THE MARTIAL ARTS TRADITION OF MANIPURBy : IAP_MHA_CTL [The Internet Association for the Promotion of Manipur History Art
Culture Tradition and Literature]
Thang
Ta--"The Art of the Sword and Spear"-- is the traditional
martial art of Manipur in Northeast India. It integrates various
external weapons - the sword, spear, dagger, etc. - with the internal
practice of physical control through soft movements coordinated with the
rhythms of breathing. It is part of the great heroic tradition of
Manipur.
Its origin lies in the timeless creation myths where, according to local legend, all movements of the Manipuris originated from Thang Ta. - AIKIKAI OF PHILADELPHIA, USA.
Its origin lies in the timeless creation myths where, according to local legend, all movements of the Manipuris originated from Thang Ta. - AIKIKAI OF PHILADELPHIA, USA.
The proper
name for Thang-Ta is HUYEN LALLONG ("method of safe-guarding"). As
the name implies, Huyen Lallong is more than just the training of fighting
skills. It is an elaborate system of physical culture that involves
breathing methods, meditations, and rituals. Some of the sword and spear forms
are entirely ritualistic, although they are composed of material
techniques. They are to be performed only at special occasions or under
special circumstances. For example, there is a spear form that is performed at
funerals. Perhaps the most famous form is the ritual spear dance done by
King Bhagyachandra (ruled 1759-1798) on a mountain top during his exile due to
the Burmese invasion in 1762. The Manipuris believe that the ritual was
instrumental in driving the Burmese out of Manipur.
The heart of
Thang-Ta is the "sword". There are literally hundreds of different
sword drills for training the basic strokes and stepping patterns. Many
are two person sets, but others may be practiced solo, at least
initially. The Thang-Ta spear forms are more complicated and must be seen
to be appreciated. "Many are the warnings given by the old
teachers to their students who, they say, may seriously injure their limbs by incorrect stepping according to the design - PAKHANGBA, a coiled serpent motif", wrote Louis Light foot (1958) in "Dance Rituals of Manipur". Thang-Ta is almost completely unknown today outside Manipur. In India itself, the art is not well known, although a
documentary was broadcast on Indian television in 1994. "Unfortunately, opportunities for Westerners to study Thang-Ta are very limited. Travel to and from the region is restricted - few, if any, people outside of Manipur are able to study the art because of the Indian Government's entry restriction. To our knowledge, Khilton Nongmaithem (of HULA SINDAMSANG, IMPHAL) is the only Manipuri teaching Thang-Ta outside of Manipur."
teachers to their students who, they say, may seriously injure their limbs by incorrect stepping according to the design - PAKHANGBA, a coiled serpent motif", wrote Louis Light foot (1958) in "Dance Rituals of Manipur". Thang-Ta is almost completely unknown today outside Manipur. In India itself, the art is not well known, although a
documentary was broadcast on Indian television in 1994. "Unfortunately, opportunities for Westerners to study Thang-Ta are very limited. Travel to and from the region is restricted - few, if any, people outside of Manipur are able to study the art because of the Indian Government's entry restriction. To our knowledge, Khilton Nongmaithem (of HULA SINDAMSANG, IMPHAL) is the only Manipuri teaching Thang-Ta outside of Manipur."
Three
warriors - Paona Naol Singh, Ningthoukhongja Poila, Loukrakpam Sana
Mityeng each founded a distinct style within the art of THANG-TA. Paona died
fighting the British and is still regarded as a hero in Manipur.
At the start
of the sword drill, stand with feet shoulder width apart; turn to the left,
pivoting on the balls of both feet. The feet should form an approximately
forty-five degree angles. Lean forward until the toes of the left foot are
aligned with the knee and the chin. Your body should form a straight line
from the back of the head down to the right heel. This is called the
"Lion's Posture" or basic stance.
The unarmed
aspect of Thang-Ta is named SARIT-SARAT. Traditionally, it is taught after
competence in weapons was gained. It uses footwork and handwork form the
weapons forms, with a liberal dose of the native wrestling style (MUKNA) thrown
in.
[Khilton
Nongmaithem and Dainis Jirgensons (1998): Thang-Ta, The Martial
Art of Manipur India, JOURNAL OF ASIAN MARTIAL ARTS, vol. 7, no. 4.,
page 46-59].
Art of Manipur India, JOURNAL OF ASIAN MARTIAL ARTS, vol. 7, no. 4.,
page 46-59].
Khilton
Nongmaithem is one of the foremost exponents of Thang Ta, having studied
since the age of six under traditional gurus who were responsible for
rediscovering and propagating this nearly lost art. He has
represented India in international festivals throughout the USA, Sweden,
Italy, Germany, China, and England. Both he and Henry Smith
worked together in the Festival of Dance, Theater and Martial Arts held in Calcutta in 1987, and also performed together in "Body, Breath and Blade" at the South Bank in London in 1995. Together they recently presented performances and workshops in the "way of the Warrior" Festival held in London and Dusseldorf in 1998.
worked together in the Festival of Dance, Theater and Martial Arts held in Calcutta in 1987, and also performed together in "Body, Breath and Blade" at the South Bank in London in 1995. Together they recently presented performances and workshops in the "way of the Warrior" Festival held in London and Dusseldorf in 1998.
[
http://www.libertynet.org/solaris/Aikido/Events.html ]. He is also
associated with NRITYA RANGAM (Manipuri Dance School) of Washington,
D.C.
associated with NRITYA RANGAM (Manipuri Dance School) of Washington,
D.C.
Although the
Manipuri Agricultural communities were in contact with great civilizations of
India, China and Southeast Asia for thousands of years, the relative isolation
of the region allowed the development of a unique cultural tradition that
includes a distinctive form of martial arts using the sword and spear.
Originally, training in the martial arts was essential for the overall survival
of the community, as well as for initiating the youth into the subtleties of
religious knowledge and practice. However, over time, the martial arts were
separated into two schools for training, one for actual combat and the other as
ritual dances that served to reinforce Manipuri cultural identity and played an
important role in the physical and spiritual growth of the students who
studied it. Traditionally, most Manipuris were agriculturist, but the kingdom
of Manipur did not have any need for a standing army as every able bodied man
(and if necessary woman), was a warrior and most were skilled in swordsmanship
or spear fighting.
- "The
most memorable performance with the sword involved in a blindfolded swordsman
and a man lying on his back with five pieces of melon balanced on various parts
of his body. A wedge of melon was place on each knee, as well as in each
hand, and a single wedge was precariously balanced between his chin and his
chest, directly above the throat. The swordsman was blindfolded
using a piece of cloth filled with sand, so that everyone could see that there
was no way for him to peek through the cloth. After being blindfolded,
the swordsman would begin a rhythmic chopping and prancing in place, while a
third person took up a position directly opposite the swordsman. In the
middle was the man lying with melon slices balanced on various parts of his body.
Drumming and cymbals accompanied the whole act and the third man would begin
chanting, in order to provide the blindfolded swordsman a
directional cue.
directional cue.
Suddenly,
the swordsman would surge forward, leaping and chopping in a very precise
pattern. As he leaped over the man lying in his path, his sword deftly
cut each piece of melon, including the piece directly over the man's
throat. Every spectator was tense with expectation until the man lying on
the ground would jump to his feet and the swordsman would rip off his
blindfold. As people shouted their approval and clapped their hands, many
would throw coins and currency notes into the stage in appreciation of this
spectacle."
[Jonathan
Mark Kenoyer (1997): "Thangkairol; Manipur Sword Fighting of
Eastern India", in PERSONAL GROWTH THROUGH MARTIAL ARTS, (edited by M.
Kiyoto and J. Lee) pp. 53-63.]
Eastern India", in PERSONAL GROWTH THROUGH MARTIAL ARTS, (edited by M.
Kiyoto and J. Lee) pp. 53-63.]
Dr. J.
Mark Kenoyer is a Professor in the Departments of Anthropology and South Asian
Studies, University of Wisconsin, Madison. He grew up among
the Meitei community of Cachar, Assam, until his graduation from
high school in 1970, where his father was a missionary doctor at Alipur Baptist Memorial Christian Hospital. After playing for 18 years with swords and spears made of bamboo, finally he was accepted by a Thangkairol teacher (Master Tombi Singh) to learn the art of sword fighting for two years. Manipuri masters seldom teaches students from
other communities to preserve the tradition in their own community. Prof. Kenoyer is concerned with the advancement of education and research in his field and keenly interested in the study of weapon forms. He recently began practicing Kendo with the U.W. Kendo Club.
high school in 1970, where his father was a missionary doctor at Alipur Baptist Memorial Christian Hospital. After playing for 18 years with swords and spears made of bamboo, finally he was accepted by a Thangkairol teacher (Master Tombi Singh) to learn the art of sword fighting for two years. Manipuri masters seldom teaches students from
other communities to preserve the tradition in their own community. Prof. Kenoyer is concerned with the advancement of education and research in his field and keenly interested in the study of weapon forms. He recently began practicing Kendo with the U.W. Kendo Club.
"Thang-Ta,
used as a common public performance keeps the youth of the community following
cultural traditions exercising traditional physical movements for use in
defense. This fosters cultural identity in the youth and nationalistic
pride in the young people of the Manipur villages. Therefore, this
perpetuates the sense of belonging to a group
which in return supports the individual. This sense of community membership and participation is similar to being a Boy Scout in the United States".
[Stephan G. Voss: Japanese, European and Indian Sword
Fighting; A comparative Study: in PERSONAL GROWTH THROUGH MARTIAL ARTS,
(edited by M. Kiyoto and J. Lee) p 75, 1997.]
which in return supports the individual. This sense of community membership and participation is similar to being a Boy Scout in the United States".
[Stephan G. Voss: Japanese, European and Indian Sword
Fighting; A comparative Study: in PERSONAL GROWTH THROUGH MARTIAL ARTS,
(edited by M. Kiyoto and J. Lee) p 75, 1997.]
"We do
need more martial arts training ... wherever it is taught, it eliminates
violence. That is so overlooked." Lord Yehudi Menuhin.
In India,
the Two Best known Martial Art Traditions—Thang Ta of Manipur and Kalaripayattu
of Kerala, have survived through centuries and both have a strong
spiritual basis with strict moral and ethical codes. They are meant for
protection and defense and are opposed to viciousness, cruelty and violence.
The origin
of Thang Ta is hoary and full of legends. In the beginning of time when there
was absolute nothingness, the Supreme Creator, Atiya Guru Sidaba
sitting levitated on his own breath, created Asiba his son, and asked him
to fashion the universe. - [Guru is not an appropriate usage here; Guru
means the master or teacher; but in this context the correct wording will
be KURU = round hemisphere, for Atiya = the sky, Kuru = the
round or circular, and Sidaba = never ending or without death, indicating
the limitless hemisphere of the sky]. Perplexed as to how to
fabricate anything out of a void, he inquired of his father how to go
about it. At this, the Creator opened his mouth and asked his son to look
inside, where he saw the whole cosmos lying dormant, yet to manifest. He was
also instructed to devise a dance named Thengou using the same
configuration of nerves and veins inside his father as the model for the
pattern of his movements on the ground, on which the universe would rest when
it was created. Thus the first act of
cosmology was dance, and Thengou was the first dance, made up of a combination of martial art movements.
cosmology was dance, and Thengou was the first dance, made up of a combination of martial art movements.
Thengou,
traditionally believed to have been originally performed by the Gods at the
time of creation, forms a highly esoteric branch of Manipuri martial
arts. These are sacrosanct dance compositions, performed usually by
holding either a sword and shield or a spear and shield. There are many
variations. The pattern on the ground is based on
one of the various sacred coiled snake motifs worshipped in Manipur. There are various Thengous for bringing prosperity to the land or people, protecting the king, destroying the enemy, etc. They are performed on extremely rare occasions when a dire need concerning the well being of the country arises. The rituals involved are extremely
elaborate. All the details including the auspicious moment, ceremonial offerings, purification rites, choice of place, kind of weapon, costume, movement, ground patterns and incantations, mentioned in the sacred texts are inviolable and thus scrupulously followed. It is believed that any mistake in its performance or its employment can bring untold misfortunes to the performer and his family, even to future generations. Thus only great masters with absolute proficiency, experience and pure minds perform Thengous. The gurus, very reluctant to part with this knowledge, choose only those few disciples with proven integrity and maturity.
one of the various sacred coiled snake motifs worshipped in Manipur. There are various Thengous for bringing prosperity to the land or people, protecting the king, destroying the enemy, etc. They are performed on extremely rare occasions when a dire need concerning the well being of the country arises. The rituals involved are extremely
elaborate. All the details including the auspicious moment, ceremonial offerings, purification rites, choice of place, kind of weapon, costume, movement, ground patterns and incantations, mentioned in the sacred texts are inviolable and thus scrupulously followed. It is believed that any mistake in its performance or its employment can bring untold misfortunes to the performer and his family, even to future generations. Thus only great masters with absolute proficiency, experience and pure minds perform Thengous. The gurus, very reluctant to part with this knowledge, choose only those few disciples with proven integrity and maturity.
Thengou
training is imparted in a secluded place, away from habitation or a sandy
riverbank likely to be washed away in the next floods. For where Thengou is
performed, the ground is imbued with such power that anyone desecrating
it inadvertently may incur divine wrath. The training begins after sanctifying
the land.
The weapons are
also considered to have divine origin with symbolic significance. When Til
Sidaba (a powerful god) decided to give up his body, different ‘boxes' of his
remains became various weapons. Swords, spears, etc., do take on varying
forms resembling such boxes. Scholars have given elaborate interpretations on
their significance and use. The weapon is not an ordinary object; it is
energized and infused with a vital divine force and cannot be desecrated by
employing it for any degrading pursuit.
Thang Ta
demands a great deal of self-discipline from its practitioners. It is feared
that certain vices may even jeopardize those powers acquired through
years of training, meditation and worship. Some types of food are also
forbidden. One important ethical code mentioned in the scriptures is that
even in the midst of war, one should not harm an enemy who is running away, who
is hiding out of fear, who is crying out of fear and who has asked for
protection. Violating any of this is considered a great sin. For a warrior,
every moment of his life is guided by certain rules. Eating, sleeping and even
breathing are well regulated. Martial arts training, initially, is more
physical in nature, but as one advances, it is more spiritual. The
secrets of yantra, mantra and tantra are gradually revealed to the
student. The warrior's main and only concern ought to be the protection of
the land, people, king and the weak. This sense of selflessness cannot be
better symbolized than the costume which he wears to war. It includes a sacred
cloth usually worn by the dead, thus preparing him for the supreme most
sacrifice. In actual practice, however, all these branches are
interrelated and one cannot be completely free of the other.
The
aesthetic or dance aspect of the martial arts of Manipur demand a great deal
of balancing and body control. Dancing skills add exterity in wielding
the weapons. In fact, this has greatly influenced the dance traditions of
Manipur. In our times, many dancers incorporate the martial dances, enriching
their repertoire with great effect. In the combat part, the training is
extremely thorough and demanding. It makes a person physically and mentally so
alert and well integrated that he becomes virtually impregnable. At the
same time he is also packed with tremendous striking power. A trainee
usually specializes in one weapon though he must learn the use of all the
main ones.
[R. K.
Singhajit Singh (1998): THE MARTIAL ARTS OF ASIA, Eliminating
Violence - THE EYE, vol. 5]
[ http://internetindia.com/theeye/vol5/martial.htm ].
Violence - THE EYE, vol. 5]
[ http://internetindia.com/theeye/vol5/martial.htm ].
Guru
Singhajit Singh is an internationally known Manipuri dancer, choreographer and
teacher. He has pioneered creative work in this dance form, having produced
thirty eight full length dramas. He has performed all over the world and
received great acclaim. He was given the Padma Shri and the Sangeet Natak
Akademi Awards apart from various fellowships to dance academies. He performs
with his wife, Charu Mathur and lives in Delhi.
