Manipuri Pung
- Part 2 -

By Waikhom Damodar Singh *

Manipuri Nat Pala Sankirtan singing actually originated from the 'Leela-Ras-Kirtan' category of Kirtan singing, the 'Garerhati (a name derived from Garerhat, a sub-division under Rajasahi district of West Bengal and a place called Kheturi under it from where the kirtan orginated) - this form of Kirtan singing was invented by Shri Narotam Thakur Mahasai in the year 1583-84 AD as a modified form of Hari Sankirtan propounded by Shri Gouranga Mahaprabhu (Cahitanya) after his demise using some '108' kinds of 'Talas', out of which very popularly and generally applied in the Manipuri Nat Sankirtan and Natya Sankirtan singings are - the Eka tals, Dui tals, tin tals, Raj mel tal (Bilambita-dhrupad type), Tanchap and Menkup tals, Dashkusha, Kokil priya tal, Lakhanban, Jaidik, Jhaptal, Meitei Surfak, Mayang Surfak, Choutal, Tanjao, Khuji tal, Pancham tal, Sapta Tal, Lakhi Tal, Gajendra Gurua tal, Rudra tal, Jhulke Jhulke Piyari tal, Iha Kali tal, Brahma tal (104 tals of the Krishna dance) etc.

The Manipuri nat Sankirtans, particularly, the Nat Pala Sankirtan, unlike any other form of Sankirtan or bhajan singing has thus very vast, deep, most ancient and unique 'themes' and 'modes' of singing 'blended with indigenous elements of folk music and dances' which therefore very distinctly characterise it as of both 'static' and 'dynamic' in nature vis-a-vis highly spiritual and cultural fully based on the very concept of keeping all the three above mentioned 'Trouyatrik kala arts' Geetang, Badyang and Nrityang quite in-tact and in perfect 'unison' for which the 'Pung Yeibas' or 'Mridanga players' plays the most important and leading role.

Another speciality in the signing of the Manipuri Nat Pala Sankirtan, unlike any other Sankirtan singing, is that it is carried out indispensably in 'four phases' - the first part of which is a very important phase being known as 'Raga-Houba' or 'Raga-Abahon' which is actualy a 'turning' or 'colouring' process based on a theme that expresses some aspects of religious and spiritual feelings and sets forth a 'tonal system' for getting the right 'pitch' of the voices for the singing in three scales - (Ghorbase, Panchom-medium and Drigha-High). The Raga Houba or Abahon of the singing is always preceded by a smiliar process by the 'Mridanga-play'.

There are some 38 types of 'Ragas' used by the Mridanga players of Manipur. They are -

1. Nadia Raga,
2. Nadiachampu,
3. Padma,
4. Padma Puran,
5. Hatuti,
6. Jhumari,
7. Ramayan,
8. Malini,
9. Nat,
10. Dutila,
11. Turi Basanta,
12. Basanta,
13. Dhruba,
14. Chap,
15. Kumud,
16. Jaganth Mangal,
17. Turi,
18. Kamal,
19. Baka,
20. Nam Ahoubi,
21. Leela Ahoubi,
22. Nityai Ahoubi,
23. Harinam Mritya,
24. Nattwa,
25. Chali Ahoubi,
26. Jayanta,
27. Brindaban Ahoubi,
28. Paka Ahoubi,
29. Tekhao Ahoubi,
30. Abdeitya Ahoubi,
31. Shyama,
32. Akre,
33. Chaitanya Nityai,
34. Govinda Mangal,
35. Prem Raga,
26. Brahma Raga,
37. Vaishnav Raga,
38. Nalini etc.

As has been mentioned above the most unique feature of the Manipuri Nat Pala Sankirtan singing is that it is both 'static' and 'dynamic' in nature just as the entire cosmic world is existing in the very state of 'rest' while it is very much in the state of 'motion' i.e. 'Rest in motion' - it is the very dynamic motion that is exhibited by the dancing, particularly by the Pung Yeibas or Mridanga players and the static motion or state by the singers of the Manipuri Sankirtans.

The vigorous dancing of the 'Tandava type' of the Manipuri Mridanga players are known as the 'Pung Choloms' which are, no doubt, fabricated with the elements of the most 'mesmerising' and unique footsteps of the ancient and most famous Manipuri 'Martial arts' the Thang Tas fighting techniques - the aim of adopting or indulging to such vigorous body movements of the participants, both the singers, the Palas and the Mridanga players, the Pung Yeibas earlier was to keep them physically 'ever fit' for immediate participation in war for which they actually formed the 'Militia' of the State like the Polo players did under the strict 'Roster system' of the State then enforced strictly known as 'Lalups'.

Despite of the above highlighted most glaring facts of being most unique and culturally highly 'advanced features' of the Manipuri Nat Sankirtan singings which cannot be found in any singing of its kind in the world.

It is most unfortunate and unpalatable at all to learn and digest the hearing of the news that one renewed, Tabla-artiste, named Zakir Hussien of India defamed the Manipuri Mridanga players by saying that their way of performance is a very highly 'uncivilised and barbaric way' during his interview taken place just recently in Houston, USA as had been published in some local dailies on 3rd June, 2006.

In this regard what one would like to very frankly 'counter' the irrelevant remarks of Zakir Hussien is that he could know that, unlike the sacred instrument of Mridanga of the Manipuri Sankirtan singings, the 'Tabla', in which he might be a great master and exponent, is not included as a sacred instrument amongst the holy and divine instruments of the so called 'Badya Jantra' groups of instruments prescribed for the singing of Hari Sankirtans, the reason being, perhaps, it is not an indigenous Indian musical instrument, rather it is said to have been orginated from a foreign country, Persia very recently.

The highly 'derogatory or disparaging' or 'insulting' remarks given most 'irrelevantly and carelessly' in a foreign country by Zakir Hussein highly 'defame' not only the Manipuris but the entire Indian Nation and therefore there is no reason as to why he should not be treated as an individual who indulged in creating anti-Manipuri and anti-Indian feelings or 'sowing seeds of hatredness amongst the people', to whom particularly related their most 'civilised' and 'hoary' cultural matters, for the 'up-keep' of the very rare and culturally very rich 'heritage' of which the Manipuri Musicians and dancers, in particular, are taking the leading roles by regularly participating in all the cultural shows being performed all over the world.

Concluded