Folk literature and generation - X?
- Part 1 -

By Yaiphabi Thoudam *

Our Roots

Folk literature, also known as folklore or oral tradition is the traditional knowledge and belief of cultures which are not recorded in written language, and are transmitted by word of mouth. It consists of both prose and verse narratives, poems and songs, myths, dramas, rituals, proverbs, riddles and the likes.

According to the Polygenesis theory, origin of folk literature is traced back to the fact that people, everywhere in the world are affected by similar emotions-love, pity, fear, anguish, jealousy, hatred. These emotions result into another set of emotions-greed, selfishness, ambition, courage, kindness etc. It further propagates conditions from where abrupt characters like crocked people, cruel step-parents, neglected children, etc.

These in turn result in many variants of the same story (the likes of Snow White and Shandrembi-Cheisha). Psychoanalytic theory on the other hand states that folk tales come from the dreams, nightmares, and unconscious emotions of the story teller.

How Wonderful it is to know that our tiny State of Manipur nurtures a rich panorama of folk literature which exists not only in the form of Tales, but also as Songs, Dance, Plays, Rituals, Proverbs, Riddles and finally the Ballads. Simplicity being the rule in Manipuri (Meitei) folk songs and dance, simple orchestral instruments, for example the Dholok (the drum), Pena (a stringed instrument) and the flute are invariably used.

One can't however, underestimate the historical and cultural significance that are inherent in these simple melodies. Folk literature is therefore, referred to as cement of a society, which codifies and reinforces the way people thought, belt, believed and behaved.

Listening to some Manipuri folk songs, one of my Generation-X friends commented, 'All these songs sound so much alike!'
I said 'Yes indeed they do sound alike. And that's the beauty of it'.

However, if one introspects further, we will discover that folk songs in Manipuri are varied in theme and mood. There are mourning songs, songs sung by peasants at the time of planting and harvesting (popularly called Khutlang Eshei), songs used by lovers while courting, ritualistic songs, hymns, songs by children while at play and numerous other folk songs to suit the occasion and the mood. The beauty thus is the fact that, all these myriad of human emotions are expressed in limited similar sounding tunes.

Khamba-Thoibi or Romeo-Juliet?

If we are to understand the origin of a civilisation, one cannot deny the fact that it is mainly through folk arts that many historical anecdotes etc are propagated. The Khomgjom Parba is a classic example. The slight difference between a Khongjom Parba with the other kinds of folk songs is the fact that the story of the song is sung to the accompaniment of a Dholok instead of a Pena. This style of presentation started after the defeat of Manipur by the British in Khongjom war of 1891.

The point here is, such forms of entertainment proved to be one of the most important and significant means of communication through which legends were passed from one generation to another, which otherwise could not have been possible through any other form of education.

Keeping the above perspective in mind, one can't deny that, it is normally, in a remote village where such forms of ancient arts and culture are preserved and promoted. In my village, for example, even today, Khutlang Eshei forms an integral part of a paddy plantation or a harvesting event.

The question is how far we the Generation-X, irrespective of our geographical origin or current location, have succeeded in promoting or propagating our culture through dance and music-both as an audience as well as performers?

I am taking a telescopic look at the situation. For example, as a village girl, I was sent to the local 'Ooja' for the daily dose of 'Khunung or Khutlang Eshai' training every afternoon after school.

The ritualistic practice of songs was also accompanied by a round or two of folk dance-Thoibi Jagoi and Maibi Jagoi for instance. Though it takes months of practice to be able to perform the dance in sync with the rest of the performers, we rarely get an opportunity to flaunt our skills.

Platforms for performances were available only during Lai Haraoba festivals or Yaoshang sports competition. I learnt the dance because everybody else in the village did the same thing. Moreover, it was a great means of socialising with the local girls. I had no other reason or ambition to pursue this skill further.

Well, few months after I received the training, it was decided that I quit the Eshei Jagoi as studies (as in academic studies) was more important. The Eshai or the Jagoi would not possibly help me earn a decent living when I grow up.

I had to study really hard so that I can have a successful career as a Doctor or an Engineer (though, it's a different story that became neither of it). So, I quite happily picked up Shakespeare poems instead of Khamba Thoibi sheireng. And on the process, I lost my note-book in which I had copied all my Khutlang Eshei and 'Note­Shankritan' lyrics.

And, just like that, my knowledge or talent on folk songs and dance took a long vacation and never returned back. I sailed away to a different shore-to a place where grasses were greener, to pursue a career in my chosen field. Several years passed and I never heard the songs again, nor went to any dance shows. I could never make it home (to my village) during a Yaoshang or a Lai Haraoba festival to watch or listen to those songs and dance again.

A new wave erupted inside me recently, thanks to the worldwide web. One day, I was mesmerised by the familiar sounding music of the Meitei folk song. I was thrilled to see the videos of the Thoibi Jagoi and Folk songs on the internet.

I held my breath, and stood still, for what seem like ages listening to the music, trying to understand the surreal lyrics and the enigmatic voice. Suddenly a gush of nostalgia enveloped me, and I remembered my motherland-I remembered my roots.

'Hei hai, haiya hey...' continued the voice in its melancholic tune. I speak in Manipuri and think in Manipuri, but I cannot write in Manipuri. And I am very much ashamed about my shortcoming.

I had this urge to de-code the ancient literature and the words used in Meitei Folk songs and dance, but in vain. Despite my shortcomings to understand the meaning completely, the music captured me with its enchanting melody.

Later that day, I tried to browse in the internet to find out more about Manipuri folk songs and dance, but apart from some scholastic articles and literature, I couldn't find anything to appease my curious mind.

to be continued ...