Theculture of Meitei civilization evolved over thousands of years in what is now northeasternIndia and surrounding regions, beginning inAncient Kangleipak, continuing most notably intoMedieval Kangleipak, while influencing the neighboring states and kingdoms, till present times.
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Dogs are mentioned as friends or companions of human beings, in many ancient Meitei tales and texts. In many cases, when dogs died, they were given respect by performing elaborate death ceremonies, equal to that of human beings.[6]
Being wise is appreciated in Meitei society, but cunning is treated with suspicion. If a person is very cunning, they may be pejoratively be called foxy.[7] Foxes appear in a number ofMeitei folktales, includingThe Clever Fox (ꯂꯝꯍꯨꯢ ꯂꯧꯁꯤꯡ,Lamhui Loushing),[8]The Fox and the Jackal (ꯂꯝꯍꯨꯢ ꯑꯃꯁꯨꯡ ꯀꯩꯁꯥꯜ,Lamhui amashung Keishal),[9] andThe Fox's Trick (ꯂꯝꯍꯨꯢ ꯒꯤ ꯇꯥꯠ,Lamhui gi Tat).[10]
InMeitei mythology andreligion,Khunu Leima (Meitei:ꯈꯨꯅꯨ ꯂꯩꯃ,romanized: /khoo-noo lei-ma/), also known asKhunureima (Meitei:ꯈꯨꯅꯨꯔꯩꯃ,romanized: /khoo-noo-rei-ma/), is a goddess associated withpigeons anddoves. She is one of the three dearest daughters of the sky god. Along with her two sisters,Nganu Leima andShapi Leima, she got married the same person, who is a mortal.[11]
In theMeitei folktale ofSandrembi and Chaisra, Lady Sandrembi, after being killed by her stepsister and stepmother, transformed herself into a pigeon and flew into theRoyal Garden of the king, her husband. She perched on a tree branch and told the Royal Gardener, about the forgetfulness of the King about his wife Queen Sandrembi, the animal epidemic happened in the kingdom, the grievances of the Prince (Sandrembi's son) and the loss of the gardener's own sickle in a recent past. Sandrembi told him to report these words to the King. The king, on hearing the news, came by himself, to the pigeon in the garden. Holding some grains of paddy in his hands, the King brought and kept the supernatural bird (Sandrembi's bird form) in his custody. Even as a pigeon, she took care of the Prince. During the King's absence, Chaisra (the imposter and Sandrembi's stepsister) slaughtered the pigeon and cooked a nice meal from the meat.[12] Upon knowing that the food was made of the very pigeon, the king refused to dine it and buried the pigeon's remains in the ground behind the Royal Kitchen.[12]
TheMeitei folktale ofUchek Langmeitong (Uchek Langmeidong), also known asChekla Langmeitong (Chekla Langmeidong), ofAncient Kangleipak (earlyManipur),[13][14] narrates the tragic story of a mortal girl named "Hayainu" (aliasNongdam Atombi), who turned herself into aLangmeitong (Meitei for 'hornbill bird') as she was unable to suffer the ill treatments of her cruel and selfish stepmother, in her father's absence.[13][14][15][16][17]
In aMeitei folktale of aSanagi Tenawa (Meitei for 'golden parrot'), a divine golden parrot used to live in a land of rocks. It possessed magical spells, due to which it made all the trees of the land able to talk and move like animals. The parrot was famous far and wide.In a far away kingdom, a courageous and clever prince got the news of the parrot, which he wanted to be brought to his kingdom.Henceforth, in the dead of the night, the prince and his friend, who was a minister's son, proceeded to find the parrot, without informing his father, the king.For three full moons of phase, they travelled until they finally reached the land of rocks. Surprised to see the rocks and the talking trees, and wandering around, they found out a door way to go inside a cave.When the prince was about to go inside the cave, he heard a loud sound. The voice from unknown source asked him to stop going inside the cave for the parrot. Upon investigated, they found the voice was from a tree monster at the door.[18]
The monster warned them of asking them three questions before they enter. If answered incorrectly, they would turn into stones.The first question was 'Who is the happiest man alive?'The prince's answer was 'One who owes no debt to anyone and who is healthy and free from any illness.'The second question was 'What are the main qualities of a king?'The prince's answer was 'A king should conduct according to the wishes of the people, should take care of the poor and destitute, and should treat everyone equally.'The final question was 'Name the gods one can see one's own eyes?'The final answer was 'One's birth parents are one's gods that they can see with their eyes.'[18]
The tree monster was satisfied with all the correct answers and it praised the prince for his wisdom and intelligence. It allowed the prince for entry and was vanished from the spot as it was waiting for someone who could answer all the questions correctly before he leave.Inside the cave, the golden parrot was found sitting on a golden plate, as was once being under captivity of the tree monster.The prince was told by the parrot about the way to change the stones into princes. He had to sprinkle water of the golden pond on them.The prince did and undo the spells/curses of the stones, bringing them back to life. The princes thanked the prince and went back to their respective kingdoms.Finally, the parrot was brought by the prince and his friend to their kingdom.[18]
InMeitei mythology andreligion,Nganu Leima (Meitei:ꯉꯥꯅꯨ ꯂꯩꯃ,romanized: /ngaa-noo lei-ma/), also known asNganureima (Meitei:ꯉꯥꯅꯨꯔꯩꯃ,romanized: /ngaa-noo-rei-ma/), is a goddess associated with ducks andother water birds . She is one of the three dearest daughters of the sky god. Along with her two sisters,Khunu Leima andShapi Leima, she married the same person.[19]
| Classicism in Meitei culture (Classicalism in Meitei culture) | |
|---|---|
   .jpg) Clockwise from top: the depiction ofLai Haraoba classical performance[b] on theRepublic Day of India,[20] theKhamba Thoibi classical dance,[b][c] theThang-Ta classical martial art,[d] theancient Meitei language textNumit Kappa,Armenian stamp illustratingManipuri classical dance as the "national dance" of India,[e][f] | |
| Cultural origins | Meitei culture |
| Related topics | |
| Intangible cultural heritage of Meitei civilization | |
The architectural works of theMeitei ethnicity is best known through itsMeitei temples as well as ancientbuildings including palaces, court halls, offices, entrance gates and so on.
Ishanou (Meitei for 'The Chosen One'), a 1990 IndianMeitei language film, was screened in theUn Certain Regard section in the1991 Cannes Film Festival,[26] and again after a gap of 33 years, it was recognized as a "World Classic" in the2023 Cannes Film Festival. Notably, it was the onlyfilm selected from India for the event in that year.[27][28][29]
The steps, gaits and poses of usingthang (Meitei for 'sword') andta (Meitei for 'spear') in the traditional Meitei dance-cum-martial art form ofThang-Ta form the basic foundation of the classical choreographic steps ofLai Haraoba,Manipuri Raas Leela,Meitei Sankirtana andPung Cholom.[23]
TheManipuri classical dance, also known as theManipuri Raas Leela (Meitei:ꯖꯒꯣꯏ ꯔꯥꯁ/ꯔꯥꯁ ꯖꯒꯣꯏ,romanized: Jagoi Raas/Raas Jagoi[30][31][32]), is ajagoi and is one of the majorIndian classical dance drama forms, originating fromKangleipak (Meitei for 'Manipur').[33]Formally developed byMeitei Hindu KingChing Thang Khomba (Meitei for 'Rajarshi Bhagyachandra') ofManipur Kingdom in the 18th century CE,[34][35][36] the Manipuri classical dance form, which is considered to be the highest spiritual expression of the worship of Hindu deityKrishna,[4] spreads across theIndian subcontinent in subsequent centuries.[37] Owing to its huge influences on the diverse cultural heritages across India, it is recognised by theSangeet Natak Akademi of theMinistry of Culture of theGovernment of India as one of the few primary classical dance forms of theRepublic of India,[38] and is honoured with theSangeet Natak Akademi Award for Manipuri every year.[39]
Pung Cholom andMeitei Nata Sankirtana are the other classical dance forms, which are also related to theManipuri Raas Leela.[23]
The ritualistic and theatrical dances of theLai Haraoba, in general and one of its primary forms, theKhamba Thoibi Jagoi (Meitei for 'Khamba Thoibi dance') in particular, are also considered to be classical dances.[21] Notably,Lai Haraoba'sKhamba Thoibi Jagoi (Meitei for 'Khamba Thoibi dance') is one of the cultural elements, giving inspirations to the development of theManipuri Raas Leela classical dance drama form.[40]
“Dance and music play a vital role in the life span ofManipuri people. The most flourishing branch of Manipuri culture is dance. TheManipuri synonym of dance isjagoi and in this dance, body movements create either circle or ellipse.Rasa dance is the finest product of Manipuri culture.Maharaj Bhagyachandra innovated it and it was first performed inManipur in 1779 in thefullmoon of Kartik.”
Nat (a shortened form ofMeitei Nat Sankirtan)[42] is a classical form ofmusic of Manipur. It is a product of theSanskritisation of traditional Meitei culture withHindu culture by theBrahmanas, having 6 ragas and 36 raginis.[43]
Contrasting to the other forms ofIndian classical music, which are performed by sitting, in theMeitei Nata-Sankirtana, artists perform musical instruments as well as sing songs, simultaneously performing the delicate movements of the body and hands, based on the form ofKhuthek Anoi (Meitei for 'language of hand movements'), aligning to different footsteps, based on theKhongthang Anoi (Meitei for 'language of footsteps').[44]
Numerous theatrical plays based onAntigone, a princess fromancient Greek mythology, was and is frequently produced in Meitei language in its own adaptation,[45][46][47] inImphal.[48]Malemnganbi is a Meitei adaptation ofSophocles'ancient Greek tragedy play namedAntigone, rescripted byMakhonmani Mongsaba and directed byChanam Nillabira Meitei.[49]In 1985–86, Lengshonnei, a play based on Antigone, adapted into Meitei language, byRatan Thiyam, was performed inImphal.[50][51]Some sources say that he adapted fromAntigone (Sophocles play)[52][53] while some others assert that it was fromAntigone (Brecht play).[54][55][56]
Hojang Taret is aclassical Meitei language play based onEuripides'sancient Greek tragedy named"The Phoenician Women".[57] Directed by Oasis Sougaijam and produced by The Umbilical Theatre inImphal,[58][59][60] the play shows the moral uncertainty of the royal sibling rivalry that led to the destruction of the ancient city ofThebes, Greece.[58][59][60]
Bacchae (Thiyam play) is aclassical Meitei language play, based on theeponymousancient Greek tragedy, authored byEuripides (480-406 BCE), one of the 3 tragedians ofclassical Athens. Directed by Thawai Thiyam, the Meitei play shows the story of kingPentheus ofThebes andOlympian godDionysus.[61][62]
Classical Sanskrit plays such asUrubhangam (originally authored byBhasa in 2nd-3rd century CE) was reproduced into its Meitei version byRatan Thiyam, shown inImphal,[63][64]Panaji,[65]Edinburgh,[66] as well as inAthens.[67] Its another Meitei version was directed by Uttamkumar Naorem, shown inKakching.[68]
Others includeShakuntala (based onKalidas'Abhigyanam Shakuntalam), directed by Kshetri Jugindro, shown in the Jawaharlal Nehru Dance Academy inImphal.[69]Bhagwatajjukiyam (based on Bodhayana'sBhagavadajjukam) was produced in a Meitei version, directed by Kshetri Jugindro, under the "Manipuri Ensemble", notably staged in the 2023Bharat Rang Mahotsav.[70][71]
ManyChings (Meitei for 'hills andmountains') play significant role in different elements of Meitei culture, including but not limited toMeitei folklore,Meitei folktales,Meitei literature,Meitei mythology and Meitei religion (Sanamahism) ofKangleipak (Meitei for 'Manipur').
| Terms inMeitei language(officially called 'Manipuri') | Translation(s) | Notes/References |
|---|---|---|
| "Ching" (Meitei:ꯆꯤꯡ) | either ahill or amountain | [72] |
| "Cingjāo" (Meitei:ꯆꯤꯡꯖꯥꯎ,lit. 'hill/mountain‑to be large') | a high mountain | [72] |
| "Cingdum" (Meitei:ꯆꯤꯡꯗꯨꯝ,lit. 'hill‑sth rounded') | a hillock; mound | [72] |
| "Cingsāng" (Meitei:ꯆꯤꯡꯁꯥꯡ,lit. 'hill/mountain‑to be long') | the range of a hill or mountain | [72] |
InMeitei mythology and religion (Sanamahism), theHeingang Ching (Meitei:ꯍꯩꯉꯥꯡ ꯆꯤꯡ) is asacred mountain and the home of GodMarjing, theancient Meitei deity ofSagol Kangjei (Meitei for 'polo'),Khong Kangjei (Meitei for 'hockey') andMeitei horse (Manipuri pony).[73][74]
TheGovernment of Manipur developedMarjing Polo Statue, the world's tallestequestrian statue of a player ofSagol Kangjei (Meitei for 'polo game'), riding aMeitei horse (Manipuri pony),[75][73] standing inside theMarjing Polo Complex, the sacred sports site dedicated to GodMarjing, which is on the hilltop of theHeingang Ching, being historically, mythologically and religiously associated with the game ofpolo (Meitei:Sagol Kangjei).[76][77]It is built to commemorate the game of "modern polo" being originated fromKangleipak (Meitei for 'Manipur').[78]
TheKoupalu Ching (Meitei:ꯀꯧꯄꯂꯨ ꯆꯤꯡ), also known as theKoubaru Ching (Meitei:ꯀꯧꯕꯔꯨ ꯆꯤꯡ) or theKoubru Ching (Meitei:ꯀꯧꯕ꯭ꯔꯨ ꯆꯤꯡ), in the Northwest ofKangleipak, is asacred mountain and a divine abode ofKoupalu (Koubru), theancient Meitei deity, who protects the Northwest direction.Innumerable shrines and holy sites dedicated to Him are located in its mountainous realms, whereMeitei people regularly visit and worship Him. Manyancient Meitei language texts including but not limited to the Chinglon Laihui, the Chinggoirol, the Chingsatlon, the Nunglon mentioned about the Koupalu Ching (Koubru Ching).[79]
The "Kounu Ching" (Meitei:ꯀꯧꯅꯨ ꯆꯤꯡ,lit. 'Mount Kounu'), located in theSenapati district ofManipur, is asacred mountain as well as a divine abode ofancient Meitei goddessKounu, the consort of GodKoupalu (Koubru). Numerous shrines and sacred sites dedicated to her are found scattered across the mountain.Meitei people regularly visit and worship her in her holy sanctuaries.[80]
TheLanggol Chinggoiba is anancient Meitei language text which is a description for the Langkol Ching (Meitei:ꯂꯥꯡꯀꯣꯜ ꯆꯤꯡ), also called the Langgol Ching (Meitei:ꯂꯥꯡꯒꯣꯜ ꯆꯤꯡ), a hill situated in the north ofImphal. According to the text, the Langkol Ching is the first perfect creation of seven goddesses and eighteen gods.[81]
WhenPanthoibi, the Meitei princess, was sporting with her paramourNongpok Ningthou, she reminded him of the crack of dawn and of the fear of them being seen by her mother-in-law Manu Tekngā. Henceforth the slope has been known as Chingnung Shoy.
And this is the place where Nungpan Choupri maintained his kiddle for which he laid a wooden beam across the stream and erected strong reeds densely beneath it to block the passage of fishes. He handed over regularly to his wife those caught in daytime. But for some successive nights no fish could be found in the trap for which his wife developed suspicion of his havingillicit relation with another woman. He sincerely pleaded that some evil spirits might have gobbled them up during the night. The fisherman invoked the god of the sky to save him from this predicament. Blessed as he was, he kept a night-long vigil on the top of a tree and could dispel with his sharp sword a rabble ofgoblins who clambered up to devour him. Therefore the place took the name of Laihat Shoy and also Aham Shoy as the fisherman returned home with an empty creel.
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TheNongmaijing Chinggoiba (also called,"Nongmaijing Chinggoiba") is an ancientMeitei language text. It describes the sprawling branches of theNongmaiching mountain (Meitei:ꯅꯣꯡꯃꯥꯏꯆꯤꯡ ꯆꯤꯡ), which extends from the North to the South of theImphal Valley ofKangleipak.[84]The opening lines of the text describes the Nongmaiching to a king as follows:
O King, the mountain situated in the east and beyond the river is the abode ofKainou Chingsomba, lord of the Langmais. They attain majestic heights, are washed by seven streams, project into nine ranges and abound with deep gorges and sun-drenched ridges... They catch first the sight of every onlooker and stand steadfast unshaken by great earthquakes as if held by strong iron pegs and with their peaks kissed by white flakes of cloud. Their slopes are smoothly carpeted green withpennyworts under the shadow of tall and robust plants ofcane and they are also dotted with dense growth of tall reeds. And the gorges reverberate against the strong current of wind. Of these mountain ranges the bard would like to sing.
— Nongmaiching Chingkoipa (Nongmaijing Chinggoiba)[84]
Following these lines, the author describes on manycliffs,slopes and its peripheral areas of the Nongmaiching mountain.[84]
The "Panthoibi Naheirol" (Meitei:ꯄꯥꯟꯊꯣꯏꯕꯤ ꯅꯥꯍꯩꯔꯣꯜ,romanized: pānthoibī nāheirōl) is anancient Meitei language text. According to it,ancient Meitei goddessPanthoibi pretended to be unwell in front of her mother, just to make her mother call physicianNongpok Ningthou (her secretparamour) for the treatment of her fake illness.[85]While telling her mother about Nongpok Ningthou, princess Panthoibi mentioned the Nongmaiching (aka Langmai Ching) as follows:
As I told you there is one who is reigning supreme in the Langmai Hills on whose slope the sun shines first.
Meitei language (Meitei:ꯃꯩꯇꯩꯂꯣꯟ/মৈতৈলোন,romanized: Meiteilon), also known asManipuri language (Meitei:ꯃꯅꯤꯄꯨꯔꯤ/মণিপুরী), is aclassical language ofTibeto-Burman branch of theSino-Tibetan linguistic family, having a literary tradition of not less than 2000 years.[86] Some of the early literary works include theOugri (c. 1st century CE musical composition),[87] theNumit Kappa (c. 1st century CE narrative work),[88] thePoireiton Khunthok (c. 3rd century CE narrative work),[89] theKhencho (pre-7th century CE musical composition),[90] 6th-7th century CE copper plate inscriptions of king Khongtekcha,[91] thePanthoibi Khonggul (c. 8th century CE narrative work),[92] theLoiyumpa Silyel (c. 11th-12th century CE written Constitution, drafted in 429 CE), etc.[93]Besides, Meitei language is best known for its classical association with theManipuri classical dance and otherintangible cultural heritages of Meitei civilization.[94]
"The beginning of thisold Manipuri literature (as in the case ofNewari) may go back to 1500 years, or even 2000 years, from now."[95]
Meitei literature dates back right from the 15th century BC, during the era ofTangcha Lee La Pakhangpa (Tangja Leela Pakhangba) (1445 BC-1405 BC) inAncient Manipur. ThePuya (Meitei texts) account for most of the accounts for the literary works tillMedieval Manipur.[96]
Khamba Thoibi Sheireng (Meitei for 'Epic ofKhamba and Thoibi'), thethird longest Indian epic poem, next to theMahabharata and theRamayana, is a classical Meiteiepic poem,[97] having 39,000 lines, and is regarded as thenational epic of theManipuris.[98]The Meitei classic tale ofKhamba and Thoibi became anAssamese classic as well, after being translated intoAssamese language as"Khamba Thoibir Sadhukatha", by Assamese author and anthropologistRajanikanta Bordoloi (1869-1939).[99][100]
Besides theKhamba Thoibi, other notable ancient Meitei narrative literary works which are considered to be classics, include theNungpan Ponpi Luwaopa, theChainarol and the story ofPetanga.[101]
Thetales ofMeitei folklore, which are considered to be classical in heights, include the stories ofSandrembi and Cheisra,[102]Emoinu (Imoinu),[103]Hanuba Hanubi Paan Thaaba, Pebet and Hoidong Lamboiba,Thabaton andKeibu Keioiba,Lai Khutshangbi,Uchek Langmeidong, Eeta Thangmei andTapta.[104]
Since ancient times, it was continuously used to be the sole "court language" of theDurbar (court) as well as all the othercourts in theKingdom of Manipur,[105] later even officially declared as such in theManipur State Constitution Act 1947, beforeManipur became a territory of theRepublic of India.[106]
Owing to its huge literary heritage of ancient and medieval eras written intraditional Meitei script,[107] it was recognised by theSahitya Akademi of theMinistry of Culture of theGovernment of India as one of the major advanced languages of India in 1972, and since then, it was honoured annually with theSahitya Akademi Award for Meitei, theSahitya Akademi Translation Prize for Meitei, theYuva Puraskar for Meitei and theBal Sahitya Puraskar Award for Meitei.[108] Later, it was again recognised by theGovernment of India as anofficial scheduled language, enlisted in theEighth Schedule to the Constitution of India in 1992.[109]Since 2013,[110]Meitei classical language movement for the official recognition of Meitei as a "classical language" is carried out widespreadly, inManipur,Assam andTripura, endorsed by theGovernment of Manipur, several civil society organizations and various language experts.[111]
Some of the most prominentPuyas, written inMeitei language (Manipuri language),[112] are given below in alphabetical order:
Important days fall in different times of a year according toMeitei calendar. Some are as follows in alphabetical order:
Sanamahism, the Meitei religion, has thousands ofMeitei deities.TheList of figures in Meitei mythology accounts for the characters inMeitei mythology, the receptacle of theMeitei religion.
The "Lai Haraoba" festival is an ancient ritualistic music and dance festival, often performed in order to please theUmang Lais and theLam Lais, whose pantheons are found scattered in the plains ofManipur still today.[113][114][115][116][117][118]
Jagoi, originally spelled as Chatkoi, is the traditional form of dancing, performed by the devotees to please the deities.Here is a list of the "Chatkoi"s ("Jagoi"s) :
C
K
L
M
P
T
TheMeitei people perform four types of death ceremony since time immemorial. These are:
InMeitei mythology andMeitei folklore ofManipur,deforestation is mentioned as one of the reasons to makemother nature (most probably goddessLeimarel Sidabi) weep and mourn for the death of her precious children. In an ancientMeitei language narrative poem named the "Hijan Hirao" (Old Manipuri:"Hichan Hilao"), it is mentioned that King Hongnem Luwang Ningthou Punsiba ofLuwang dynasty once ordered his men for the cutting down of woods in the forest for crafting out a beautiful royalHiyang Hiren. His servants spotted on a gigantic tree growing on the slope of a mountain and by the side of a river. They performed traditional customary rites and rituals before chopping off the woods on the next day. In the middle of the night, Mother nature started weeping in the fear of losing her child, the tree.[119][120][121] Her agony is described as follows:
At dead of night
The mother who begot the tree
And the mother of all giant trees,
The queen of the hill-range
And the mistress of the gorges
Took the tall and graceful tree
To her bosom and wailed:
"O my son, tall and big,
While yet an infant, a sapling
Didn't I tell you
To be an ordinary tree?The king's men have found you out
And bought your life with gold and silver.
* *At daybreak, hacked at the trunk
You will be found lying prostrate.
No longer will you respondTo your mother's call
Nor a likeness of you
Shall be found, when I survey
The whole hillside.Who shall now relieve my grief?"
InUchek Langmeidong (Birds of a Crane Family, 1978) ... When a poor girl is ill-treated by human society, birds take pity on her and shield her by turning her into a bird.
One of the oldest ritualistic theatres of the world, Lai Haraoba was recreated by the Meitei community of Manipur which practices it, with a replica of the deities, elaborate traditional paraphernalia and live dancing by the devotees.
Manipur: The focus was on the ancient theatre tradition of Manipur, Lai Haraoba. Press Information Bureau reported that the tableau is an attempt to recreate the ambience of this 'quaint' and rich cultural tradition with a replica of the local deities and the dance of the devotees and the priestess. This ancient tradition preserved by the Meiteis must be watch for the transcendental trait of it.
In its tableau Manipur showcased its famous Lai Haraoba festivities - an ancient tradition of the Manipuris characterised by worship of traditional deities. According to the Meitei community, every year in the advent of summer, their Gods visit the earth for peace and prosperity of all human beings. Thus, people on earth celebrate the occasion with joy and dance!
Lai Haraoba is one of the oldest ritualistic theatres of the world jealously preserved by the Meitei community of Manipur with utmost awe and sanctity. The entire community participates in it with complete devotion. Lai Haraoba, translated as 'Happiness of the Gods' is celebrated to worship local deities to bring prosperity and well-being of the land and its inhabitants. These divinities are referred to as Umag Lais or Sylvan Gods as their abodes are located in a wooded area. The sacred ceremonies are conducted by Maibis or priestesses who are adept in dance and sacred rituals. The common people also dance as an act of worship to the accompaniment of the traditional stringed instruments (pena) and drums (langdeng pung). The Manipur tableau is an effort to recreate the ambience of this quaint and rich cultural tradition with a replica of the deities, elaborate traditional paraphernalia and live dancing by the devotees as well as a Maibi (priestess) performing the sacred dance to awaken the God from his slumber.
{{cite web}}: CS1 maint: others (link)First and foremost are the surviving ritual dances which have been absorbed into the repertoire. The Lai-haraoba and the Khamba Thoibi may be counted amongst these. Their historical and mythical theme makes them as classical as any of the later Vaishnavite dances.
{{cite book}}: CS1 maint: others (link)First and foremost are the surviving ritual dances which have been absorbed into the repertoire. The Lai-haraoba and the Khamba Thoibi may be counted amongst these. Their historical and mythical theme makes them as classical as any of the later Vaishnavite dances. They have an element of abhinaya (histrionic representation)...
...Lai Haraoba is the ritual folk-cum-classical dance of Manipur and tells the story of creation according to the Manipuris. Khamba Thoibi is a popular Manipuri dance which tells the story of princess Thoibi and poor boy Khamba...
{{cite book}}: CS1 maint: others (link)First and foremost are the surviving ritual dances which have been absorbed into the repertoire. The Lai-haraoba and the Khamba Thoibi may be counted amongst these. Their historical and mythical theme makes them as classical as any of the later Vaishnavite dances. They have an element of abhinaya histrionic representation)...
{{cite book}}: CS1 maint: others (link)... Would it not be like asking for a Hip-Hop dance from a classical Khamba-Thoibi jagoi performance if we expect street aggression from our teachers? ...
... The folklore of Emoinu Celebration from the story "Washak Ngakpa" meaning Keeping the Promise, written by Late Shri Ningombam Angouton Meetei and the classical love story "Khamba -Thoibi" are classical examples of successful reconciliation process of the old Meitei factions...
{{cite book}}: CS1 maint: multiple names: authors list (link)...The Rasa Lila dances of Shiva and Parvati, Radha and Krishna, and the local deities Khamba and Thoibi form the foundation of the Manipuri dance...
... Dance and music play a vital role in the life span of Manipuri people. The most flourishing branch of Manipuri culture is dance. The Manipuri synonym of dance is jagoi and in this dance, body movements create either circle or ellipse. Rasa dance is the finest product of Manipuri culture. Maharaj Bhagyachandra innovated it and it was first performed in Manipur in 1779 in the fullmoon of Kartik. ...
...Meitei performance in Antigone needs to be seen as an contradistinction to both British and Bengali/Indian influence...
Among his masterpieces which include Sophocles' "Antigone", adapted as "Lengshonnei", and "Chakravyuha" assumes a special place.
..."Lengshonnei" (an adaptation of Sophocles' Antigone),...
... and "Lengshonnei" (an adaptation of Bertolt Brecht's "Antigone") are some of his popular plays...
...Some of his best Manipuri productions include Chakravyuha, Lengshonnei (an adaptation of Bertolt Brecht's Antigone) and Ritusamharam (based on Kalidasa's work)...
..."Lengshonnei" (an adaptation of Bertolt Brecht's "Antigone") are some of his popular plays...
{{cite web}}:|last1= has generic name (help)THE DONATIONS for the construction of Sanamahi Kiyong, which will be the central body of Sanamahi Lainingkol (University of Sanamahi Culture) at Chingoi Maru Langmaiching (Nongmaiching) is going on.
Again from amongst the songs mentioned above, 'Ougri' and 'Khencho', in view of their more archaic diction and much advanced historical allusions, may be considered earlier than the rest. ... 'Ougri' is referred to as sung at the coronation of Nongdā Lāiren Pākhangbā, which took place in 33 A.D. ...
... Numit Kappa, a Meitei text from the 1st century CE, is particularly relevant and insightful in examining this peculiar relationship between power and violence. The text is recited as incantations during chupsaba, a cleansing ritual for 'violent' death...
... Numit Kappa gives one such version. Considered one of the earliest known literary compositions in Meitei script, it is dated to the first century AD...
The Poireiton Khunthokpa, is the most conspicuous one of all pre-Garibniwaz manuscripts. From a linguistic point of view, it seems to be much earlier than any of the books yet come under our review. Circumstantial and other incidental evidences would confirm that the book might have been of the time of the third century A. D. It describes the colonization of the valley by a band of people from the land of Death under Poireiton. They first established their colony near the Langol Hill; probably the vast area between the Koubru Hill and the Langol Hill was their kingdom. --Report on the Archaeological studies in Manipur Bulletin No. 1-by W. Yumjao Singh, pp 18-19.
... The beginnings of this Old Manipuri literature may go back to 1,500 years or even 2,000 years from now. ... Poireiton Khunthok, a prose work describing the settlement of some Meithei tribes, is the oldest work in Manipuri going back to the third century A.D. ...
... 'Khencho' is quite obscure and entirely unintelligible to the present generation though it forms an inseparable element of the daily proceedings of the festival. ...
... the text Panthoibi Khongul generally believed to have been written by Akoijam Tomboy during the reign of King Khongtekcha Yoiremba (763 A.D.) ...
Panthoibi khongul ( ? C ; Manipuri ) : prose narrative , the original of which was believed to have been composed in ancient Meitei language in first half of 8th century AD ...
{{cite web}}: CS1 maint: others (link)Manipur, known as 'Meetei Leipak' or 'Kangleipak' in the two millennia old Meetei manuscripts had experienced some form of constitutional government under a proto-Constitution in 429 A.D. which was reduced to a final format in 1110 A.D. Constitution entitled 'Loiyamba Shinyen' during the regime of King Loyumba.
The constitutionalism had developed with the adoption of a prototype of a constitution in 429 A.D. which was finally moulded into the written constitution in 1110 A.D., called 'Loyumba Shinyen' till it was substituted by Manipur State Constitution Act, 1947 which operated till Manipur's merger with India on October 15, 1949.
... This means a command of Sanskrit, Tamil, Telugu, Oriya, Meitei, Persian, or Arabic. ...
The beginning of this old Manipuri literature (as in the case of Newari) may go back to 1500 years, or even 2000 years, from now.
The beginning of this old Manipuri literature (as in the case of Newari) may go back to 1500 years, or even 2000 years, from now...
... The folklore of Emoinu Celebration from the story "Washak Ngakpa" meaning Keeping the Promise, written by Late Shri Ningombam Angouton Meetei and the classical love story "Khamba -Thoibi" are classical examples of successful reconciliation process of the old Meitei factions...
{{cite book}}: CS1 maint: multiple names: authors list (link)H. Anganghal Singh's Khamba Thoibi Sheireng (Poem on Khamba Thoibi, 1940) is a national epic of the Manipuris based on the story of Khamba and Thoibi of Moirang. The poet composes the whole epic in the Pena Saisak style of folk ballads sung by minstrels or bards popular in Manipur.
His epic Singel Indu was published in 1938 which was followed by his magnum opus Khamba Thoibi Sheireng (1940), a poem of 39000 lines, considered to be the 'national' epic of the Manipuris, written in the Pena Saisak style of folk ballads.
{{cite book}}: CS1 maint: multiple names: authors list (link)... The grand finale was marked with his pompous show named "Sandrembi and Cheisra" which he derived from Manipuri classic folklore 'Sandrembi and Cheisra'. ...
... The folklore of Emoinu Celebration from the story "Washak Ngakpa" meaning Keeping the Promise, written by Late Shri Ningombam Angouton Meetei and the classical love story "Khamba -Thoibi" are classical examples of successful reconciliation process of the old Meitei factions...
... These tales became popular as the funga-wari, wari meaning story. Hanuba Hanubi Paan Thaaba, Pebet Amasung Hoidong Lamboiba, Thabaton amashung Kabuikeioiba, Lai Khutshangbi, Uchek Langmeidong; Eeta Thangmei, Tapta, etc. are some classic examples of these folk tales that every Meitei child could relate to (Singha 2012). ...
In 1972 the Sahitya Akademi, the highest body of language and literature of India recognized Manipuri (Manipuri Sahitya Parisad. 1986:82)
The movement for recognizing Manipuri as a classical language began in 2013, yet there has been a gap in the follow up actions.
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