ORIGIN OF MEITEI PUNG

Meitei traditional drum:

How did the Meitei/Meetei Call the Pung (Drum) in traditional language

“Pung”? During the reign of “Ko-hangko”, the God long time before, Pung

(Drum) was given to goddess ( Lai-Nura), in the time of creating this

universe by Sanamahi, the beloved second son, of chinglen Atiya sidaba

(Supreme god) with 9 (nine) Laipungthou ( followers of supreme god) and

7 (seven) Lainura ( Goddesses). The seven Lai-nura (Goddesses) made the

first Universal mounds in the vaccum Universe by moulding this world.

And this world started to be made. Since then, the Meitei/Meetei

Community started to know the mound as Pung (area higher than the

ground level). Not only this, Gods and goddess produced pung (mound),

the human being made a figure similar to mound. It was known as pung

(traditional drum). Such sounding figure / model used in the praising of

god and goddess in different occasions in rhythmic tune is known as

pung. The said pung has no ending story. In khunujng chak (an era),

during the reign of Pakhangba, leinung Lonja Ariba ( a god known as

career), a Pung having three legs known as “Tanyei Pung “(tuning drum)

made from the wood called wang (gamelina arborea) was introduced. The

hook used to fix the strop of the rear of the pung (drum) was made from

cane. The strap was also cane. The face of pung (drum) was made from

the leather (skin of san-taoren a kind of ox) or san yongmanbi ( a kind

reddish brown ox) and drum stick was cane. there are two drumsticks.
Since the drum (pung) was beaten rhythmically and in tune its name was

called Tanyeipung (rhythmic drum).

In teima chak Maringba Lang-on “khunung Chak (an era), Leinung

Lonja Ariba, Pakhngba ruled the Meitei/Meetei Nation/ Country. Since the

reign of Leinung Lonja Ariba Pakhangba, the Meitei Pung (Meitei drum)

had been introduced and discovered. That the first making and

introducing of the Pung (drum) was during the reign of Leinung Lonja

Ariba in khunung Chak ( an era). Such Tanyei pung ( rhythmic drum) was

made by the gods.

The Laipung Achoubas (big drums of god) “Satin Pung” was produced.

Secondly, Thirdly “Lantin Pung”. In the period of Pakhangba Langba Chak

(an era), “Kangla Yaipung (known as big drum) was produced fourthly.

Fifthly, “ Waikhong Ningthou Manai Laipung and village big drum”.

Yaipung was produced. Sixthly, “Laipung” was produced during the reign

of Moirang Mungshang chooba.

Seventhly, during the reign of Nongda Lairen Pakhangba, “SenpungJ”

was produced. Eighthly, “langte pung” was produced. As gods had made

the pung (drum), it was called “Laipung” and Langte or Langteng pung.

Ninethly, the Meitei Pung (Meitei drum) was produced during the reign of

Meidingu Khuyoi Tompok (154-264 AD). Such pung (drum) was made by

luwang wanglen pungding.

From Pakahangba Lai-hui chronicle, page 17-19.

 Meidingu Khuyoi Tompok got married with Nungpallon and lived

together from 154-264 AD. The bore Yoimongba, Taothingmang and

Leima Lairok Lembi Leima Lairok Lembi was married to koubru king

Angang nga. Kouparon Namoinu, the daughter of khoubru king Angang-

nga and Leima Lairok Lembi was married to Nungpan Pombi Luwangba.

The bore Hongnem Luwang punshiba. The place where Hongnem Luwang.

Ningthou Punshiba was Luwang makubi ching (Luwang Makubi mountain).

1. Ireng purwari, page 40, 7 lines

2. Luwang Kangleiron etc.

The incarnation of Nongpok haram poireiton khunthok lon spread this

clan to khuman kin / clan according to different occasions and to Angom

Kin/Clan. He entered Angom kin / Clan and spread his Clan. His history is

very large “Luwang Khunthoklon” (Apprearing of Luwang Clan Khuyoi

Tompok steyed without any sorrow. At that time, Mamaiba Konde

khuchum maina “ Khulbi, loumal” langda hoiyalle “Uyalle” and Luwang

Wanglen pungtingba fitted the strap of the pung (drum”. After cutting a

piece of wood of wang (gamelina arborea) urunghal kanglei pungkhoi

netke (to) beat drum after making it”. When pamba keirang kurang

pandamba, it does not sound. One day, Nonglum yairangchan

(considering) gives order kanglei pung khoi netlasuna say to let the pung

(discussing) Tubi Yoimongba, Nongda Lairen Pakhangbagi masan sera

kongtingnu “phamal, (catching mukmu haimei chongba kurang ma-un

leina huna sem. By fitting lane strop on the face of pung(drum) this ties,

fitting with cane. cane fixes the pung strop. The pung sounds sang-sang.

Tune of the pung (drum) is corrected. Punglon 6 (six) yana, khongpham 7

(seven) khutna pandambabu pachure “ chuna channare” then, the face of

the pung (drum) had become the leather of bull or ox. The intimate

followers of Nungbam pombi Luwang, Luwang Manao sinheiba wanglen

ina pungtingbana wang Nakupi “ Wood” a piece of wood is cut. After urang

takin the shape of this, coxa, kneecap. A figure or shope which has the

bigger and smaller heads of pung (drum) was made. Expressing the body

of human beiong i.e; head and leg, having figuring shape. A shape of a

feature “nungi oiba naokhong kouba saktam, a figure in round shape is

made. On the side of the smaller side, putting “gifure which is like a

bridle, a figure of pung (drum) was produced and name of the pung

(drum) made by luwang manao silheiba, wanglen Naha pangtingba was

called “Wanglen Pung” firstly. Since the wanglem pung (drum) was made by

the Meitei/Meetei group the pung (drum) was called “Meitei Pung” in the

future. During the reign of Meidingu khuyoi Tompok Meitei / Meitei pung

(drum) was made with the leather of deer it sounds deer like sound. when

the leather of tiger was used, it sounds like a tiger’s roar. The turning

sound of pung (frum) was not corrected. Then, the leather of bull and

Indian bison was used in making pung (drum). Now, the sound can be

made in different tunes. After this, the face of the pung (drum) was started

to be used the leather of bull or ox. It is according to “Cheitharaol

Kumbaba” (a chronicle of king clan). It indicates at the first page of the

Chronicle.

The pung (drum) made from the reign of leinung lonja Ariba Pakhangba

like “Tanyei pung” and Langte (Langteng) are called “Laipung” in all.

Other pungs produced time to time are not alike and their tunes are
 also different. Laipung (god’s drum) are also different in their sound.

the pung (drum) imitated from god is different in big small long and

short. Since the strap is also different in size. Each of them are not

equal. One thing, through the pungs (drums) are alike, and somewhat

different in size or model all pungs (drum) are called “Laipung” (drum

of god).

Kind of the Meitei Pung (drum)

The period of making this types of the Meitei Pung (drum) is firstly

produced and begun during the time of Leinung Lonja Ariba in Khunung

Chak (an era)

First making - Tanyei pung

Second - Satin pung
Third - Lantin pung
Fourth - Pung, Kangla Yaipung Pungjao
Fifth - Pung Waikhong Ningthou Manai Laipung
Khungi
Sixth - Laipung
Seventh - Senpung
Eighth - Langte Pung (langteng pung)
Ninth - Meitei pung (produced during the reign of
Khuyoi Tompok 154-264 AD
 1) Pakhangba Laihui, page 17-19 indicating.

Kinds of Turban (Kokyet):

Headdress for male wearers:

The traditional male headdress is of two types, namely headgear and

turban (Kokyet).

a. The headgear is again of two forms, namely Lollei and Samjin.

1. The Lollei: headgear is of cloth, and it appears like a crown with

an upward conical projection at the top. To the front, it is

decked with a few thin and fine-pointed sticks of serrated teeth,

reminiscent of the form of head of a prawn; set straight and

slightly curled with the base on the cloth just above the

forehead. It is believed that mythical here (of creation) Konjin

Tuthokpa, wore this head gear at the time when he performed

administration as the chief justice/sovereign.

2. Samijin: Samjin is still in use today. It is prepared by twilling a

long narrow, thin cloth gathered lengthwise on a round

bamboo-frame from this a curved wooden structure rises in the

front with slightly learning posture, and backed up by a unicorn,

and is hooked at the top. When the cloth is twilled over the

round frame, two ear like decorations of cloth are created in the

process of making design, named as Chiren Langlen, one at the

right side and the other to the left side.

The gathered cloth is then wrapped on to the round frame to work up a

caplike shape. The curced wooden stick is also tightly wrapped with

another fine lace cloth upto the top. The lace is decked with appliqué

decoration. The decorative cloth hangs freely from the top hook of the

stick. At its round frame, the cloth has width of 2.8mm, and it reaches

woen to the waist, at the back. The broad end portion of the cloth is also

decorated with several designs of appliqué. The design observed on this

piece is termed as Samjin Mapak, while the lace is termed as Samjin

Maree.

A second lengtly lace, decorated with appliqué design, is used for

fastening the headgear, it is passed over the head to reach the chin, where

one end of the lace is provided with a hook through which the other end

of the same lace passes. Here it expands to a form, with artistic design,

similar to the Samjin Mapak on the back. The piece hangs freely over the

chest. The borders on the hanging ends, of both the Samjin Mapak and the

Samjin Maree, are decorated with designs in appliqué. The Samjin Mapak

terminates into net like patterns formed by interlaced yarn of yellow

colour. The cotton tassel borders in rows, and this is locally known as

Pheiroi.

The designs on the Samjin Mapak consists of the following four

patterns, name Yensil Mayek, Khoi Mayek, Thambal Cheplei and Pheiroi.

Bunch of feathers locally termed as Urikshet (egret plump) or feathers

of the peacock are inserted upright to the top hook of the projecting stick
on the headgear, and this completes the decoration of this form of

headgear.

Symbolic motif of samjin:

This form of headgear is believed to represent the head portion of the

Meitei serpent- god, Pakhangba; the two ear-like parts on the sides of

headgear represent the two ears of the deity. The curved wooden

projection wrapped with decorated lace and set upright at the tip of the

headgear represent the horn of this imaginary serpent-like from of the

deity. The broaden part of Samjin, decorated with several floral designs in

appliqué, and bordered with a network of interlaced yellow thread fibres

hangjhing freely on the back and at the front, isa assumed to be the crest

and the ventral side of the serpent-like form of Pakahangba.

b. Turban (Kokyet): Turban culture developed remarkably among the

Meiteis. The use of turbans differed significantly in style and

according to the purpose of use and occasion. Some examples are

illustrated here.

1. Tolok: it is a mode of wearing turban in use till today. One end of

the cloth is set upright just above the centre of the forehead, in

the form of a crest, while the other end, after being wrapped

around the head from both the left and the right sides twice or

thrice around the base of the crest, is tucked into the lobes of

the turban at the backside.

It is believed that Ashiba, the Meitei mythical figure connected

with the creation of the Universe wore this form of turban. By the
symbolic act of wearing the turban is such fashion by the deity,

being interpreted as the successful adventure against the challenges

of enemies and other obstructing forces, the Meitei Maibas (folk

priest who are said to have supernatural communication with the

deiteies and the evil spirits) wear turban in exact manner while in

trance.

Meitei warriers also wear turban in similar manner when they

perform the dance ritual, Thengkou Chongba, with spear or sword in

hand the warrior danced in definite patter, specially on the occasion

before setting off to battle. The dance form had symbolic meaning

like anticipating the slaying of enemies in battle. This ritualistic

dance is also performed in ceremonial occasion to seek the welfare

and prosperity of the community.

2. Pakhang tolok: The style of wear resembles that of the Tolok

style. This turban was particularly used by the youths while

leisuring around in the locality.

3. Tabun/Kokyet kangdrum: the pattern of putting on this type of

turban is by taking its breadth vertically over the vertex from left

to right and vice-versa till it covers the whole part of the head,

and its end is tucked inside the lobes of the turban with chin

strap was used by the royal guards and by the military. This

Tabun Kokyet is now also known as Kokyet Kangdrum.

4. Kokyet Pheiyet: The style of wear is simple, done with a piece of

thin white chadder (Innaphi). The cloth is first gathered

 breadthwise. The edges of the two ends are compressed into very

small folds which, when let loose, spreads and thus beautifies

the turban. The style of wear assumes its form when the

gathered stretch of cloth is wrapped round the head from the

back, and the two ends are inter rolled at the front, in such a way

that the fringe of one end furls out above the turban, on the right

side, in such a way that the fringe of one end furls out above the

turban, on the right side, while that of the left ends spreads

above the ear.

It is said that the mythical god-king Nongda Lairen Pakhangba

put on turban of this fashion for the first time. In late rtimes,

prices used this style of wearing turban occasionally.

5. Paknoi Kokyet: The peculiarity of this style of turban is that the

two ends of the cloth project upwards from the turban, one on

the right side and the other to the left, both above the ears. This

is said to be of ancient origin.

6. Salai Kokyet: The Salai Kokyet is believed to be conceived relating

to the Meitei cosmogonical belief in the concept of the mythical

person of Ayiya Guru Sidaba, the manisfestation of the Supreme

Beginning in the act of creation of the Universe. The deity is

associated with two aspects of symbolism in the cosmogony of

the people. Firstly, the deity is a symbol of protection. The

second symbolism associated with this deity relates to his tri-

curved posture which reminds of the philosophy of tripartitism

reflected in the Meitei concept of “three preceptors” (Mangang,

 Luwang, each representing the three units of a day, that is,

morning, afternoon and night/ darkness respectively). The aspect

of dual symbolism is perceivable in this form of head dressing

culture.

There are four varieties of Salai Kokyet, namely:

6a. Salai Kokyet Mapum

6b Salai Kokyet Macha

6c Salai Kokyet Oinambi

6d Salai Kokyet Matok Pandabi

6a. Salai Kokyet Mapum/ Achouba: The two ends of the turban are

projected slightly upwards, one on the right side at a point from the

turban above the eyebrow, and the other at the back. According to the

Meitei concept these tow projection represent the two horns of the divine

bull- a form that Atiya guru Sidaba, the god of creation, assumed in one

episode of the creation myth. Hence, the name San=Cow/bull and

Lai=God. that is, Salai is given.

There is another version that these tow projections are the

representation of the two horns of Lainingthou Pakhangba and hence the

name Chiren Langlen (Supreme horn) is also found referred accordingly.

The divine motive behind this manifestation was to justify the claim of

Pakhangba to the throne against the claim of his elder, Sanamahi. The

drummers (Pung Yeiba) in nat sakhitana and the Palas (Sankritana singers)

wear this form of turban on the occasion of Asti Sanchai.

6b. Salai Kokyet Matek/Macha: This form of turban is provided with three

partial upwards projections with the cloth ends. Royal attendants adorned

this style of turban wear. Meitei bridegrooms also put on this style of

turban in marriage.

The pattern of wear is interesting to not one end of the cloth is

stretched breadthwise. Half of this stretched end is compressed into equal

folds to gibe the shape of a dove tail, and is then set upright above the

forehead on the right side, while the other half is left free. Holding the

cloth at its edge with the left hand, and pressing it to the top at right

forehead, the longer end is wrapped round the head with the right hand.

The end part of the cloth is then tucked into the turban at the top to form

an upward projection right behind the similar projection formed earlier.

Finally, the remaining part of the turban-cloth that has so far been

left free, is then carried round the turban and across its vertex from the

right to left, and is tucked in to the turban from behind to form the small

projection seen on the left side.

6c. Salai Kokyet Oinambi:

This form of turban is so named by its method of wrapping that

differs from the other styles. Here, the final wrapping round the heard is

done from the left(oi) to the right. The act of inserting is termed “nimbi”,

and so wrapping and inserting the turban cloth from the left. And hence,

the affix “oinambi”. The upright crest, formed by the folded fringe of the

right end of the cloth, observed to the right end, is faintly projected from
the turban at the back, left side across its apex. This was exclusively used

by the selungba in common functions.

6d. Salai Kokyet Matok Pandabi:

This turban differs from the others in that the projected ends are

inserted inside the lobes of the turban, and as such it shows no hackle. By

the absence of crest, it is also know as Kokyet Pumnam ( ‘pumnam’

meaning ‘flattened’).

It was used by royal attendance engaged in the duty of holding the

decorated vessels like the Senthak, Kwagok, Khundong, or in driving off

flies, bees etc, with help of flywhisk (Kanghai/Chamor) while attending to

the royalty.

7. Pala Kokyet, or Kokyet Phisang:

It is the form of turban put on as the name so suggests, by Pala,

that is singers of Sankhitanta. It is also called Kokyet Phisang since

it is made of Khudup niphu (that is forty arm-length of cloth, hence

the name “phisang” implying “phi” meaning “cloth” and (a) sang (ba)

meaning ‘long one’). Naturally, the turban made is quite big and

looks like a ball.

This form of turban is presumably the biggest of all the turbans

worn by the Meitei. This mode of wearing turban is also used by the

Pena singers (fiddle singers) who recite folk and legendary tales

while playing a musical instrument locally called Pena ( fiddle-like

stringed musical instrument).

The long and narrow yet thin cloth is first flattened into three equal

folds, measuring a width of three fingers. Both ends of the cloth are

well tucked in and are hidden in the turban. The peculiarity in the

preparation of this turban is that the cloth is flattened on the left

side while the right side is scrolled when wrapped, resembling the

form of the end of a Tharoi (snail). Finally, a tuft of black yarn locally

known as Petruk is inserted at the top of the head in the small gap

provided for the purpose, in between the two ventral rounds of the

turban.

8. Kokyet Kangdrum:

This form was normally worn by traditional Meitei warriors.

Traditional polo players also wore this form of turban. The cloth is

first gathered lengthwise, and is then wound round the head from

both the left and right sides, with no projections. To tighten the

turban on to the head, a small strip of cloth belts the turban from

the top across the two earlobes and is tied into a knot just below the

chin; a fastening arrangement to check any possible drop of the

turban when the wearer is in active movement.

9. Kokyet Lairel Makhoi:

It is a proto type of the Pala Kokyet, used by pena singers on

public ceremonial occasions like Lai Haraoba and Kwaktanba, before

the conception of the Pala Kokyet. A few Pena singer still use this

type of turban attire.

A long but relatively narrow and thin strip of cloth is used for the

turban. Half of the cloth is loosen initially while the other half is

gathered lengthwise and is coiled in two halves on the two sides of

the head, with its end raised up at the apex of the head in the form

of the top hackle.

After this is done, the other half of the cloth that is left loose, is

taken up. Gathering up the cloth, it is flatten lengthwise and would

round the head, and is then tucked in beneath the bottom lobes of

the turban. The end portion is turned up to the top of the turban at

the back, at its mind, to mark the dissecting line of the two dorsal

halves of the turban on the backside. On the front, this dividing

mark is absent.

10. Ajmeri Kokyet:

As the name suggest, this style of wearing turban was borrowed

from the Ajmeri style of Rajasthan. As typical of this style, the left

side of the turban extends irregularly to cover the left ear, while the

right side dips up above the lobe of the right ear. The dovetail like

hackle is raised at the top by carrying the left end portion over the

turban at its top mid while the right end dangles at the back,

reaching up to the waist.

The Manipur king, Maharajah Sir Churachand Singh, K.C.S.I,

(1891-1941) A.D) adopted this fashion of wear after his return from

Ajmer where he had education by the patron of the British

Government. It was reserved only for the king and his royal
brothers, Later on, the Holi band (Sana Holi Pala) of the King was

permitted to use this style of wearing turban.

11. Kokyet Chinbun Lakpa:

For this mode of wearing turban, the cloth required is not a long

one Gathered lengthwise, half of the cloth is used in making a coil

round the head, along the line corresponding to the forehead at the

front, leaving the portion of the head above it bare. The coil of cloth

so made is tied into a knot on one side of the head. The cloth end of

the remaining half is carried across the mouth from the side of the

face where the knot is located and to the opposite side where it is

tucked into the coil of the turban. The covering of mouth with cloth

checks accidental out-flow of saliba. In ceremonial feats cooks use

this mode of wearing turna. It said to have been introduced during

the time of Meidingu Kiyamba (1467-1508 A.D). This fashion

prevails till today.

Different kinds of Meitei Pung and its usage:

From the reign of Leinung Lonja Ariba in khunung Chak(an era)

to this running time such Meitei/Meitei pung (drum) in Manipur

(once called kangleipak) has 9 (nine) different models.

Firstly – “Tanyeipung”:

One such type of pung (drum) having three legs “Tanyeipung”

was produced by making with a wood called wang (gamelina

arborea) during the reign of Leinung Lonja Ariba Pakhangba in

Khunung Chak (an era).

 The hook to fix the strop of the rear of the pung (drum) was

cane. The pung (drum) also cane. The face of the pung (drum) was

made of the leather of Santaorongi san yongman (c. kind of ox or

bull). The stick to beat the pung (drum) was cane. The face of the

pung (drum) was only one. The stick to beat the pung (drum) was

called Tanyeipung.

Second – “Satin Pung”:

Once the pung named satin pung, another name Laigi pung

(Laipung) and hipung – yaipung (name of the drum) was used as

village god drum. The length of the pung (drum) is 7 (seven) feet,

the height is 2 (two) feet, number of strop around the pung (drum)

is 18 (eighteen).

Third – “lantin Pung”:

The length of Lantin pung is 2 (two) feet, the height is 2 ½ (two

half) feet. The stick to beat the pung (drum) was 2 (two) and mode

of Cane. The hook of the pung(drum) was also cane. such pung

called Satin pung or Lantin pung is also called hipung-yaipung. Such

two features of the pung (drum), a long one, a short one is used as

village god pung (drum). The villages of hill and plain of Manipur

use different type of pung (drum). Most villages have no pung

(drum).

Fourth – “Kangla Yaipung Pungjao”:

During the period of the incarnation of lolang pakhangba is

langba chak (an era) named as “king tongomba”, kangla Yaipung

 pungjao was beaten to call his people to be given their duties. The

people was taught about human being rules.

This pung (drum) was kept at kangla for announcing well-to-do

information. Kangla yaipung was also used to informed to the people

about war and wild animal. The length of the Pung (drum) is 3(three) feet

and 10 ½ (ten half) inches. The height is 4 (four) feet and 1 (one) inch.

Number of strop is 27 (twenty seven). The stick to beat pung (drum) is

2(two) numbers. They were cane. This Pung (drum) is still situated at

shaombung kabui khunjao.

Fifth – “waikhong Ningthou Manai Laipung”:

“Waikhong Ningthou Manai Laipung” named at Khungi pungjao

hipung yaipung has its tune as tang –da, tang- da, tang-da , tang-da the

sound of the pung beating first one is beaten by one man. Its meaning –

karklo, karkalo, karkalo, karkalo.

Second – tagat –taga, tangda- tangda- tangda. This second one is to

be added the sound by another man. Two men will beat. Meaning of the

Punglon (drum Tune) “you should come, come and come. “Kangla Lanpung

for war and wild animal is beaten. You should come, come and come.

Third tune of pung (drum)

Taga taga tang tang ta tang ta……

Tar-rara taga taga tang….

In beating the pung (drum) according to occasion, two men will

beat each face of the pung (drum) holding two beating sticks. Since
 it is Laipung (god’s drum) any person who knows punglon (drum

tune) may beat. There is a time at which only one person can beat

the pung (drum). Such big drum (pungjao or Leipung) is kept both

hill and plain in Meitei Land. Tune of pung (drum) is 8 (eight) feet.

The height is 2 (two) feet and 4 (four) inches. Number of strop is 24

(twenty four).

Six- “Laipung”:

“Laipung” was produced during the reign of Moirang Mungyang Chaoba.

The off springs of Meidingu Nongoda Lairen Pakhangba.

1. Mungyang Chaoba

2. Tangkurum Lumliba.

Born at Moirang “Loiren pung” Laigi Pung Laipung (god’s drum) is kept

at temple. A Laipung each was each made to keep at every village. The

place of keeping Laipung (god’s drum) is at the place of umang lai

(Preserver god of nature) A separate place known as pungi Laishang is

built to keep pung (drum) describing as meeraibane kangamda, pongwai

bana youngamda “shang” Tala magi uyok kon pamel mangi uthakol

uringkon sanagi sagai ningthiba hangoi konde nurabina kumdam “shang”

kakcheng kokchaobina “yaka shang” khundin shang. Lupagi phambal

mathakta. Sanagi thakan makhoda, pung adu phambal tongduna thamgani

laigi kangjei Kanghu ( god’s stick) huithamba (not tapering off) is two

number at the place of god temple, it will be kept on Paingquin. It is a

traditional trend. The son of Meidingu Nongda Lairen Pakhangba

Mungyang Chaoba wedded with the youngest daughter of soraren ( God of

the sky) Kosou of Akhngning chanu wangpal Arai Leima. They settled in

Moirang. The pung (drum) given as dowry to the son of Nongda Lairen

Pakhangba, Moirang Mungyang Chaoba was called “Laipung” as it was

considered given by god. This pung (drum) is not all overed to be touched

by unholy persons. Then was a woman called “Lainu” who carried Laipung

(God’s Drum” outside and inside. Unfortunately, the woman touched the

Pung (drum) while she was me menstruating. So, the Laipung “God’s drum)

was unholy. Not allowed to to use .It did not sound.On seeing such

condition her father salairen ( god of sky) was angry and called “Langu”.

Pungyeiba (drum beaten) and ordered him to take up from Moirang Loiren

pung nobody didn’t understand it. When Pakhangba knew that the pung

was lost he went to Mapan Panthou Salairen (Uncle), Salairen (God of the

Sky) replied Hai, Universal King! I have taken it up. He advised him that if

your human being touch or hold the Pung (drum) and she will have a

uncurable disease when Pakhangba begged the pung (drum), Mapan

Lainingthou Salairen (God of the sky) said Hai, Universal King! You make a

pung(drum) using the tree called “Wang” (Gametina Arborea) which is alike

with the name of wangba Ningthou growing on the earth and beat that

and furthered that the pung (drum) should be beaten during ritual

occasion by human being with taret senphang playing. At that time, I the

great god will sight. Mungyai Chaoba said to his followers to make a pung

(drum) which is alike with Laipung. Thus, the followers made a pung

(drum) made of “wang” (Gamelina arborea). When the pung (drum) was

beaten, it sounded with annihilating power. When the pung (drum) is seen

by Arai Leima, she feels very satisfied. According to the advice of

Laiyingthou Soraren, Moireng Ningthou Pakhangba let the pung (drum)

made by Chaoba the Cleverer, cutting the tree “Wang” (gamelina arborea)

alike the pung (drum of the sky), the surname of human chaoba is called

Wanglemba. After finished the pung(drum) making, the human being who

fixed strop was given the surname as Lairenjam. When the pung(drum) is

stropped, the skin of python was used. So, the surname become

Lairenjam.

Seventh- “Senpung” (Senbung):

Senjereng wedded leinung Yabirok and got a son “Meidingu Nongda

Lairen Pakhangba”. Nongda lairen pakhangba wedded Lai sara and got a

son “Khuyoi Tompok”. During the reign of Meidingu Nongda Lairen

Pakhangba “Senpung” was produced Kanglei pibaren said to the people of

hill & plain, belonging to 7 (seven) clans – My beloved people, hill and

plain, all clans should make a temple where your forefather settled first.

You should remember your clan like month, thabal (Meitei date calendar)

and date. Annually you should pray your clan forefathers by offering

flowers and fruits. And “Senpung” should be beaten the during occasion.

Eight – “Langte Pung” ( Langteng Pung):

“Langte pung” was called because of defending the human being from

enemy sorrow and danger etc. And the pung (drum) used in the festive

occasion of the Meitei Umanglai Haraoba is also called Langte pung or

“Harao pung” Langte pung is a figure of making the universe and human

being. This pung (drum) has internal power or ability.

 “Hipung Yaipung” the shape of two immortal god and goddess was

taken by the followers gods and “Langte pung” was made as the

pung(drum) was made by gods, the pung(drum) is known as Laipung and

Langte pung. Langte pung was beaten by Khoyum Leikol Lainingthou

Sanamahi in long time before. The Pung (drum) is the pung of khoyum Lai.

“Leinung Thangaren” goddess of separating body and soul. As human

being make the pung (drum) imitating from god, the size of the pung

(drum) is different in big or small and figure. Substituting God by human

being during the different dancing style of universe making at umang lai

haraoba “Langte Pung” was beaten. According to Leiteng Tanja, Langte

pung (drum) should be beaten in equal or familiar tune. If the pung (drum)

in beaten with drumming stick it will be held by right hand. Left had will

clap with hand with a musical rhythm on the head of the pung (drum). It is

also acceptable to beat the pung (drum) without drumming stick with

hand. Number of drumming stick for langte pung (drum) without

drumming stick with hand. Number of drumming stick for langte pung

(drum) is only one.

Nineth- “Meitei pung”:

Meitei pung (drum) was produced during the reign of Meidingu

Khuyoi Tompok from 154 to 264 AD). Meidingu Khuyoi tompok wedded

Nungpallon Ahongbi and got three off-springs like yoimongba,

Taothingmang and Leima Lairok Lembi. The daughter, Kouparon Namoinu

of Koubru Ningthou Angang Ngana and Leima Leirok lembi was married to

Nungpanpombi Luwang. And Hongnem Luwang punshiba was born the

Place where Hongem Luwang Ningthou Punshiba ruled lived is Luwang

Makubi hill.

1. Ireng Puwari, page 40, line 7

2. There are many in Luwang Kangleiron.

The incarnation of Nongpok Haram Poireiton Khunthoklon spread his

clan to Khuman Clan according to different occasions. And to Angom clan.

Again to Luwang Clan as well LUwang KHunthoklon is long history. Khuyoi

Tompok Kanglei Sumkhong manin naingamdana thongthoire nungai

thoina palle. Adu nongda mamaiba konde khuchum maina “khulbi Loumal

Langda Hoiyalle. Uyalle Luwang wanglen pungtinba stropped the pung

(drum), cutting a long wood “wang” (Gamelina Arborea), Uranghal Kanglei

Pungkhoi netke (after making pung to be beaten) haina pamba Keirang

Kurang Pandambabu punglon thokte. One day Nonglum Yairangchan gave

his order (thinking deeply Kangleipung-Khoinet lasana” Pungkhol

thoklasano” (let the drum sound) haina kondo khuchum Maibu

Wachummnana (discussing) tubi yoinongda, Nongda Lairen Pakhangbagi

masan Sera Khongtingnu phamal (capturing) mukmu haimei Chongbu

Kurang ma-un Leina huna sem, on the face of cane hook pung (drum)

Saun khurou tingna, thewa lipun sina, lina phaduna (fixed by cane ) cane

stropped, wanglen punglon sang-sang thokle. Pung (drum) sounds

correctly punglon 6 yana khonphang 7 thetna pandambabu pachure

“Chuna Chanare” then the face of the pung (drum) has become the leather

of bull or ox.
 Meidingu Khuyol Tompok got married with Nungpallon and lived

together from 154-264 AD. They bore Yoimongba, Taothingmang and

Leima Leima Lairok Lombi Leima Lairok Lembi was married to koubru king

Angang nga. Thouparon Namoinu, the daughter of Khoubru king Angang

nga and Leima Lairok Lembi was married to Nungpan Pombi Luwangba.

They bore Hongnem Luwang punshiba. The place where Hongnem

Luwang. Ningthou Punshiba was Luwang Makubi Ching (Luwang Makubi

mountain).

1. Ireng puwari, page 40, 7 lines

2. Luwang Kangleiron etc.

The incarnation of Nongpok Haram Poireiton Khunthok Lon spread

this clan to khuman kin / clan according different occasions and to Angom

Kin/Clan. He entered Angom Kin / Clan and spread his Clan. His history is

very large “Luwang Khunthoklon” (Apprearing of Luwang Clan Khuyoi

Tompok stayed without any sorrow. At that Time. Mamaiba Konde

khuchum maina “khulbi loumal” langda hoiyalle “Uyalle” and Luwang

WAnglen pungtingba fitted the strap of the pung(drum). After cutting a

piece of wood of wang (gamelina arborea) urunghal kanglei pungkhoi

netke (to) beat drum after making it). When pamba Keirang Kurang

pandamba, it does not sound. one day, Nonglum yairangchan

(considering) gives order Kanglei Pung Khoi Netlasunasay to let the pung

(drum) sound with Konde Khuchum Maiba wachumna (discussing) Tubi

Yoimongba, Nongda Lairen Pakhangbagi masan Sera kongtingnu phamal,

(catching mukmu haimei chonba kurang ma- un leina huna sem. By fitting
lane strop on the face of pung (drum) this ties, fitting with cane. cane fixes

the pung strop. The pung sounds sang0 sang. Tune of the pung is

corrected. Punglon 6 yana, khongpham 7 khutna pandambabu pachure

“Chuna channare” then, the face of the pung (drum) had become the

leather of bull or ox. The intimate followers of Nungbam pombi Luwang,

Luwang Manao Sinheiba wanglen ina pungtingbana wang Nakupi “Wood” a

piece of wood is cut. After urang taking the shape of this, coxa, kneecap.

A figure or shape which has the bigger and smaller heads of pung was

made. Expressing the body of human being i.e; head and leg, having

figuring shape. A shape of a feature “nungi oiba naokhong kouba saktam,

a figure in round shape is made. On the side of the smaller side, putting”

figure which is like a bridle, a figure of pung (drum) was produced and the

name of the pung (drum) made by luwang manao silheiba, wanglen Naha

pangtingba was called “Wanglen Pung” Firstly. Since the Wanglem Pung

(drum) was made by the Meitei/Meetei group the pung was called Meitei

Pung” in the future. During the reign of Meidingu khyoi Tompok

Meitei/Meitei pung was made with the leather of deer it sounds deer like

sound. When the leather of tiger was used, it sounds like a tiger’s roar.

The turning sound of pung (drum) was not corrected. Then, the leather of

bull and Indian bison was used in making pung (drum). Now, the sound

can be made in different tunes. After this, the face of the pung was started

to be used the leather of bull or ox. It is according to “Cheitharol

Kumbaba” (a chronicle of king clan). It indicates at the first page of the

Chronicle.
Similarity between Manipuri “Thang-Ta” and Meitei “Pung Nat-Sankritan”

on the basis of their uses:-

Making the state of our God, Tengbanba Mapu, praying him heart and

soul in order to satisfy Chaku-Lankubinaba, to bring peace and prosperity

and to punish the wrong doer is the way to celebrate and they have their

own way to use motive. Uses of Thang-ta, Laibou in Lai-Haraoba, the Nat-

Sankritan differentiate and give their names respectively. In their way,

putting/keeping all the essential motive in aerial because the main part.

They have their beginning, middle and conclusion respectively.

Not only human but also all the other living creatures are

made/produced by the God, Taibang Mapu to God so that they can do

something and came to God again without bringing anything.

Thus, the god, Taibang Mapu think of producing male-female i.e.

Lainingthou-Laimarembi, Ibungo-Ibemma and also Leishemba, Leingakpa,

Leithinggai Ashiba/Achiba, Atiya Guru Haraba. And when the planet where

all living creatures’ habitat made, many god and goddesses were also

produced and the human beings became flourished on earth. After all the

works and ambitious, all the living creatures again back to him and vice

versa.

Similarity motive of Meitei Pung and Thang-ta:-

In order to perform the function/motives of Meitei Pung (Nat-

Sankritan), it is needed to fix a date firstly. After this, the rules and

regulations are fixed. When performing the Meitei Pung (Nat-Sankritan),

we have to see the day, Tincha-Laicha. All these things are done by “Pala
Loishang”. In order to celebrate related with this, person associated with

“Dev-Karma” and “Nat-Sankritan” either the family members or the

relatives or the near or dear one friend went to the Pala Loishang to fix the

date. For performing the Thang-ta i.e. thanglon-Taron, Khousarol, Pana

Khousarol, the king or the head of the land and the pundits concern about

this and fixed a date to perfrom. After this, “Pana Khou Chongba” too

perform. And the Thenggourol perform in this same way. But some other

Thanglon-taron, Khousarol, Thenggourol perform without informing the

related persons.

For “Leipak Kainaba” and “Leipak Semnaba”, perform secretly. Like this,

for performing all this, fixing a good day is done. For the Meitei/Meetei

community, Erat-Thouni, Lai-Khurumba, Lai-Haraoba Nat-Sankritan and

Thang-Ta (Khousarol, Thengoural) it is a must to see the good day i.e.

Tincha-Laicha Numit. This is briefly written in the book, “Lai-Haraoba”

written by Wahengbam Lukhoi singh.

Nongma panba 11 ni panba Laina Lai Chai. Eedi sengnge fei. But

performing on Nongma-Panba is not liked by some people.

2ni, 12ni, 22 ni panba laina yen chai. Ee sengnge fei.

3 ni, 13ni, 23 panba laina nganu chai. Fei .

4ni, 14ni, 24 ni panba laina hui chai. Fatte.

5 ni, 15ni, 25 ni panba laina oak chai. Fei.

6ni, 16ni, 26 ni panba laina san chai. Fatte.

7ni, 17 ni, 27 ni panba laina iroi chai. Fatte.

But for performing Laigi Thouram, we have to see the thaban.

 8 ni, 18 ni, 28 ni panba laina sagol chai. Fatte.

9 ni, 19 ni, 29 ni panba laina samu chai. Fatte.

10 ni, 20 ni, 30 ni panba laina mee chai. Fatte.

But Nat-Sankritan i.e. Not only birth-death and it’s related thoudok, “dev-

karma” their khuman, Tal Fangnaba also see the above Thaban.

And for death ritual, the tuma-sudaba numit i.e. the odd number days, is

done. But there are some slight difference in our state because of different

community. Some people says that the Brahman i.e. Ghoura-Dharma

perform in 5 days or Ghoura Dharma da Lamboiragana in 6 days. In

Brahman rules, they perform in 3 days. And for Ghoura Dharma

Lamboiragana in 6 days numitta Asti-Jeigya Loukhatli. Sharadha perform

in 14 days and Lamboiragana 13 days. But according to our ancient for-

fathers, 5 days perform Leihun Pangthokpa and in 11 days perform Lanna

Thouram i.e. death ritual. The death person or according to the dharma,

we can see some difference the marriage ceremony and other nat-

Sankritan also see the Tinch-Laich’s days and Thaban and performed in

good 5 days. Particularly it was taken in tuma-suba i.e. odd no. day. In

tuma suba day, there will also be good and bad day. But checked the day

and performed. According to the above given Thaban and tincha-Laicha,

rituals are celebrated. It is not performed in Ee khudeng numit, when the

ritual is going to perform, it is a need for their haeds i.e. Laipak Ningthou,

Angam-Athou, Pandit Loishang, Bhrama Sava but now Shri Shri Govindha

Temple Board, Sana konung, Lainingthou Temple Board, Pala Loishang to

fix a date to perform. This is because, when they performed is wrong

days, many unwanted things happen in himself/herself, Leipakki

Ningthou, their village, Mesi-Meena, Sapao-Lanpao, illness, Laithung-

Tinthung, we can see similarity in the beginning of this rituals.

Meitei Pung and Thang-Ta have some similarity in their meaning. For

example, we, human need food to survive, but there are many things we

can or can’t eat food on a particular day. This is called “Chakhen”. And the

male and female too have many things that they can sexually satisfy or

cannot on a particular day. This called “Yenhen”. From the ancient time,

our ancestors follow this chakhen and yenhen rules. In this reason,

Ngangbam Kumar Maibi said that.

Singda Haibadi Charoi, Khikloi, Langgom, urirom/Ureirom, Tera, Tairel

and for ngagi Tatkina Ngaka, Ngamhai, Ngashep, Ngari, ngakijou, Nganap,

napakpi, muklang and Ngaprum. His things are not eaten by Maibi but in

case if fruits such as Heimang.

And for Meitei/Meetei community too, they have their rules that were

eaten/not eaten according to Thaban or during 12 in panba are also given

as under:-

Sajibu Tha – Laphu-tharo, funil laida katpa amadi chaba touheide,

alang-maton chinheide. Fal – pukning wai pangal amadi kuchu

mang-e.

Kalen tha – Loklei, Pulei, Yengkhanam laida katpa, chaba touheide.

Kombireichinba touheide. Fal-Pangal, kuchu mang-e.

Inga tha – Konprek chaheide. Shangbei, Leipaklei chinheide.

Fal – hara thung-e.

Ingen tha – Yempat, kakla chinheide. Haorei tharo chinheide.

Fal – wathok wayammi. Esing-gi laithung pak-e.

Thawan tha – loklei, pulei koukha chaheide. Yerum lei tharo

chinheide.

Fal – puklai, lamsun pak a.

Mera tha – Mairen maton, tokningkhok chaheide. Kharam Petruklei

chinheide.

Fal – singli sikna puk ki laithung pok-a

Hiyanggei tha – Hanggam, peruk, uyen laba chaheide.

Fal – yari sok-a amadi chabumlai pok-a.

Poinu tha – Sebot lemanbi chaheide. Langthrei chinheide.

Fal – yarida chabum lai pok a.

Wakching tha – Usoi, soijin, tengnoumanbi chaheide, leiri, leisang

chinheide.

Fal – laira tall, sa-ngana saowe.

Fairen tha – Feija, fakchet, yenpat chinheide. Sanhei chinheide.

Fal – ahorai thung-e.

Lamta tha – Hawai thangpakpi, kengoi chaheide. Tongganlei,

langthrei chinheide.

Fal – lamshi, Fugamgi laina pok-e, Phambirai how-e.

 The above give fasting reasons are done by amaiba, amaibi and asiba

not only in lai haraoba but also done in other days.

Thus, the meaning are almost the same. From the birth till the last

breath, Meitei pung and Thang-Ta are almost same. These are the

similarity of Meitei Pung and Thang-ta.

How is the “Meitei Pung” mention its name in the older times?

In God’s age, Pung as nahanong “kok-Hangkok” when the planet

began to start making, the fiancé of Atiya Guru Shidava, yaima Sanamahi

(Ashiba) with laipungthou mapan other seven Goddess, 9 laipungthou sink

into water (Eronnungda), from the very bottom he brings out Laisha

(earth/soil) and given to the seven Goddess. And the 7 Goddess began to

make the 7 mounds (Leipung) for the first time. And thus began to make

the earth. From the ancient time, the mound part began to known as

“Pung” . Not only the “Pung” name by the God and Goddess, we human,

also make a thing to serve the God and Goddess and for the sake of God

and Goddess. That things also began to known as “Pung”.

Formerly, the embodiment of Pung is Nahanong “Khung Chakta”

Leinung Lonja ariba, is the time of Pakhangba Pung with three pillars

“Tanyeipung” is made by “Wang” tree. And the Pungli is made from the

cane plant (Lee). The Pungmai is made from leather of San yongman Skin.

The pungmai chi is also made from cane plant. It has two drum sticks. It is

name as Tanyeipung as it is name as it is drum w.r.t to time, music etc.

When and who use of made our Meitei/Meetei Pung is also given under

below:-

“Tanyeipung”, the first made Pung is use in the time of Khung Chakta,

Leimang Lonja, when the God and Goddess dance together. And after this

“Satin Pung” also began to produce. And the third one is “Lantin Pung”. On

the time of Pakhangba’s Langba chak, the forth pung Kangla Yaipung is

produced.

5th pung – Pung Waikhong, Ningthou Manai Laipung, Khungi

pungjao hiping, yaipung produced.

6th Pung – in the time of Moirang Mungyang Chaoba, Laipung

produced.

7th Pung – In the time of Nongda Lairen Pakhangba, “Senpung”

produced.

8th Pung – Langto Pung.

The pung made by the God are known as Laipung and Langte

(Langten).

9th Pung – Meitei/Meetei Pung, in the time of Meidunggu Khuyai

Tompok, in 154-258.

Luwang Wanglen, Pungdin made this pung and produced as “Meitei

Pung” and so on.

Similarity between the Meitei Thang-Ta, Meitei Pung and the movement of

our body:-
(a) Movement and position of legs and heads:

Our movement and position of our body limb is much similar

with the Meitei Pung and Thang-Ta. At the beginning of Thang-

Ta, the position of the body is same with the Meitei Pung starting

position. And the heads position too same with the Pung Cholom.

As this style of movement and positions is used from the very

ancient time as given by the experts and says that they are

almost similar.

(b) Similar in Shakthek and Pithup:

Meitei Pung and Thang-ta is similar with the body language,

movement and position of the body. Thang-ta gi Leiteng i.e. the

body, movement and position and the body position are Ta-

khousaba and Meitei Pung gi Cholom is very much similar as

mentioned by the experts. When men sagatpa the body

movement in Pung cholom is same as Thang-ta.

(c) Similarity in view:

It is no exaggerated to say that the Meitei Pung and Thang-Ta is

same in view. In thang-Ta the first and foremost of our eye sight

distance should be one and half fathom is also mentioned in

Meitei Pung too. Above this the eye sight in any body movement

and position in both are similar. In Pung Cholom, the eye should

look at the tips of the finger too. In this way, the Thang-Ta and
 Meitei Pung are similar in view as mentioned from the very

beginning

(d) Similarity in the movement of the body parts:

Movement of the body parts are similar in both. From the very

beginning in both, the first and foremost step is same. It is also

known as “Mahak ki Mahak Oiba”. This step is also done in Meitei

Pung Laohou Houba. Not only this, movement of other body

parts, position, view, khoulon, khutlei are also same.

Simply, in Ta-Khousaba and Thang-Thanghairol and in Pung

cholom, the body movement and position are same with Thang-

ta with the movement given by our fore-father. And the

khongfam, body position, style, view is all from the Thang-ta.

Because of this, Meitei Thang-ta and Meitei Pung are similar in

the movement of the body parts.

(e) Similarity in dress:

In dresses too, the Thang-ta and Meitei Pung are part and parcel

to each other. In Meitei Pung, in Pung Cholom, the dress should

be, on fathom of the person to be worn and with khwangset and

Namei Haptuna. So that, we move freely and increase our body

strength in doing work. This type of dressing is also worn in

Thang-ta as we can move freely in Ta-khousaba, movement of

the body etc. This dress also helps to do our work easily. Because

of these reason, the dress in both are similar.

 Dance

Dance is a mother of art. Dance may be called the movement using the

bodily parts in the rhythm of the beat of Taal to express a meaning or

something to attract the eyes of the viewers or both. Dance occupies

space in a specified time period with the physical movement of body. It

can separated between time and place in dance. So, dance is the art where

one can see, feel and hear in one time.

Dance is the movement of the body in a rhythmic way, usually to

music and within a given space, for the purpose of expressing an idea or

emotion, releasing energy, or simply taking delight in the movement itself.

Dance is an expression in rhythmic movement of an intensified sense

of life, arising from an inner perception that stimulated both mind and

body. By expressing that perception in the form of dance people affirm

their delight in existence. Dance is a timeless and universal language.

According to the Projesh Banerji (1986) in his book “Art of Indian

Dancing” described about the dance as:-

“dance is the rhythmic physical movement prompted by feeling and

emotions.. These are three essential features in a dance. One, a

spontaneous movement of the muscles and limbs under the influence

of some strong emotion, feeling or passion, such as joy, pleasure,

anger or religious exaltation; Two, pleasure derived both by the dancer

 and the spectator due to a define combination of such graceful

movements. And three, the vivid representation of emotions in other

people watching the dancer, due to such carefully trained movement”.

Dance is the expression of an aesthetic experience through rhythmic

body movement by conscious and order manipulation in time and space.

Dance is the expression of man’s highest aesthetic sensibilities. It enables

man to experience and express inexplicable creative joy which represents

universal harmony.

According to the book “International Encyclopedia of Dance & Music”

by Neetu Kumari (2009) mention that;

“Dance is an art form that generally refer to movement of the body,

usually rhythmic and to music, used as a form of expression, social

interaction or presented in a spiritual or performance setting.

Dance is also used to describe methods of non-verbal communication

between human or animals, motion inanimate objects and certain

musical forms of genres. Dance can embody or express ideas, emotion

or tell a story.”

Dance is the oldest art form of mankind. Religion and love were the

two elemental emotions experienced by man and he express these

emotion through this primary art of dancing.

Dr. M. Macha Chaoreikanba in his thesis “Kangei Haraoba Jagoigi

Honglakliba Mashak” mention that about the Dance:-

1. Dance may be defined as designed movement, or movement

framed to be perceived as designed.

 2. Dance is an expression in rhythmic movement of an intensified

sense of life, arising from an inner perception that stimulates

both mind and body. By expressing that perception in the form

of dance people affirm thus delight in existence. Dance is a

timeless and universal language.

3. Dance usually is regarded as the oldest of the arts and as the

forerunner of other major art form.

4. Dance has been defined as motion that arise from emotion. It is

also used metaphorically to describe forms of motion other

than human movement.

5. Dancing is both the most artistic of social pastimes. In all

societies, dancing for main integral part of the lifestyle.

Dancing is not only a refrection of life but is a basic human

expression of life itself.

6. Dance, the art of moving the body rhythmically, usually to

music, the movement may be enjoyed for their own sake, or the

express an idea or emotion or tell a story.

7. Dance, the art of precise, expressive, and graceful human

movement, usually performed in accord with musical

accompaniment. Dancing developed as a natural expression of

united feeling and action.

Dance is the art of movement of the body, usually rhythmically and to

music, using prescribed or improvised steps and gestures.

 Dance transforms images, ideas and feelings into sequences of

movement that are personally and socially significant. Dance allows people

to discover, explore and develop their natural instinct for movement ,

enabling students of dance to develop not only their motor skills but also

their mental and emotional personalities. Dance is moves one’s feet or

body, or both, rhythmically in a pattern of steps, especially to the

accompaniment of music.

CONTEMPORARY

Contemporary is a word which human being has been living in this

society. Contemporary has not an exact meaning but this word using

started from the countries of U.S and Europe. The word is to be taken from

Co-temporary. It is the new or newer items at that time, taken by the man

of this time and the future generation. There are many great scholar’s

opinions about the Contemporary in this world.

Some of them have taken about the contemporary as below:

According to the book of “The Compact Edition of the Oxford English

Dictionary” (1971) it states that-

“The contemporary is the original form, and the approved by

Latin Analogies; of the preceding and following words. But the

variant co-temporary was used by some in the 17th century and

though characterized by Bentley used by a downright barbarism;

it became in prevalent after B.C 1725 as almost to expel

contemporary from use. Towards the end of the 18th century, the
 latter rapidly recovered its ground, and contemporary is now

used by comparatively few. It has been defended on the ground

that is a purely English formation, like co-divene, co-glorious;

but this a mere fancy generated by mechanically dividing the

word, without regard either to its history or its meaning.

Historically, contemporary is a substitute for con-temporal and

contemporaneous (either of which might well have been retained

instead); in signification, co-temporary would analogically mean

“unitedly, conjointly, or equally temporary,” whereas

contemporary has no affinity with the English sense of

‘temporary’ and no connection wth the word except that both are

derivatives of L. tempus and its temporaries.

(i) Belonging to the same time, age, or period, living existing,

or occurring together in time.

(ii) Having existed or lived from the same date, equal in age,

coeval.

(iii) Occurring at the same moment of time, or during the same

period; occupying the same definite period;

contemporaneous, simultaneous”.

The above assertion can be highlight as below:-

The word contemporary is original form in Latin. During the 17th century

the “contemporary word” used as “co-temporary”. The significance word of

“co-temporary” would analogically mean unitedly, conjointly or equally

temporary. But the word of contemporary has nmo affinity and no

connection with the English sense of temporary and this word can be

taken from the derivatives of L. Tempus and its temporaries.

In the early period contemporary word was not popular and its can’t

be used but after the 1725 the contemporary can used and the end of 18th

century the contemporary word became a very popular. Contemporary is a

substitute for contemporal and contemporan. It belonging to the same

moment of time, or during the same period, having existed or live from

the same date.

From the book of “the Random House Dictionary of the English

Language” mention about the Contemporary –

(i) Existing, occurring, or living at the same time belonging to

the same time.

(ii) Of the same age or date; a Georgian table with a

contemporary wig stand.

(iii) Of the present time; a lecture on the contemporary novel.

(iv) A person or thing belonging to the same time or period with

another or others.

(v) A person of the same age as another.

Contemporary is the co-existence of distinct temporalities, of

different ways of being in relation to time, experience in the midst of a

growing sense that many kings of time are running out.

In the book “A Supplement to the Oxford English Dictionary” explained

that –
“contemporary and modern of or characteristic of the present period; up-

to-date, ultra-modern; spec, designation art of a markedly avant-garde

equally or furniture, building, decoration etc. having modern

characteristic”.

Contemporary is anything which is happening or occurring, existing living

at the same time and same period. We can say it is the mirror of the

present era, where reflecting the socio-economic status, tradition and

culture, department or demeanor of that time.

L. Damudor Singh in his book “Aspects of Manipuri Literature”,. (2008)

page no. 78 quoted about the contemporary-

“ The term of contemporary according to CONSCISE EXFORD

DICTIONARY connotes a person or thing existing in the same

time as another, a person of roughly the same age as another,

living, occurring or originating at the same time.”

According to this book “Encarta World English Dictionary” states

that-

(i) Of The Same Time Existing or occurring at, or dating

from, the same period of time as.

(ii) Existing in existence now.

(iii) Modern in style distinctively modern in style a variety

of favorite contemporary style.

(iv) Of the same age of the same, or approximately the

same age.
 Therefore, the word contemporary is derived from the Latin word

“contemporaries” which combined two word of “con” means “together

with” and “tempus or tempor” means “time”. So. We can define about the

contemporary as a modern, latest, recent, current, up-to-date, present

day, in fashion, up-to-the-minute.

Contemporary art is produced at the present period in time.

Contemporary art includes and develops from post modernt art, which is

result a successors to modern art. Contemporary dance is the realm in

which most concert dance artist work currently.

Contemporary dance is a very general term. It is expressing

everything you are feeling and illustrating it into a beautiful variety of

moves that challenges the body to push its outer limits. There’re is not

one founder of contemporary dance nor a country.

Contemporary dance is a catch-all phrase used fairly indiscriminately,

meaning many things to defferent dance communities across a wide range

of culture.

Contemporary dance is the name for a modern concert dance genre,

like any other contemporary dance is not a specific dance technique but a

collection of methods developed from classical and martial art forms and

can take on many forms including dance fusion, emergent dance and

revisionism. Their dance holds power to transform the ordinary, through

rich imagery, physical articulations and dynamism. From ideas to

movement , their creations are inspired from Indian aesthetic frame works
and sensibilities. Using indigenous forms, technology and interdisciplinary

approach the deliver artistic entertainment to a global audience.

The classical and contemporary dance in India flow into one another

and draw content from each other to create new, unique and modern

composition.

FOLK

Folk is originating or traditional with the common people of a country

or region and typically reflecting their lifestyle. It is the great proportion of

the members of people that determines the group character and the tends

to preserve its characteristic form of civilization and its costumes, arts and

crafts, legends, tradition and superstition from the generation to

generation.

People as the carriers of culture, especially as representing the

composite of social mores, customes forms of behavior etc. in a society.

Folk art encompasses art produced from an indigenous culture or by

presents or other laboring trades people. Folk dance is an ingredient of

traditional performing art of society.

Folk dance a popular dance considered as part of traditional of a

particular people or area. It is a form of dance developed by a group of

people that reflecting of their culture and lifestyle of the people of a

certain country or region. They are communal dances done for pleasure by

rural people. Folk dance as a part of social occasion.

LAI HARAOBA

The Folk dance of Manipur are Manipuri folk dance and tribal folk

dance. Manipuri folk dance are based on Lai Haraoba festival. The people

settle in different parts of Manipur have festivals, rituals and religious

services or their own. But of the people called the Meitei have a special

and unique function known as Lai Haraoba which is very closely related to

religious and also an important cultural significance. It is not an

exaggeration that the Lai Haraoba, which literally means the merry making

of the god, besides being an educative activity in many ways, in one which

reflects the religious concepts and practives of the Meitei People.

In Manipuri Lai Haraoba’s festival included the different dance such as

Thougal Jagoi, Maibi Jagoi etc. The Thougal Jagoi of Manipur is known as

famous folk dance in all over the world.

The Tribal folk dance usually performed in their traditional festival,

harvest festival, Marriage ceremony, New Year festival etc. Some of famous

tribal folk dance are Kabui dance, Mao dance, Kom dance etc.

CLASSICAL

Classical is a traditional in style or form, or based on methods

developed over a long period of time. It is considered to be part of a long

formal tradition and to be of lasting value. The cultural activities of dance,

Music and theatre which are performed by obeying the rules and

regulations, clean structure, refined taste are made in higher level and

having it is distinct forms of art is known as Classical. The classical also

known as shastriya.
According to the world University Encyclopedia mention that:-

“A term apply to define certain periods and style in creative art (1)

essentially Greek art of between 470 and 300 B.C. sometimes the word

“Classical” is inaccurately extended to include or Graco-Roman Pre

Christian Art. (2) Any style in art, literature or music in which the emphasis

is laid on ratinal, balanced composition. The Greek Parthenin and

paintings of Raphael are examples of classical art”.

Classical dance is known to be in Sanskrit as Shastriya Nritya. The

meaning of Shastriyta is “Manual or compendium of rules”. This means the

book which indicates the rules and regulation. The classical dance may

such to be indicating as the dance that strictly follows a conscious

grammar of its own and is always performed before an audience. Shastriya

Nritya is a dance performed according to Shastra.

The classical dance is following the original and tradition for

something. Classical has been standard and traditionally authoritative, not

new, recent and experimental. The work of art should have a distinctive

culture with binding rules and regularly.

Dr. L. Subhadra Devi explained about the “Classical” in her book

“Shastriya Nritya gi mityengda jagoi raas”:-

“pertaining to style of art characterized in conformity to

established treatment, tastes or critical standards and by

attention to form with the general effect fo regularity, balanced

proportion and controlled emotion contrasted with the

romantic”.
 Classical dance is a conventional dance relealing the emotion through

poetry or dance drama. This form of portrayed by poise, dignity, and

precision of movement and by elaborate formal gestures, steps and poses.

It is performed in theatre either in group or solo and accompanied by

different musical composition, song or lyric with beautiful costume.

Indian classical dance is a misnomer, actually dance refer to Natya the

secret Hindu musical theatre style. Its theory can traced back to Natya

Shastra of Bharatamuni, the Sangeet Natak currently confers status on

eight Dance form. They are:

a) Manipuri

b) Bhratanatyam

c) Kathak

d) Kathakali

e) Odissi

f) Mohiniattam

g) Kuchipudi and

h) Shatriya.

RAAS

The Raas, 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 Scriptures and reveals the subline 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. Raas
performances are seasonal and varied and performed at the temple of

Shree Shree Govindajee in Imphal on the nights of Kartik Purnima, Sarada

Purnima, Basanta Purnima and at local temples later. As to the

composition, the performance is a combination of solo, duet and group

dances. This highly stylized form of dance has sublimity, subtlety and

grace. The richness of the costumes gives luster to the beauty of the art.

The Manipuri Classical Dance of Raas is included in the Indian Classical

dance form by considering obey the rules and regulation of Shastra. The

elements of Classical are also completely included in Manipuri classical

Dance;

a) History and tradition

b) Obey of classical rule

c) Literature

d) Technique and style of dance

e) Costume and dress etc.

SOLO

Art is believed to play a very important role in life of human society,

among the different communities and their living style. Different kinds

of art have different aims. Among their different aims, they mainly

focus to protect their own communities, culture and to improve the way

of thinking and living start. The dance and music play a big role in the

society. The dance and music performance sometimes given by group

people or a single person. This activities of performance in dance and

music by the single person is known as “Solo Dance”.

 There are many solo dances in Manipur, composed by different

Gurus in the field of Manipuri Dance have introduced, recomposed

dance and staged in their own style. The solo dances are generally

based on Bhakti. Manipuri Solo dances are crated along with many of

Shastras. In short the songs sung in ar etaken out from the Holy Hindu

Shastras like the Shrimad Bhagavat, Govinda Leelamrita, Geet Govinda,

Shri Pada Kalpataru, Brahmabeibartan Puran, Narottam Thakur’s Lalsys

Vaishnav Padabali etc. The Abhinaya, gestures and movements are also

created by obeying the rules and advices are taken Abhinaya Darpan,

Natya Shastya and Bhakti Rasa Leelamritya.

ARTISTES AND AUDIENCE

DANCE AS COMMUNITY PERFORMANCE

Community is a group of people with a common religious , race, or

profession living together on one place. The word “community” derived

from the old French Communicate which comes from the Latin

Communities.

According to Rene Koning (1968) his understanding of community

is- “A community is first of all a global society of a local unit type

embracing an indefinite multiplicity of functional spheres, social groups

and other phenomena, and conditioning innumerable forms of social

interaction, joint bonds, and value concepts. Further, apart forms

numerous form of inner relationships which may exist in the previously

mentioned parts, it will also, and as a matter of course, have its own
tangible institutional and orgaqnizational external structure..the

community is therefore a term of a superior order to family,

neighborhood, professional etc., because it includes all these

phenomena and groups within itself (together with many others, for

instance, social classes)”.

A community is a social unit of any size that shares common

values, or that is situated in a given geographical are i.e. a village, a

town. It is a group of people who are connected by durable relation that

extend beyond immediate genealogical ties, and who usually define

that relationship as important to their social identity and practice.

Although communities are usually small, community may also refer to

large groups, such as national communities, international communities

are virtual community.

Performance in dance carries the implication that it is a social

action of peculiar kind. The interaction between the actors and the

spectator during performance is not always exactly the one suggested

by both the thinkers. There are cases when the performers try to

involve the spectators in the performance through direct

communication between the two. From transaction between people

involved in the performance – spectators and performers, while being

considered as form of social actions, take a different yet similar

trajectory when they are taken as social behavior within a community.

The role of community is important in traditional performance.

 A new way of understanding art making can emerge from this an

aesthetic of access that redefines who make art, what art is the nature

of beauty and pleasure and appropriate ways of appreciating art. These

expanded concept of art making can impact community performance in

many ways. For instance, may community performance practitioners

work through workshops or a series of meetings rather than through

rehearsal period and preset performance dates. Many find new ways of

sharing the excitement of performance, bringing creative experiments

into communities.

Community performance as process based, on many traditional

performance issues are challenged. Community performance feed from

different traditions and utilize teaching from other fields, it is not

possible to distinguish them decisively from developments in theatre,

dance, mime and some visual art practive.

DANCE AND OTHER MANIPURI PERFOMATIVE GENRE

Manipur is rich in her cultural performance tradition. There is

convergence between that we generally call religious / ritualistic and

non-religious forms. In discursive realm, dance per she has been

projected as a category having song relationship with ritual. But it is

difficult to put them in this relationship as there cannot be a watertight

compartmentalization between the two. According to Richard

Schechner, if the performance has a higher degree of ‘efficacy’, it is

more ritualistic and, if it has higher degree of ‘entertainment’ it is more

theatrical. So, theatrical and ritualistic elements, most of time, co-exist

in a performer.

In the light of the characters of text and context of the

performances, Manipuri performing art forms can be loosely grouped

into religious and non-religious. The religious genre is mostly

constituted by dance dramas. The ritual festival called “Lai-haraoba” is

replete with intricate representations of the mythological events and

the nuances of practicality of the community life, predominantly

through various forms of dances called JAGOI performed by Maibis

(priestesses).

Folk dances of the tribals are mostly performed in groups in

synchronized fashion by both man and women, depending on the type

of dance. Dance are usually performed in festival and religious

occasion. War dances are performed mostly by man and athletic and

martial is style. All dance are accompanied by songs and war cries by

the dancer themselves.

Apart from this there are other Vaishnavite genres like RAAS

LEELAS in the love story of Radh and Krishna, and is the ritual dance in

Manipur. Gostha Leela, an episode from the Krishna’s childhood when

he reveals his true self and played mischief with the gopas while

grazing cows in Vrindavan, may be said as dance if we have to look at

the sense of dance as well as known as Gostha dance. If we have to

look at the sense of theatre it may be said as theatre. It contains

enough elements just for these two.

 The Goura Leela, dram enacting the childhood years of Gouranga

Chatanya Mahapradhu, mainly by children and Udokhol Leela, and

episode from Krishna’s childhood plays, are have to the elements of

theatre. They are the kind of theatre and public and society also

accepted.

MANIPURI DANCE AND POPULAR CULTURE

Manipuri Dances (Lai Haraoba, Raas) are the popular art in its own

way. Dance has been called the Universal language. Popular culture has

been seen in a dialectical relationship with such other, high culture,

working class culture, folk culture etc. which carry a specific theoretical

and inflection. Newer variation of traditional dances that evolve from

generations to generation. These dance absorb and blend personal,

group and society trends that can change dance and its performance.

Culture is about participating as a community, it can be related to

ritual, spiritual and life events and celebration. Culture can be defined

as way of life that is learned, shared with future generations and

change with.

This is further complicated by the fact that different therotical

perspectives have tended to focus on particular areas of the popular

cultural landscape. The most common division is between the study of

text and lived culture or cultural practices.

Instead of a monolithic construction of meaning it is preferable to

follow multilateral approaches with the understanding that this

institution falls within the category of popular culture. Popular culture

as simply culture which is widely favored or well liked by many people.

This drives on the plank of value judgement where a certain cultural

text or practice is worth calling a high culture only by being difficult

which demands the exclusively of the audience structure. However, this

definition also takes into account the changeability of popular and high

culture to each other in time and space. Popular culture as an altar of

mass culture. According to popular culture is a hopelessly commercial

culture. It is mass produced for mass consumption.

Participating, viewing and learning about cultural dance and the

roles it play in societies leads to awareness and appreciating of other

people and their cultural values. The texts and practices of popular

culture are seen as form of public fantasy. Popular culture is

understood as a collective dream world. The culture which originates

from the people.