4. vaishnavism and emergence of nata sankirtana ritual...
TRANSCRIPT
4 . Vaishnavism and emergence of Nata Sankirtana ritual theatre in Manipur
4. Vaishnavism and emergence ofNata Sankirtana ritual theatre in Manipur
As indicated in the earlier chapters, prior to the advent of Hindu cult, Manipur was rich
in its indigenous repertoires o f dance, songs and music. They also performed many
ceremonies and rituals related to birth and death. Some of the indigenous rituals
associated with death were Hongnemba (ritual unfoldment), Ashithong Hangba
(opening the door of the dead), Mathou Yanggemba (complete rites for the dead),
Puroi Leikoiba (sradha), etc. The above duties were assigned to different deities like
the Thongnakpa (guardian of the door) to Sira kondingu (Thongnak Lairemma), the
Arangpham (arrangers) and Leilangba (flower collectors) to Panthoibi, the
Achangthong (door o f the living) to Khambi-lairemma and the door of the Sidaba
Mapu symbolized by heaven. The soul of the dead body was taken up to abode of the
ancestors by shouting “Hayi HaycT1. These rituals were predominant with music, dance
and songs. The traditional rituals culminated to a world acclaimed status when interacted
vigorously with Vaishnav culture.
Manipuri Hindu theatre in general means the court supported theatrical performing art
forms created by local gurus and scholars (under the support of the royal court) based
on the text, events and narratives o f the Hindu world. Kirtan generally means the act of
singing the name, virtue and glory of the lord. Nata Sankirtana had its flowering from
the Bangdesh Kirtan form extensively popularised by the Vaishnav followers. Although
different arguments are laid down, there is a possibility of a Kirtan in a very nascent
form, having developed in Manipur during Garibaniwaz. King Garibaniwaz (A.D. 1709-
AD 1748) after adopting the Ramandi cult wished to establish a kirtan pala to perform
in daily rituals of Rama worship. He invited kirtan performers, scholars, Brahmins,
pandits, to his court to form a kirtan pala. No doubt the newly formed pala must have
taken inspiration from the Bangla pala and locally known as Bangdesh pala2 or Ariba
Pala.. Fixation of rules and a strict decorum were set up in the form and structure of
Bangdesh Pala3. The Bangdesh pala Sankirtana formed at this time was simple. The
local made drum and kartal or cymbal were used. Bangdesh Pala before becoming a part
and parcel of Govindaji ritual service was used in die puja of Vishnu, Ram and Krishna through the service kirtan and Sankirtana.
The Bangdesh pala which we find today had undergone a complex process of its growth.
The trends today in the dress o f the pala is white dhoti with ‘‘kunja’ (fold front plaits)
lowered down, khwangyet (waist band) decorated with khwangnap (decoration on the
border of the cloth.) It was believed that padavali songs of Bangdesh Pala were written
by a Brahmin scholar form Bengal. The king was pleased and accepted the Brahmin to
the Konthoujam lineage and considered as the initiator of Bangdesh Pala4. Later on the
members of the Bangdesh Pala were assigned not only in the service of Rama worship
but were appointed to perform services in Govindaji temple.
Bangdesh Pala was divided into Leibak Chaba pala (chorus of vocals) and Sevak pala
(chorus of devotees)5. Leibak chaba pala group was formed under the patronage of the
nobles of the state and Sevak pala was formed by the Sevaks or the disciples. There is a
clear distinction in the dress o f the two palas6. The Pung Yeiba or drummer, the
Esheihanba or lead singer, Duhar (second lead performer), Khonbangba (backup singer)
adorned themselves with kings gift like khamen chatpa pheijom (dhoti with royal motifs),
gold bangles and other accessories. In order to meet the difficulties in fulfilling all the
arrangements the royal court took up steps in making divisions from the core groups.
Ariba Pala or Bangdesh pala is different from the Nata Sankirtana pala in many aspects
like the raga houba (manner o f beginning of raga), lyrics or text, drums, cymbals and
cholom abhinaya. Bangdesh Pala lacks stylized performance or choreography. It is
more ritual oriented performance. The grace and abhinaya (acting) are absent in Ariba
Pala. However the growth and evolution ofNata Sankirtana is traced to Bangdesh pala of
95
Rama worship. Bangdesh pala sowed the seed for a well developed Sankirtana
performance, which during the prime Hindu period of 18th century took shape into Nata
Sankirtana performance with stylized and codified structures based on native form &
traditional belief system.
The time and space of the beginning of Kirtan in Manipur is still being debated. However
none of the sources has authentically mentioned about the presentation of kirtan. Nata
pala in Manipur is o f two types Ariba Nata Pala known as Bangdesh Pala for which
discussion has already been made and Anouba pala or Nata Sankirtana. While the Bangdesh
kirtan was popularized as Ariba pala or the old form, the evolution of the Nata Sankirtana
from Ariba Pala is a kind of organized transformation of drum vocabularies and innovation
in the context of song and music and transfer of ritual energies from an approach to an
earlier deity to a completely new dimension of worship of Radha and Krishna supplanting
the traditional worship of Rama. More creative and refined body movements are added
to the repertoire and along with the sophistication of the texts, songs and dance there is
a much more elaborate exploration of bodily resources of expression for performative
practice. There is a quickening of tempo and enactment of drum vocabularies, expansion
of body gestures and quicker codification of movements structures. More refined story
telling techniques are added to the pure ritual chant like ritual song structure of Ariba
pala. Some 50 years of experimentation, innovation and exploration of physical resources
had seen organized for the Ariba pala to be developed into the new Nata Sankirtana
form.
However the old forms do not disappear. They are retained as pure art form dealing with
the traditional ritual structure and teacher/practitioner from rural areas continues to
perform and sustain this old ritual tradition. The Nata Sankirtana on the other hand has
engaged as a new genre of performance with its distinct codes, vocabularies and song
pattern with new additional texts of Vaishnav worship of Radha Krishna and it emerged
without any visible linkage externally to the beholder. Students of dance, music and
96
movement however are able to identify structural changes that have taken place during
the evolution of this choral art. The Nata Sankirtana pala is also known as Anouba pala
or the new group, is again classified into two groups: PalaAhan (older group) consisting
the middle aged experienced ones and Pala Naha (younger group) for the convenience
in rendering service to Govindaji temple. Ojah Chaitanya and Ojah Rasikananda were
believed to be the first Esheihanba o f Pala Ahan and Pala Naha respectively7. Between
17th century and mid 19th century, the rules and regulations and essence of Sankirtana
were codified fixed and maintained completely.
It is however important to understand the two prevailing concepts and perceptions of
Nata Sankirtana performances. One group of hardcore Vaishnavite scholars strongly
believed that the whole cultural expression of Nata Sankirtana is based on the Hindu
religious texts and aspirations and theme, underestimates the contribution of native
performance form and structure. They however failed to transcend themselves from the
religio-ideological biases. The scholars failed to explain what constituted the behaviour,
derivation, growth and efflorescence of the indigenous performances. Another group
of scholars on the other hand beleived that the whole concept of Nata Sankirtana, Raas
Leela and other Hindu performances form were purely created and innovated cultural
expression in a time frame within a social milieu. They supported the Nata Sankirtana
origin and growth in the indigenous performance culture. The problems in the scholarship
are known but what comprises the character of a performance is still overshadowed due
to lack of study in performance anthropology.
A reference in one o f the ancient texts mentioned the performance of a congregation
dance tradition to the music of drum and cymbal decorated around by white cloths8. The
scholars belonging to this group supported the arguments of the existence of a type of
Sankirtana tradition in pre-Hindu period. Another thesis stated the prevalence of the
Sankirtana form existed in the pre-Hindu Manipur as “Hongnemba”.9 “Hongnemba”
was an act of rejoicing and celebration, first performed in Marongba Shanglen (pavilion)
97
In Asiba Sinthong (ancient death rituals) and Ukrong Hongba11 (consecration of the
tree), the rituals ended with Ahonglon (song of regeneration) and Hongnemba was
associated since then with numerous rituals like Puhkri-Hongba (regeneration of the
pond), U-Hongba (regeneration o f the tree), Lanna Thouram (death rites),- LuHongba
(marriage), Epan thaba (swasti puja) and Chagumba (first solid-food feeding)12.
However, keeping in account the two theories, it is to be noted that the Nata Sankirtana
form is a unique creation of a cultural synthesis. Nata Sankirtana is a fundamental
performative art. The nature of the use o f the body, use of performance form and energy
are based on native traditional ingredients of culture incorporating a foreign text, sowing
the seed of its present form in roughly around 18 th century AD during the period of King
Bheigyachandra.
Meaning and Essence of Nata Sankirtana
The theatrical elements in the performance can be identified with the study of the
nomenclature of Nata Sankirtana. The termNata is a Sanskrit word meaning ‘to act’13 or
‘to dance’.14 A Nata is the one who acts the feelings and sentiments of men. Nata denotes
the enactment and interpretation through the medium of dance conveying the Rasa
(flavour and sentiment) and Bhava (mood). In the classical definition, a ‘Nata’ is the
actor or performer who has the capability to express or act the sentiments, dance and
sing accompanied with musical instruments. A ‘Nata’ also has the ability to fulfil the
four Abhinayas of ‘Angika’ (hand and body movements), ‘Aharya ’ (costume and make
up), ‘Vachika ’ (speech) and ‘Battvika’ (sentiments expression). Few personalities well
knownfor such skills are Lord ‘Mahadev’ as Nataraj, ‘Sri Govinda’ as Natavar, and ‘Sri
Gouranga’ asNatasekhara15. In books like Abhinaya Darpana and treatises or comments
on Natya Shastra highlight the ‘Nata’ as an actor who brings out the expression in a
Natya (drama) using the four Abhinayas16. Nata pala means the congregation of many
9810
Natas or actors. So from the name itself ‘Nata Sankirtana’, is performance-based art
form by many actors and it stands out from the rest because of its inherent theatrical
dynamics. The Nata Sankirtana performance if seen superficially gives the impression
of a musical dance predominant by the skills of the actor. But it has its own philosophy
and is the combined meditation o f body, mind and soul. Nata Sankirtana is affinal to Lai
Haraouba in matters o f form and structure. It represents a refined modification of leela
kritana flourished in Bengal during 16th century.
Nata Sankirtana to the followers o f Goudiya Vaishnctvism is a form of worship. It is
considered as a mahayagya (complete sacrifice). The Vaishnav architects trace its origin
to the aesthetics and philosophy of Shrimad Bhagavata. In Shrimad Bhagvata the only
merit in Kdiyuga is Hari Sankirtana (chanting the name of the lord) and through Sankirtana
a person can reach his ends and attain moksha. A person in Satyayuga attains mukti
through Dhyan, in Treta Yuga by yajnas and Dwarpur Yuga through puja and in Kali
Yuga through Hari Sankirtana17. The above Dhyan, Puja, Yajanas, etc., are all combined
ormerged in the form ofHari Sankirtana in Kali Yug to attain salvation. Sri Chaitanya or
Lord Gouranga preached the value and importance of Sankirtana to liberate and attain
moksha.
According to Vaishnav philosophy, Lord Gouranga came in the Kaliyuga as the incarnation
of Lord Krishna (with Krishna Varna or dark colour Krishna) to fulfil the three promises,
taking the outwardly golden complexion symbolically representing Smt. Radha. Lord
Gouranga is the symbolic union of Krishna and Radha. Sri Chaitanya represents Radha
Krishna as one body and soul. The prem leela (episodes of love plays) madhur rasa
played by Radha Krishna at the time of Dwarpur Yuga at Braja mandal (Brindavan) is re
enacted in the form of Sankirtana to cleanse the miseries and darkness in kaliyuga.
Gouranga along with his distinct followers introduced Sankirtana as a medium through
which the people of kaliyuga experienced the blissful state liberating them and attaining
LordKrishna.
99
In theme and spirit of the Nata Sankirtana it is the embodiment of bhakti at purest. The
essence of Nata Sankirtana is bhakti (devotion). The whole performance is bhakti oriented.
Itis the depiction of the ‘madhur prem rasa’ (transcendent love) of Radha Krishna. Nata
Sankirtana is performance based ritual in which the leelas or plays of Lord Krishna are
enacted non-realistically. The performance is enacted with subdued acting, dance, music
and songs. This abstract performance symbolically represents the merging of both the
actors and participants (audience) in the process of ritual performance to another realm
where each one of them can identify themselves with the lord.
Thus, Nata Sankirtana is a sacred ritualistic performance. Aperson can only understand
the true essence of Nata Sankirtana only if he is a pure and sincere devotee. The devotee
being part of the Nata Sankirtana performance is also liberated and attains salvation. The
devotion and love enable both the performers and participants to experience Radha
Krishna union and transcendent love. In later developments, Nata Sankirtana as one of
the performing art form became the foremost reason to achieve spiritual goal.
To completely identify with Lord Krishna, Lord Gouranga acts as a medium in the Nata
Sankirtana performance. His body is constructed, meditated, kept in front and his psycho
spiritual experience with lord Krishna is portrayed in the performance. The whole
panorama of his life experiences are sung and danced out in what we called as Nata
Sankirtana. Lord Chaitanya’s imagined and visualised Brindavan Raas Leela along with
his distinct followers is then re-enacted or performed bringing social efficacy and good
results. It is also a means to lead the people to the right path, cleanse their thoughts and
to be self - contented. Lord Chaitanaya approached the Lord through Radha Bhav which
symbolise a tender unlimited devotion.
In the Goudiya Vaishnav philosophy the Lord and followers are inseparable. They are
interlinked by a common chain of love and devotion. And this understanding is reflected
in hari Nata Sankirtana. The Nata Sankirtana in the Shradha or death ceremony is
100
performed on the imagination of surrendering the mortal soul to the lord. The study is
based on the existence of Nata Sankirtana as a separate performance form as seen now
in the mortuary rites and other celebratory events in rites de passage of citizens. As
traditional theatre texts, however the Nata Sankirtana is a compulsory prelude to the
performance of Raas Leela. However as part of the understanding of the presentation of
these two structures o f performance is mutually complementary, but independent in
character should be kept in mind in the corpus of scholastic studies in the traditional
theatre of Manipur.
Types of Nata Sankirtana
There are many types of Nata Sankirtana performance forms each depending on the
differences in depicting Bhakti rasa according to the purpose, seasons and context of
the rituals. The different forms o f Sankirtana are Nata maha Sankirtana (performed
during Sradha and marriage ceremony), Kirtan Khongshangba (elongated Kirtan),
Dhrumel (drum chorus), Bashok Sheishak (song of clapper girls), Naarn pala (chorus
& chants), Katha kirtan (story processions), Nagar kirtan (ritual procession), Ashti
sanchay (fifth day after cremation), Porok Sheishak (ritual songs for the dead), Basanta
Holi style in Rathyatra, Jaidev Dasavtar kirtan (waking up of lord Jaganath), Khubak
eshei (mainly women chorus) and Shayon performance. The Nata Maha Sankirtana
perform at various festivals like Holi, Rathyatra, legends of Krishna Radha, etc. It has
become inseparable from the numerous ‘rites-de-passage’ of a person like
annaprashana (first feeding of the solid food fo the infant), karna vedha (piercing of
the ear), upnayan (thread ceremony), lu hongba (marriages), shradha (death
ceremony), firoi (death anniversary).
101
The kirtan Khongshangba is mainly a sankirtana form performed on death anniversary or
in honour of ancestors. It can include Dhrumel too. Dhrumel is a sankirtana performance
However its elaborate rituals decrease the popularity among the common masses.
Different forms of Sankirtana Dhrumel are introduced by different scholars and gurus.
Strict rules are imposed on the performance of such Dhrumel18. Some of the important
Dhrumel forms are Maha Dhrumel, Devi Dhrumel, Goura Dhrumel, etc19. However the
major Nata Sankirtana performance is seen in the shradha ceremony20. The Sankirtana
in such occassions are normally performed by Nupa pala (male singers) although ther
are Nupi palas (women singers) also which perform in almost all instances of rites de
passage except shradha, asthi and phiroy.
The main performers of Khubak eshei are men, women and children. The main part of
this kirtan is Abhinaya Cholom to the tune of clapping hands. The Julon and Jalakeli
(water springing) leela are performed for many days by men, women and children. The
Shayan sheishak oiM era month (November) is similar to Katha kirtan and Nagar kirtan.
The Basanta Holi Shishak is performed by different pala groups both professional and
unprofessional during the time of Holi festival.
Organisers or officials
The organisers involved in the arrangement of the Nata Sankirtana specially in the mandali
(demarcated performance space or mandap) according to Nabadweep Rasa are identified
as Haridas for deep seva (light server), Swarup Damudor for pana seva (betel server)
Jayanand as dhup seva (incense server), Ramanand as gandh chandan seva (sandle
paste server) etc21. The flowers, sandal paste, light, incense, betel nuts along with ghot
or earthen pitcher are offered in Nata Sankirtana representing the five rasas to awaken
the panch tatwa (five main essence).
Pala position
102
The number of performers in a Sankirtana pala differs according to the nature of the
Nata Sankirtana: Performance space and Pala position
Figure 5.(i) Initial stage
1. Moibung khongba 2. Mandap mapu 3. Mandali (sacred performance space demarcated in the mandap) 4. Entry door 5. Pungyeiba (lead drummer) 6. Pungyeiba (follower) 7. Esheihanba (lead singer) 8. Khonbangba (support vocal of the Esheiha nba side) 9. Duhar (second lead singer standing opposite to the Esheihanba) 10,11 & 13. Palas (with the cymbals either assisting the Esheihanba or duhar) 12. Khonbangton (last of the vocal support of Esheihanba side) 14. Khomdon (last performer of Duhar side) 15. Thongshaba or formation of the door ( it is the symbolical door formed by the 2 Pungyeibas in the beginning of the Raga Houba) 16. Pillars of the mandap (12 nos.) 17. Space provided for the Arangpham.
(ii) RagaTabaAfter Raga Taba or completion ofthe raga (end ofinitial stage), the 2 Pungyeibas change their position and stand inside fee semi circle. This Nata Sankirtana pala position will be maintained till the completion ofthe performance though movements and structures follow the story theme.
ceremony. The drummers range from two or four to six or eight and can be increased by
a pair up to fourteen. The space of the performance is utilized by all the actors depending
on the sequences and ritual enactments. The pala follows a strict sitting or standing
position in unision to the progress of the sankirtana performance, for e.g. different
phirep (positions) are normally adopted as the kirtan progress to cholom, rajmel, etc.
The Nata Sankirtana pala stand in a semi circle form. The Esheihanba (lead singer)
stands inside the semicircle taking the entry from the right side. The two Pungyeibas
(drummer) too positioned inside the semicircle on the right side of the Esheihanba
diagonally. The semicircle is led by the Duhar (second leader) facing the lead singer.
The Duhar and other pala singers repeat back the songs of the lead singer. The Duhar
leads the cholom. In the initial raga stage, the two drummer stand between the
khonbangba (voice helper of the lead singer) and duhar. But after it, the two drummers
take the usual position inside the semicircle. On raga taba (completion of raga) the
pala sit down in three steps. There are three sitting positions of the Nata pala tintal,
phampret (sitting with position of ground) and khurukuduk (kneeling position) in which
the timing is signalled by the tune of the cymbals.
Dress
There is a dress code for pala performers. A sacred ashta vesh dress (eight elements in
dressing) is compulsory for Sankirtana actors. The actors wear Trikatcha Pheijom or
dhoti i.e. the pleats or kunja falling loosely from the front ofthe dhoti, namei or back
pleat or namei twisted elegantly and tucked in the back. The dhoti is worn below the
knee. The kunja (front pleats) hides the toes22. The waist is wrapped with khwangchet
made from two piece of cloth stitched at the centre23. In the beginning of the Nata
Sankirtana’s raga, the performers put a cloth or lengyan on the left shoulder. It is
necessary to put a lengyan as it symbolically represents the humble journey to the lord.
The innafi (a kind of a shawl) is offered to all the performers including the Mandap
mapu (in charge of mandap) and Moibung khongba (conch blower) at the beginning
103
and end of the Sankirtana by the host.
The Nata pala without kokyet (turban) is incomplete in Sankirtana. There are two types
of pala kokyet: Kokyet achouba (a big turban) and kokyet macha (a small turban). The
pala performers except the drummer wear big turbans. The Pung Yeiba wears a smaller
turban. There is a small opening in the central part of the turban. In big turban that small
opening is filled with black patch petruk (made from threads). Different pala groups
have specific Kokyet style. Kokyet is exempted for the Nata Nupi pala. Likewise married
Nupi Pala and unmarried Nupi pala group dressed up in different attires.
Ritual accessories
The performers put sandal paste mark (12 parts) on their forehead, arms, chest, etc24.
They must wear lugoon (sacred upnayan thread) and link (beads made out of Tulsi). The
body up to the waist is bare and place a lengyan on the left shoulder. Since the
establishment of Nata Sankirtana pala, King and royal court made major contribution in
fixing the dress code. However, the present form of Nata Sankirtana dress code was
finalised during King Churchand’s period25. There is no green room to change the dress.
They dress up in the performance area. Make up is avoided totally as it is more related
to ritualistic bhakti oriented performances.
Barton or invitation
Barton is an invitation or sending message for organizing Nata Sankirtana in the name of
lord. It is the depiction of SmtRadhika, sending message to Sri Krishna through her
Gopis for Raas Leela26. It can be in the form of pana or betel nut or lei chandan (flower
and sandle paste). Nowadays it is through print invitation and become easier to invite
people from far-off places too. In the Barton or floral invitation inclusion of pana
completes the essence of invitation of Nata Sankirtana27. It is arranged on top of two
104
plantain leaves signifying Radha and Krishna and in the Meitei philosophy Lainingthou
and Lairemma. In Braja Bhava (mood o f Braja or Brindavan) the betel leaf represents
Smt. Radha and betel nut that o f Lord Krishna. And if the invitation is to the God the
whole (peeled but un-sliced) betel nut is used.
Performers or actors
The pala performers are the main actors o f Nata Sankirtana. There is no fixed age for the
pala. They can be young or old. Aperformer should have a good vocal, pleasing physical
feature and have the urge to chant Harinam showing utter dedication to Nata music. He
should be a follower o f Vaishnava religion observing the basic tenets. Aperformer can
be from any lineage as there is no specification of lineage groups for Nata performance.
It is not a hereditary profession either. Anyone who wishes to become a pala performer
can acquire the skills and knowledge from a renowned guru by his own will. Guru dakhina
can be offered according to one’s capability. After acquiring the skills of aNata Sankirtana
performer, the disciple is given the opportunity to enact or perform as a follower in the
Sankirtana group of the guru. The performer need to be disciplined and of sound behaviour.
He must respect and render devotion to his guru. The Guru - Shishya parampara is
well maintained. Out of the group; Esheihanba, Duhar, and Pung Yeibas are very
important. Being the leader of cholom, the Duhar performer especially should have a
striking physical feature and should be well-versed in cholom abhinaya. The
Khonbangba or the voice helper o f the lead singer must be good in singing. The palas
take the form of Sakhi or companion in their hearts. There is no fixed organization or
institution of the pala nowadays. Earlier they were present in the pala loishang (office
of the chorus). Normally a group is formed and a particular pala is normally known
through the lead singer or drummer. The host or the one who organises the Sankirtana
can send invitation to any distinct lead singer or drummer.
The lead singer directs the whole performance of Nata Sankirtana. He is the head of the
105
pala. A particular place generally his residence is fixed where all the pala members
rehearse and discuss on various issues. The fee of the Nata Sankirtana is generally not
fixed. For their fee is a collective amount o f clothes and money offered to them during
the performance of Sankirtana either by the host or the relative of the host28. There is
a fundamental association with religion in their profession. The moment the actors enter
the Nata Sankirtana mandap, they forget their own individuality and symbolically
projected as entering the realm of Sri Chaitanya and his world. The Esheihanba considers
himself as Sri Vaas, chief Pung Yeiba as Advaita, the second Pung Yeiba as Govinda,
I )uhar as Nityananda, Khonbangba as Gadadhar respectively. The five main actors
identify themselves with the disciples of Lord Gouranga and perform the Nata Sankirtana
with the same fervour and spirit.
Functionaries
There are two functionaries - Mandap Mapu mdM oibung Khongba- inside the mandap
who participate the Nata Sankirtana completely. Mandap mapu (the presiding master
of the celebration) is an important functionary of Nata Sankirtana. He begins the Nata
Sankirtana by shouting ‘Hari ja i Dhwani’ (Lord’s victory proclamation) giving
permission to start the enactment. He ends it by declaring ‘Jai Dhwani’ (sound of victory)
again. The lead singer takes the permission of the Mandap mapu to complete the Nata
Sankirtana. The master of the ceremony should be a Brahmin, well read, educated with
full knowledge of Nata Sankirtana ritual and philosophy. He maintains the cordial
relationship between the performers and responsible to take all the outcome and errors
of Nata Sankirtana. The smooth organising of the Nata Sankirtana depends a lot on the
Mandap mapu’s efficiency. He is the head of the audience and seated in a specific
position, on the south western comer of the performance space, the front line of the
audience row29.
106
Hie master of the ceremony has certain specific functions. In case of certain disturbances
in the beginning of the raga, a puja is performed according to his direction before the
end of Sankirtana. If the person died in an unusual manner a rite is conducted under the
supervision of the Mandap mapu so that such nature of death will not occur again to the
concerned family. The Mandap mapu or the master of the ceremony also carries the
bhava of Meitei Lai Haraoba and other rituals in the control of the seating arrangement
near the performance space.
Thq Arangpham is the traditional ritual arranger who is engaged in looking after all the
rituals of the Nata Sankirtana. Arangpham begins their duty by keeping the lord in their
heart, from that moment onwards every service they perform is service to the lord.
Their main aim is to please and fulfill the lord. The Arangpham offers their reverence to
Smt. Radhika before the start of their work. They personified themselves as to be Radhika
serving Lord Krishna, so that the ceremony could be performed without any fault.
Moibung khongba is a vital member of the Nata Snakirtana. He blows the moibung
(conch shell) in the beginning and closing ofthe Nata Sankirtana performance and also
at specific intervals sometimes in between the Sankirtana songs to indicate end and
beginning of episodes. Conch plays an important role in the Nata Sankirtana music.
Mandap mapu and moibung khongba are the two actors who are seated during the
performance.
Musical instruments
The songs in the Nata Sankirtana are accompanied by the musical instruments of pung
(drum or Mridanga) and kartal (cymbal). Their shape, size and sound are specific to the
theme and functions of Nata Sankirtana. “The range of sound which can be produced
through the pung has to be experienced to be believed. Perhaps among percussion
instruments there is no other which can command the same range of communicative
sound as the pung”.30
107
Drums: Drums had been in existence in this land for centuries. The Nata Sankirtana
pung is a transformation from the then existing drum being used in the past for war call,
declaration of an order, in case o f natural calamities, emergency meetings etc31.
According to Chakpa Tingshalon, the first drum to be used in dance songs and
entertainment was made by Chakpa Tingsha around A.D. 159.32
The shape, size and sound o f the pung was improvised during the reign of King
Garibaniwaz when the worship of Ramji Prabhu began. Later it was in the time of king
Bheigyachandra that the present form of Nata Sankirtana pung took its shape. The two
faces of the pung were identified as maru from cow skin and manou from calf skin and
black loading is pasted on both the heads. Leather straps lace the parchment with a
Cotton Belt tied to the straps through the brass rings. The Ariba pung of Ariba pala was
bigger and longer in its appearance but later modified for Nata Sankirtana making it
softer, lighter and shorter. White cotton cloth is wraped around the drum.
To the Manipuri Vaishnavas pung is taken as Sri Krishna himself. The colour of the drum
is interpreted as shyam Varna or the colour of Lord Krishna33. Each part of the drum is
symbolically identified with the Lord Krishna, Radhika, Gopis and others related to
Krishna cycle. Pung or drum is revered as sacred and holy verses are recited before
teaching and playing the pung34. The sound of the pung signifies Sri Krishna, Radhika,
Sri Chaitanya, Nityanand and Sri Advaita respectively. However, the syllables of the
drum are interpreted differently. In the Nata Sankirtana the drum evokes the rasa of Sri
Chaitanya, Nityanand and Radha-kiishna.
Kartal: kartal or cymbal is an instrument played by the hands. It consists of two saucers
like brass disks. There is a depression in the centre of the cymbal and a hole through
which the handle (made of colour cords or threads) is attached. There are two types of
cymbals- cymbal o f the Bangdesh pala and kartal of the Nata pala. In King
Bheigyachandra’s period kartal became smaller and heavier. The golden colour of the
108
kartal (made of brass) is referred to the golden complexion of Radha and the sound
produced that of Radha’s sweet voice. The handle (composed of numerous cotton knotted
thread) of the cymbal is symbolized as the long beautiful tresses of Radha. The knotted
cotton threads which serve as the handle o f the Ariba pala is around 8 inches long and is
shorter than the Anouba pala, whereas that o f Anouba Nata pala kartal being long is more
suitable to the graceful cholom performance. The cotton threads are mostly of dyed
kabrang or silk threads
Moibung: It is the conch shell instrument blown by the mouth. Such instruments played
by blowing are used since ancient times. The first moibung khongba or conch shell
blower player is believed to be Nahaba Moireng Chamba35. Ancient text also highlight
the use of moibung in rejoice of the deities. Conch is blown in the beginning of the Nata
Sankirtana and it is considered auspicious and also ends with it.
Perform ance sp ace
Any kind of theatrical performance needs a space. Ritual oriented theatrical performance
like Nata Sankirtana is performed in mandap either attached to temples or temporary
constructions in the courtyard. In Nata Sankirtana, the space and positional direction is
setup in accordance with the imagined Brindavan bhava, Nabadweep and Lai Haraoba.
During royal times the royal court sent Brahmins in all parts of the kingdom for the
temples in the localities and villages spreading the new religion. Idols of Radha, Krishna
and Lord Gouranga made of wood were installed in these temples. Amandap or apavilion
attached to a temple was commonly seen. Thus the ranga manch of Manipur Nata
Sankirtana since then was the mandap.
Mandap or pavillion is closely associated with the performance of numerous religious
and social rituals. It is built mostly in continuation/extension of the temple, having its
own codes, style and architecture. The pillars are normally made of bricks, wood or
109
bamboo, and the roof is covered either with tin sheets or thatch (straw). The central area
ot the mandap is called mandali. It is kept empty and considered sacred where incense
and offerings are kept. The Nata Sankirtana is performed in the mandali. In case of
absence of mandap, a temporary mandap is constructed with the demarcation of the
mandali space in shumang or courtyard. The construction of mandap should be in the
auspicious hour. The purohit or the Brahmin fixed the jatra (foundation pillar) and
outline of the mandap. The pillars have to be either nine or twelve according to the type
of the ceremony36. The floor of the mandap is flat. The four sides (space) of the mandap
enclosing the mandali is meant for the audience. Such mandap are found in leikais or
surrounding precincts. The area or the representation of door that faces the west is the
cntTy to Mani mandir and with this knowledge in the mind the door (symbolic opening
space) of the mandap is laid down.
The door is symbolically shown by the place where the two drummers stand in the
beginning of raga towards the western side. The eight pillars of the mandap are considered
as the eight Sakhis while the central pillar is taken as Lord Krishna. They are erected at
the direction of the north, north-east, east, south-east, south, south-west, west, and north
west37 . The mandali or the main performing space in the mandap is signified as
Nabadweep or Brindavan. The sequence of the encirclement of the main performing
space in the performance is taken as Nabadweep parikarma and Brindavan parikarma.
Through the transcendental mood, the mandap represents the world of Sri Chaitanya in
a non-realistic manner. The first transportation to Nabadweep world is with the invocation
of Lord Gouranga. Then through Goura Bhava the next transportation to the world of
Brindavan begins with the enactment of Brindavan leela. The structure and movement
patterns are also based on the traditional movement patterns of the ancestral serpent
dragon (Pakhangba). Coils of the serpent dragon are imagined in the movement. The
building of the body of Gourachandra is rooted in the Lai Haraoba tradition of building
up the body image of the deity in the Haraoba structure. Sense of direction (entry &
110
exit) and placement of guardian deities in the Lai Haraoba direction follow native beliefs.
The performance space of Nata Sankirtana is related to the concept of laibung of Lai
Haraoba, where the central area is reserved for important rituals and placing of laiboula
(or seat of residing deity). Likewise in Nata Sankirtana, incense sticks, light, flower,
fruits, sandal paste, betel leaves and nuts are placed in the centre which signifies the
Asan or place o f lord Krishna. In the near end of the Sankirtana a part of the Mandap’s
roof is believed to be symbolically opened either by cutting a bamboo strip, so that the
soul can leave for heaven. Thus, the performance space ofthe Nata Sankirtana and even
for other rituals is mixed with indigenous belief systems forming its distinct codes.
Audience
Audience is another important element of theatre. Audience in general sense can be
very casual or informal. But in ritual oriented traditional Hindu theatre forms like Nata
Sankirtana audiences play an important role in the fulfilment of the overall performance.
The audience comprises o f children, aged people, men and women. The audiences are
not only viewers but they themselves are the participants in the journey of spiritual
transformation to Chaitanya’s world. The audience of Nata Sankirtana needs to be well-
versed in the rituals. A true devotee never considers the Nata Sankirtana as a mode of
entertainment but to listen to Harinam is considered as a kind of worship to the lord.
They know the lyrics, rasa or sentiments, and the bhava or moods of the Nata Sankirtana.
In Meitei religion from the earlier times the seating direction was specific. In Lai Haraoba
there were specific spaces for the kings, queens, nobles, and others though they differ
according to the clans and geographical area. Such similar kind of demarcation in the
seating arrangement is even evident in the Nata Sankirtana. In western side, the
incarnation of Srimati Radhika, Sri Mahavendrapuri is the honoured audience. In south,
Nityanand’s incarnation of Sanskarshan and in north the incarnation of Sri Narad, Sri
Vaas are the chief audiences respectively. In east the chief audience is the incarnation of
Hanuman, Sri Mukund Dutta38. Likewise seating arrangement was fixed for the royal
families, queen, princess, host, Brahmins and other devotees. The audience in the Nata
Sankirtana performance need to follow certain minute details which make it all the
more distinct than any other Sankirtana form39. The performance itself does not
demarcate the audience from the actors. The first devotee or audience is considered
important. In the closing part o f the Nata Sankirtana during aarati the audience stand up
and join the pala performers. The community thus totally involve in the ritual theatre
Performance Text
There is no specific written text for the Nata Sankirtana though nowadays, punglon
(drum vocabulary) and songs are recorded in written texts. Some events and episodes
are highly theatrical. Nata Sankirtana is performance based text and there are no instances
of being tied down by any text. The gurus from time to time have been inserting new
contents. The performance text can be stretched out or shortened by the actors but in
accordance to the chrome or (structure) of the Nata Sankirtana performance. Within
the structure a Nata Sankirtana performance can go on with Dhrumel additions too. Nata
Sankirtana performance is for almost five hours. The events are manifold. The text of
Nata Sankirtana is vast and based on Radha Krishna leelas, or liberally focused on the
stories of Shri Chaitanya’s life.
The songs which are sung are narrative based songs expressing stories or events of
Brindavan leela and Nabadweep leela. There are instances in the performance when the
lead singer does not do any acting through songs but narrate the story line simply in
prose narrative forms. A piece of dialogue delivery is seen in the performance as
interspersing or connecting two events. The technique is used quite often to bring in
two different time frames. The performance text of Nata Sankirtana is simple and starts
with raga houba (beginning of Raga), guru vandana, sabha vandana, gourachandrika, etc.
112
The main body of the performance text is Krishna leela, Chaitanya stories and it ends
withNityapad. The beginning and end are not directly a part of the main performance
text but vital in the overall structure of the Nata Sankirtana performance. There is no
specification in the time and place of the text. The text can range from the birth to all
other episodes of Krishna & Chaitanya and the places associated with Krishna’s life can
be depicted. The storyline of Nata Sankirtana is free from the time cycle and place. It
deals with such a theme which is eternal and timeless.
Improvisation
Improvisation can be done in Nata Sankirtana performance. If time permits the storyline
is extended or vice versa. The Gouranga Bhavi or vision of Brindavan in Gouranga’s
mind, imagining the Krishna leela and other events is used in the Nata Sankirtana
performance. This Gouranga bhavi technique enables the performer to narrate any event
exercising ample freedom without any barrier. The slokas (chants) are interspersed to
bring in a new story or to connect the new with the old or to shorten or lengthen the
storyline immaculately.
Nata Sankirtana conveys the rasa of the performance text through different mode of
acting of which the Angika abhinaya (bodily expression) or the bodily gestures and
expression forms the most important part. However Nata Sankirtana performance does
not conform to the minute classification and details of Natya Shastra’s Angika abhinaya.
The mode of Angika abhinaya adopted in Nata Sankirtana is purely body expression and
gestures to convey the text. Lead singer performs such abhinaya in baithya (sitting
posture). The complete form of Angika abhinaya however is seen in Pala cholom and
Pung cholom. The songs in Nata Sankirtana are narrative music and the audience are
able to understand the Nata Sankirtana from the songs.
113
Theatrical elements of Nata Sankirtana
While singing or playing instruments or acting it is important for the actors to perform
in the correct mood and sentiments. From the choloms, songs and music of Nata
Sankirtana, the audiences attain ecstasy. It is generated through appropriate performance
of the raga and ragini. There was a strict supervision in the codification of Nata
Sankirtana by the royal court. The raga-ragini, rules of drumming, Taal or rhythm, cymbal
music etc are fixed by the gurus and scholars with the consent of the king. It was not
permitted to alter or change or cut without the consent of the court. But in its process
of development new editions are accepted which is one reason of its widespread and
firm root in the soil o f Manipur spreading the essence of Bhakti and ujjwal prem
(ultimate love).
Within Nata Sankirtana performance two important theatrical elements and elements
that determine the distinct characteristic of a total theatre form are Nata pala Cholom
and Nata pala Eshei or song. The songs, cholom or body gestures and movements with
subdued acting are the aspects that make the Sankirtana performances highly theatrical.
Cholom
The Nata Sankirtana pala perform the rhythmic dance movements accompanied by the
songs and music of drum and cymbals in specific time measures and rhythm. The rhythmic
movement and bodily gestures are commonly referred in Manipur as ‘ cholom’ and is an
integral part of Nata Sankirtana. Cholom is performed both by the cymbal and drum
players. The Manipuri word ‘Cholom’ is derived from the Sanskrit word ‘Chalan’.40
Literally it means a composed movement in sequence. Generally it is taken as a distinct
dance performance for men. It connotes more of tandav bhava and from the word chalan
it is developed into cholom41. It is refered as Cholom Gathan because the beauty and
significance of cholom is seen due to the presence of Gathan or the structuralization in
114
the movements and expression of hands, body, etc42. Gathan is the intricate manipulation
of the body movements which is more familiar in abhinaya cholom.
The Nata Sankirtana is theatrical as the various events, are expressed through body
movements. The actor acts or shows the gestures and expression depicting the ‘rasa’
(sentiments or emotions) of the songs. Each body part expresses a distinct abhinaya.
While performing Cholom the various movements are bind within the realm of bhakti
or devotion. Therefore in any movements or expression of the eyes or the body gestures,
it should denote bhakti and humility. As commonly told by gurus, “Nata cholm for the
meitei involves; three body movements, three glance styles, three Phireps, three
footworks, and three wrist movements”43.
Nata Pala cholom
Nata Pala Cholomis broadly classified into mel cholom, tanchap cholom and melkup
cholom. These Choloms reflect the meaning and the stages of the songs. Pala positions
are taken according to the events or sequence. During the execution of the cholom the
entire pala move either clockwise or anti-clockwise. The basic standing pose of the
Kartal cholom and the Pung cholom is almost the same. In both cases, the performers
stand erect with the heels apart at a distance approximately the width of three fmgers
and the toes point diagonally outwards. One leg will bend slightly when the other one is
kept erect bearing the whole body.
There is a fixed code regarding the position of the eyes. It is concentrated in the
instruments and on hands to enable them to express the involved rasa bhava. During the
abhinaya the hands are not allowed to rise beyond the eyesight. There is a proper
coordination of the eyes and the hands. In Kartal cholom the performers begin by striking
the Kartals against each other to the syllables or composition of the accompanying
drum. There is a fixed stroke for each syllable of the pung. The intrinsic beauty of the
115
cholom comes from the movements which are vigorous and energetic yet performed
with grace, poise and delicacy. Though the movements seem forceful they are however
restrained maintaining exact tempo and yet flowing and continuous. The performers
cover the space forward and backward during the cholom. Beautiful gaits and gestures
are part of the repertoire in the chorus.
Pung Cholom
The pung cholom is performed by the two drummers to the punglort or drum beats
being played by themselves. The pung cholom performers are accessed to more freedom
as such the movements appear acrobatic with variety of spiral movements sometime off
the ground that demands a keen sense of balance and rhythm. Through pung syllables
and body movements the performers seek to imitate often reproducing sounds such as
that of drizzling rain or thunder and the graceful gaits of birds and animals
The intricate choreographed movements like Manipur’s Nata Sankirtana are missing in
the kirtan forms of other states. This difference adds uniqueness in Manipur’s pala. The
Nata Sankirtana Cholom of the state is very popular in other parts of the world too. “In
one of the composition of renowned teacher Premanand Thakur, offered at Sri Govinda
had incorporated cholom as apart o f the pala”.44 As Nata Sankirtana progresses different
forms of cholom are created and displayed. The present cholom forms were mainly
composed under the patronages from King Chandrakriti till King Churchand.
King Chandrakirti being a lover of art felt the need for refinement in cholom and insisted
his courtiers to improve it. Soraikhaibam Sengamba, an officer of rank offered to help
the King if he could be excused from the Lallup pana system of labour45. Under the
grace of king, Sengamba worked for two months. Guru Sengamba performed the cholom
series of Rajmel atingbi and menkup cholom at Govindajee complex in front of the
August gathering. The gathering appreciated the work and the King rewarded guru
116
Sengamba generously. A complete form of Rajmel cholom and menkup cholom were
then introduced. In the Rajmel cholom of Guru Sengamba was added the Areiba sathek
by Guru HourokChamba Samu46, a renowned scholar of that time. His Areiba sathek is
performed till today by the name o f Rajmel areibi47. The hard work of Sengamba and
HourokChamba made Ralmel Atingbi and Rajmel Areibi the two integral parts of Rajmel
cholom. “The Meitei cholom was first brought out by Sri Sorokhaibam ojah Sengamba
and Hourok Chamba.. .’,48
The intricate Thang Ta (swords and Spear, a form of native martial arts) movements of
Manipur are incorporated in the Nata Sankirtana cholom too. Therefore the movements
ofthe cholom are quite similar to the footwork and body gestures of the Thang Ta. Even
there is a close resemblance of cholom’s form, position and structure with the ‘mukna ’
(an indigenous form of wrestling). The Nata pala Sankirtana during the reign of Narasingh
was called as Sana pala. The cholom of the Sana pala was active and energetic. It
resembled the movement and alertness o f soldiers and bodyguards of the King. The
footwork of swordsman and spearman was added. Such type of cholom are used during
the time of Rathyatra (kang chingba), when the fourpanas or divisions perform khubak
eshei.In the pala Cholom the beauties o f the natural movements like the dance of the
peacocks, the sliding of the snake, the ripples of the waves etc. are structured. The
modifications in the cholom thus gave a new life and meaning to the performance.
Some of the cholom movements are well choreographed which require practice to master
the art form. There are many intricate movements of head, shoulders, neck, torso, stomach,
thigh, waist, buttocks, knee, calf, feet etc. So each body part has its own corresponding
body movement or gesture that makes up a cholom. They are performed with proper
coordination of body movements and musical instruments. There are two main types of
striking the cymbals or kartals49. In Rajmel cholom, graceful and poised cholom ofthe
Duhar are seen highlighting the ‘Gat/’ or gaits which showed the shajat or movements
ofthe elephants, swan, horse, snake, etc. In Rajmel cholom the cymbals cannot be raised
117
beyond the eyes. The raising o f the hand is signified as Krishna and putting it down as
Radha. The speed of the cymbals in certain episodes is increased tremendously.
Nata pala eshei or songs of Nata Sankirtana
Nata eshei originally is the songs o f the mahajan padavali based on local tune and rhythm.
Nowadays, singing Nata songs in Manipuri is widely popular. It started from King
Churchand’s reign, though some sections put up different opinions. The content of the
Nata songs are basically the love, prayer and devotion to the Lord in its corresponding
rasa. The Nata songs to the audience generate a blissful state of mind. Ardent devotees
shed tears out of love and completely surrender to the lord. The quality of the performer
or singer can be determined in the Rajmel episode. The earliest texts of the songs were
from Das avatar of Geet Govinda. Efforts were made to improvise and enrich the kirtan
songs50. The Nata pala songs has become vital for any events of life. The singing style
and techniques were greatly influenced by the traditional Pena singing forms51. The
Nata pala eshei being not entirely dependent on outside can trace its source or root in
the ancient singing forms and techniques of Manipur.
The contribution of Guru Rasananda was immense. He composed a new raga based on
“Aa” which was followed by “Ta” “Aa” “Ri” “ Ta” “Na” “Ta” “Na”.52 Besides Guru
Rasananda, many scholars not only wrote lyrics for the songs but they themselves
composed the tunes and techniques. Unfortunately scholars however have borrowed the
name of popular raga like malar, sindhu raga, etc. from outside but the style, techniques
and rhythm are all completely different. During the time of King Chandrakriti, there
were prominent Brahmins with major contributions in Nata songs. They also sang the
kirtans53 and popularized Manoharsai in the state.
118
Performance Structure119
Many preliminary religious rituals are performed before the bigining of the Nata
Sankirtana performance mainly in shardha or death ceremony. The religious atmosphere
is built up. Normal preparation begins from 2-3 days before the actual day. On the
concerned day the family or host organizing the Sankirtana take bath in the morning, put
sandal tilak (sacred paste on the face - nose and forehead), and wear white dhoti for
men and white phanek (type of sarong) and white innafi (shawl) for women. Sitting
arrangements are made for the audience by spreadingphak (mat), arranging chairs, etc.
Decoration of the mandap with mango leaves, cloth printed Harinam, Thakan (canopy
type) and pillars are wrapped with white cloth. The actors come quite early and dress up
observing all the rituals. The M oibung khongba or conch blower and Mandap Mapu
master of the ceremony take their respective seats. The Arangpham welcomes the invitees
with lei chandan (flower and sandle paste). Betel nut is distributed to the audience, even
in between the Nata Sankirtana performance. The preliminary rituals create a ritualistic
or sacred atmosphere to perform the Nata Sankirtana successfully. Meanwhile the Nata
pala or performers are prepared to begin the Nata Sankirtana performance.
The Nata Sankirtana follows strict rules and regulations in the performance of its rituals.
The host and the Nata Sankirtana pala are assembled in the mandap to begin the rituals.
The host and Arangpham offer ghot puja (offering of pots) to Smt. Radha with inscense
sticks and light. Flowers are offered to the decorated altar or asan of Lord Krishna.
According to the Brindavan Bhava, Lord Krishna is invited by Smt. Radha through her
Sakhis (companions). Lord Krishna who gets the invitation is believed to come and take
part in the Sankirtana. Smt. Radha gives invitation to Krishna for Brindavan leelas, due
to this the owner of the house or the host is identified as Radha. With this belief, the
Mandali or the exact performance space of the Nata Sankirtana is symbolically
transferred to the world of Brindavan. On the edge of one of the side of mandap, there is
a specific place called Khonghampham (a symbolical place to clean the feet).
Khonghampham is the place usually reserved in one comer before the entrance to the
Mandap of the Nata Sankirtana performance space. Two pieces of banana stem
symbolically represents it. In Khonghampham the soul sits on the two-piece banana
stem. The mandap mapu or in meitei pre-Hindu bhava the ‘ Amaibi’ symbolically takes
the soul ofthe dead soul inside the performance space and hands over to the lead singer.
The lead singer receives the soul inside the demarcated space and place it in the south
west comer of the mandap, north of the jatra post54.
Aperson is in charge of Khonghampham. According to the Brindavan bhava, Radha and
Sadashiv are believed to dwell in this area. In Nabadweep Bhava it is Kalidas, whereas in
the Meitei philosophy the reserved area is in charge of ThongakLairemma (the guardian
ofthe door), Sira Kondingnu55. Finally in the end of the Nata Sankirtana performance
the lead singer surrender the soul to the master of the ceremony in which the latter
sends the soul to heaven. The water that washes the feet in khonghampham is considered
to be that of Radha kunj and Shyam kunj, but in Meitei bhav it is referred as Khonghampat.
The sequence of the Nata Sankirtana performance can be broadly divided (1)
preliminaries (2) pung raga houba, (3) eshei raga houba, (4) Mel yeiba, (5) tanchap,
(6) menkup, (7) baithya and (8) conclusion56. The pung and kartal are placed in a white
cloth in the performance space and offered puja and prayers. Advaita is beleived to have
taken the pung or drum from the lord and beats it. The five main actors-two Pungyeibas,
Esheihanba, Duhar, Khonbangba show respect and prostrate to the Mandap mapu
and to the audiences. Finally, the five main actors along with the Arangpham and host
pay obeisance and homage by bowing to each other.
The Nata Sankirtana performance begins with a purva raga. The actors in their complete
Nata Sankirtana costume take out their musical instruments for puja. After bowing to
120
Lord Gouranga, invitees and the host, the five main actors form the respective pala
position. The rest o f the khonbangba or assoicate pala performers enter the space in
their full dress and take their positions. When all the performers are seated in the
mandali, the lei chandan or gandha chandan or flower & sandle paste service is offered.
It is the serving and honouring with flowers and sandalwood paste to the performers by
the Arangpham. It is first served to the lead drummer, then to others in order of priority
i.e., Esheihanba, Duhar, Khonbangba, and other palas respectively. The performers
offer the flower and sandalwood paste service to their respective instruments and touch
it to their forehead while chanting hare hare and offer it to the lord. The flower is
picked up by the thumb and middle finger held together while the ring finger touches the
sandal paste. The flower cannot touch or dip on the chandan. While taking chandan the
left hand should hold the container. They are then offered to the Lord in mind, touch the
forehead and put it on the earlope.
After the end of the flower & sandle paste service to the main performers, it is offered
to conch shell bearer and master o f the ceremony. The palas take permission from ‘ghot
puja’ which is supervised by the Arangpham. These formalities are followed by pana
(betel nut) and boribaphi (offering cloth) service. It is the offering and presentation of
betel leaves and boriba to all the performers. It symbolically represents the handing of
the performance of Nata Sankirtana to the main actors. Gandha chandan and pana or
betel is also offered to the audience comprising both men and women57. There are
instances when two or three Arangpham perform the lei chandan simultaneously to the
pala and audiences. While giving the boriba phi the host bow to all the performers
(palas) then to the conch shell blower followed by the master of the ceremony. The host
is seated slightly behind the Duhar till raga taba or completion of a sequence of the
particular Raga. The pala with bowing of the head show bhakti to the soul of the Sankirtana-
Sri Gouranga and stand up with the musical instruments anticipating the jayadhwani
(inaugural verse/ extolment of the deity) call/shout o f Mandap mapu. The Mandap
mapu enters the mandap and chants the jayadhwani. With the call of jayadhwani the real
121
performance of Nata Sankirtana begins with a punglon raga houba or beginning of a
drum vocabulary or composition.
It is invocatory and spiritualistic. The sound of the raga should evoke joy and love in the
hearts of the audience. It is essential to begin the raga in the right place and form. The
lead drummer first chants Harinam and touch the pung manou (the left face of the pung).
The Esheihanba playing the role o f Srinivaas touches the kartals or cymbals strings
recite Harinam three times. Meanwhile the drummers in the role of Advaita beats the
drum chanting Chaitanya Nitya and the drummer (follower) or Govinda reply back.
Nityanand raises his hand and shouts haridhwani. The master of the ceremony shouts
to the audience to chant hari and bow down.
Raga is sung or used as a medium to build the form of Lord Gouranga in any of the
rituals like Shradha ceremony. From the five souls of lord Gouranga, the essence or
real form of Sankirtana is created. The ‘maan (puking - feelings) of the lord takes the
form of Srinivas and play the role of Esheihanba in the Sankirtana, Advaita from the
‘budhi ’ (intelligence) and enact the part of the pung yeiba with Govinda as his follower.
Murari Gupta from the ‘Indri ’, (wakhal - thoughts) as pala and takes part in the
performance, Mukund from the ‘pran ’ (thawai - soul) of the lord as Duhar and
Nityanand from the ‘chit ’ {ayouba - ultimate) of Gouranga as the head of the mandap
or audience or mandap mapu. They form the ‘punch tatwa’ or the five souls of the Nata
sankitana58.
Punglon Raga Achouba
The actors in their initial standing position begin the Nata Sankirtana performance with
the beginning ofpunglon raga achoubaby the two drummers. The punglon raga achouba
(a composition of the drum vocabularies) is performed with full concentration. Raga
achouba mainly divides in to four types as there are different kinds of Nata Sankirtana
122
performances59. The conch blower blows the conch simultaneously. This raga achouba
or the major raga is known as Nata raga or mulraga60. It begins with ‘Ten Ten Tat Ta
Tang’ which means the utterence of Sri Chaitanya or ‘Eiti Chaitanya nityananda dui
dhai eiti tribaf signifying the building up of Sri Murti form. This beat is repeated three
times. After this, the drum beat ‘ginna gre dhe dhen ten... ’is played which represents
the drawing out of the panch rasa and panch tatwa or recitation of the jholmal mantra
to the drum invoking Sri Chaitanya, Nitya, Radha Krishna, etc., in Sankirtana. The jholmal
mantra is ‘Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare ’61.
When the drum begins nam prachar ‘ Ten Ten Ten Ten Ten Ten ’, the lead singer shouts the
ahari dhwani Sri Krishnapriti ananda bol, hari bol, hari bol”. The second lead singer
pala respond to it by chanting ‘'"hare hare ”. The drummers begin another beat which
represent the strangling of all evil spirits. From this stage the overall sound ofthe drums
accompanied by cymbal etc., express the process of forming the body of Sri Krishna
right in the centre of the mandali. The drum vocabularies depict the varied stage of the
Chaitanya’s Sri Murti. The process o f the formation of “Sri Murti from Sri Charan to
Shira (head) ” (from toes to head) is through the recitation of Hari nam. In completion
of forming shira (head) of lord Sri Krishna, the drummer, lead singer and other pala
bow their heads. The panch tatwa are then drawn out from Lord Krishna. In reaching the
guru ghat (signifying the body and soul of the Lord) episode the actors take one step
back showing the divine encounter of Lord Krishna form. The main actors and others
finally bow their heads by touching the ground to the imagined body of Sri Krishna built
up right in the centre of performance space. And with this the punglon raga achouba is
complete.
Eshei Raga
The forming of the body of Lord Krishna is fulfilled or shown non-realistically through
the composition ofthe drumbeats vocabularies. It is followed by panch tatwa episode
123
where the drummers draw out the panch tatwa from the body of Lord Krishna to fulfill
the Sankirtana. The panch tatwa yet to be given life, the drummers signal the Esheihanba
to start the next important sequence o f the performance called eshei raga (raga song
composition). The master of the ceremony folds his hands together and pray to Lord
Gouranga. He keeps on standing till eshei raga taba (completion of the song
composition). The eshei raga houba or raga alap begins with the chosen raga ragini for
the occasion62. In bigger occasion like shradha ceremony the raga alap begins with
raga achouba (major raga) or raga punish.
The Nata Sankirtana raga alap which portrays the keynote of the melody begins with the
song syllable ‘Aa’. The raga then proceeds with sound pattern of Ta Ri Ta Na Ri Ta Na
TaNa163. The drum will accompany the eshei raga. The raga alap is normally carried out
with caution. The intrinsic importance o f raga alap is the process of infusing the soul or
life to the lord’s body. If any of the tunes goes wrong it is believed to have spoilt the rest
of the Nata songs. If both the performers and the audience are not satisfied, the
performance itself will fail to invoke the prem bhakti in the audience. It is inauspicious
for the performer too, as it may likely bring sorrows and physical deformities. During
the raga alap the host and audiences are restricted from any type of movements in and
around the mandap. No one can enter the mandap and no new audience can join the Nata
Sankirtana for the fear of disturbing the concentration of the pala. Each syllable of the
raga alap denotes a specific part o f the imagined body of the lord Krishna; Zor-chest, Ri-
navel, Tiz-waist, TVa-legs, Ri-arms, Ta-head, Na-eyes and ears, 7a-nose, Afar-face. The
Soul or spirit is infused to the imaginarily build image of the Lord by the unison of the
raga, drum, and cymbal with the drummer giving the jeeva sancharini (a digression).
Reaching the sanchar the drum, cymbal and raga alap merged completely. The drum
syllables “Takhre Khratang Ghinta” signifies jeev Sancharini and its completion are
depicted by “Ghin Tenta Tan Ta Tenta Ten Ta With this the installation of the Lord is
complete.
124
i he eshei raga taba is followed by the invocation of Radha Krishna and Gouranga. After
it. Guru Vandana and Sabha Vandana are performed. It is the bowing or salutation to the
iHirus by the performers, which is a kind of seeking blessings for the successful
performance of Sankirtana. After guru vandana the pala also bow to the audience in
vibha vandana. The pala now sing the indispensable part of the Nata Sankirtana called as
liourachandrika.
(iourachandrika deals with the life ofLord Gouranga at Nabadweep. The duration of this
performance also depends on the circumstances. It is sung based on the raga which
initiated the Sankirtana. The various aspects to be presented in the Nata Sankirtana of
the concern day are first and foremost highlighted in the Gourachandrika songs. The
varied aspect of the Krishna leelas shown in Gourachandrika indicates an idea imagined
in Lord Gouranga’s mind. It is also because of the philosophy that any kind of Krishna
leela sung in the Nata Sankirtana are taken as Lord Gouranga’s vision in his trance like
journey to Brindavan where he takes the role of all the characters of Krishna leela and
interplay in conformity with each other.
Hie lead singer while singing one pad of Gourachandrika sits down with the voice helper
or khongbangba. The Duhar pala repeat the same pad while sitting down in the usual
manner. With this the Sankirtana comes to the main part of the performance body,
comprising of Krishna Radha episodes mostly in the form of devotional padavali lyrics.
In big events like shradha ceremony, Radha Govinda Niti leela chapter is sung. The text
of Niti leela is highlighted in Gourachandrika and is performed in proper sequence. The
response singing continues for more than two hours till the rajmel performance.
The Krishna leela is divided into Asthakal or eight times sequence. The Niti leela consists
from prata leela (from sunrise to 7:39 a.m.) to Sayang leela (sunset to 7:39 p.m.).
This sequence deals with Krishna getting up, dressing up and milking of cows by the
(iopis. In PurvaBahu leela {1:39 a.m. to 10:03 a.m.), Krishna takes the cows for grazing
125
(sansenba) in the forest. In Madharu leela (10:03 a.m. to 2:51 p.m.), Radha after long
anticipation meets Sri Krishna and rejoice the essence of love with Sakhis. They play by
moving the swing to and fro, jalakeli etc. Aparahu leela (2:51 p.m. till sunset) depicts
the return of Krishna with his Sakhas. In Sayang leela (sunset till 7:39 p.m.) Radha
sent food for Krishna through Sakhis. Sri Krishna eats the food, and the prasadi (leftover)
are brought back to Radha by the Sakhis. Radha then takes the prasadi with contentment.
Krishna reaches Gostha, takes bath, change and then enters the temple. All the episodes
are expressed in the form of songs, abhinaya and cholom by the drummers and singers.
After a short presentation of songs the Nata Sankirtana performance reaches the stage
of rajmel. Rajmel begins with a very slow tempo which fastens slowly till it reaches its
height of climax which is known as M el thaba or release of Mel. The whole process of
rajmel is classified in four parts:
1. Melhou.
2. Mel bung
3. Melawonbi.
4. Mel thaba.
To reach the stage of melhou rajmel the lead singer sings a pad (part) in the Mel tune,
after that all the performers repeat the same lines again and stand up together rendering
bhakti to the lord. With the drum beat the right foot is stepped out, and the actors circle
the centre of the mandap in a clockwise direction known as Berighat. The cymbals are
held together by the left hand and covered with the right hand kept on the navel area. It is
considered as the Nabadweep parikarma. After Berighat the performers reach their
positions, the drummers and lead singer prostrate towards one another. In the process
their musical instruments (drum and cymbal) come into contact with one another. This
touching of instruments is called as jantar Milan or the union ofthe instruments which
signify oneness of Radha Krishna.
126
The drummer then starts the Melhou, and simultaneously the lead singer begins the
Melhou songs. In M anipur Nata Sankirtana Mel signifies the correct union and
synchronization of songs, pung and dance bringing out a complete common form to its
fullest. Melhou also symbolizes the root o f the origin of rajmel in the process of Lord
Gouranga imbibing Radha bhava. The lead singer gives the signal for releasing the Ghat.
In accordance to it the drummers beat the tune of Ghat resulting to the release of Lumbi
ghat. Lumbi Ghat was Brindavan Parikarma in anticlockwise movement. The sequence
of Lumbi ghat is very enchanting. The body movements and gesture are graceful to the
slow rhythmic beats o f the pung. Fulfilling the prem bhakti rasa, the Duhar play the
role of a maestro, leads the pala and perform cholom. This part is called as Lumbi
(literal meaning a way). Ghat signifies the demarcation of boundary line. In the case of
Lumbi ghat, it represents the in between of the end of Melhou and beginning of Mel
bung. The drummer raise one of their hands after the end of the drum beat. It is a kind of
signaling the pala to take up the next Mel bung sequence.
The pala moves anticlockwise, representing the Brindavan parikarma. The Taal (time
measures) remains the same. The performers then take the earlier position. In between
the end of Mel bung and start of M el bung awonbi is Setu ghat. The songs immediately
after Setu ghat are M el awonba. There is a change in the tune and rhythm of the songs
and is sung repeatedly. The rasa of the performance is depicted by the different styles of
clanging cymbals. Each has its typical postures and body gestures. The pitch of the
voice is increased and the kartals are played in quick succession. The movements,
drumbeats, clanging of kartals etc. slowly intensified. Mel awonbi is now sung in a very
fast speed and the moment it reaches its climax, the Mel is released also known as Mel
thaba. It represents the physical union of Radha and Krishna. After Mel thaba the tempo
and mood of Nata Sankirtana gradually slows down. The correct form of Mel thaba
brings a lot of pleasure and happiness to both the performers and audience. Rajmel is
thus the union or consummation of Radha and Krishna through symbolical representation.
It is also called Sambhog.
127
What brings in more uniqueness to Nata Sankirtana is the tanchap performance. The
drummers and lead singer in a masculine way jump to each other to the unifying sounds
of drums and songs. Their energetic and enthusiastic performance gives to the audience
a thrilling experience. The music o f the kartals is slowed with emphasis given to the
drums and songs. When the drummers beat the tanchap composition, the cymbals are
held in the left hand together, the rhythm is given by the tapping of the feet and hands.
Tanchap is released with the Ghat and is followed by menkup. Menkup songs are sung
to the music of menkup punglon. The Duhar performs different cholom and he encircles
the space in his performance. The pala bow to the lord and sit down taking their respective
position known as baithya.
The actors perform the baithya singing. Many scholars introduce Taal yeiba (beating to
the rhythm) to strengthen the baitha singing and the Taal should be in accordance with
the rasa timing and form of the rasa or sentiments depicted. It is important not to misuse
the Taal. After sometime the lead singer stand up and sings numerous songs with varied
tune and rhythm. He sings bringing out the ultimate abhinaya and the other performers
respond to it.
In the stage of singing Swadhin the Arangpham distributes turbans, shawls, and lengyan
or cloth drapped on shoulders to lead singer, second lead singer, voice helper of lead
singer and turbans only to the two drummers. In the Brindavan Leela, Swadhin is the
attire of Sri Radha. The Braja Leela episode ends with the changing of dry clothes and
resting after Jalakeli by Radha and Krishna. The distribution of new shawls is also known
as phiroi thaba that signifies symbolically the changing of new dress after sambhog or
union.
The lead singer then takes the permission of Mandap mapu to end the Nata Sankirtana.
After taking permission, Nityapad which is chanting the name and glory of Nityananda
and Chaitanya is performed. The departed soul is handed back to th& Mandap mapu by
128
the lead singer or Esheihanba. In this ending part the host of the event enters the mandap
and prostrate on the ground stretching out with their folded hands. They pray to cleanse
the family from any such misfortune and to seek blessing of the Lord. The Mandap
mapu chantes the ja i dhwani mentioning the name and whereabouts o f the departed
souls. It represents the lifting up o f the soul to the abode of the lord. This is shown
symbolically by cutting a bamboo strip and opening a little space in the roof of the
mandap towards south-west direction. The whole Nata pala postrate to the Mandap
mapu and audiences as a mark o f respect. The conch blower finally blows the conch
which represents the end of the performance of Nata Sankirtana. Here, the family
members pay obeisance before the presiding deity, praying for freeing the soul of the
dead towards ancestral abode, and for complete cleansing of the participants.
In the mortuary rites, there is a way or journey of the dead spirit towards ancestral
abodes and certain specific purificatory rites are supposed to be performed by spirits
and also by their living relatives in order to usher the spirits to the ancestral abode. The
performance of Nata Sankirtana as specific is an important intensificatory ritual to the
spirit to be freed from its bondage and shackles o f mundane consideration and his/her
way to heaven is purified through the ritual system organized at home. The Nata Sankirtana
is not only a sacrifice by the householder to enable the spirit of the dead relative to be
freed from its journey but in return, it also purifies the householder from any unsanctified
bondage from imperfect household considerations. Therefore, the Nata Sankirtana clears
the path both ways for the one who is dead (spirit) and for the one who performs this
sacrifice in its relationship with the dead. The community participates in this ritual
system through a collective ritual connection. Performance is itself not based on
entertainment. The householder after fifteen days o f ritual social oblivion will come
out in tiie society for ritual equilibrium and the community accepts the family. Thus,
Nata Sankirtana helps in easing the spirits journey.
129
Nata Sankirtana is a total ritual theatre form for the people. It expresses the inner motive,
desire, longings and a complete worldview. The musical instruments, choloms, actors,
performance, space, dress, audience and community involvement in Nata Sankirtana
performance cannot be studied in isolation. It gives sense only when all these elements
are taken as a composite whole. Therefore, the whole Nata Sankirtana performance
involves a total theatrical experience.
Normally the kind o f theatrical practices which is seen with Nata Sankirtana form is a
deep symbolic gestures accompanied with true naturalism and naturalistic interpretation
of the historicity o f events by the actor. For e.g. the act of union between male and
female principle is accentuated by song, music and movement and the release of energy
after the act of union and the changing of the body through imaginary ablution is physically
symbolized by the changing of the actor’s dresses. The Arangpham or arranger comes in
with new sets of cloth along with householder and ritual act of offerings of cloth to the
actors signify beginning o f new chapter and at the same time the cleansing of the ritual
participants from the imaginary act o f the physical union of the protagonist in the story.
Internal symbolism and external naturalism do combine to signify a distinctive code of
expression, which is loud, secular combination, nor complete ritualistic non-expression
of the principles in performance. The nature of theatrical expression in Nata Sankirtana
therefore is ritualistic participatory yet subdued communication through a very strict
and elaborate performance code. The uniqueness of Nata Sankirtana therefore lies in its
complete physicalization of a participatory ritual.
130
End Notes:131
1 Kh. Yaima, Kangla Leiyat, (Imphal), p. 3 5.
2 Aribam Chitreswar Sharma, Nata Sankirtana 2nd part, (Imphal, 2002), p. 13.
3 Elangbam Nilakanta singh, “Ariba Pala (Bangdesh)” in Sahitya 60/61, (Imphal 1985), pp.
1-5.
4 M. Tomcha, Sankirtan Vi char Sangraha, (Imphal: Tomson Enterprises, 1987), pp. iv & v.
5 Sougaijam Thanil, “Bangdesh and Nata Changdamnaba” a seminar paper presented on
Mcmipuri Bangdesh Palagi Seminar, (Imphal: Manipur State KalaAkademi, 1974), p.
73.
6 F or Leibak Chaba pala the khwangnup is a green colour cloth with flower patterns of red
silk threads on which the Pakhangba symbol (pre-Hindi motif) is knitted with white silk. And
for Sevak pala the Pakhangba symbol is embroidered on black cloth with white silk threads
on the background of small yellow flowers. The drummer wears a white turban.
7 M. Tomcha, op. cit., p. viii.
8 Kh. Yaima, Meitei Jagoi: Anoirol, Vol. 1, (Imphal: 1973), 21. The congregational singing
was also mentioned in Y. Budhichandra (ed.). Thaloi Nongkhailem Ptiya, (Imphal: 1986),
p. 57.
9 N. Ibomcha Singh, “Nata Sankirtana Eshei: origin and changing trends”, in L.Lakpati Singh
(ed). Meitei Nata Sankirtana Nainaba Vol. 1., (Imphal: Guru Gulapi Nata Sankirtana
Academy, 2002), pp. 259-263.
10 Kshetrimayum Amuyaima Singh, Hongnemba Shillon, (Nagaon, Assam: Hema Printers,
2000), pp. 1&9.
11 As refered in ancient puya, “Ariba Sinthongn. During King Kangba, Ukhrong Festival was
held and offered Ahonglon.
12 Kshetrimayum Amuyaima Singh, Hongnemba Shillon, op. cit., p. 1.
13 Manmohan Ghosh (ed), Natya Shastra Vol. II, (Calcutta: Manisha Granthalaya, 1951),
p. 95.
14 Manmohan Ghosh, Nandi Kesvara’s AbhinayaDarpana (Calcutta: Metropolitian Printing
& Publishing House Ltd., 1934), p. xxi.
15 Waikhom Damodar, Manipurgi Nata Sankirtana Pala Eshei, (Imphal: Iboyaima Printers,
2000), p. 1.
16 G. H. Tarlekar, Studies in Natyasastra, (Delhi: Motilal Banari Sardars, 1975), p. 5.
>7 Bhagavata Mahapurana as cited in Aribam Chitreswar Sharma, Manipuri Nata
Sankirtana Vichar, Part 2, (Imphal: 2002), p. 23.
18 Nowadays there is a practice of segmenting a display of some parts of the Dhrumel even
for stage purpose. Earlier it was part of the entire ritual system.
19 Surchand Sharma,MeiteiJagoi Vol. 6, (Imphal: 1983), pp. 2-57.
20 Believed to have started at the death of King Garibaniwaz.
21 Aribam Chitreshwar Sharma, Sankirtana Vichar: Meitei Nongarol, (Imphal: 1988),
p. 13.
22 The significance of this mode of wearing dhoti resembles the amaiba and amaibi costume of
the Lai Haraoba.
23 In the Meitei philosophy the two parts of khwangchet signify Lainingthou and Lairemma
(father sky and mother earth).
24 Elangbam Choubhal Singh, Cholom, (Imphal: 2002), p. 25.
25 Surchand Sharma, “Nata Cholom” in Elangbam Nilakanta Singh (ed.) Proceedings of the
Manipuri dance Seminar 1971, (Imphal: Manipur StateKala Akademi, 1975),
p. 134-135.
26 Aribam Chitreswar Sharma, “Nata Sankirtana Meitei Nongarol”, op. tit., p. 31.
27 The formal invitation is also known as Chai Thaba.
28 The profession of the pala as such is not to earn money or for entertaining people. At
present there is a threat on popularising it as a means of earning and less observance of the
values behind it.
29 In some kirtan discourses the Mandap mapu is known as Madhavendrapuri or Nityanand in
Kumari Ranjana Devi, Manipuri Nata Sankirtana, (Imphal: R.B. Printing House, 1983),
p. 42. He is also known as Sri Krishna or Sri Ishwarpuri as cited in W. Tomcha,
Sankirtana Vichar Sangraha, (Imphal: TomsonEnterprises, 1987), p. 41.
132
30 K apilaV atsyayan, “Introduction” in SaryuDoshi (ed.), Dances of Manipur (The Classical
Tradition), (Bombay: Marg publication, 1989).
31 Different types of drum had been used. They areyaipung, tanyeipung, khong,
langdeipung, khun pung, pung used in entertainments, paojelpung (drum used for
conveying messages) etc. They differ in appearance as well as in the sound.
32 Kshetrimayum Amuyaima Singh, “Sankirtangi pung” in ElangbamNilakanta Singh (ed.),
Proceedings ofManipuri dance seminar 1971, (Imphal: Manipur State Kala Akademi,
1975), p. 142.
33 It is also mentioned that panch rasa and panch tatwa are combined to make up the pung.
34 Before picking up the pung gayatri mantra is recited first of all and worshiped by leibak katpa
(by touching the pung with the fingers and the forehead simultaneously) in reverence.
35 Moirangthem Chandra singh, Panthoibi Khongul, (Imphal: Manipur SahityaParishad, 2nd
ed., 1972), p. 112.
36 Shrilrungbamlbotombi Singh, “Sankirtana Vichaf ’ inL. Lakpati (ed.), Meitei Nata
Sankirtana Nainaba, (Imphal: Guru GulapiNata Sankirtana Academy, 2002), p. 101.
37 They signify Lalita, Bisakha, Chitra, Champaklata, Tungavidya, Indurekha, Rangadevi, and
Sudhini respectively. Waikhom Damodar Singh, Manipurgi Nata Sankirtana Pala Eshei,
p. 6.
38 M. Tomcha, op. cit., p. 9-10.
39 Waikhom Damodar, op. cit., p. 6.
40 Surchand Sharma, “Nata Cholom”, op.; cit., p. 111.
41 Ibid, pp. 111-112.
42 Ibid, p. 113.
43 Aribam Chitreswar Sharma, £CNata Sankirtana 2nd part”, op. cit., p. 76.
44 KumariRanjanaDevi, op. cit., p. 125.
45 Ibid, p. 126.
46 Ibid, p. 125-126.
47 M. Tomcha, op. cit., p. xiv.
48 Ibid, p. 20.
133
49 Kartal mapum (striking the whole face of the cymbals) and kartal mashek (striking only the
sides of the cymbals).
50 They were gurus like Premanand, Thakur Shyam, Tensuba, Sougaijamba, Dhaniram and
SwarupaNanda, Who were contemporaries in the time of King Garibaniwaz.
51 There are about seven forms of Pena music; Naheirol, Sikaplol, Huikaplon, Heripabot, Jaat,
Lamin and Hirithangyei.
52 Ningthoujam Shyamchand Singh, “Nata Sankirtanda Shijinariba Ragashingi Rasd\ paper
presented in Nata Sankirtana seminar (Palace compound, Imphal, September 2000).
53 They were Gourachand, Brahmananda, Khetramohan, and Gadadhar.
54 M. Tomcha, op. cit., 20.
55 Aribam Chitreshwar Sharma, “Sanldrtan Vichar (Meitei Nongarol)”, op. cit., p. 14.
56 Khagembam Gulapi, Sri Sri Govinda Thouram ParengNata Eshei, (Imphal: 1972), p.
Introduction and Surchand Sharma, Meitei Jagoi Vol. 3 (Imphal: 1969), pp. 86-93.
57 In few occasions or in the presence of the king during monarchial times, the lei chandan
service is performed in a different elaborate way. A separate plate is arranged for the king or
higher nobles.
58 Elangbam Choubhal Singh, op. cit., p. 35.
59 Raga Achouba is mainly divided into four types as there are different kinds ofNata
Sankirtana performances, for eg. Shradha of king, shardha of dead without kamaveda,
upnayan, marriage, etc.
60 SougaijamThanil, “Sankirtangi Raga Achouba Punglon”, in LeimapokpamLakpati Singh
(ed.), Meitei Sankirtana Nainaba, (Imphal: Guru Gulapi Nata Sankirtana Academy,
2002), 1.
61 SougaijamThanil, “Sankirtangi Raga Achouba Punglon”, op. cit., p. 4.
62 The duration of the raga depends on the occasion and the situation. A raga alap may even
take almost one hour.
63 Sri Ningthoujam Shyamchand Singh, ‘"Nata Sankirtanada Shijinariba Ragashingi Rasd\
paper presented in Seminar ofNata Sankirtana, (Palace Compound, Imphal, September
2000).
134
Photo 5 : Mandap mapu pays obeisance (body prostrate) to Sankirtana.
Photo 6 : Drum Sanchar after Raga Taba.
Photo 7 : Drum sequence of Mel along with the chorus.
Photo 8 : The lead singer (Esheihanba) introduces the Tanchap sequence after the Mel.
Photo 10 : The lead singer gestures during the last stage (Baithya) of the sankirtana in the sitting posture.