Me And My Manipuri Things

Rabindranath Tagore (রবীন্দ্রনাথ ঠাকুর), the Nobel laureate poet, writer, philosopher is probably the most prominent figure in the cultural world of Indian subcontinent and also was the greatest patron of the Manipuri dance and culture. It was him who popularized the Manipuri style of dance with its high zenith among the people of the world. He deserves the honorable place in the style and regarded as the “Pioneer of Manipuri dance and culture”.

From Tagore’s writings and other historical accounts we can learn a little bit about his visit in Sylhet (in present day Bangladesh) . It was 1919 when the historical event had taken place. In November 6th, Rabindranath had a visit in the Bishnupriya Manipuri (বিষ্ণুপ্রিয়া মণিপুরী) village of Machimpur(মাছিমপুর), a remote village not far away from the town situated on the bank of the river Surma. He was given a warm reception there from the Bishnupriya Manipuri people. He was so impressed after seeing a dance composition, the Goshtha Lila presented by the Bishnupriya Manipuri women. After seeing the demonstrations Rabindranath introduced himself to the people and wanted to be informed more about their dance and culture. He also met that time exile superintendent Mr Tanu Singha and looked for a Manipuri Oja (dance teacher) who was capable of communicating in Bangla. Mr Tanu Singha introduced the poet with great Guru Nileshwar Mukharjee (গুরু নীলেশ্বর মুখার্জ্জী )of Baligaon. Tagore intended to bring the dance teacher to his idyllic institute, Shantiniketon. In November 7th 1919, in the speech in a historical gathering of students at Sylhet M.C. College hall, Rabindranath mentioned about his experience in Machimpur and the Bishnupriya Manipuri people. The speech was published in a literary journal “Akangkha” of Shantiniketan (1920).

Tagore brought back Guru Nileshwar MUkharjee to serve in his Visva-Bharati University at Santiniketan. He immediately decided to open a new department of Manipuri Dance in Shantiniketan. Later many other Bishnupriya Manipuri Oja’s and danseuse like Guru Senarik Rajkumar, Nabakumar Singha, Muhu Singha, Guru Bipin Singha, Sri Bihari Singha and Sri Adityasena Rajkumar was invited to Shantiniketon in presence of Rabindranath. They assisted Tagore to choreograph several of his dance-drama. After that period Manipuri dance took its special place in Shantiniketon with Bhatnatyam, Kathak and Kothakali, the other classical dance forms India. In fact Manipuri dance was not as popular as the other classical dance forms. But the subtlety of the tender dance form and the variety of the rhythm impressed Rabindranath Tagore so much that he is credited with introducing this enchanting style to the other parts of the world.  Later many other  renowned gurus from Manipur and Assam were invited from to teach this dance form in Shantiniketan. Gradually the practice of this dance form extended outside the Manipuri community and was practiced with great enthusiasm, especially among the Bengalis and other indian people.

There is also influence of popular Manipuri tunes in many songs of Rabindranath. There are many Rabinra Sangit’s which involves Manipuri dance and dance –

1) Sribas kache theke dure… (শ্রীবাস কাছে থেকে দুরে..)
2) Aji basanto jagrata dware… (আজি বসন্ত জাগ্রত দ্বারে..)
3) Rodono vora a bosonto… (রোদন ভরা এ বসন্ত..)
4) Baki ami rakhbo na… (বাকী আমি রাখবো না…)

The compilation of the dance drama, “Chitragada” was fully based on various elements of Manipuri dance. Another of his literary work “Bhanusingher Padavali” depicts the influence Manipuri songs and philosophy. The Vasihnavite work “Bhanusingher Padavali” was compiled during Tagore’s visit in the state on Tripura and during his contact with the king Virchandra Manihya. The King of Tripura was married to a Manipuri princess named Monomohini Devi alias Thoraleima. Queen Thoraleima contributed a great deal in the movement of
wiping out Satidaho, a discriminating Hindu custom for women.

No doubt, Rabindranath Tagore provided a vital link towards the progressive cultural revivalism to the Bishnupriya Manipuri people and produced a band of local artists who enriched their culture. Rabindranath was the source of inspiration for the stimulation of our own dance, songs and music which were on the path of extinction.

Sources and references :
1. Kothika Matek – Prof Ranjit Singha, Sylhet 1992
2. Gayotri Chatterjee / Bharoter Nritokola
3. Tarun Kumar singha / Manipuri Nritya Probesika, 1968
4. Nripendralal das / Sribhumi sylhete Rabindranath
5. Manipuri Rasleela Udyapan Parisad, Bangladesh / Suvenir, 1996

Special thank goes to Sangram Singha (Correspondent, Daily Jugantor and Ekushey TV) for sharing the pictures and video clips.

Pics:

(Please click on the thumbnails for full view)

You tube (New):

Raslila night: http://www.youtube.com/watch?v=0ytO-tA0xNk

Updating more clips. Please wait…

You tube (Old):

Rakhual dance: http://www.youtube.com/watch?v=UjBZye8lWeQ
Raslila: Vrinda: http://www.youtube.com/watch?v=kk-oGYoT-i4
Crowd at Raslila: http://www.youtube.com/watch?v=D3xqzNmzeGA
Raslila Audience: http://www.youtube.com/watch?v=Ar-MN3lf-kk
People returning home -1: http://www.youtube.com/watch?v=1kDEZawmjJM
People returning home -2: http://www.youtube.com/watch?v=yT2oTjPCdxo

Read:
Grand Observance of Maha RasLila 2007 by Bangladesh Bishnupriya Manipuris

It’s been two hundreds or more years since our forefathers settled here from a beautiful place called Manipur and consequently they had developed a diverse identity for us. The identity of Bishnupriya Manipuri was a result of long historical process and series of struggles. For years we, bishnupriyas, meiteis and pangons are living here with a very close relationship and harmony as manipuris, as a undivided community. Though I take utmost pride of being a Manipuri, life has never been usual like other Bangladeshis here. I suffer the same side with other indigenous tribes living in political boundary of Bangladesh. If you are a non-bengali you are always 2nd class people here. Even if you are Hindu, you are 2nd class Hindu because you belongs to a marginal ethnic group. And I guess that is the same for hundred percent of the people belonging to Manipur or the other North Eastern states of India. As constitutionally the definition of ‘Indian’ or ‘Bangladeshi’ doesn’t include us, this is a price we indigenous tribes are forced to pay for national integrity.

The law of nature is ‘Survival of the fittest’, in a close ecosystem or forest where diverse population occurs; the dominantly populated species will always try to take maximum resources. If the resources are scare then they will try to eliminate the lesser-populated communities, thus extinction occur. This is similar to human being also. But there are so many people still our community who are sadly prone to disease of being copycap Bangalis, their role model has been some typical ‘Bengali Bhadaralok’. What gives me more shock is when educated people suffering from inferiority syndrome and usually try to ignore and hide their identity as a Manipuri. How to make these people realized that “you cant become the son of other mother, as she has her own sons”? How can people forget the endless struggles and sufferings our godly ancestors had gone through to develop a social structure, rules and regulations, economy system, an honest way of living and life leading, a unique dress code, a language to communicate and above all, to establish a proud identity for us?

If we ever tried to trace our roots we would hardly find it in history books. In the past years I have come across enough incidences and accounts that build up this immense anger and disappointment in me and I don’t understand where it will all go. In these years I have understood the importance of bringing our ever neglected history, culture, fine art, language and literature in front of the world. We have to make extra effort to find and preserve our glorious history and culture. Whatever little or more we know should be shared with everyone.

We are lucky to have portals, website and blogs like manipuri.org, pouri.org, bishnupriyamanipuri.blogspot.com etc and we should make the most out of it by contributing articles and other stuffs, which are related to our identity and culture to share it with everyone. I deeply appreciate these endeavors and my special thanks goes to the people responsible for bringing up such a wonderful sites.

Giving more importance to our own culture might seem too fanatical or selfish. One of my friends criticized me for not being interested about Bengali culture and not being stereotyped like wearing Saris and Lungi, listening Rabindra Sangit, talking in fluent Bengali, eating Meats, visiting Loknath baba ashrams or Durgabaris as well. She was shocked when I replied - “do you like to wear a Lahing or Inafi, can you talk Manipuri, do you eat Paltoi and Sinchou, do you bow down to Apokpa?” To that, naturally came, “You indigenous people are very selfish! You just think of your people, your culture, your identity.”

Well if we don’t think about our people or our culture will Superman fly in to save us?

Great Personalities who have made a difference to Bishnupriya Manipuri society in the fields of Arts, Music, Dance, Education, Literature, Religion, Social work etc and contributed a lot to Bishnupriya Manipuri culture and spirit. Let us have a look on profiles of those great personalities who make us feel proud to be a Bishnupriya Manipuri.

Part Two (1960-1980)

In the post 60’s - a brave and dynamic leader, a devoted community worker and a great writer was revealed in Bishnupriya Manipuri Community. His Name is Sarvashri Jagat Mohan Singha, former secretary of Nikhil Bishnupriya Manipuri Sahitya Parishad, popularly known as ‘Jagatda’. Jagat Mohan was born in 13th December of the year 1920 in a remote village of Assam. He played impressive rule in the language movement demanding the recognition of Bishnupriya Manipuri Language in post 60’s and 70’s. He was respected with the title ‘Sarvashri’ given to him for his dynamic and courageous leadership. His literary works mainly the criticisms under the nickname ‘Dolan Ipu’ was very popular among the mass. He compiled the valuable research work on Bishnupriya Manipuri language and history - ‘The Bishnupriya Manipuris and Their Language’(1976). Jagat Mohan was also a dramatist and composer of many songs on social enlightenment. Songs like ‘Jonome Jonome more diya petheis hunar Manipure..’ or ‘Loktake kader, kader akkhula … ahir pani bela bela ‘ are still source of inspiration for Bishnupriya Manipuris.

Another remarkable community worker and a dedicated leader is Late Sri Dinanath Singha of Tilakpur, Bangladesh. He worked throughout his entire life for the betterment of Bishnupriya Manipuri community living in Bangladesh. He worked as the president of Bangladesh Manipuri Samajkalyan Samitee which was joint platform of Bangladeshi Bishnupriyas, Meiteis and Pangans. In 1973 and 1975 a deputation leaded by him met the that time Prime-Minister and that time President of Bangladesh arguing to provide faculties for Manipuri students, patronizing Manipuri culture, construction of Manipuri Mandhavs and broadcasting Manipuri programs in the national media. As a result of his efforts, in 1976 the Govt of Bangladesh started telecast of regular programs from Radio Bangladesh, Sylhet station in Bishnupriya and Meitei language under a common Manipuri line. The Govt also granted a fund for maintenance of the Mandavs and provided reservations for Manipuri students in Govt institutes. Dinanath’s leadership pressurized the govt to establish ‘Manipuri Lalitkola Academy’ to extend Manipuri culture and Music. Bishnupriya Manipuris of Bangladesh inaugurated many associations/awards by his name viz ‘Dinanath Smriti Academy’, ‘Dinanath Puraskar’, ‘Dinanath Britti’ etc.

Hanjaba Guru Bipin Singha may rightly be called as the “Father of Manipuri Dance and style”. He was awarded with a number of the prestigious titles like Bharat Ratna, Kalidas etc. He has the past four decades with his disciplines - the Javery sisters -has contributed a great deal in the field of Manipuri dance and culture. In Bombay the famous performers and teachers are the Jhaveri sisters - Nayana,Suverna, Darshana and Ranjana Jahveri. They continue this tradition at their institution ‘Manipuri Nartanalaya’. Guru Bipin Singha is one of those artists who have spread the beauty of Manipuri dance all over the world and have been honored both nationally-internationally on this subject and thus brought glories for Bishnupriya Manipuri community.

Among the living legends, the name of Dr. Kali Prashad Sinha comes at first. He is the first and foremost Bishnupriya Manipuri to be entitled with the degree Ph.D and D. Lit. He is the first exponent of Bishnupriya Manipuri linguistics. Dr K P Sinha passed M.A. in Sanskrit from Jadavpur University in 1963. He visited almost every village of Bishnupriya-speaking people in Assam, Manipur, Tripura and Bangladesh; studied dialectical differences and collected the vocabulary of the language. With all this materials a thesis entitled ‘A study on Bishnupriya Manipuri Language’, on which he was awarded the degree of Doctor of Philosophy by Jadavpur University in 1968. He joined the Assam University as Professor & Head of the department of Sanskrit. His remarkable contribution is the first ever ‘Bishnupriya Manipuri Grammar’ and the significant work ‘An Etymological Dictionary of Bishnupriya Manipuri’. He wrote a number of essays on Bishnupriya Manipuri linguistics, social problem etc and composed numerous poems, vaishnava padavalis and modern songs. He translated the whole Rasleela songs into Bishnupriya Manipuri language expressing the divine love of Radha and Krishna, which are previously found only in Bengali-Brajabuli version. Greater contributions of Dr K P Sinha are in the fields of Indian philosophy where ‘Nyaya-Darsana-Vimarsa’, ‘Sankara-Darsana-Vimarsa’, ‘The Buddhist Theory of Non-Self’, ‘The concept of Absolute Indian Philosophy’ etc worth mention. Dr K P Sinha was once involved with social activities with Bishnupriya Manipuri Mahasabha and later he formed Bishnupriya Manipuri Sahitya Sabha. In 1994, his statements along with his research works that were submitted to the Assam Backward Class Commission played an vital role in recognition and inclusion of nomenclature “Bishnupriya Manipuri” in the list of OBC. In personal life, he remained unmarried and he spent all his earnings in publishing books, organizing community events and founding the cultural point ‘Divyasram’.

References:
Souvenir of Word Conference 2003 by NBMM
Kothika Matek by Prof. Ranjit Singha, 1992
Souvenir of 50th anniversary of NBMSP & NBMSP, 2006
Ithaak, January 11th, 1995 Issue
Pouri Patrika, August 2007 Issue

Acknowledgements:
Sri Samarjit Singha, Tripura
Prof. Ranjit Singha, Sylhet
Sangram Singha, Sylhet

Contd…

On Saturday, 24-11-2007 the auspicious observance of Maha-Ras, the principal festival and the foremost annual cultural event of Bishnupriya Manipuri Community in Bangladesh, was celebrated in a grand way and with great enthusiasm. The king of Manipur Maharaj Bhagyachandra (1763-179 introduced Manipuri Raslila to Manipuri society and from the time onwards Raslila became the most important aspect of Manipuri culture. Since the mid-nineteenth century when the Manipuri Bishnupriyas and Manipuri Meiteis settled in Bangladesh, this festival has been observed in cooperation at Madhabpur Juramandav in Kamalganj upaziala of Moulvibazar district.

As per the records maintained by authorities, the first Maha-Ras ever held outside Manipur, was at Madhabpur Juramandav in 1842. This year is the 165th observance of the great festival. It was year 1971, when Maha-Ras observation didn’t occur due to the liberation war of Bangladesh. It needs mention that the Raslila performance which enchanted Rabindranath Tagore in 1919, was that performed by the Bisnhnipriya Manipuris of Machimpur, Sylhet and the teacher appointed from Bangladesh in Shantiniketon to teach Manipuri Dance was Guru Nileshwar Mukharjee from Kamalganj.

According to Vaishnavite scriptures, Raslila means the amorous play of Radha and Krishna with inthe milkmaids of Vrindaban. It reveals the sublime of metaphysical love of Radha and Krishna and of Gopi’s devotion to Krishna, the full incarnation of God. According to Manipuri Pandits, it is an attachment of the outward soul (Jivatma) to the supreme soul (Paramatma). The Maharas has been set forth particularly Ras-Panchadhya of Bhagavat-Purana. It usually celebrated in the full-moon day of Kartika (November-December). The foundation of Manipuri Maharas, techniques, costumes, ornaments and make-ups etc are believed to be revealed by Maharaj Bhgyachandra in his dream.

Befitting programs were chalked out to observe the festival at three historic Mandavs of Madhabpur Juramandav. The programs include Gusthalila, Nata Kirtan and Raslila. The first item was Gushthalila, the kind of dance wherein the story of Krishna and his Gopal friends is performed, by small children dressed as Krishna with Bashi’s(flutes). Krishna’s game with his brother Balarama, association with the Gopal’s, Yasuda’s love for her son, the coming of sage Narada to the palace of Nanda, the appearance of the demons Bokasur and Chanu-Moosti sent by Kamsa and their fight with Krishna-Balaram etc were invariably shown the dance item.

The male Nata Kirtan which began early in the night was a sort of prologue to Ras, where devotional songs were sung with the help of Kartals and Pungs (Drums). After the Kirtan is over, a Puja by way of invocation were held in the centre of the Mandav. Mondoli, the stage of Ras is provided with bamboo-pillars festooned with tender leaves, canopy of papers, embroidered curtails, etc. Illumination is provided with colorful electric lamps. According to the tradition, no audience is allowed to enter the dancing hall with their shoes on, everyone has to enter and leave with bare-footed.

At a quarter past midnight, the Ras orchestra took place in the north-western directions of the Mandavs. They consisted for the most part, two pair of Pungs (sometimes mistakenly referred as ‘Mridanga’ although ‘Pung’ and ‘Mridanga’ are different things; ‘Mridanga’ is made with ‘Mri’ or earthen materials whereas Manipuri ‘Pung’ is special kind of drum made of wood and leather), Cymbal, Harmonium, flute Moipong and Selbong. The Rasdhari, who was the teacher, director and conductor of the dance, acted as the lead Pung player. Two or three female singers with Manjeela’s(mandira) in their hands, played the role of Sutradharis, who sang the songs of Krishna’s divine love play as described in the Bhagabat Purana.

‘Tai ri ta na ta na … ta na ‘ the Ras starts off with this traditional ‘Raga’ – a very popular concept among the singers and drummers. The Bhakti oriented manipuri kirtans makes use of six Ragas and thirty-six Raginis as set forth in the Govinda Lilamrita and Sangit-Damodara. Then the sequences such as Vridadevi’s arrangement of Kunjo, arrival of Krishna, arrivals of Radha and the Gopi’s at the appointed place, Krishna’s disappearance from the company of Gopi’s, Krishna’s separation from Radha, Radha searching for the Lord through emotional songs, reappearance of Krishna and the Gopi’s Prem-Seba to him, questionings of Gopi’s to Krishna and his answer, Krishna dance with Gopi’s and lastly the Gopi’s return to their homes at the end of the night were performed in due order.

The Gopi’s were singing, speaking and dancing. The singings was in unison, it consisted of solo, duet and chorus which were alternated and interchanged frequently. The Sutradharis were singing mainly the arias of Radha in the background. The languages of the songs were mainly in Sanskrit, Maithili, Brajabuli and Bengali though few of them were composed in Bishnupriya Manipuri Language. The Oja said that the songs of Ras are set in Tintal (7 Beats and 3 Stresses), Tanchep (3 Beats and 1 Stress) and Menkup (3 Beats and 2 Stresses) in succession. There are also 64 variations of Sringars, the sentiment of love in consonance with the Ras theory of Manipuri Vaishnavs. The dance form has a well-confined and definite technique based on principles laid down by tradition. Closely related to the dance are the Parengs (series). The common one’s among Parengs are Vrindavan Pareng, Khurumba Pareng and Bhangi which are classical compositions of dedicated Gurus. The tradition is while presenting a Pareng the audience cannot leave the place till the presentation is completed.

The Ras ended with the ‘Arati’ in which the whole audience stands up and takes part. Flaming trays of Candles and Agarbatis were brought into the arena before Radha and Krsihna.The Gopi’s were running their hands over the fire and touching their faces. The audience, with the sentiment of the religious devotion, seemed to be satisfied fully appreciating and drinking the nectar of Radha-Krishna Love, some of them were found shedding tears. They took the dusts of the feet of the Gopi’s and flowers from the Ras-Mondoli as sacred objects and place them on their heads.

Thousands of people irrespective of religious identity joined the festival.A Manipuri handloom fair was also held infront of Juramandav. The local government authorities and Kamalganj thana police have taken special measures to hold the festival peacefully.Raslila was also observed in some other different places like at Tetaigoan in Adampur, Jayashree in Habiganj and Paruwa in Sunamganj district.

165th Maha RasLila organized by Bangladesh Bishnupriya Manipuris
Videos are available at YouTube.com

Rakhual dance: http://www.youtube.com/watch?v=UjBZye8lWeQ
Raslila: Vrinda: http://www.youtube.com/watch?v=kk-oGYoT-i4
Crowd at Raslila: http://www.youtube.com/watch?v=D3xqzNmzeGA
Raslila Audience: http://www.youtube.com/watch?v=Ar-MN3lf-kk
People returning home -1: http://www.youtube.com/watch?v=1kDEZawmjJM
People returning home -2: http://www.youtube.com/watch?v=yT2oTjPCdxo

Acknowledgements:
Sangram Singha, ETV, Sylhet

A few decades ago Manipuri dance was not as popular as the other classical dance forms. But the subtlety of the tender dance form and the variety of the rhythm impressed Rabindranath Tagore so much that he is credited with introducing this enchanting style to the other parts of the world. Renowned gurus were invited to teach this dance form in Tagore’s idyllic institute, Shantiniketan. Gradually the practice of this dance form extended outside the Manipuri community and was practiced with great enthusiasm, especially among the Bengalis. Following that initial period, the individual who can be credited for empowering and popularising the dance form, is Guru Bipin Singha.

Guru Bipin Singha was born on August 24, 1918 in a Bishnupriya Manipuri family deeply involved in Manipuri Culture. His grandfather P. Tona Singha was a Manipuri Maiba (priest), his father Laikhomsana Singha was a poet and his mother Indubala Devi was a vocalist. Thus dance and music are in his blood.

Right from his childhood Guru Bipin Singha received intensive and elaborate training in the art of Manipuri dancing from various experts residing in Manipur and its surrounding districts like Cachar, Sylhet and Tripura. Guru Bipin Singha is a rare combination of a dancer, choreographer, scholar and a teacher. For over the last 50 years he had dedicated himself to the task of exploring and revealing the classical elements of Manipuri dancing in order to preserve, promote and propagate the art form in its pristine purity.

His genius for creating and innovating dance compositions and choreography had given him a rightful place among the choreographers of Indian dance. He composed various dance items, emphasising each classical element in a stylised way, bringing out its beauty to the fullest
and keeping true to its original form and spirit. He gave a new direction to dance dramas and choreographed them keeping within the traditional framework. From within these dance dramas he chose the solo pieces and re-choreographed them for the stage, thereby making them complete. He was a pioneer in introducing solo dance performances in the Manipuri style.

Through studies and researches, he had continually established a significant correlation between the available Vaishnavite and other Indian texts on dance, as well as the oral tradition of Manipuri dance and music. His scholastic abilities had enabled him to analyse, classify, systematise and codify various aspects of Manipuri dance and create fundamental and universal principles and disciplines to impart effective training.

Guru Bipin Singha in collaboration with his well-known disciples Jhaveri sisters and Kalavati Devi, founded Manipuri Nartanalaya in Bombay, Kolkata and Manipur. The creative contribution of Guru Bipin Singha and the Jhaveri sisters had been to bring the traditional and classical dances of Manipur from the temples to the theatre without altering its form and spirit.

The state of Manipur recognised his scientific attitude and scholarly approach and had accredited his ’school’ of dancing as a significant ‘gharana’ of Manipuri dance.In order to acknowledge and appreciate his contribution to the field of dance, Guru Bipin Singha was awarded with many prestigious awards among which were Nrityacharya by Maharaja of Manipur, National Sangeet Natok Academy awards given by Late Indira Gandhi, Uday Shankar Fellowship Calcutta, Kalidas Samman Madhya Pradesh, Anamika Kala Sangam Awards Calcutta and many others.

Guru Bipin Singha’s teachings and the Manipuri dance style were popularised in Bangladesh by Shantibala Sinha and Kalavati Devi at Chhayanat. Two of her direct students Sharmila Bandyopadhyay and Tamanna Rahman are now carrying on the legacy of Guru Bipin Singha in Bangladesh and introducing the young generation of dancers to the Manipuri style.

Contributed by: Tamanna Rahman | Dhaka

50 Great Bishnupriya Manipuris

Great Personalities who have made a difference to Bishnupriya Manipuri society in the fields of Arts, Music, Dance, Education, Literature, Religion, Social work etc and contributed a lot to Bishnupriya Manipuri culture and spirit. Let us have a look on profiles of those great personalities who make us feel proud to be a Bishnupriya Manipuri.

Part One (1920-1960)

Perhaps the most remembered idols among the Bishnupriya Manipuris are Late Gokulananda Gitiswami and Late Sri Bhubaneswar Sadhu Thakur. Gokulananda’s song immortalizing Mother Bishnupriya and Bhubaneswar Sadhu Thakur spiritual teachings played a pivotal part in defining Bishnupriya Manipuri culture, both in Bangladesh and India. The impact of this great wandering social reformer Gokulananda on the Bisnupriya Manipuries has been manifold. He traversed the whole of Bishnupriya-speaking region - singing with a missionary fervour of the ills of our society and their remedies He devoted his entire life to the serve the community, to improve the condition of our people and to keep pace with the progress of other communities. He dramatized the plight of our women against the comparative indolence of men. He came under lot of turbulence of the times and he appeared to have wider sympathies. Because of all these qualities of a very high order, grateful people conferred on him the title “Gitiswami” along with a silver medallion, in a special session of Nikhil Bishnupriya Manipuri Mahasabha, in 1935. On the other hand, Sri Bhubaneswar Sadhu Thakur was a popular spiritual master who born at Baropoa, now renamed Bhubaneshwar Nagar, in Cachar. He taught a moral code of love, forgiveness, charity, contentment, inner peace, devotion to God and Guru through his teachings and songs. He saved the people from spiritual degeneration owing to abject poverty. They have learnt from him to live honestly and peaceably with what little they have. He established the temple Sri Radha Gavinda Jew Mandir popularly known as “Govindabari” at Nabadwip in West Bengal which is a veritable abode of peace for the devotees.

Late Sri Mohendra Kumar Singha (B.A., B.T.) of Silchar was a renowned social worker of Bishnupriya Manipuri community and also one of the few knowledgeable persons of his time. He was the pioneer in Bishnupriya Manipuri historical research. His historical work is compiled into three volumes of “Manipurer Prachin Itihas” which took him a vast amount of research works and findings. He edited ‘The Bishnupriya”, the month-piece of Mahasabha. In the third decade of 20th century, when a group of young and educated persons started publishing journals and literary magazines like, a wave of consciousness and nationalism sparked the society - the foremost among the young fellows was Late Sri Falguni Singha. Falguni was the editor of ‘Jagoran’(1925) and ‘Manipuri’ (1933). Beside literary activities he was a very good organizer. He worked in many ways to solve conflicts among Bishnupriyas and Meiteis. That time, other scholars like Late Sri Sena Singha, Late Krishna Kumar Singha and Sri Haridas Singha also contributed a lot in the field of historical research. Here we also remember with deep respect the social works done by Late Sri Tonubabu Singha Superintendent, Sri Manik Singha, Sri Kamini Singha, Advocate Sri Babuchand Singha, Sri Hemachandrajit Rajkumar and few others. Shaid Rajbabu Singha was a social worker, who sacrificed his life in 15th march 1933, when a rival group took away his life for what he is doing for the society.

In the field of dance, Guru Nileshwar Mukharjee from Bangladesh (of kamalganj Thana of undivided Sylhet district) and Guru Senarik Singha Rajkumar from Cachar district of Assam are well known to Manipuri society as with them the new department of Manipuri Dance was created in the Shantiniketon (Calcutta) in the early 30’s. In 1921, the poet Rabindranath Tagore encountered Manipuri dancing in Sylhet district, a Bishnupriya Manipuri enclave (Machimpur) that is now part of Bangladesh. Tagore was fascinated with a Ras performance and he consequently invited these two Gurus. That was an epoch making events in the history of Manipuri Dance and within a decade in crossed its regional as well national fields and became a reputed international style.

In the field of Arts, Literature and Music, the name of the eminent dramatist Leikhomsena Sinha from Singari near Silchar comes frist. Leikhomsena was the father of Guru Bipin Sinha, the great exponent of Manipuri dance. Leikhomsena singha was the author of the dramas entitled ‘Harishandra’, ‘Manipur Patan’ and ‘Khamba Thoibi’ and composer of many padavali songs. Madan Mohan Sharma of Sanicchara was one the four main writers of pre-50’s Bishnupriya Manipuri Literature. Madan Mohan Sharma was the author of a number of Kiratana-type works namely - ‘Balipinda’,’ Subal Milan’, ‘Tilottoma’, ‘Basak’, ‘Sudama Bipra’ etc. Amusena Singha of Cipersangan was also one the four main writers of early modern Bishnupriya Manipuri Literature.Amusena sinha wrote a number of Kirtana-type works based on Ramayana, namely - ‘Angada Raybar’, ‘Saktisel’, ‘Taranisen Badh’, ‘Nagapas’, ‘Mahiravan Badh’ etc.

References:
The Mahasabha Review,1970
Souvenir of Word Conference 2003 by NBMM
Kothika Matek by Prof. Ranjit Singha, 1992
Loktak 10th issue, 2005
Nuwa Ela, 23rd year, 6th Issue, 2005

Acknowledgements:
Late Sri Lalitmohan Singha, Tilakpur
Sri Nilmani Chatarjee, Ghoramara

Contd…

jaat ahar, bhasa ahar prachinotto baro historic proman ou bhasar lokosahityai der. bhasa ahan kotihan beboharik bhasahan asil, bisesh koria amar bishnupriya manipuri bhasa ehan, ouhanor pou ami amar purana lokosahityar ma peyar. pourei(proverbs and idioms) bultara eta bhasa ahar dangor sompod. 600/700 bosor age amar somajhar chinta-chetona ba jibondhara kisade asil ouhar chitrogo ou someikar poureit ami sha sha kore dehiyar.

pourei eta poromporat pasi somajor obhiggota. tanur gyan, tanur buddhi, hoba, hobanei jehan pasi ouhan chhondolo, olongkarlo, upoma-rupoklo sajeya amarka thodesita. ami tanur bhasa baro chinta ouhanilo jibon ehanore dehiar. pourei etar mingale ami seitto hanore peya ouhanore grohon koriar.

eta sadharon bhasalo matesi sadharon kotha nagoi, osadharon kotha outa sohoj koriya sadharon koriya matesita. sohoj kotha uhanor ma ase gobhir ortho. kengkoresi outa dangor shilpi akeigo.digol yari ahane, lecture ahane jehan mate narer ouhan pareng aakhanath matiya foukore der pourei ahane.

OJAR LOGE RAJA NUWARER - ehan dangor satyahan. baro OJAR BARADE JOLSITA - ehanou arak satya ahan. OJAGORE KOJA KHAWANI, OJAR NANGE PORUWAR BARTON - ere pourei eta mar ahigi melader.

Pourei- kotha ehanor ortho ahan peyar ‘agekar yari’,itihas. poirei eta amar loko itihas. somajor bises ghotona ahan thaite thaite poureihan olose. SWARUPAR KIRTON - pourei ehat ase Swarupa buliya girok agoi kirtan koriuru buliya barton diya loyoitega kittau ayujon nakoriya koresil ghotona ouhan lukeya ase. aji peryao esade samantoral ghotona ahanore SWARUPAR KIRTON bulia mattara. Swarupa ego kurangkargo kun loyargo mate narleo tar kamhan pourei han oliya jingta oya ase.

BOLOR BAPOKOR LAMUISING THELANI- poirei ehat manugore namatiya putokorelo porichoi desi. ere girokgaso etai koriya gesiga kam outarka somajhane tanure omor koriya thoila. tanur kotha etare haisso roslo ghohon korla. hin duk yarou koulir hadit samaj ehan jingta oya asi ehan pourei nikaliya harpuasi. dukkho hanore ahir panilo na ngokkoria - muksihanlo marupgo koranir hothna dehorang.

kuno kuno poureit samajhanore niya bidrup baro samaluchonar porichoi peyar. jemon - MI THAITE KHAIGOI KIYA BOKSAHAN BOYA HIMPEITOITA - ehat amar slave mentalityr porichoi peyar, uddeissohan ere aghat ehanlo nojore hojak korani.

pourei akeihanath yari akeihan lukiya ase. poureir ma amar apabopar jibondhra, asila lam ouhar geography, sangskriti, achar bebar ritiniti habi mengselhar sadane dehe pariyar.

Sri Bimol Singha baro Sri Brajendra Kumar Singha girok dogiye nyam hothna koriya bishnupriya manipuri tharor lamsam di lising pourei khomkoresi baro outa ‘pourei’ nangor lerik (agartala, tripura, 198 ahanat saatkoresi. girok dogirang bishnupriya manipuri somaj harajibonorka rini iya thaitai soinei. epei bishnupriya manipuri lokosahityar barongotto amritor sade nungsi pourei kotohan habir ka tuledilu -

• OITE AHAN MATTE PAACH HAN
• AATJAANG MUJURIYA KHANGKORANI
• AALIYAR GOJE PATA BORON
• AATELHANE BAARHAN PHANI
• AAHIGIDE JINJINI NIKULANI
• ICHAR FAL BOISAR FAL DENA
• URADARAR DOUGO
• UHULA AARIGO
• EK DEBA EK SEBA
• E JONOME, NA HOU JONOME
• EGODE BINI HOUGODE PIHA
• EMARI BARTON BULTE KIRTON
• ER BULLE ER, TITI BULLE TITI
• KO BULTE KISHNO NINGSING ONA
• KOSUJARE FARSI DENA
• KOCHKO KAPIYA KHANA
• KAKARA DORTEGA HOROP DORANI
• KANA UTONGE PANI DALANI
• KANA MONE MONE JANA
• KARTAU THASI KARTAU JUNAK
• KISNORE PEILEU LEISI KHANA
• KHER MARA DENA
• GOR PEITE NOU BURANI
• GORE BAT NEILE BELITIKE KOULI
• GUCHARITH PARA DENA
• CHOROR MAAL ORE GATANI
• CHENGEIT PORA IDURGO
• CHHINCHUR MAROITH AANDI
• JANGLO JI THELANI
• JELA CHAKUMOR KHALE BELA
• TE BULTE TENGARAGO HARPANI
• DIGALI BONHAN PATHARI NAKORANI
• TINGA MEKUROR LEJ NUKANI
• TOR GORE TI DANGOR, MOR GORE MI
• DILE HOBA NADLE SHAKTI
• NIJOR AAT JOGONNATH
• PAAPHANE SERHAN PHANI
• BOBEIR HUTA DONANI
• BAATTI MANUR BUDDI NIYAM
• BATOR GOJE BERENGA
• BAPOKOR PUTOK, MALOKOR JILOK
• BITOREDE BON KAPANI
• BUALE LEHUE BEIBUNI
• BOU KHEYA SEP AAGANI
• MANGKHEIR PATAT THAKORIYA BESANI
• LANGTIYAR SIRAPE GURU NA MORTARA
• LONKAAT GIYAU OLOI
• SHANI SEBAT KIRTONOR KHUTTEI
• SOMOYE PORLE BAAKGOU AATHALI KHAAR
• HAGEDE SEP BELLE NIJORANG LAGER
• HARIR LILA MAKORO JAAL
• HUKANAT PARON PATANI
• HUCHIGO PORLEU DEHANI
• HUNA THAITE KASUR BEBSA

pullap kore itihashan na peileu bishnupriya manipuri jator tuma tuma itihasor shakkhi oya ase pourei eta. pourei etar ma manipuror matir loge amar jaathar marengor somporkor nanan yaripori lukia ase.amarka amar apabopai tanur gyan, dharona, upodesh, boktobya baro obhiggota outa kobittolo sajeya thodiya gesiga. ami etalo nojore, nojor kola-kristi-culture baro sahityare saja pariyar. na sajeileo amar dhan amar barongot thaile ami bora oyar.

Gokulananda Gitiswami is a name deeply cherished by the Bishnupriya Manipuri people. There are practically few persons in the community who may not know his name. A versatile genius as well he was, he was a dramatist, a poet, a wandering minstrel and above all a social reformer. His life bears testimony to all these high qualities of head and heart which can be found only in few gifted persons

Gokulananda was born on 26th November, 1886, at the Village of Madhabpur of Bhanugach ( in that time Bhanubil pargana) of Bangladesh. Gokuladanda could not prosecute his studies much, he could study only upto 8th standard because of some adverse circumstances, but his burning desire of acquiring knowledge remained with him which later on encouraged him to set up a school. He came over India later on and settled at Ratacherra village of Tripura. Here in 1925 he established a primary school by his own efforts to spread modern education among Bishnupriya Manipuris.

Unfortunately for us not much of his works are available. His compositions which survive today are remembered by the people from his popular refrains. Only a few years back Dr. K. P. Sinha and Haridas Sinha collected a few specimen of his writings. But the few lines which still survive, speak volumes about this great man who composed them

As stated earlier his was a multifaceted personality. A farsighted person as he was he could understand that the backwardness of the people of his community was due to lack of modern education. He, therefore, exhorted the Bishnupriya Manipuris to keep pace with the demands of time. A very conservative people as Bishnupriya Manipuris were at that time, most of the people did not go for modern education for fear of losing the purity of caste. To this was added the absence of schools which were in places few and far between. What the majority of Bishnupriya Manipuri boys studied at that time was Sanskrit grammar and poetics in the Tols (Sanskrit School) of that time. In fact there were quite a few learned Sanskrit scholars like Dhonai Pandit, Jagadananda Pandit, etc., to name just a few. Some boys went for learning the art of playing Mridangam, some for learning the art of Dohar dance and some for singing from their respective Gurus. In fact when I was a boy of 7/8 years some fifty years back my grandfather told me that one renowned Brahmin of his time, by seeing that in modern schools boys from all communities sit together and learn their lessons together expressed his apprehension that in future Bishnupriya Manipuris will not be able to preserve the purity of their caste if they study in such schools. Such was the state of affairs. Late Gokulananda was one of the few wise men who could foresee that without modern education there will be no progress of this community. He, therefore, sang -

Ruhi britti moutup karia dharia thaile nakortoi.
Satya Tretar ruhi hanou Kali Yuge nacholtoi.
Kale Kale Kalar Katha na-hunani nakarer
Jwigoi banhan puria anle kachai majai natharer.

Translation: “it will not serve any purpose if one clings to age old customs. The customs of Satya Yug and Treta Yug will not hold good in Kali Yug.”

One should not turn a deaf ear to the demands of time, because when fire starts burning the forests, it burns both dry and green timber at the same time.”

Gokulananda was a songstar i.e. Kirtania. In fact he earned his name and fame as a Kirtania. Hence, he was popularly known as Gokul Kirtanee also. But what made him tremendously popular among Bishnupriya Manipuri masses was that his songs in Bishnupriya Manipuri language in place of traditional Brajabuli had tenderness and mass appeal in them. Before him there were some persons like Leikhom Sena Sinha who tried to sing in Bishnupriya Manipuri language, but they did not gain that popularity. For the first time Gokulananda showed that tender emotions can be very well expressed in Bishnupriya Manipuri language as well. This will be evident from the foilowing lines of one of his “Basak Kirtan” –

Ar asha neyoil mungbara ngaloil
Singarei paril shataya

Translation: ‘There is no more hope, for the eastern sky is becoming bright and the bloomed singarei, i.e. Shefali flowers fall on the ground at day break’

The background of the lines is the following - When Srimati Radha was eagerly waiting for her beloved Sri Krishna by making a flower bed in a grove and when Sri Krishna did not turn up, in deep sorrow she said the above lines.

Gokulananda had set the tune of the song in such a way that when a person hears this song he will be deeply moved by the pathetic appeal of the song. He also composed many other songs for his dramas. He utilised his talents in propagating his ideas to Bishnupriya Manipuri masses. From young boys to the old, people used to gather enmasse to hear him. How much Gokulananda could influence the people has been well described by our renowned poet Madan Mohan Mukherjee. The effect of hearing Gokulananda is written by him in a poem as under:

Ak din para lengkora tor eta hunat giya
Kon herede mor punninghan torang katkoria
Khalkoruri torang jemon kita akta diya
Ailu ghore akkhutago onthokpahan oya.

Translation: “One day after going to hear the songs composed and sung by you, somehow I gave away my heart to you… I am thinking as if after giving something to you I came back alone somewhat bewildered.”

Because of all these qualities of a very high order, grateful people conferred on him the title “Geetiswami” along with a silver medallion, in a special session of Nikhil E3ishnupriya Manipuri Mahasabha, in 1935, which was done by none other than another great personality of the time namely Late Mahendra Kr. Sinha. From that time onwards he came to be known as “Geetiswami” also, which became very popular later on.

Late Geetiswami was an accomplished poet also. Apart from writing songs for his dramas, he used to write poetry also. One of his well known poem is “Matribandana” i.e. “Homage to mother”. The first two lines run as under:–

Ima, Ima tor mohima
Kita mattu sougo me.”
… … …
Imar sneha sindhu khudra eka bindu
Hujanir kaje bulia,
Deshe Deshe giya Imar gungan geya
Pagalgor Sade buluri.”

Translation: ” Oh mother, Oh mother, what can I say about your glories, I am but a child… to repay one small drop of mother’s ocean of love, I am wandering like wildman from place to place by singing mother’s glories.” So deep was his respect for his mother which has transcended from individual to universal appeal.

Late Gokulananda was like Bengal’s Charan Kabi Mukunda Das, a minstrel par excellence. He used to sing urging Bishnupriya Manipuri people to love their mother tongue and urged them to wake up from their slumber and face realities of life. He severely chastised the people for their self ego, while others derided at them. In pain he wrote -

“Nijor ghore nije raja
Miange dadi bulani”

Translation: you consider yourself to be a big person in your own residence, while other’s address you as dadi.” (Dadi” is a derogatory word used to address a Manipuri person)

He, therefore, exhorted the Bishnupriya Manipuri people to shake of their deep slumber and awake. He said —

“Ojnan adhararma ghumatai koti
Utha aji habihan jwaleya chei jnanor bati’.

Translation: How long, will you sleep in the darkness of ignorance. All of you must awake to-day. Look ahead after lighting the lamp of knowledge.’

Another salient point in his exhortations was that it was above communal bickering. He was traveling all around by singing such type of songs which infused social and linguistic awareness in the minds of Bishnurpriya Manipuri people.

Late Geetiswami was also a social reformer. He worked for the emancipation of women. He urged the Bishnupriya Manipuri women to walk with dignity. He severly criticised those who did not dress up properly. At that time Bishnupriya Manipuri women used to go to weekly markets to sell their home made products. Sometimes they were insulted by others, which hurt his feelings very much. He urged them to stop going to market. A seasoned campaigner as he was, he was greatly successful in preventing the womenfolk from going to market. But he had deep respect for women. He was pained by the way the women were treated at that time. He wrote –

“Jela eta ki bostukhan
har napeitarata,
Deshe Pandit neita?”

Translation: “People do not know how worthy women are. Are there no learned man in this land?”

At the same time he exhorted woman to realise their inner streangth. He, therefore, said

“Yuge Yuge cheita jelai jingechhita
Shaktite Bhabani, Bidyay Binapani,
Dhairyate Dharani, Bhaktite Braja Gopini,
Outar ongsha kala oya pahurlai nijor shakti.”

Translation: Oh mother, Oh mother, what can I say about your glories, I am but a child.In Yuga after Yuga women excelled. In strength it was Bhabani (Durga), in learning it was Binapani, in fortitude it was Mother Earth and in devotion the Gopikas of Brij. Being- part and parcel of them how you have forgeften your own strength?

One would not say such words unless he had deep regards for womankind. His was not always a path of roses. Revolutionary as his ideas were to the people of that time, he was more often than not misunderstood by the very people for whom he toiled. In anguish he wrote -

‘Kar kaje kadurita
Akgoyou har napeila,
Hobar kaje mattegate
Arak ahan ningkoila”.

Translation: “For whom am I crying? None tried to understood. What I said was for the good of them but they thought it to be otherwise.”

Later in his life Gokulananda joined the then undivided communist party of India in 1950 and he worked as an elected representative in the then Territorial Council of Tripura for a few years. In that capacity he served the local people.

This versatile great son of mother Bishnupriya Manipuri passed away on 10th July, 1962. His death spelt a pall of gloom in the minds of Bishnupriya Manipuri people. They were shocked to hear the news of his demise. The state of mind of the people is well expressed by one Krishnadas in a poem, few lines of which run as under -

‘Nirananda habihan
Amar samajhan
Gokulananda bihane Bishnupriya habi
Sharddhanjali nibedan
Kartara abedan
Gokulhin Samaj jatar ratiye.

Translation: All are grief stricken The whole of our society All Bishnupriya Manipuri in absence of Gokulananda. Offering their homage, Offering their prayers, Gokulless society is being engulfed by darkness of night.

Glowing tribute was paid by poet Bimal Kumar Sinha about his service to the society in the following lines -

“He girok Geetiswami tore homa diyar,
Tor deki manu ami napeitangai ar,
Buile ti gang ghorede ghum bhagil pou boya,
Chikkorle ghum bhagura manur alaya bouhan malaya,
Neyochhila age neyoitai pichhe sade manu tor,
Napeitoi Ima Bishnupriyai eshade seba jiputor.”

Translation: “Oh great Geetiswami! we bow to you, we will no more get a person like you
amongst us. You wandered from village to village by taking with you the message of awakening, you cooled the just awakened people by becoming the gentle breeze from the Malaya Mountain. There was none before, there will be none after like you. Mother Bishnupriya Manipuri will not get such a son’s service hereafter.”

Such were the feelings of the people at the time of death of Gokulananda Geetiswami. Bishnupriya Manipuri people have not forgotten the services rendered by him to the society. They observe his birth and death anniversaries through different organizations with the solemnity they deserve.

It is difficult to express in words the great service which Gokulananda Geetiswami rendered to the Bishnupriya Manipuri society. The development of Bishnupriya Manipuri language and literature owe a great deal to this great person. He is not only the founder of Bishnupriya Manipuri Identity - he proved himself to be our never-failing father, philosopher and guide.

ACKNOWLEDGEMENTS:
1. Fagu — 2nd year, 10th issue, October 1962.
2. Geetiswamir Ela — Edited by - Dr. K. P. Sinha, M.A., Pli. D.
3. Dils Lakshmindra Sinha — Mengsel, Oct.-Dec., 1992.
4. Nuwa Ela — 14th year, 6th issue, May-June, 1996.
5. Padya Kuru — By Bimal Kr. Sinha.

Contributed by Chandra Kanta Singha, IRS
Revised by Ashim Singha

The Kang festival of Bishnupriya Manipuris is a festival of nine-day duration in the bright fortnight in the month of Ashar (June-July) with elaborate paraphernalia. It is observed with great festivity and celebration. On the first day and the last day of Kang festival, Chariot-Procession with the idol of Lord Jagannatha is led out.

In Manipur the Kang festival was introduced by Maharaj Gambhir Singh on 1832 AD. He founded the images of Jagavandhu, Balarama and Subhadra and commenced worship on the model of Puri. It should be mentioned that in the village Leishangs image of Lord Jagavandhu is worshippedwith proper rites.

The images are bathed on the day of Snana-Yatra, before fifteen days of Kang. The images are carried out on the Kang ( A wooden chariot specially made for Lord Jagannath) to the accompaniment of music, offerings of fruits by individual house-holders. Sometimes persons stand behind the image and fan it with the Chamora. The structure of the Kang is squire, it has four huge wheels, its head takes the shape of Burmese pagoda and there are two or more long ropes so that the divotees can pull the chariot. The songs sung during the pulling praise Lord Jagannath are both devotional and humorous in nature. One of the songs goes like this –

Akhi paka Jagannath ( Lord Jagananth with giant eyes)
Att tuppa Jagannth ( Lord Jagananth with no hands)
Theiping Chora Jagannath ( Lord Jagananth who stole the jackfruit)
Chehem Chora Jagannath ( Lord Jagananth who stole the pineapple)
Heinou Chora Jagannath ( Lord Jagananth who stole the mangoes)

It is said that Lord Jagannath doesn’t mind if the divotees make fun of his physical appearance. Reciting the physical appearance is not regarded as an offence where its sole aim is the complete devotion toward the lord, rather it improved the literary value of the devotional songs. It should be mentioned that the soul of Bishnupriya Manipuri Vaishnavite culture is ‘Bhagabat Lilagiti’s or ‘Radha-Krshna Lilagiti’s. From Birth to death it is our mandatory tradition to observe the rituals through ‘Bhagabat Lilagiti’s along with ‘Nrityabadhya’s. To Manipuris, praising the lord with his quality by singing is more devotional than merely chanting his name.

Every evening during the periods of nine-days of Kang festival, devotional songs are sung, particularly those from the great Vaishnavite literature Gitagovinda of Jayadeva, who is considered to be the most eminent ‘Vaisnnav Padakarta’ of Bengal. The songs are sung along with clapping and dancing, by the people in the Mandav’s or shed for religious and cultural performances. After the singing of devotional songs, feasts of ‘Khichuri’s (a kind of dish made of rice and split pulses) offered everyday by the people in turns, are distributed among the folks.

Kang is an important event in the socio-religious-cultural life of Bishnupriya Manipuris. There is a traditional game called Kang, also related with this Kang festivals. From the early modern and modern literatures of Bishnupriya Manipuri we can find the cultural significance of Kang festival. That’s why renowned Bishnupriya Manipuri poet Sri Madan Mohan Mukharjee writes –

Khalparor kang
Jitegate Akta oya
Aloyte thang thang
Kngaor dine horou oya
lengka marup khomkoriya
Akta oya sajel koriya
Khalparor kang
Tiloilaha, tiloilaha
habbi hato gang

Jobor haroupar yarihan,amar gang e emtaga sou sumarar kaje matribhasat (bisnhnupriya manipuri thar) sikkha nenar bebostha ahan oil.Gangor uthsahi gaurapa kotogoi madhabpuror dekhadekhi school ego chalu korla.Karigori sohojugita ditara SIL BANGLADESH.

Udbudhoni onusthan ohat youonir souvagya isil morta.Sil etto dugo ahisila.Leirik uta chang subidha naileu nuwa jinis ahan dekluta je leirik uta habi ikorousita amar manure diya.

imar tharor byapok chorcha baro bikoshor ka esade uddug habirang thakat peitoi.Summer Institute of Lingusitic Bangladesh (SIL) bultara songstha ohar arthik baro karigori panglake e schoolgor shukkhadan karjyakrom oudinetto okorla. 2 March 2007 tarike iya gelga onusthan uhanat prodhan otithir asonhan gnalkorisili SIL Bangladeshor prosasonik kormokorta Sri Sarah Selin baro besesh otithigo oya ahisil Sri Manna Mondol. Onusthane artau nanan pesar manu tilosila. Lomanir patape baro Sri Suniti Sinhai ela hunuilo. Thangnat Schoolgor sou otai ela, nacha, abriti poribeson koriya habire harou korla. SIL or lerik uta cheilu,changuhan jut nase. yari / kobita uta kacha baro oporisilito mone il.

Epei arak dukhho ahante thyle, sou sumarar upojugi kioriya sahitya likhanir moto protibha amarta akgou kita asita?

Madoi Soralelor Ela (Madoi Soralel Songs)
Another renowned ancient folk song in Bishnupriya Manipuri, which has been handed down through oral tradition. This song was composed during the last part of Chorai Rongba’s reign, i.e., during the first part of the eighteenth century, when the Vaishnavism of Sri Caitanya entered into the society, as a result of which a cultural conflict arose therein

[Songs composed in Medieval Bishnupriya Manipuri Language, 1650 A.D.]

1.
Madoi gidei saloili, boksabadiya saloili, koiou durei oilita
tengara sinchat laloili, babaro matiou na deklo, kotou durei oilita
pampol tingdiya kadiri, ima bulia dahiri, kotou durei oilita

English Rendering:

(Madai, a maiden of the Alakga family has been given in marriage to Saralel, the king of the gods.) She starts for Soralel’s place. She stretches her hands, cries loudly, crosses over hills and dales and goes far away. (Thus, she goes above in heaven.)

2.

Hunorta raja hunorta, hunorta raja hunorta
babro gorgo pureko, jeikga raja jeikga
najeiga madoi najeiga, tor babaro gorgo napurer
jeinga raja jeinga, hunarkeirak lama diyade
babaro gorgo purerko, jeinga raja jeinga
najeiga madoi najeiga, tor babro gorenajeiga
tor babro gore gelega huror pohu kheiteiga
huror pohu kheiteiga, modro sorap piteiga
modro sorap napitou, huror pohu naheitoi
hunar keirak lamade, jeingaraja jeinga
korifaba kheya jaga, hunarkeirak amadilu
tor bar gore gelega digali pirak naboheiga
modro sorap napisga, huror pohu naheisga

English Rendering:

(One day, Madai hears a loud noise coming from below and, looking downwards, finds that a mass of smoke is rising from her father’s house.) She tells the king that her father’s house is in flames and requests him to allow her to go to her father’s house. Saralel first tells her that her father’s house is not on fire. When Madai expresses her strong desire to go, he says that he, apprehends she may take meat and wine if she goes to her father’s house.
Madai promises that she will not take meat and wine there. Then Saralel proposes that Madai should keep Kari Phaba, her son, with him and go to her father’s house alone. Madai accepts the proposal. Saralel warns her not to sit on long couches. He then stretches downwards a golden ladder.

3.

Madoi gidei keirak lamaniye
dakou kurung bareitara, belao kekruk rhoeitara
madoi gidei keirak lamaniye
ningolo jethi ahili, digali piranikalei
naboitou baba naboitou, digali pirat naboitou
rajaro mana napeilu, naboitou baba naboitou
ningolo jethi ahili, modlo sorap nikalei
modro sorap nikalei, huror pohu radhedei
huror pohu neheitou, modro sorap napitou
modro sorap napitou, digali pirat naboitou

English Rendering:

Madoi descends along the golden ladder. All look at her joyfully. When she comes, her father orders the family-members to offer a long couch to her. Midai declines to take her seat on the couch. Then, the father ,orders them to offer her drink and meat, of boar cooked. Madai declines to take wine and meat of boar.

4.

Nadektoi ima nadektoi, tambul hathan tangtou e
mohori hathan khalkoro, homaga madoi piga
lomoilu baba lomoilu, lomoilu baba lomoilu
rajaro keirak tulloko, lomoilu baba lomoilu
na kadi karifaba, leipak thipi kariphaba
madoi gidei khamna laloiliye

English Rendering:

Then, the father proposes to offer her wine at a place ,covered by seven mosquito-nets, so that Saralel does not see her taking wine. (Madai accepts the proposal. When she is just going to take a sip of wine, Saralel spits from above, and the spit, passing through the seven mosquito-nets, falls upon the wine-pot. Madai understands the matter.) Looking behind, Madai finds that Saralel is lifting the golden ladder. She is greatly shocked, cries loudly, consoles Kari Phaba from below and passes over hills and dales.