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Volume Iii: Performing Arts (Nata Music & Dance) (xvi) VOLUME III: PERFORMING ARTS (NATA MUSIC & DANCE) 13. A CHITRESWAR SHARMA: MANIPURI NATA SANKIRTAN 917 1. Introduction 2. Kirtan and Nata Sankirtan 3. Nata Sankirtan - character 4. Costumes and decor 5. Mandap Mandali, Arangpham, Moibung Khongba & Sankirtan Mapu 6. Sankirtan process 7. Communion with God through Sankirtan 8. Nata Sankirtan's contributions to society 9. Sankirtan script 10. Korveks containing Nata Sankirtan Pung Lon & Tala 11. Duhar Cholom tradition of Manipur 12. Pung Cholom 13. Conclusion References & Notes Suggested Readings Endnotes 1. Brahma Mandala 2. Purvaranga (xvii) 3. Adhibas houba 4. Jarjara puja 5. Mantra images 6. Itivritta 7. Pararupa 8. Drama 9. Rasa (Artistic Creation) and ananda 10. Total experience' of Theatrical Universe' by spectators 11. The Vedas, Natyasastra & Sankirtan 12. Rasa & Bhava as a vital bridge for interchange and interaction 13. Networking Sankirtan, dance and drama 14. Sankirtan and Lai Haraoba 15. Growth of Nata Sankirtan in Manipur 16. Abhiram Saba's 'place of pride' 17. Manoharsai Sankirtan 18. First Kirtan at Lammangdong Vishnu Temple 19. Cholom 20. Manipuri Nata Sankirtan's tala system embedded in Bharata's Natyasastra 21. On Ariba Pala 22. 'Sankirtan' morphing through four 'confluences' 23. Factoring 'declinism' in Manipuri Nata Sankirtan 24. Paradoxical world-wide resurgence of religion 25. Manipur in the 'Pale of Hinduism' 26. Commodification of Manipuri Nata Sankirtan music (?) Appendices I: Bhava, Vibhava & Anubhava II: Sastriya (classical) epic (language) III: Shikshastaka: The Eight Slokas of Instruction of Shri Gouranga Mahaprabhu IV: Vaishnavism in Manipur V: Bhakti movement VI: The Concept of Sahridaya VII: a) Nata Sankirtan Guru Pranalika First Stage Second Stage Third Stage (xviii) b) Nata Cholom Guru Pranalika: First Stage (c) Some Duhar Ojha Gurus VIII: Dharma and Artha Images: (See Vol VI: IMAGES) A/1 Manipuri Nata Sankirtan in progress A/2 Pung Cholom (up in action) A/3 Guru RK Singhajit Singh playing nuances in kartal Glossary: Manipuri Nata Sankritan 14. RK DANISANA/TH CHAOTOMBI: PATRIARCH OF MANIPURI DANCE-DRAMA: RK PRIYAGOPALSANA 1113 Part I: RK DANISANA : RK PRIYAGOPALSANA AS CULTURAL BEACON 1-1 Prologue 1-2 Tradition/heritage of Manipur's artforms 1-3 Genealogy 1-4 Advent of ingenuity and creativity in Priyagopalsana 1-5 Cultural development in a media vacuum 1-6 War-ravaged Manipur 1-7 Priyagopal's inland tour 1-8 Preparation for global tour 1-9 Priyagopalsana in Australia I-10 Priyagopalsana in New Zealand I-11 Priyagopalsana in Japan 1-12 Priyagopalsana in America 1-13 Priyagopalsana in Germany 1-14 Priyagopalsana's dramatic energy (element) 1-15 'Sail with the wind' 1-16 Patron of traditional dance and music 1-17 What is 'artistic success*? 1-18 A versatile genius! PART II: TH CHAOTOMBI SINGH: RK PRIYAGOPALASANA BACK FROM GLOBAL TOUR II-1 Prologue II-2 Priyagopalsana back with a halo II-3 Danseur from 'unknown' Manipur (xix) II-4 Dance College hosts *Ballet Festival* II-5 Five Dance-Dramas choreographed/scripted by Priyagopalsana a. Bhagyachandra (1973-74) b. Kabui Keioiba: (1976-77) c. Mangsat: (1976-77) d. Nongpok Panthoibi: (1979-80) e. Shri Chaitanya Mahaprabhu: (1983-84) II-6 Defining characteristics II-7 Seductively serendipitous Manipuri dance II-8 Enlightenment and secularism II-9 The challenge II-10 'Inverse Innovation' or 'Alternative I Contemporary dance' References & Notes Suggested Readings Endnotes 1. Establishment of JNMDA (Dance College) 2. Dance-Drama Productions of JNMDA 3. Eloisa Ellen on RK Priyagopalsana 4. Great Indian Dancers in Tokyo: Spectacle of Music, Rhythm & Motion at Imperial Theatre: July 13:7pm) 5. Raas Leela -Bhangi 6. Pioneer innovations in Manipuri dance in Independent India 7. True character of Manipuri Dance Table: Dance-Dramas to the Credit of JNMDA: Production Unit: 1977-2010) Images: Rare collections of R K Priyagpopalsana's portrayal: (See Volume VI: IMAGES) A/1 Priyagopalsana in Mela: Dandiya dance: Gujarati milkman's dress with 2 sticks: creativity as apogee A/2 RK Priyagopalsana as portrayed by reporters while interacting with media, before global tour A/3 Shiva-Shanghar (Dhyan disturbed: out to annihilate world) in 'bottleneck costume' designed by Keisam Tombi A/4 Sagolband: Arjuna (right) escorting Asvamedha horse, and Babruvahan (left) challenging Arjuna (xx) A/5 Kamsa, the cruel-hearted king out to exterminate his oracled enemy, infant Krishna A/6 Devamurthy: Priyagopalsana portraying in different Devas (Gods) A/7 Khamba, legendary cult status hero of Khamba in the Moirang Lai Haraoba traditional dress A/8 Bill-Board for RK Priyagopalsana/ Shiva Ram Dance Show at New York Jan 31-1954 A/9 Priyagopalsana's mudra: (Gesture language) For more see Text Sec Ml A/10 Kuchipudi (South Indian) mudra (Nandikeswara's List No 11) For more see Text Sec I-11 A/11 Bust of R K Priyagopalsana at JNMDA, Imphal A/12 R K Priyagopalsana as Rajarshi Bhagyachandra, just when blessed to tame the wild elephant 15. RK SINGHAJIT SINGH: MANIPURI DANCE: EVOLUTION & CHANGING SCENARIO 1290 1. Background 2. Microcosm and macrocosm 3. Performing arts as indispensable part of worship 4. Dance and music in Vaishnavism 5. A potent seed on a 'fertile soil 6. Religious manifestations in performing arts 7. What is Sankirtana? 8. Raas Leela 9. Bhakti Raas 10. Spiritual manifestation 11. Love of Krishna in every conceivable form 12. Divine love appears in art forms 13. Characteristic musical style 14. Enjoyment in tragedy 15. Empirical and conceptual aspects 16. End and means 17. Who wants Nirvana? 18. Raas Leela as culmination of the Bhakta References and Notes Suggested Readings Endnotes (xxi) 1. The Jawaharlal Nehru Manipur Dance Academy (JNMDA): 2. Manipuri classical dance 3. Production Unit of JNMDA 4. Guru R K Singhajit Singh 5. Manipur Dance Seminar 1971: A Report Images: (See Vol VI: IMAGES) A/1 Guru Singhajit Singh & Charu Sija in Arjun-Chitrangada dance A/2 Sh Nemita & H Rina Devi in Radha Krishna Dance 16. MAKHONMANI MONGSABA: PENA MUSIC IN MANIPURI CULTURE 1321 1. Pena transcends the Manipuri culture 2. Genesis of Pena per $e 3. Pena music: varieties 4. Pena components 5. Dress and costumes 6. Pena music (Sheishak) 7. Tunes of Pena Eshei (Pena song) 8. Pena Loishang 9. Singing style of Pena 10. Honorific titles to Pena Gurus (1891-1955) 11. Role of Pena music in Lai Haraoba 12. Pena as Royal Court Music 13. Role of Pena music in Manipuri Society 14. Observation References & Notes Suggested Readings Endnotes 1. Evolution of music 2. Music as a means of improving society 3. Pena, the legendary instrument transcending Manipur 4. Some Pena music (rhythms) Images: (See Volume VI: IMAGES.) A/1 Pena Cheijing Maru A/2 Varieties of Pena instrument (xxii) A/3 Pena Maru Achouba and Cheijing PJA Pena Standing Posture A/5 Pena Phamsak A/6 Phamsak with audience: Male facing (Pena Phamsak) A/7 Andro Haraoba A/8 Laibouchongba (Kanglei Haraoba) A/9 Moirang Khong Chingba of Thangjing Haraoba (triennially celebrated) A/10 Pena Music in Lainingthou Samurou Lakpa Haraoba (Aspecial event with pena phamsak) A/11 Pena Singing Posture A/12 The Manipur Palace (New), Imphal A/13 Jila Darbar:(Pena playing Royal Court Music) A/14 A Scene of Pena Pala.
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