Archive for November 2007
Posted November 28, 2007on:
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 (1763-1798) 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.
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.
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
Late Sri Lalitmohan Singha, Tilakpur
Sri Nilmani Chatarjee, Ghoramara
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, 1988) 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 following 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
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 –
Gokulananda bihane Bishnupriya habi
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.
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