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International Research Journal of Management Sociology & Humanities International Research Journal of Management Sociology & Humanities ISSN 2277 – 9809 (online) ISSN 2348 - 9359 (Print) An Internationally Indexed Peer Reviewed & Refereed Journal Shri Param Hans Education & Research Foundation Trust www.IRJMSH.com www.SPHERT.org Published by iSaRa Solutions IRJMSH Vol 5 Issue 6 [Year 2014] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) GENESIS OF MANIPURI DANCE: APERSPECTIVE Pukhrambam Lilabati Devi Guest Lecturer in the Department of Dance, Manipur University. Email:[email protected] Contact: 08974543711 Abstract: The current study attempted to trace the development of the Manipuri Dance from a historical perspective. The origin of Manipuri Dance which is interwoven by various social and cultural values can be traced back to early period of history which again had linked to mythology of excellent metaphysical stories. Further, the paper also discusses on the role of artists. It is to be noted that when artists only in accordance with their benefactors and for earning income only in business motives, it is an unruly act of defaming the innate values of the art. Just to reap the rightmost fruits of any art, the artist has the responsibility of obeying the required qualities of being a true artist. An artist has to know the inner beauty that only refined persons can feel of the particular art and for dance it is the first and foremost task of any dancer. With the understanding of the underlying intrinsic value of the art, an artist then can begin to learn vibrant facets of the art by keeping in touch with the teachers who can impart them the in-depth education of the particular art. Next to it, the artist is to begin with his/her strong will power to take up stern practice by applying best of his/her knowledge earned. Keywords:Artist,Dance,King,Manipuri, Raas. Manipur though being a small state in the North-East India, can be taken today as one abode of Art and Culture. As small independent kingdom, and was being called by different names, in its historic discourses, Manipur represented a civilization of South-East Asia and not only its powerful Manipuri Levy which was strengthened by the use of indigenous weapon called ‘Arambai’, was widely recognized, for consolidation and expansion of the kingdom, the state is known for its unique martial arts called ‘Thang-Ta’. Besides this, Manipur is emerging today as a small sports capital of India and the energetic players of the state are continuously bringing glory to the nation. The world famous ‘Polo’ locally known as ‘SagolKangjei’ was originated from Manipur in 3500 BC (Guinness Book of World Records, 1997) and many other indigenous games of intrinsic values such as ‘Kang’,‘YubiLakpi’ (a type of rugby with coconut as for the oval), ‘Mukna’ (a type of wrestling), and ‘Sarit-Sara’ (similitude to martial arts) are but highly International Research Journal of Management Sociology & Humanity ( IRJMSH ) Page 176 www.irjmsh.com IRJMSH Vol 5 Issue 6 [Year 2014] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) acclaimed games of the state. All these parts of cultural and social activities have been continuously interacting with various forms of dance which it has carved a special niche in the history. Manipur is regarded as a place of many colorful festivals of associating dances of varied facets. The origin of Manipuri Dance which is interwoven by various social and cultural values can be traced back to early period of history which again had linked to mythology of excellent metaphysical stories. To cite an example, in the early part of cosmological interaction, AtiyaKuruSidaba (the supreme God) instructed God Ashiba to form the Universe and its practical works were continually disturbed by his brother KonjinTuthokpa to the condition that the formation of the Universe was almost impossible without controlling KonjinTuthokpa. At last AtiyaKuruSida, the supreme God made the goddess Mitlu Leima to take the role of Nongthang Leima (a beautiful angel) to play the character of romantic affairs being endowed with flirtatious movements and elocution. Thus, KonjinTuthokpa was controlled and formation of the Universe had been completed. Another myth was that of PhankhongKoiba (revolving round the throne of the Supreme God) at which the almighty promised to his two sons LainingthouSanamahi, the elder and Pakhangba, the younger for offering the throne to rule the Universe to the one who could move three time round the earth and report to Him first. Sanamahiwent out for the same task and his younger brother being in his tender age was helplessly crying but at the whispering advice of his mother he instead walking round the earth, moved three times around his father’s cozy cot and reported to his father. The almighty could do nothing but give the throne toPakhangba. After tiresome but successful walking three times around the world, Sanamahi came to report to his father. He was ferociously angry to see his younger brother Pakhangba to occupying the throne without performing the real task and decided to break the earth. When any means were in futile to console him, the seven angels (Lai NurabiTaret) came out hand in hand, and danced around the Sanamahi, so impressively until he was completely kept under control. Many other similar myths are still flourished to exemplify the origin of Manipuri dance. The valley of Manipur is constantly exposed to the currents and cross currents of Indian religious expressions and the fascinating search for the discovery of the rich cultural heritage of Manipur in the life style of the indo mongoloid groups of people through a few centuries still International Research Journal of Management Sociology & Humanity ( IRJMSH ) Page 177 www.irjmsh.com IRJMSH Vol 5 Issue 6 [Year 2014] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) continues. The small valley and the adjoining hills have been home of many tribes and groups of people. Among these are those known by the generic terms Nagas, Maos, Tangkhuls, Kabuis,etc. Besides there is a whole group of people known by another generic term called Kukis. Other tribes and groups of people with different ethnic individuality are known to the region. In the valley are the Meiteis. Historians are still to decide when the settlement took place in the Manipuri civilization began taking shape on the Koubru peak which lays north-west of the Manipur valley. It must have several years ago that the first human settlement took place on the Koubru peak and seeds were sown for the unique pattern of culture which came to be known as Manipuri culture. The first king who ruled the kingdom mentioned in recorded history of Manipur was NongdaLeirenPakhangba (33-154 A.D.) the founding of the Ningthouja principality and Pakhangba’s accession to the throne of Manipur in 33 A.D. was a great landmark in the history of Manipur. TheMeiteiswere divided into seven clans called salais or yeksalaiviz; Khuman, Luwang, Mangang, Ningthouja,Moirang,SarangLeisangthem, and KhabaNganba. Pakhangba’smain contribution was the founding of a powerful and stable principality. The term ‘meitei’was originally used to identify the Ningthouja clan alone. It has now run as a common surname for all the clans under their sway. Pakhangbaphysically consolidated the principalities under one entity and brought them under one administration. The present day Manipur is the results of this consolidate. The beginning of the history of Manipur, culture and religion were inseparably interlinked. Dance and music formed important parts of Manipuri religious festivals and their development was through the religious festivals. Art and culture in Manipur are not merely entertainment or decoration but they became a part of life and apart from happiness and merry making are significant facets of Lai- Haraoba(Pleasing of the Gods). It has every image right from the beginning to the end of human span i.e. birth, lifetime and the death. In short, Lai-Haraoba is the foundation of every internal philosophy of creation. Lai-Haraoba rite is performed to imitate the play of god. In usual times, god is in the state of quiescence and by enticing to bring him into a state of activity from water in the rite. The Meitei system may be characterized as henotheism distinct different from region to region, or from clan to clan as the chief deity of the universe without interfering at all with the claims of any other gods. The same oration hymns and the palms are used on every occasion of International Research Journal of Management Sociology & Humanity ( IRJMSH ) Page 178 www.irjmsh.com IRJMSH Vol 5 Issue 6 [Year 2014] ISSN 2277 – 9809 (0nline) 2348–9359 (Print) sacrifice without regard to which the particular god is being addressed. From which we may infer that the‘Umang Lais’ (or sylvan gods) which etymologically means ‘deity of the wood’ (umang – forest, lai- deity, a form of worship and prayer associated closely with the life of people). This expressions of art as a spiritual history of a people is to be seen in the dances and various others leelas and festivals which exhibit clearly the great spiritual forces which are the foundations of Manipuri culture. Historically speaking Hinduism entered the 15th century in the region of King Kyamba who started worshiping Lord Vishnu. The immigration of Brahmins and other people from the rest of India was also stared. They came with their languages, customs, manners, beliefs, religions and books. This in turn, had ushered in a new dimension to Manipuri culture. In the reign of King Khagemba(1467-1508) (E. Nilakanta Singh, 1997) Agroup of kirtan singers who called themselves bangadeshpala(aribapala) made their presence felt. King Charairongba (1697-1709) was initiated to the Ramandi cult and Vaishnavism began to assume importance as the state religion.
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