From Marifat to the Qawali – thamoi tahoure and ....?

Dr Ksh Imokanta Singh *

Manipuri Muslims (Meitei Pangal) in Manipur on August 2013 at Hatta, Minuthong, Imphal :: Pix - Deepak Oinam

'Tadagi Luhongba Chatlubada, Ichougi Luhongba chatlubada ... gi Thongalda Thamoi Tahoure', a Manipuri Qawali, passionately rendered by artistes of Rahim Cultural Foundation in one of the functions held somewhere and sometime in February, 2014, was on air in one of the channels of ISTV. That was a refreshing treat and a surprise too to someone who has not been exposed to any or much of the cultural life of Meitei Pangals. Whatever little knowledge most of the Non-Pangal population in Manipur have about Pangals' cultural tradition is limited to Marifat singing, thanks to the ever dependable AIR, Imphal.

To Non-Pangals, especially Meiteis, Marifat (may be to Pangals too) sounds very monotonous in singing style with only clapping to give rhythm which is nearer to Meiteis' Khubak Eshei style of singing. The simplicity/purity of the genre is revealed by its whole composition without any musical instrument like Pung, Kartal, Tabla, harmonium etc. This may sound little awkward to others.

Question may be asked if this is to manifest and test the veracity of vocal codes of the singers without any technological intervention. Whatever may be the reason, Marfifat probably is not qualified to be in the realm of popular culture. And then, this new qawali with tabla and harmonium bombarded like a gust of wind, enthralling the whole system, including both base and superstructure.

Culture may be construed in multiple ways. But one turning point came when culture started to be understood not just as implicit that is conceived as the values, norms, beliefs and attitudes of the entire population or of subgroups within the population but also as explicit social constructions or products which include recorded culture like print and electronic media (films included) and artefacts. In this vein, where are the cultural products of Pangals placed in today's Manipur?

Though the Pangal community has its own performing art forms, they are hardly exposed to the other community, which means there is huge cultural distance between them and other communities despite the geographical proximity. Why they are not coming out (or not willing to come out) to the common realm of Manipuri performance tradition so that they remain in the public consciousness?

Here the finger points towards the realm of theatre (Stage Lila, Shumang Lila, Nokphade etc.), Matamgi Eshei tradition and films. Why should they be allowed just to be subjects of the mediums rather than active agents?

The contributions of the Pangal community towards the above mentioned art forms are almost nil despite the fact that they and Meiteis share the same mother-tongue and such art forms are not community/religion-centric. If not wrong, there was one rare case of a Pangal singing Manipuri modern song which goes something like 'houjikkalgi mou nahasingse mouna manem sarare manemna moubu sarare'.

The song was very popular those days, played in full volume in mikes in most of the occasions like Luhongba, Soisti etc. That stamped a lasting imprint in the minds of those who heard that. Talent is respected and any good cultural product is cherished independent of one's religious affiliation.

Any Khan, Rahman or Husain will be appreciated and loved by audiences and listeners across their religious beliefs if he acts well in Stage Lila, Shumang Lila, Nokfade, film or sings melodious Modern Manipuri songs. Why not some Kaifi or Mehanaz in Manipuri films as hero and heroine? That would be a revolution. They will be welcomed even if they are into such musical genres as Khongjom Parba and Khunung eshei.

If Nepali community has Sarita Gazmir (Lonna chilok naramba leisha pakhang anise) and Prakash Thapa (Mayara mayara); Kabuis have Yangnu Golmei (very haunting and melancholic number - Ngaikhigadara laklaroidaba mabu) and Alvina Gonson (Thamoinungda); and Bengalis have Sonali Mukherji (nungdi nungshi nangse masak phajabanina) singing in Manipuri, why will not audience appreciate any good Pangal singer? What they need is talent which will obliterate the religious boundary of 'we' and 'they'.

This is a pointer to the fact that the cultural is above the religious. To give a fine example, Bismila Khan, the renowned Shehnai player, was a devotee of saraswati, in spite of him being a devout Shi'ite Muslim. He also often performed in Hindu temples. Saraswati here is not just a Hindu goddess but a goddess of wisdom and art which, of course, are not the sole property of a particular community. This tradition is still followed by many Muslim musicians both in India and Pakistan.

There is not even an iota of doubt that Pangals are die-hard consumers of theatre and music, given their participation in AIR, Imphal's musical request programmes, Mani-Malagi Chithi Paokhum etc. They are very active consumers, giving insightful suggestions and opinions on various programmes and issues. This proves that they are not cultural dopes. But is it really sufficient or encourage-able to be just only consumers and not be part of the production process? What prevents them from coming into the common cultural domain?

Like in any community, there may not be dearth of talents, handsome hunks and beautiful lasses among the Pangal community. Is it the psychological inhibition imposed by being a religious 'minority' in the state?

Or, is it the lack of support base for promising talents? Or, is it because being a professional theatre person, film actor or singer is not a guarantee to a comfortable life, economically?

Or, sadly, is it because they are much immersed into the day-to-day battle of livelihood so as not to spare time for such 'pastime' as art and culture? Or is it just plain disinterestedness to become famous despite being a stock of talents?

Responsibility for answering the above questions and giving subsequent remedies may not entirely be placed upon the heads and hands of the Pangal community only but also be shared by other communities too, especially Meiteis.

Give air to their wings to fly beyond the horizons of religion. There is also life beyond just living. Let the sound of music lead them to the firmament of immortality.

Otherwise, it would be like what Pahari once sang, 'Ubidraba phajaba phajarubagi kari kannei, tabidraba eshei saklubagi kari kanari' (what beauty is that beauty which is not cheered, what melody is that melody which is not heard?')