Lai Haraoba - Discursive Practices & Cultural Contestations - Part 5 ( Nature Of The Ritual ) |
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By: Rekha Konsam * |
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The term ‘Lai Haraoba’ can be differently translated in the active and passive voices.
Dance movements of the Lai Haraoba are focused on curves, spirals and circles. This is perceived as corresponding to the figure ‘O’ considered to be the most powerful figure in Tantricism. The basic triangular hand position of the maibi denoting birth canal in the beginning of the birth cycle (laibou) is identified as shivamudra. Following this view, the Lai Haraoba has preserved remnants of the Tantric tradition in form if not their nomenclature. It does not however concern itself with the nature and content of the rituals. It leaves the question ‘why is it observed?’ unanswered. J. Shakespeare first translated the term ‘Lai Haraoba’ as ‘the pleasing of the god’.[ 17 ] Improvising on it, Parratt & Parratt translates it as ‘the pleasing of the gods’ taking into account the fact that the rituals venerate a male and a female deity as a couple. Ritualistic intent is seen as directed towards appeasement of the deities. Appeasement is sought in various ways through words, dance, play, offerings of fruits, flowers and food grains, etc. As a religious event it can only be grasped within the Meitei experience of lai as the ultimate reality, the rituals as intended to bring about an interaction between the other world and this world within the wholeness of a sacramental universe. Related Articles/Pictures:
to be continued ... * Rekha Konsam wrote this article for Eastern Quarterly . This article was webcasted with written permission from Eastern Quaterly on August 07th, 2007. |
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