachandra (r 1763-1798) who saw the divine scenes of the Raasa Lila in his dream. These costumes were created exclusively for the purpose of the Raas Lila. For the past two hundred years, designers in Manipur have gradually enhanced the beauty of the costumes by applying impressive changes. They added designs of sequins and jare (metallic thread) along the borders of the kunin (skirt), making it stiffer .
The folds of the pashwal (upper skirt) have increased in number gradually as time progressed by. The designers have also augmented the number of head ornaments and necklaces used in the costumes for the Raasa Lila. Even the costumes of Krishna in due course have become considerably more decorative.
When the gopis who wear these beautiful garments, enact the Raasa lila and the cowherds perform the gopa Raasa dance in large groups, they create an aesthetically delicate atmosphere.
The Costumes of Radha and the Gopis
Two basic types of Head dress are used as costumes and they are the Koktumbi and the Jhapa. The Koktumbi is a conical black bun formed either directly from the hair or with the help of cardboard.
Vansanta Raasa Koktumbi
It is worn during the Maha Raasa, kunja Raasa and Vasanta Raasa
Chubalei (stands of silver threads) hang from the tips of the bun. The samjithet consists of sequins stuck in diamond patterns at the centre of the conical black bun. The samji makhong, a silver border, is fixed around the base of the bun. Another part of this head dress is the koknam, a headband embroidered with silver sequins. It is worn just above the forehead. Completing the head dress is the maikhum a thin veil with a silver jari border dropped from the top of the bun which covers the face and hangs down to the waist at the back .
The Jhapa (an arrangement of head ornaments) is worn only during the nityaRaasa. The head ornaments, primarily made with brass and jari, make up the damini worn at the parting of the hair. The karna phul is an ornament covering the ears. The kurak is a silver jari hair ornament designed in the shape of a butterfly and worn on either side of the parted hair. Two ornaments called the samjinam and samjithet, made either of brass or silver jari are clipped to the bun. A thin scarf covers the bun from behind.
The costume for the upper portion of the body comprises of the resham phurit and the thabakyet . The resham phurit is a blouse made out of dark green velvet with borders of brass sequins or jari around the neckline and waist. The thabakyet is a white piece of cloth that is worn tightly under the shoulders from above the breast down to the waist, in all Raasa- lila except the nitya Raasa.
From the waist down, the attire becomes even more elaborate. The kumins of radha and chandrabali are made out of green satin, while those of other gopis are made from red satin. Both the green and red skirts have a broad border decorated with circular designs framed by embroidery. The upper portion of each skirt is decorated with scattered silver sequins and silver jari borders.
This portion is stiffened on the inside with canvas and cane. It is also partially covered by the pashwal, a short skirt worn over the kumin. This is made out of approximately five to ten metres of fine semi-transparent white cotton with ribbons of silver and a border of mirror work along the bottom fringe. The bottom fringe is stiffened and shaped with wire. The costume is further complemented by the khaon- a rectangular decorative piece made out of framed mirrors, gold and silver jari work and sequins .
It is worn on the right side, hanging from the waist and supported by a similarly decorated belt hanging from the left shoulder. In addition, there are two belt pieces; the khwangoi and the khwangnap. The first, a decorative belt made out of brass framed mirrors, gold and silver jari work and sequins, is tied at the waist over the pashwal. From this belt, in the front, hangs the khwangnap which is a matching decorative piece, thirty centimetres in length.
There are a number of other ornaments associated with this costume. For example, there is the tal, an oval armlet made out of beads, silver thread and sequins. Another type of armlet called the ananta which is made out of brass is also an example. The tanthak, a strip made out of silver beads and silver thread, is worn just above the tal or the ananta.
There is also the tankha, a flower shaped decorative centre piece made out of silver thread and beads. It is connected by two strips also made out of silver beads and jari work. This piece is worn at the elbow. The ratanchud is a decorative piece worn on the back of the hand. The upper part of the ratanchud is connected to a ring worn on the middle finger. The sanakhuji, a brass bangle is another accessory worn along with the costume.
The earrings worn with this costume are also made out of brass and are known as kundalnine . Among the necklaces there are several different designs; the ngangoi, the sanarembi, the haiku, the marei, the kyanlikphang, the kindung and the heibi mapal.
The nupur, a v- shaped strip made up of beads, a silver thread and sequins, adorns the top of the foot and is affixed to a string tied around the second toe. The performer also wears ghungrus(anklets) made out of silver embroidery, jari work, beads and sequins. These two items are primarily used by radha.
The costume of Krishna
Krishna And Radha
The head dress for Krishna is quite elaborate and is composed of numerous elements. The nakhum is a black velvet cap embellished with scattered sequins. The base has a decorative silver jari border. On top of the nakhum is a crown known as the mukut. It is made from a conical wooden piece and covered with gold paper. Petals designed out of silver wire and sequins and referred to as chirong decorate the middle section of the crown.
Affixed to the nakhum is the chuda, a fan like piece made out of peacock feathers. The chuda has a centre piece along with beads, gold and silver threads and sequins of silver. The performer also wears a koknam – a head band of silver sequins worn just above the forehead. And above this is the kajenglei which consists of eighty to a hundred brass strips.
These are attached to red flannel strips one centimetre in width and tied around a circular metal ring. Above the kajenglei is worn the cherei. The cherei is composed of white paper fans joined to one another to form a chain that covers one of the two khwangnaps. This first khwangnap is thirty centimetres long and attached to the back end of the black cap.
The upper body portion of the Krishna costume is a blouse, with or without sleeves of dark green velvet. It has a border of sequins or jari generally placed along the neck, waist or sleeves and is called the resham phurit. The lower portion of the costume is considerably more complicated. First there is the pheijom, a yellow silk dhoti that measures four metres with a green border. On top of the dhoti is a hip ornament tied at the waist and is known as the dhara.
This piece is made out of strings of beads covered with coloured cloth and silver thread. It is fastened at the back. There are two khaons for this costume. One is worn on the right side, hanging down from the waist and supported by a similarly decorated belt hanging from the left shoulder. The other hangs in an identical fashion from the right shoulder just like it does on radha’s costume. Krishna’s outfit also uses the khwangoi, to which the second khwangnap is stitched and then tied at the waist over the phaijom and the two khaons.
Krishna’s costume is also accentuated by the nupur, the ghungrus and the lei pareng. The arm ornaments for the Krishna costume are the same as those of radha the tanthak, tankha, ratanchud, ananta, sanakhuji, khwanglikphang and heikru. In addition, he wears brass earrings known as the chomai. Over the blouse, the performer wears a pisindrai. This comprises of two circular brass pieces one worn on the chest, the other at the back supported by brass chains made up of flat metal pieces. The chains are fastened above and below each shoulder to the brass medallions worn on the front and back.
BODY PARTS OF SACRED MARKS (OF CHANDAN PASTE)
The sacred Chandan paste for the indispensable ritual to be imprinted on the body parts which are meant for the male ritual performer and are generally described as follows
Boddy Parts Local names Ritual Rhymes
1. Forehead Laibak Ong Keshavai Namong
2. Naval Khoidou OngNarainai Namong
3. Chest (Above Heart) Thabak Ong Madavai Namong
4. Neck Khouri Ong Govindai Namong
5. Right Belly Yetki Puknop Ong Beshnuve Namong
6. Right Arm Yetki Pambong Ong Modhusudhanai Namong
7. Right Arm Root Yetki Pambong Maru Ong Trivikamai Namong
8. Lift Belly Oigi Puknop Ong Bammadai Namong
9. Left Arm Root Oigi Pambom Maru Ong Rishi Namong
10. Left Arm Oigi Pambom Ong Dhayai Namong
11. Back Neck Tungi Lusham Ong Bashudevi Namong
12. Back Waist Tungi Khwang Ong Damudarai Namong
for women ritual performer’s only five body parts will be marked with chandan paste such as :
Body roles Local Names
1. Forehead Laibak
2. Right Arm Yetki Pambom
3. Neck Khouri
4. Left Arm Oigi Pambom
5. Back Neck Lusham.
Nata Sheishak, the Music of Manipuri Dance
The music of Manipuri Dance was aptly developed in acerdance with the fprms of dance. It has been developed in its own style under the title “Nata Sheishak” . It has its affinity to styles of the North Indian and South Indian(Carnatic) musics. A good member of vaishnavite texts on music based on ancient Indian treatises are found in the styles of music in Manipuri dance. Mention may be made of the Krishna-Raasa-Sangita-Sangraha, Govinda-Sangita Lila Vilasa, Panchamasara Sanhita, Sangita Damodara, “Goura Chandradoya” and the Bhaktiratnakara of Narahari Cakravarti.
It is known that the Raasa Lila and the Nata Pala dances follow a predetermined sequence starting with the raga Alap (delineation of the basic notes of the melody), Dhyana murti (sloka verse attributed to a particular raga – melody of fixed notes), Brindavan varnan (description of brindavan) and songs to suit the performances of the dance
Many ragas are found tactfully employed in the Raasa Lila and Natapala such as kedara, Mouri, Shanaka, Vasanta, Tudi Vasanta, Bhopali and Bilawal. But , the stages of Raga Alap, Dhyana murti, and Brindavan varnan are sung in the same raga and are attached to a particular Raasa Lila. For example in the Vasanta Raasa , the gopis (as milkmaids) sing the Vasanta raga or the Tudi vasanta raga as special notes. Eventhough the traditional repertoire of Manipuri music is rich in compositions and sequences, the talented exponents may be composed as an entirely new song and set it to a new melody without altering the thems.
It is also found that the particular characteristics of Manipuri singing stem from the Manipulation of the microtones of the musical notes. The songs are delivered from the padaavalis (lyrics by vaishnavite devotional poets) available in texts such as pada kalpataru, Padamrita samudra, Kshanadagita Chintamani, Raasa pavalli , Raasa manjari, Nayika Ratnamala, Raasa Humphumari and the Gita Govinda belonging to the Goudiya vaishnava sampradaya. These songs were skit fully composed by vaishnavite devotional poets such as Chandidas. Vidyapati, Govindadas, Jayadeva and many other eminent poets. They songs are written in different languages such as Brajabuli, old Bengali, Sanskrit, Maithili, Braj and Manipuri. Manipuri Gurus, who were well versed in Manipuri music, have contributed such adanced songs and music to the treasury of dance music.
It can also we stated that Manipuri music is relatively derived from ancient Indian texts on music; it tends to place greater importance on the angas (elements) than the dhatus (sections of the song) in the prabandha (a musical composition). The prabandha is comprised one or more of the following five elements; Pada (poem), Paata (syllables), Svara (musical notes), Tanaka (auspicious words), Bidura (praise of the hero or heroine or name of the poet) and Taala (time measure). According to the combination of elements in it, the prabandha assumes the following jatis;
Two elements; Taravali jati
Three elements; Pavani jati
Four elements; Dipani jati
Five elements; Nandini jati
Six elements; Medini jati.
Taala
Taala or Talam is regarded as important aspect in Manipuri dance and its music. A taala, or time cycle, is a rhythmic time measured in a bar of specific length, composed of specific time units and laya (Rhythm); the arrangement or order in sound is governed by stressed and unstressed notes. The music of Manipuri follows all the classifications and systematizations of taalas as mentioned in Vaishnavite texts such as the Gita Chandrodaya, Mridanga Sangraha, Mridanga vyavastha Sangita and Bhaktiratnaakara. The ten praanas (elements) of the taala and their Manipuri equivalents may be placed as ;
i. Kala- time, (Matam)
ii. Anga-)-constituent unit, (hakchang
iii. Kriya) – action, (thabak) Sashabdav (tantha) – audible and Nishabda – inaudible, (haidokpa)
iv. Jati rhythm variation
v. Graha starting point(tankok) = Sama -together (thaminaba), Ahit after the taala (tharaga louba), Anagata- louba(gaigatpada), before the taala, Vishama (whose starting is not fixed),
vi. Kala (kala) extension,
vii. Laya or tempo – Druta – fast(athuba), Madhya – medium(mayay), Lambit – slow(atappa)
viii. Yati (loychat) – combination of tempos,
ix. Marga – Ways of presentation(lambi)
x. Prastaara – Rhythmic patterns(alankar – punglol).
Here the taalas that are currently in vogue in Manipuri dance offer a vast array of sounds from four to six to eight beats. They taalas are divided into three sub-groups; Suddha (pure), shalanga (the combination of two taalas in the basic time cycle) and Sankirna (the combination of more than two taalas in the basic time cycle). The last two taalas i.e., the shalaga and sankirna taalas, are known as Phertal in Manipur.
Though it is found that, some taalas have the same beats, their metric arrangements and stressed and unstressed patterns are completely different from one another. They are known by different names such as, the following taalas have seven beats. Tata tevda has divisions of 3,2,2; Tintal-macha has divisions of 2,2,3; Rajmel has divisions of 4, 3; Triputa-savari has divisions of 1half, 1half, 4; Dashakosh has divisions of 2, 1,2,2; and Yatra- rupak has divisions of 2 and 5.
Regarding the selection and the composition of an alankar punglol or any of its rhythmic varieties,which follow the spirit of their respective dances. One group of compositions created for a particular form of dance is not to used for another form of dancing.
Sometimes, though the compositions the taalas are similar in nature, the styles of playing are completely different. This enhances the grace and beauty of the movements of the dance. The mridanga (pung) itself is so expressive that its capacity to evolve a suitable composition is amazingly limitless. It can imitate any sound in nature, suggest any object or signify and even express Raasa (sentiment) and evoke the corresponding moods.
Musical Instruments commonly used in Manipuri Dance
Percussion Dafata
Instruments Dhola
Dholaka
Khanjari
Khola
Pung.
Metallic Jhalari
Instruments Kartaala
Mandila
Manggang
Ramtaala
Sembung.
Stringed instruments Esraja
Pena
Tanpura.
Wind instruments Bamsi
Mibung