Pung-Dhon-Dholak Cholom & Nat Sankirtan of Manipur
- Part 2 -

By Waikhom Damodar Singh *

The British officers were also highly entertained by the exhibition matches of the famous Manipuri indigenous 'war-like' game, the 'Sagol Kangjei' (later on called Polo after the British cavalry officers and tea planters stationed in Cachar and other areas of Assam started playing it in the year 1859, for the first time in its history at Silchar, Cachar, as an English invented game modified from the most vigorous, wild and risky indigenous Manipuri game of sagol kangjei), Mukna (wrestling), Thang-Ta (sword-spear) fighting and another war like indigenous game, the 'boat race' played by the tough Manipuri soldiers in their (British officials) honour were arranged by the king at Silchar's historic Polo ground and on the Barak river.

The purpose of the historic Durbar taken place between the Viceroy of the British India and the king of the then independent kingdom, Manipur at Silchar was in regard to the taking of the approval of the Manipuri king to the proposal of the British Government for the establishment of their garrison at Kohima (Thibawmei as the Manipuris then called it) - now the capital of Nagaland State - which then was under the territory of the kingdom of Manipur annexed by Maharajah Gambhir Singh during the 19th century including that of the areas of Dimapur, Diphu, Lumding, Brahmakund (Jorhat) etc. annexed earlier during the time of the great king Pamheiba alias Garibniwaz.

Earlier, when three British officers including the Chief Commissioner of the then greater British Province of Assam, Mr. Kitinj were deputed by the Viceroy, Lord Northbrook to Manipur for the purpose Maharajah Chandrakirti Singh had not only shown his stern disapproval of the proposal but had exhibited some sort of highly 'insulting gestures' which were conveyed to the Viceroy, who though was quite annoyed with the report, remained quite calm and controlled.

And as a wise and shrewd British Administrator had tackled shrewdly the very sensitive matter by inviting the Manipuri king to their area, Silchar, Assam and himself going there with a large troop from Dacca by steamer and had settled the tricky issue in their favour peacefully.

The idea behind Chandrakirti Maharajah proceeding to Cachar accompanied by a strong contingent of his Armed Force led by many able generals (Boro Senapati Dharmasetu, Thangal, Sougaijamba, Yengkhoiba, Chanamba, etc.) including the column of the well known Manipuri cavalry of 50 strength equipped with adequate Arms of Thang-Ta, firearms, shields and also 'Arambais' (poisoned arrows) was to enable him to face any situation of 'confrontation' if happened to take place between him and the most powerful British Viceroy, though the large military column accompanied him ordinarily and outwardly presented a look only to be for a ceremonial purpose.

The Khongjom-parba singing with Dholak came also in vogue narrating the great romantic, heroic but most pathetic at the end, of the Khamba-Thoibi episode of Moirang known as 'Moirang-Parba' and other Khunung or Khulei Isheis (Manipuri folk songs).

"Holi Pala" performing at the Shree Shree Govindajee Temple - 29th March, 2002

Dholak is also used in the back-group singing of the 'Jatra-wali' - opera plays and traditional dance of Thabal Chongba of Yaoshang festival, and vigorous and mesmerising 'Thang-Ta' (sword-spear) fighting Manipuri indigenous dances.

When a sound is produced under regular number of frequencies or beats i.e. regular number of vibrations of the sound wave per second then it becomes an audible sound, otherwise it becomes something of a 'noisy sound', and therefore singing of a song to produce melodious sounds fully depends on the harmonic 'rhythms' beats) of the sound wave known as 'Talas', the 'Pulse' of the life of the singing of a song, and to produce such harmonic rhythms of sound is the role of the Mridanga players.

Not only singing of sweet or melodious songs depends on the proper talas but also dancing or exhibition of 'abhinayas' by movements of the body, both in subtle and vigorous forms, that can be perceived enjoyably by the audience depends on the 'appropriate talas' - there are some 108 talas used in the Manipuri Sankirtan singings and Mridanga plays

• ek tal,
• dui tal,
• tin tal,
• tanchap,
• menkup,
• rajmel,
• dashkosh,
• kokil priya tal,
• jhap tal,
• khuji tal,
• bramha tal etc.

The role of the Pung-Yeibas (Mridanga and Dholak players) are to maintain the correct 'rhythms' (talas) as required for ensuring a perfect synchronisation of the three "touryatrik kala arts" (the three pronged arts - geetang, badyang and nrityang) and to keep them in 'unison' for making the Hari sankirtan singing, a sublime and aesthetic one which could be possible only when the singing of the kirtan is carried out under the matching and correct 'rasas' (themes) and 'rhythms' (talas) with appropriate abhinayas (dancing).

To be continued ...

---

* Waikhom Damodar Singh wrote this article for The Sangai Express
This article was webcasted on August 11th, 2008

---