AIM's Vashak festival and its importance

Rajmani Ayekpam *

A Vashak performance at Shree Shree Govindaji Temple, Palace Compound, Imphal on January 21 2016 :: Pix - Deepak Oinam

Older generation of this state particularly among Meitei community might not be forgotten the taste of Vashak eshei (song of Vashak). Many good breeding families of Meitei communities were breaking up due to bewitch male folk by female singer of Vashak eshei. Before the invention of Matam eshei (popular song of present time) Vashak eshei was the most popular song genre of the state.

Before few decades, to organize a programme of Vashak eshei was the most prestigious event among Meitei community. So, in those days, many well-do families organized many Vashak eshei programmes.

Since Vashak eshei was the most sought after song genre in the state Vashak eshei flourished with much enthusiasm. Many artistes of Vashak eshei lived with prompt and got a living standard in the society. Introduction of modern education system in the state in the early part of the twentieth century and coming up many fast & noisy entertainment programmes produced by modern technologies hampered the growth of many rare forms of the state including Vashak eshei.

Vashak eshei was growing up with religious outlook particularly Vaishnavite sect of Hinduism. All the songs of Vashak eshei are descended from the love story of Lord Shri Krishna and Smt. Radhika. So, the devotee of Vaishnavite sect of Hindu religion considers Vashak eshei is the part of the Nat Sankirtana, the intangible heritage recognized by UNESCO.

‘Vashak’ mean the Radha-Krishna Leela with Sakhis among woods of Vashak Vriksher during the late night as mentioned by the book ‘Saral Aamartha Chandrika in the page 104, 27th Chapter. It mentioned such as ‘Vashak Briksher Naam Shtrilinga Brisha Aruisa Singhaisya, Vashak Bajidantak’.

Rajshri Bhagyachandra, after the inauguration of Shri Shri Govindajee idol, on the Katrik Sukla Dwadasi, Friday, 1979, performed Raas Leela continuously for five days. During those days, Manipuri Sankirtana was renamed as Nat Sankirtana. Afterwards, Maharaja took up Vashak songs of poet Jayadev, adopted and introduced in Manipur with good consideration with then ojas / gurus. Since, then the descendants of the Maharaja followed the tradition of singing Vashak eshei as Nat Sankirtana.

Both male and female singers could use to sing Vashak. Vashak by male singers and Vashak by female singers have few differences. Male singers performed Vashak eshei in standing position with Astha Vesh (a kind of costume) while female singers are not permitted in standing position. Female singers wear Phanek Mapan Naiba and Lamthang Inaphi. However, they were free to prepare their own make-up etc. However, there have been changes in mindset and outlook in the society, female singers were also allowed to perform their performance in standing position during the period of Maharaja Chandrakirti.

After that, Vashak eshei has become the most popular song genre in the state.

Vashak has been categorized into two – one is Neimitak and the other one is Nitya Vashakti. Vashak can be used to sing daily. However, Neimitakk Vashak is permitted to sing only once in a year. Vashak is a series of Krishna Leela of late night and it could be sung daily anytime like Brahmins reading / chanting the Bhagwabad by adding the mantra ‘Bhagwan Pita Ratri Saradof Phul’ with a prayer, prior to the starting Bhagwabad reading. Vashak differs from the Raas Leela.

Vashak is a purna (complete) Sankirtana, not a branch of Sankirtana because 64 rasas have been derived from the Vashak. Almost all Nat Sankirtana including the Vashak are to be performed in a Shrine or Mandhap. It is not allowed to perform Vashak or Nat Sankirtana at an open space.

Vashak can be used to sing in all the six seasons of a year. Vashak esheis are not permitted to sing in a marriage or a Shradha ceremony.

Now-a-day, Vashak has been on the verge of extinction and it’s use and popularity is diminishing due to many fold reasons. Its status has been degraded.

The Manipuri Vaishnavites performed Vashak as complete Utsav earlier, in which people devoted themselves to the prema rasa of Radha-Govinda. Hence, it needs to rejuvenate and revitalize , as it could build up the peoples mind entertain with prem bhakti which ultimately bring peace, love and harmony in the society.

Considering the above facts, Academy of Indigenous Music (AIM), Keishamthong, Top Leirak, Imphal organized two days i.e January 20 & 21, 2016 Vashak Festival-2014 under the aegis of Ministry of Culture, Govt. of India at the mandhap of Shri Shri Bijaygovinda, Sagolband Bijaygovinda, Imphal. Three leading groups of Vashak participated during the said festival.

On the first day i.e. January 20,2016, after the formal inauguration, the following artistes participated in the first performance – Smt. Heisnam Sanareima Devi (as Esheihanbi), Lairenjam Kunjeshwori Devi (as Duhar), Konjengbam Memcha Devi (as Khonbangbi) and Laishangbam (O) Rita Devi, Khomdram (O) Tombisana Devi, Smt. Haobam Promila Devi, Leichombam Inao Devi & Telem Sushila Devi as Palas. Chingtham Surjakanta Singh and (Pungkok Chatpa) and Sanasam Rojar Singh (Tung-inba) participated as drummers.

In the second performance of the day, the following artistes participated – Smt. Wahengbam Tejpati Devi (as Esheihanbi), Smt. Kongkham Manisana Devi (as Duhar) and Smt. Chingtham Surbala Devi, Smt. Takhellambam Chaoba Devi, Smt. Chongtham Naobi Devi and Smt. Thounaojam Sameli Devi as Palas. Shri Thingbaijam Kanta Singh (Pungkok Chapta) and Shri Laishram Santosh Singh (Tung-inba) participated as drummers. Gurumayum Manidev Sharma was the Mandhap Mapu of the day.

The second and the last day of the festival, i.e. January 21, 2016, the male singers performed the Vashak. The following artistes participated as – Shri Laishram Itomcha Singh (as Esheihanba), Shri Thouchom Nimai Singh (as Duhar) and Shri Sagolshem Mangijao Singh, Shri Akoijam Kiran Singh, Shri Meikam Nabakishor Singh and Shri Thounaojam Kesho Singh as Palas.

Shri Seleibam Manglemba Singh (Pungkok Chatpa) and Shri Sanatomba Singh (Tung-inba) participated as drummer (Pung). Anoubam Binodchandra Sharma was the Mandhap Mapu of the day.