Manipuri Pung

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Manipuri Pung (Mridanga)

By: Waikhom Damodar Singh *

Manipuri Pung, the instrument used in the singing of its Nat Sankirtans is the Mridanga i.e the so called 'Badya Jantra' which constitutes as one of the essential part of the 'Three Trinities of Arts' - Geetang, Badyang and Nrityang as is enshrined in the Sanskrit Sloka - 'Geetang, Badyang Tatha Nrityang Troyang Sangeet Muchate' i.e singing of a Sangeet or Hari Sankirtan is perfect only when the three elements of the divine Arts being known as 'Touryatrik Kala' - the three pronged arts combine or synchronise as one.

There are four kinds of 'Badya Jantra' as prescribed in the Sloka - 'Chaturbidhantat Kathi-tang Sushir Mebacha, Abanadhang Ghanachen-ti Tatang Tantrigatang Bhabet' - Sangeet Darpan (533) - (1) Tata group - stringed instruments like Veena, Tanpura etc. (2) Sushir Group - Conch, Flute (Bansi) etc - instruments which produce sounds by blowing (3) Anadha group - Mridanga, Dholak, Tafad etc. (4) Ghana Group - Kartal (cymbols) etc. Actually, it is the Badya Jantra Instruments which give 'life' to the singing of songs and dancing in a sankirtan.

The word Mridanga is derived from the two Sanskrit words 'Mrit' for 'Mud' and 'Anga' for 'body'. This divine and most ancient Indian musical instrument was invented during the Satya Yuga when the invincible 'Asur' (Hingchaba in Manipuri) - a boorish or barbaric giant named, 'Tripurashur' was finally slain by Shiva Mahadeva, and Bramha made a rhythm-giving instrument of which its body was prepared out of the mud soaked with the blood of the slain Asur, and hence called 'Mridanga' and on the beats or rhythms of which all the deities danced in great rejoice on the victory over the invincible Asur. Then it was in Dwapur Yuga that the body of the instrument was replaced by wooden made body or trunk.

According to the 'Sankirtan Vichar or Code' widely accepted particularly, in Manipur, the body of the Mridanga or the Pung is most sacredly regarded as being that of the divine and holy body of Sri Krishna, on the two faces of which lie - Parvati (Durga), on the smaller right side face (Manao), and Shiva Mahadeva on the bigger left side face (Maru).

The rythm i.e. 'Tal' which is the 'Soul' or 'Pulse' of both the singings (Geetang) and dancing (Nrityang) is the product of combination of two divine factors - sounds, 'Ta' - the vigorous or positive Tandava element of Shiva and 'LA' - the soft Laishya element of Parvati (Durga) as is enshrined in the sloka - 'Geetang, Badyang Tatha Nrityang Jatadasthale Prateesthitam' - 'Ta' kare sankar prokta, 'La' kare Parvati smrita, and thus the 'life' (Jivanyash) of the Mridanga play is put by the mridanga players before the commencement of the Sankirtan by quietly chanting the 'Mridanga-gayatri-mantra' in a short meditating pose - 'Kling Mridangayai dhimahi, rakaar bidmahe pracheya dayat, dhranging dring chitta swaha'- this very beginning part of chanting mantra for invoking the deities is a must to be done by the Mridanga players of the Manipuri Sankirtan singing.

The devotional Manipuri Sankirtan is based on the holy cult of Hari Sankirtan propounded by Lord Gouranga Mahaprabhu (Chaitannya) who is the incarnate of Shri Krishna and Shrimati Radhika combined as one being who appeared in the Kali yuga for preaching the Mahima (greatness) of Hari Nama, chanting and hearing of which could only bring peace in the most distrubed and trubulent minds of the down-fallen human beings of the most sinful and dark age.

The holy Sankirtan propunded by him was based on the ecstatic and divine Ras-Leela of the Braja Brindaban performed by Lord Krishna with His beloved and eternal companions, Shrimati Radhika and the Gopis, particularly, the Astha (eight) Sakhis -

(1) Lalita
(2) Bishakha
(3) Chitra
(4) Champaklata
(5) Tungavidya
(6) Indurekha
(7) Rangadevi and
(8) Sudevi.

Lord Gouranga deeply sad by the erstwhile sweet memories of the holy and divine Braja Brindaban Prem-Leela of Unata-Ujajala-Madhura-Prem Rasa desired to repeat the same with his incarnated Bhaktas, Shri Bash, Murari, Mukunda, Govinda, Damodar (Pancha Rasas) - Gadadhar, Swarup, Sanatan, Abdeitya, Nityainanda (Panchatatas) at Shri Dham Nabadwip and therefore the Sankirtan, preaching of Hari Nam, propounded by him was the repitition of the Braja Brindaban Leela- in which he himself played the part of Shrimati Radhika while other ardent bhaktas, namely, Abdeitya played part of Krishna, the main Mridanga palyer, Shri Bash on the role of Narada, the main singer (Ishei Hanba), Nityainanda Prabhu as Duhar, the main exhibitor of Nritya, Gadadhar as Lalita Sakhi (Khomdon), Mukunda as Khonpangba or Khombangba, the leading assistants of the singing.

The role of the two Pung Yeibas (Mridanga players), the Ishei Hanba and the Duhar are to maintain the correct 'rhythms' (talas), 'rasas' (themes) and 'Abhinayas' (dances) respectively.

And to ensure perfect synchronisation of the three 'Trouyatrik kala arts' and to keep them always in 'unison' for making the Hari Sankirtan singing, a sublime and ecstatic one which could be possible only when the singing of the kirtan is carried out under the matching and correct 'rasas' (themes) and 'rythms' (talas) with appropriate abhinayas, and also commencing with correct 'Ragas and Raginis' - there are 6 Raga Purushya and 1 Guru Raga and 36 Raginis and 1 Purubi Ragini prescribed to be followed for different days in different colours for different days both for the singing and playing of the Mridanga under the 'Raga-Ragendra Nrinaya' of Manipur which had been introduced and strictly followed from the time of Maharaja Chandrakirti Singh of the 19th Century AD.

The main 'theme' of the Shri Krishna-Prem-Leekla' with Shrimati Radhika and the eight Gopies is on the 'unalloyed Rasa' (Unata-Ujjala Madhura-Prem), the Sringar-Rasa, which is also known as 64 Chousiti Rasa in Manipur and has two parts - the 'Bipralambha' and 'Sambhog', each of which is again divided into 8 x 4 parts, i.e 32 parts, and hence 64 in total.

The male person from whom originates the 'prem-rasa' is called a 'Nayak' and the female possessing the 'sringar' character or quality- a quality of getting things of almost impossible nature through, a Nayika'.

According to 'Ujjala-Nilamani', a sacred book on Shri Krishna's 'glitterey Rasas' written by Shri Padshri-Rup Goswami, there are 96 types of Nayaks and 360 Nayikas. However, the Prem-leela depicted in the Manipuri Nat Sankirtans singing is only of one Nayak, the Lord of the Universe, Shri Krishna and Shrimati Radhika with selected eight Nayikas, the Astha Sakhies restricting to only 8 Rasas out of the 64 Rasas -

(1) the Abhisarika or simply Abhisar
(2) the Basak Sajika
(3) the Utkanthita or Utkantha
(4) the Bipralabdha
(5) the Khandita -a rasa or theme which depicts the pangs of sorrows and profound despairs of Shrimati Radhika in the very late night when Shri Krishna did not turn up timely near her despite her great expectation and long awaiting from Him in the 'Kunja' and of her great 'sulkiness' on Shri Krishna who failed to pacify her even by His profound apologies tendered by prostrating before her touching her feet with the saying - 'Smara garala khandanang mama shira-shi mandanang, dehi pad-apallaba mudarang' as is written glaringly in the 'Badashi-kinchi-dapi' portion of the 'Great-Govinda' written by Kavi-raj, Jaydeva
(6) the Kalhantarita
(7) the Proshitbhatrika and
(8) the Swadhinbhatrika.

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.

Waikhom Damodar Singh wrote this article for The Sangai Express
This article was webcasted on June 26th, 2006

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