The Manipuri Blog

Earning activities of rural manipuris in Bangladesh

2009-09-15T01:56:00.007+07:00

Manipuri people are renowned as laborious. Both males and females involve themselves in earning activities. It is very rare to find a Bishnupriya Manipuri or a Manipuri Meitei person who is not economically engaged in an earning activity. Among 378 residents of studied villages 261 was found to be involved in different earning activities. Except for dependents such as children, ill and elderly people almost all are working for survival.

Although agriculture is their traditional and prime earning source, Manipuris are involved in different earning activities. Over the course of time, many are changing their occupation due to different circumstances e.g. scarcity of land for agriculture, less demanding traditional work, less benefit, lack of available work in rural areas, lack of capital etc. Those who are receiving higher education have started to involve themselves in different mainstream earning sources. They are involving both in government and non government organizations. Manipuris have gained positions as Government high Officials. The researchers found a number of primary and high school teachers who are respected and have a good reputation.

Although both males and females are involved in earning sources, most of their earning activities do not produce high incomes. Therefore they have to involve themselves in different activities simultaneously. Among our 80 participants we found 78 individuals who were involved in earning activities. Two of our participants who were not involved in any direct earning activity were very aged and retired from service. But they contributed to their families by gardening vegetables for family use. The earning sources were not consistent and we found different earning sources according to availability or work and the capacities of the earners. These activities can be ranked on the basis of the number of villagers involved including participants by the following table:

Listing 1.1: Earning activities of the Manipuris

Agriculture
Handloom weaving
Government Service
Non-government Service
Teaching
Carpentry
Automobile mechanics
Goldsmith
Business
Ayurvedic treatment
Livestock rearing
Cultural activist
Priest
Tailoring
Religious work

To be contd...

Manipuri Food Habits

2009-02-22T10:13:00.004+06:00

Historical evidence suggests that there was a change in the diet of the Manipuris, mainly due to introduction of Hinduism at the beginning of eighteen century. The earlier reigns seem to have been one long feast with hecatombs of fat cattle and oceans of spirituous drinks, even culminating on more than one instance in fatalities due to an excessive appreciation of the good cheer[1]. But the official adoption of Hinduism created many food type prohibitions. Although fish is allowed, animal flesh is forbidden as well as eggs; onion and garlic.

Manipuri people are health conscious. Their food habit is healthy and generally consists of a balanced diet. Therefore apart from a few exceptions, they do not usually suffer from any severe health problems. Manipuris are mainly vegetarian. Rice is the main staple food. But they have some different food habits to the mainstream people of Bangladesh. Dal and different leafy vegetables (including yennum which is used instead of onion) are favorite food items. Manipuri women tend to use less oil when cooking curries in comparison to the majority style of cooking. Milk and butter are also popular.

Both males and females are inveterate chewers of pan-suparee and it is widely popular among the older people. Although tobacco is used by all classes and ages, female smokers are barely seen among Manipuris. While the cultural dietary rules are strictly followed in rural areas, they are less so in urban areas, especially among the young. Young generations of urban areas largely interact with majority culture and try to follow many of their cultural practices including food habits.

Mainstream food is widely popular among the urban Manipuris. When young groups go to their native villages, they try to continue the food habit in which they are familiar with in urban areas if there is nobody to resist this adapted food habits. We found a few villagers who are habituated with mainstream foods. But older people are still very strict and loyal to their tradition. [2]

Manipuri people produce their own foods. Most of the houses have vegetable gardens where they produce vegetables for their personal needs. A few also produce vegetables for commercial purposes. Rice, dal, and oil seeds are also homegrown. Although landownership is low, most of them have the capacity to fulfill their personal needs. Despite many Manipuri families facing severe poverty, none of the villagers were found to spend days without food. If someone does not have the means to feed themselves, relatives and community people help the person to arrange food.

References:
1. Shashi, S.S. / Encyclopedia of Indian Tribes (Volume-4). New Delhi, 1997
2. Ahmed & Singh / The State of the Rural Manipuri’s in Bangladesh, Sylhet, 2006

Bishnupriya (Manipuri) Speakers in Bangladesh: A Sociolinguistic Survey

2009-01-27T01:27:00.008+06:00

This report presents the findings of a survey conducted in the Bishnupriya Manipuri community of Bangladesh. Data gathered through word lists, sociolinguistic questionnaires, and SRTs are presented and analyzed to determine the current sociolinguistic situation. In brief, it was concluded that the Bishnupriya are highly bilingual in Bangla, the national language, but also speak their mother tongue enough to keep its vitality high and have a positive attitude toward their mother tongue. Still, an increased use of mother tongue literacy would strengthen its usefulness and vitality even more. Amy Kim & Seung Kim prepared this report for SIL International.

1.1. Purposes and goals
The purpose of this sociolinguistic survey of Bishnupriya was to gather information that would be used to plan a language-development program for the Bishnupriya Manipuris living in Bangladesh. We wanted to know how linguistically uniform the Bishnupriya Manipuri language is throughout their community and, from a sociolinguistic point of view, whether or not Bishnupriya warranted literature production and literacy programs. Just as importantly, we wanted to know the community’s attitude toward such programs. To meet these purposes, the following goals were established:
1. To investigate possible dialectal differences among Bishnupriya speakers
2. To determine the Bishnupriya people’s attitudes towards their own language and towards
other language varieties
3. To assess the Bishnupriya community’s fluency in Bangla
4. To assess the long-term viability of the Bishnupriya language in Bangladesh

To accomplish these goals, this sociolinguistic survey of Bishnupriya was carried out in three interrelated parts: 1) a study of the dialects of the language, 2) a study of language use, attitudes, and vitality, and 3) a bilingualism study. Figure 1 gives a summary of the sociolinguistic methods used in this survey.

1.1.1. Study of the dialects of the language
A 307-item wordlist was taken at six Bishnupriya villages. These wordlists were then compared as a way of determining lexical similarity among Bishnupriya varieties in Bangladesh. See appendix B.1 for procedures for lexical similarity comparison.

1.1.2. Language use, attitudes, and vitality study
In order to assess the Bishnupriya people’s patterns of language use and their attitudes towards their own and other languages, a sociolinguistic questionnaire was used. Information from the questionnaire gives an indication as to whether the Bishnupriya would accept and use materials translated into their own languages or into another language which is highly intelligible with their own. The questionnaire is given in appendix C.1.

1.1.3. Bilingualism study
A Sentence Repetition Test (SRT) in Bangla was specifically developed to assess levels of bilingualism among minority language speakers in Bangladesh. Thus, it was the primary tool used in the survey of the Bishnupriya to study their bilingual ability in Bangla as well as patterns of bilingualism within the community. The Community Information Questionnaire (CIQ) and the sociolinguistic questionnaire were also used to gather information about the depth and breadth of bilingualism. See appendix E.1 for procedures for using the SRT; see appendix C.4 for the CIQ and appendix F for information gathered through the CIQ.

1.2. Geography
In Bangladesh, almost all of the Bishnupriya live in the flat farmlands of Sylhet division (see figure 2), mainly in Moulvibazar district. They also reside in a few villages in the other three districts of Sylhet division. (See figure 3 for approximate locations of the villages we visited during the research.) The vast majority of Bishnupriya villages are easily accessible by a combination of public buses and/or rickshaws, as they are quite close to main roads and towns. Living on flat farmland—and in Bangladesh one is never too far from a sizable river— Bishnupriya villages are prone to the yearly flooding that afflicts most of Bangladesh. In Kamalganj thana of Moulvibazar district—the population and cultural center of the Bangladesh Bishnupriya community—the Dhala river first snakes down along the Indian border and then travels up through the heart of the thana, often causing bank damage and floods.

1.4. People
One can see a bit of the Bishnupriya history in their faces, for they indeed look like they come from Aryan stock, but with a tinge of Mongoloid features. They are a hardworking, peaceful people who value hospitality highly: they were very understanding when we declined their offer of paan, but it was difficult to keep them from preparing tea and snacks. The Bishnupriya of Bangladesh are a predominantly agricultural people who rely on rice farming for much of their livelihood. There are only a few businessmen among them; as one Bishnupriya man put it, “We are not aggressive or cunning enough to compete in the world of businesses and markets.” However, there have been efforts to market their handwoven clothes and fabrics, and the Bishnupriya seem to recognize that to thrive in the modern world, it would be advantageous to expand beyond the rice paddy.

Almost all of the Bishnupriya live in predominantly Bishnupriya villages, where they live in peaceful coexistence with other Bengalis, both Muslim and Hindu. At first glance, their villages look no different from other villages, but on closer inspection, one notices certain differences: a wall-less temple area that is the heart of any village, as well as a loom on the front veranda of every house. The Bishnupriya are justifiably proud of their culture as expressed in their handwoven clothing. Even today, the Bishnupriya men and women wear their distinctly colored and patterned handmade clothing, though the men seem just as comfortable in modern western clothing, and the younger women often wear salwar kamize. Another source of pride for the Bishnupriya is their dance and music. They recognize their dance and music as an important heritage, as a cultural wealth. Thus, they are active in promoting and performing their dance and music not only in Bangladesh, but also abroad in England. Not only that, they see their dance and music as a means of connecting and communicating with the outside world. On many occasions, the Bishnupriya use them as a gesture of welcome and friendship towards us.

The factor that unites the Bishnupriya culture and people is their religion. One might say that the people, culture, and religion constitute a seamless whole. The Bishnupriya people’s religion can be called a sect of Hinduism, more specifically a cult of Vishnu. Though the name Bishnupriya comes from the god Vishnu, another principal deity is Krishna, for whom many of the songs and dances are performed (Singha, www.manipuri.freehomepage.com). The Bishnupriya do not have a caste system as in mainline Hinduism, but instead they follow a twotiered hierarchy consisting of the brahmin priests and all the others. Also, the Bishnupriya cannot marry outside their religion, even with mainline Hindus.

The Bishnupriya are generally better educated than the average Bangladeshi. Almost everyone we talked with said they recognized the importance of education, and their actions match their words. Today, nearly all children go to school, with a very high percentage taking the secondary school certificate (SSC) examination, and their level of literacy in Bangla—for everyone but the very oldest members of their community—is very high. (11)

In summary, it can be said that among the twenty thousand to forty thousand Bishnupriya living in Bangladesh, there is both a strong attachment to the traditions of the past and a deep desire to appropriate the trends of the present. As a minority community, the Bishnupriya seem to have an innate sense that both are vital for their standing in the world in the future.

1.5. Language
Bishnupriya can be categorized into the following language family and subclassifications: Indo-European, Indo-Iranian, Indo-Aryan, Eastern zone, Bengali-Assamese (Grimes 2000:393).

Some scholars like Dr. Suniti Kumar Chatterjee have claimed that Bishnupriya is a dialect of Bengali, while others like Dr. Maheswar Neog and Dr. Banikanta Kakti have said that it is a dialect of Assamese (Singha, www.languageinindia.com). The Bishnupriya would generally dispute these claims, and assert that Bishnupriya is a distinct, separate language. Their advocates site lexical and grammatical features unique to Bishnupriya as proof (Singha, www.languageinindia.com). Again, resolving this dispute was not our goal. A far more rigorous study of Bishnupriya, as well as of Bengali and Assamese, would be required, and that is simply outside the scope of our research. A summary of what we found regarding the lexical similarity between Bangla and Bishnupriya can be found in section 2.1., but even this data is not conclusive because it is difficult to know what percentage of Bishnupriya words have been more recently borrowed from Bangla, Sylhetti, or Assamese.

Currently, Bishnupriya is spoken in Manipur, Tripura, and Assam states in India, in some parts of Myanmar, and in Sylhet division in Bangladesh. There are only a small number of Bishnupriya remaining in Manipur state (in the Jiribam subdistrict) since most Bishnupriya fled Manipur to neighboring lands and countries in the eighteenth century. For those who remained, it was difficult to keep and promote their mother tongue due to the dominant influence of the Meitei people, culture, and language.

Bishnupriya has two main dialects: 1) Rajar Gang (or king’s-village speech), and 2) Madoi Gang (or queen’s-village speech). What is interesting is that, in present-day Bangladesh, the dialects are not divided by geography, but by clan. That is, two villages that lie side-by-side may have different dialects, and people from the king’s village would not be allowed to marry those from the queen’s village. Originally, geography may have played more of a role in the dialect difference: “The Madoi Gang dialect was spoken probably in the Khangabok- Heirok area and the Rajar Gang dialect, in the Bishnupur Ningthankhong area of Manipur. Morphological difference between the two dialects is negligible, but from the point of vocabulary, there are differences.” (Singha, manipuri.freeservers.com)

Bishnupriya is primarily used for oral communication, but there is also a small, committed group of people who want to promote Bishnupriya in written form. In Bangladesh, there are literary magazines and books that are being published in Bishnupriya and, in Assam state, Bishnupriya is being taught in government primary schools. Also, although Bishnupriya is now written exclusively using the Bangla script, this wasn’t always so. According to some, Bishnupriya was written using the Devanagri script prior to the takeover of Manipur by the Meiteis. (12)

W. Shaw and Raj Mohan Nath, two eminent scholars, are of the view that Bishnupriya with its Devanagri script had been the court language of Manipur and was replaced by king Khagenba [in A.D. 1627]. R.M. Nath says "so in Manipur in spite of Devanagri scripts which the kala-chaias might have been using, the Meitei when they came into power introduced the new scripts." (Singha, manipuri.org). In spite of all the controversy (or perhaps because of it), it becomes all the more clear that the Bishnupriya people in Bangladesh value their mother tongue and see it as an important part of their culture and heritage. They see it as a distinguishing hallmark for the Bishnupriya people and a factor that unites their community to give it strength and an identity.

Contd...

REFERENCES:

Blair, Frank. 1990. Survey on a Shoestring: A manual for small-scale language surveys. Dallas: The Summer Institute of Linguistics and The University of Texas at Arlington.

Casad, Eugene. 1974. Dialect Intelligibility Testing. Norman, OK: Summer Institute of Linguistics and The University of Oklahoma. (reprinted 1980, 1987.)

Fasold, Ralph. 1984. The Sociolinguistics of Society. Oxford: Blackwell Publishers.

Grimes, Barbara F, editor. 2000. Ethnologue: Languages of the world. 14th edition. Dallas: SIL International.
Kim, Amy. 2003. A Report on the Development of the Bangla Sentence Repetition Test. Unpublished manuscript.
O'Leary, Clare F. (series editor). 1992. Sociolinguistic Survey of Northern Pakistan. Islamabad, Pakistan; High Wycombe, England: National Institute of Pakistan Studies and Summer Institute of Linguistics.
Radloff, Carla F. 1991. Sentence Repetition Testing for Studies of Community Bilingualism. Publications in Linguistics, 104. Dallas: The Summer Institute of Linguistics and TheUniversity of Texas at Arlington.
Singha, Ashim Kumar. 2002. A brief history of Manipur and Manipuris. Retrieved August 3, 2003 from http://manipuri.org/language.html.
Singha, Ashim Kumar. 2002. Bishnupriya Manipuri: A Brief Introduction. Retrieved August 3, 2003 from http://www.languageinindia.com/dec2002/bishnupriya.html.
Singha, Ashim Kumar. 2002. Bishnupriya Manipuri. Retrieved August 3, 2003 from http://www.manipuri.freehomepage.com/people.html.
Singha, Ashim Kumar. 2002. The Bishnupriya Language. Retrieved August 3, 2003 from http://manipuri.freeservers.com/bpm.html.
Wimbish, John S. 1989. WordSurv: A program for analyzing language survey word lists. Dallas: The Summer Institute of Linguistics.

Manipuri Ras Festival 2008 Bangladesh : photos and videos

2008-11-29T05:35:00.010+06:00

Manipuri Maha Ras festival 2008 organized by the Bishnupriya Manipuri community in Bangladesh. The first item was Rakhual or Gushthalila, the dance drama between Sri Krishna and his Gopal friends. For an excellent photo gallery of daytime programs and events of, please visit Ihtisham Kabirs Blog...

Place: Madhabpur Juramandav, Kamalganj, Moulvibazar.
Time: 10:00 PM (Nov 13' 08)- 6:00 AM (Nov 14'08)

This 7 years old girl plays the role of Sri Radha.

And the Krishna, he's young boy of same age.

The Rasmondoli - workers are busy constructing the fancy stage.

The main part starts with the entrance of Sri Vrinda, Sri Radha's main companion and messenger.

Vrinda's Arati with Candle Watch the video here।

Sri Vrinda arranging the "Kunjo" and "Asan" for Sri Krishna with flowers

Krishna appears holding a flute in his hand

Krishna Nartan - Sri Krishna dances. Watch the Video here।

The audience and Bhakta's cry out emotion

Appearance ri Radha nad Radha Nartan. Video here।

In the north-west corner of the hall the Rasdhari, Sutradharis and the Badoks took their seats with traditional instruments like Pung, Kortal, Mandira, Moibung, Selbung etc.

The Gopis are preparing Sri RadhikaWatch video।

Sri Radha dances with the Gopis. Video here।

Sri Krishna meets sri Radha and the Gopis at the appointed place

The dance competition between Sri Krishna and sri Radha!

Sri Krishna lost to Radha, so the Gopis are taking away his flute

Sri Krishna begs to Sri Rsdha for the flute

After a long series of events Sri Radha returns the flute.

Sri Krishna dances with the Gopis

Sri Krishna disappears and Radha's Biraha

Sri Krishna apologies to Radha for his mistake and asks her to forgive him. What a scene! Bhagaban bows down to a Bhakta!

The dances of Gopis

The Bhangi Parengs. The tradition is while presenting a Pareng the audience cannot leave the place till the presentation is completed.

At last the Yugolmilana of Sri Radha nad Sri Krishna. Gopis are crying because they have to leave Sri Krishna and the great Maharas.

The Ras ended with the 'Arati' in which the whole audience stands up and takes part. The audience Bhakta's are crying. Some of them take dust form Radha-Krishna's feet.

Sri vrinda is also shedding tears. Watch the video of this sentiment of the religious devotion।

...

...

...

Yet not finished ...

The Gopis and the performers of Rasleela haven't took off their costumes. They will have to perform a short demonstration back home for those who have missed the great occasion due to problems...

Links on 166th observation of Manipuri Rasleela Bangladesh
* Manipuris in Bangladesh celebrate 166th Ras Leela...
* বিডিনিউজ24: চিরাচরিত নিয়মে শেষ হলো রাস উৎসব
* মণিপুরী রাসমেলা নিয়ে ইহ‍‍তিশাম কবিরের ফটো ব্লগ
* Daily Star: Moha Rash Lila observed
* আমার দেশ পত্রিকার সপাদকীয়: রাসপূণিমার মণিপুরীরা

Acknowledgments
* My Siemens CX70 Mobile
* Sangram Singha, Sylhet

আমার মানু কাপ আহান কাইলে সেচুরেয়া বেঙ আহান লামতারা

2008-11-24T07:14:00.002+06:00

আমার বিষ্ণুপ্রিয়া মণিপুরী গজেদে কাহানি পাহুরিয়া লামানির সিংনাত আসি। এবাকার দশাহান ফালদিয়া কাপ আহান কাইলে সেচুরেয়া বেঙ আহান লামরাং। এগদে আমার মানু ছিটারেয়া থাইলেউ, হৌগদে চাকা চাকা ইয়া আসি। অতার পরেউ তানুর দশা এগোদের মানুরাংত জিঙে আরো সলসে। বিশ্ব জুড়ে চলের জাতর শিংনাত আমিয়ৌ গারগো বরিক এজাত হৎনা দশগো তিলুয়া আমার মানুয়ে নাকরতারা। দশগো তিলুইলে দশানন ইয়া আগরে আগই তাল দিয়া চচানির শিংনাত লামতারা। রাষ্ট্র বিজ্ঞানে ‘জনবলরে’ জবর গুরুত্ব দের। ঔ বল অতা এগোদের মানুরতা নেইলেউ হৌগদের আমার মানুরতা আসে। জনবলর লগে মনোবল, ঐক্য থাইলে কোটি কোটি রূপার ফান্ড হংকরতে লক্ষী গিথানকেউ বাধা দেনার কথা নাবে। বিচারপতি, এমপি, জজ, ডিসি, ম্যাজিস্ট্রেট, এসপি, কর্ণেল, মেজর এবাকা আমার মানুত আসি। কিন্তুমান আমার মানুত ভবিষ্যতে প্রধানমন্ত্রী ইলেউ হারৌপার কোন কারণ নেই। কারণ আমার মানু ফালদিয়া কাপ আহান কাইলে বেঙ আহান সেচুরেয়া লামতারা।

আমার (Bishnupriya Manipuri) সমাজর মানু যত গজে কাহিতারা ততো নিজর জাতহান পাহুরতারা। মানুর জাতর হিরো অনার সিংনা দিতারা-কথাবার্তা, চালচলন, খানাপিনাত। অহান নাইলে যুবকল্যাণর খেলা, মহামেল এতা এবাকাউ করানি পারলা অইস। বাংলাদেশর নগরর অজা দীননাথ গিরকে সমাজর ৭ হান দাবি রাষ্ট্রপতিগোরাংত আদায় করিসিল। আজি ৭০ হাজার মণিপুরীয়েউ ঔ দাবির চুল আহাস আদায় করে নুয়াররাং। এমনকি আদায় করিসে ঔ দাবি অতাউ রা করে নুয়াররাং।

ত্রিপুরাৎ আমার মানুত্ব মন্ত্রীগো ইসিল বেলীরাজা বিমল সিংহ গিরক। আমার ঔ রাখাল রাজা বারো বেয়ক রকেটরে তুখাত করেদিয়া কালাক পেলুইলা য়েকনাপায়। অতার লগে ডেমগোত বাগেদিলা বিশ্বর বিষ্ণুপ্রিয়া মণিপুরীর হপন। বিমল গিরক দৌ ইলেউ আমার ইমার উরেত্ব রাজ্য, রাষ্ট্রর সেবার মানু নুকুল্লা। বিমল গিরকর গরগিথানক বিজয় লক্ষী এপাগাউ এমপিগো। গিথানকে রাজনীতিত লামানির খেলতামে বেয়াপা কল্যাণ সমিতি করিয়া আমার বেয়াপারে জাগেইলো। এবাকা এমপিগো অনার পরে এতাত সময় নাদিরি। উঠেসিলা বেয়াপাউ বারো ঘুমজিলা বুলিয়াউ পৌ পেইলাং। বেলীগো বুরানির পরে থাচির আঁধারে পরিসি আমার সমাজহাত জোলাকহান নুকুলে আহের বুলিয়া হৌগদের মানুয়ে মাততারা।

এমতাগা এমপিগো ইল ধনপতি কার্তিক সেনারেলো এসাদে হপন দেখতারা হৌগদের মানুয়ে। যেগউ মাততারা পয়সা হিচানিত গিরক জবর চৌখাত বুলিয়া। লী গিথানক গিরকর গজে কালাক পেলুইছে বুলিয়াউ মানুয়ে মাততারা। কিন্তুমান সমাজর কোন ডাঙর কামে গিরকে এবাকাউ মিল্লেঙ নাদেসে। কুংগ কুগৌ সমালোচনা করিয়া ‘গজে কায়া তল পাহুরলো’ বুলিয়াউ ওয়াকাত হুনরাং। ভারতর মানু যেসাদে চাকা, চাকা অয়া লাম পরেসি হৌগদে অসাদে চাকালা চাকালা পরথানিতৌ আল নেই তানু। বিমল গিরকরে কতোতাই চুনা নাপেইলা। হারেইলা পরে হারপেইলা। কাদানিয়ৌ কাতলা এবাকা বিজয় লক্ষীরেউ কোনো কোনোগয় দেখে নারতারা। চচেইতারা বিজয় লী, কার্তিকসেনা দ্বগিরেউ। হানতে বিজয় লক্ষী, কার্তিক সেনা দ্বগিয়ৌ খানি শিঙোনা থক এবাকাই।

মণিপুরী থিয়েটার পেয়েছে বাংলাদেশের সেরা নাট্যদলের সম্মাননা

2008-11-23T00:38:00.006+06:00

সারা দেশের মধ্যে শ্রেষ্ঠ নাট্যদল হিসাবে "আরজু স্মৃতি নাট্যপদক" লাভ করেছে মৌলবীবাজার জেলার কমলগঞ্জের প্রত্যন্ত অঞ্চলে গড়ে উঠা মণিপুরী থিয়েটার। মণিপুরী থিয়েটার বাংলাদেশের অন্যতম প্রান্তিক জাতিসত্তা বিষ্ণুপ্রিয়া মণিপুরীদের সাংস্কৃতিক ধারার একটি সংগঠন। প্রায় একযুগ ধরে মণিপুরীদের ঐতিহ্যগত মিথগুলো নাট্যমঞ্চে উপস্থাপনের মাধ্যমে বাংলাদেশের সংস্কৃতিকে আরো সমৃদ্ধ করে আসছে এই প্রতিষ্ঠানটি। "সাংস্কৃতিক লড়াইয়ের নান্দনিক হাতিয়ারই থিয়েটার" - এই বিশ্বাসকে ধারন করে ১২ বছর ধরে ব্যাপৃত রয়েছে নানান পরীক্ষা-নিরীক্ষায়।

গত ২৮ জুন, ২০০৮ সন্ধ্যায় বেইলি রোডের মহিলা সমিতি মিলনায়তনে এ পদক দেওয়া হয়। উল্লেখ্য বাংলাদেশ গ্রুপ থিয়েটার ফেডারেশনের সাবেক অনুষ্ঠান সম্পাদক প্রয়াত আরজুর নামে এই স্মৃতিপদক প্রবর্তন করা হয়। এবছর দেশব্যাপী প্রায় দুইশ নাট্যদল থেকে চুড়ান্তভাবে পাঁচটি মনোনয়নের পর সেরা দলটি নির্বাচন করা হয়। এই প্রথমবার কোন নাট্যকার বা নাট্যনির্দেশককে না দিয়ে নাটকের দলকে পদক দেয়া হলো।

বিস্তারিত দেখুন:
১. সেরা নাট্যদল মণিপুরী থিয়েটার- প্রথম আলো
২. Arju Padak'08 went to Monipuri Theatre- The Daily Star

নাট্যপ্রতিকুল পরিবেশেও মণিপুরী থিয়েটার চালিয়ে যাচ্ছে স্বতন্ত্র ও ভঙ্গিতে নিজস্ব সাংস্কৃতিক ঐতিহ্য রক্ষার লড়াই। মণিপুরী থিয়েটারে কাজ করছেন শুভাশিস সিনহা সমীর, জ্যোতি সিনহা, অপর্ণা সিনহা এবং শর্মিলা সিনহার মতো গুণান্বিত একদল নাট্যকর্মী। সংগীত, নৃত্য, সাহিত্য, গবেষনা, পাঠচর্চ্চার পাশাপাশি প্রতিবছর মনিপুরীদের কৃত্যমুলক উৎসবগুলো বর্ণাঢ্য আংগিকে আয়োজন করে থাকে মণিপুরী থিয়েটার। তাদের রয়েছে বাংলা ও বিষ্ণুপ্রিয়া মণিপুরী ভাষায় ৩২টি প্রযোজনা।

মণিপুরী থিয়েটারের উল্লেখযোগ্য প্রযোজনাঃ

বাংলা ভাষার নাটক
* মেঘ বৃষ্টি রোদ
* আজবপুরের বর্ষবরন
* নাই রাজার রাজদরবার
* কানাইলালের সানাই
* যাত্রা
* সুর বেসুর
* করকুন্তী সংবাদ
* দুর্ভাগা
* সাঁকো

বিষ্ণুপ্রিয়া মণিপুরী ভাষার নাটক
* নারগো ডাঙর ইলি
* তারালেইমার পালা
* মেঙসেল
* জুতা আবিস্কার
* শ্রীকৃষ্ণকীর্ত্তন
* সালয়া যানা
* চন্দ্রকলা
* ধ্বজো মেস্তরীর মরন
* নুংশিপী
* রুদ্রচন্ড
* ভানুবিল
* আমি আহিলেই
* ডিম্বরাজা
* মেঙসেল নেই গাঙর য়ারি
* সওদাগরর পাচগো পিতক
* ইঙাল আধাঁর পালা

সম্পাদিত প্রযোজনা
* মণিপুরী হোলি
* মণিপুরী রাসলীলা
* মণিপুরী বেলীরাস

Manipuris in Bangladesh celebrate 166th ‘Ras Leela’ festival

2008-11-15T23:56:00.009+06:00

The Manipuri communities living in Madhabpur and Adampur under Kamalganj upazila of Maulvibazar district celebrated their major religious and cultural festival 'Maha Ras Leela' on November 13. Celebrations were held at Manipuri Jora Mandaps in Madhabpur and the Sanatagore Mandap in Adampur.The Bisnhupriya manipuris celebrated 'Ras Leela' at the Madhabpur Jora Mandap and the Meiteis arranged their programme at Sanatagore Mandap, Adampur.

Manipuris have been celebrating this event on the 'Purnima Tithi' (full moon) of the Bangla month Kartik every year. This was the 166th celebration of 'Maha Ras Leela.'

The celebration included "Rakhal Nritya" (the dance of Sri Krishna with the gopals), "Ras Leela" (dance of Sri Krishna, Radha & the gopis), "Pala Kirtan," discussion on 'Ras Leela' and other Manipuri traditions. The programme started from 11 am on Thursday and ended yesterday morning.

'Ras-Mela' (fairs) were also held at the two festival venues. The range of products included Manipuri handicrafts, household items, toys and such. Thousands of people irrespective of caste and creed from different areas of the country attended the festival.

Manipuri Theatre Festival ends

2008-11-11T02:34:00.006+06:00

The two-day Manipuri Theatre Festival ended at the Experimental Theatre Hall, Bangladesh Shilpakala Academy on November 8 with the staging of "Ingaal Aandhar Pala". "Ingaal Aandhar Pala" is the Bishnupriya Manipuri indigenous troupe's 25th and latest production, Written and directed by Shubhashish Sameer, "Ingaal Aandhar Pala" centres on the struggles of a Manipuri 'mridanga' player Prem Singh.

The second day's programme also included a ceremony, where Manipuri Theatre honoured four noted personalities -- Ramendu Majumder; renowned Manipuri danseuse Tamanna Rahman; Manipuri 'raash lila' artistes Thaibee Devi and Krishna Kumari Sinha. Chief guest Rasheda K. Chowdhury, adviser, Ministry of Cultural Affairs, handed over the crests to the honourees.

As the play begins, Prem Singh returns home with a big hilsa. He has made some money performing in a 'naatpala'. But his wife Thaibee is far from pleased. She reminds him that there are pressing needs in the family, like getting school supplies for their daughter Lakkh. But a nonchalant Prem Singh is too excited about a potential good meal to care.

Prem Singh as a hedonist, who has not grasped the consequences of the reality yet. Even when working in the fields, he dreams about playing 'mridanga'.

The plot however, changes soon. One day, while performing in a 'naatpala', Prem Singh falls on the stage and badly hurts his back. The 'kabiraj' announces that Prem Singh would never be able to play 'mridanga' again. Eventually the injury paralyses Prem Singh -- both physically and psychologically.

A distraught Thaibee takes over all responsibilities on her fragile shoulders. She starts making cloths and sells them to Aalta Mahajan. One day, an exhausted Thaibee dozes off. In her dream, her daughter Lakkhi appears as the goddess Vrinda and performs 'raash lila'. Waking up, Thaibee plans to arrange a 'raash lila.' She is convinced that a 'raash lila' will change her family's misfortune.

Lakkhan Sinha and Shukla Sinha played the roles of Prem Singh and Thaibee. The key parts of the story were narrated by a storyteller, played by Jyoti Sinha. The narration was in Bangla and other dialogues were in the Bishnupriya Manipuri dialect.

The programme was presided over by Samarjit Sinha, adviser, Manipuri Theatre. Jhuna Chowdhury, secretary general, Bangladesh Group Theatre Federation; Noted theatre personalities Aly Zaker and Ataur Rahman and Bhuiyan Shafiqul Islam, director general, Bangladesh Shilpakala Academy were the special guests at the programme.

Courtesy: The Daily Star

এগিয়ে চলেছে বিষ্ণুপ্রিয়া মণিপুরী ভাষার উইকিপিডিয়া

2008-11-11T02:26:00.004+06:00

মুক্ত বিশ্বকোষ উইকিপিডিয়াতে বিশ্বের ২৬৪টি ভাষার মধ্যে বাংলাদেশের একটি প্রান্তিক জনগোষ্ঠীর ভাষা অন্তর্ভূক্ত হয়েছে। ভাষাটির নাম বিষ্ণুপ্রিয়া মণিপুরী । বাংলাদেশের সিলেট, মৌলবীবাজার, হবিগঞ্জ ও সুনামগঞ্জ জেলার বিভিন্ন স্থানের প্রায় ৬০,০০০ আদিবাসি এ ভাষায় কথা বলে থাকে। বাংলাদেশ ছাড়াও ভারতের উত্তরপুর্বাঞ্চলের আসাম, ত্রিপুরা ও মণিপুরে এবং বার্মায় বিষ্ণুপ্রিয়া মণিপুরী জাতির লোক বাস করে।

বর্তমানে বিষ্ণুপ্রিয়া মণিপুরী উইকির (Bishnupriya Manipuri Wikipedia) নিবন্ধ সংখ্যা ২৩,৩৯৩ টি, প্রতি নিবন্ধে গড়ে ৪৭৪০টি অক্ষর এবং নিবন্ধসংখ্যার বিচারে এর অবস্থান বিশ্বের ২৬৪টি দেশের মধ্যে ৫০তম । অন্যদিকে বাংলা উইকির নিবন্ধ সংখ্যা ১৮,০৬২টি, প্রতি নিবন্ধে গড়ে ৩৯৫৭টি অক্ষর এবং এর অবস্থান ৬২তম।

রাষ্ট্রশক্তির অবহেলা, প্রবঞ্চনা ও দমননীতির কারণে এবং সংখ্যাগরিষ্ঠ জনগোষ্ঠীর প্রভাবে ক্রমশ তাদের ভাষা এবং ঐতিহ্যবাহী সংস্কৃতি বিলুপ্ত হতে চলেছে। ভারত ও বাংলাদেশে বিষ্ণুপ্রিয়া মণিপুরীরা তাদের অস্তিত্ব টিকিয়ে রাখার জন্য অবিরাম সংগ্রাম করে যাচ্ছে। সুদীর্ঘ সংগ্রাম , রক্তপাত এবং জীবন আত্মত্যাগের বিনিময়ে ভারত সরকার ভাষাটিকে সাংবিধানিক স্বীকৃতি দিয়েছে। বাংলাদেশে বিষ্ণুপ্রিয়া মণিপুরী ভাষার কোন সাংবিধানিক স্বীকৃতি নেই, পাঠ্যপুস্তক এবং বাংলাদেশের জাতীয় বিশ্বকোষ বলে প্রচারিত বাংলাপিডিয়ায় বিষ্ণুপ্রিয়া মণিপুরীদের কোন উল্লেখই নেই। সেকারণে মাতৃভাষার অস্তিত্ব টিকিয়ে রাখা এবং বিলুপ্তি থেকে মাতৃভাষাকে বাঁচানোর উদ্দেশ্যে বিষ্ণুপ্রিয়া মণিপুরী উইকিপিডিয়া'র যাত্রা এবং তারপর আজকের অবস্থানে পৌঁছানো বিষ্ণুপ্রিয়া মণিপুরীদের জন্য একটি বিরাট অর্জন।

আমাদের লোকবল খুবই কম কারণ বাংলাদেশ বা ভারতের যে সব অঞ্চলে বিষ্ণুপ্রিয়া মণিপুরীরা বসবাস করেন সেসব এলাকায় টেলিযোগাযোগ বা ইন্টারনেট প্রযুক্তি এখনো পৌঁছায়নি। সংখ্যায় বেশী হওয়া সত্ত্বেও ভারতের ব্যবহারীরা ইউনিকোডতো দুরের কথা, বিজয় বা মুনীর কীবোর্ডের সাথে পরিচিত নয়। সেখানে ডিটিপির জন্য আসামীজ কীবোর্ড ব্যবহৃত হয় যা আমাদেরগুলি থেকে সম্পুর্ণ আলাদা। অল্প সংখ্যক ব্যবহারকারির উৎসাহ ও পরিশ্রমের ফলে বিষ্ণুপ্রিয়া মণিপুরী উইকি আজ এ পর্যায়ে আসতে পেরেছে। বিশেষ করে উদ্যোক্তা উত্তম সিংহ এর পেছনে অক্লান্ত পরিশ্রম করেছেন। তিনি ডাটাবেজ ও বটস্ক্রীপ্টের সফল ব্যবহার করে বাংলাদেশসহ বিশ্বের বিভিন্ন অঞ্চলের উপর একাই কয়েক হাজার ভূক্তি যোগ করেছেন। বর্তমানে এ প্রজেক্টের জন্য কোয়ালিটি গবেষক, অনুবাদক ও ভলান্টিয়ার যোগাড় করা হচ্ছে যারা BPY উইকির নিজস্ব নিবন্ধ (যেমন বিষ্ণুপ্রিয়া মণিপুরী ভাষা, সাহিত্য, সংস্কৃতি, ইতিহাস, ব্যক্তিত্ব ইত্যাদি বিষয়ক) লেখার পাশাপাশি রোবট স্ক্রিপ্ট দিয়ে করা প্রাথমিক মডেল বা খসড়াগুলোতে কাজ করতে পারেন।

বিষ্ণুপ্রিয়া মণিপুরী উইকিপিডিয়ার লিংক: http://bpy.wikipedia.org
উইকিপিডিয়ার নিবন্ধ সংখ্যার হিসাব: http://meta.wikimedia.org/wiki/List_of_Wikipedias

Guru Bipin Singha : Populariser of Manipuri Dance and Style

2008-11-11T01:43:00.004+06:00

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

Bisnupriya Manipuri troupe performs two-day cultural programme in Dhaka

2008-11-10T09:27:00.001+06:00

Indigenous troupe 'Manipuri Theatre' arranged a two-day programme at the Experimental Theatre Hall, Bangladesh Shilpakala Academy to celebrate its 12th anniversary. On the first day (November 7), the troupe staged its production “Shree Krishna Kirtan” and a traditional Manipuri art form “Natpala”.

“Shree Krishna Kirtan” is the troupe’s 13th production. When the play was first staged, it was over three hours long. However at the Experimental Hall, the troupe had to whittle down the play to one hour and five minutes. Shubhashish Shameer adapted the play from a medieval piece written by Baru Chandidas.

Chandidas wrote “Shree Krishna Kirtan” to highlight the anthropomorphic aspects of Lord Krishna. It was an ardous process as he had to pore over puran and religious books. In the play, Shameer worked on only seven episodes out of 13 from Chandidas’ piece.

At the beginning of the play, we see the central figures of Krishna and Radha. Radha along with Barayi and her friends goes to Vrindavan, where Barayi loses her way and meets young Krishna. Barayi describes Radha’s beauty to Krishna and asks him to direct her to her home. A besotted Krishna asks Barayi to play the mediator for him so that he can get Radha to accept him as a suitor.

Barayi tells Radha about her encounter with Krishna in Vrindavan. However Radha turns down Krishna’s proposal. At this, Krishna feels humiliated and vengeful. On the banks of Jamuna river, Krishna once again proposes to Radha but his efforts go in vain. A desperate Krishna finally seizes Radha through ‘madan baan’.

Jyoti Sinha and Shukla Sinha were superb in the roles of Radha and Barayi. Aparna Sinha could have done better as Krishna. The costumes of the protagonists incorporated the traditional Manipuri attire. The dialogue of play was in Bishnupriya Manipuri dialect. Shameer undertook the uphill task of translation.

A traditional “natpala” was staged after the “Shree Krishna Kirtan”. Influenced by the Vaishnavism, Manipuri people depicted the tale of Radha-Krishna through the natpala. The performance was half an hour long, Accompanied by Maripuri traditional instruments like ‘mridanga’, ‘dhol’ and ‘mandira’, the pala was quite enjoyable.

Earlier, an inauguration programme was held at the same venue. Veteran Manipuri mridanga player Aja Kannu Sinha inaugurated the festival through a performance. Shubhashish Shameer gave the welcome speech. Chairman of Bangladesh Group Theatre Federation, M. Hamid was the chief guest. Noted theatre personality Mamunur Rashid; general secretary of Bangladesh Adibashi Forum, Sanjib Drong; president, Joom Aesthetic Council, Shishir Chakma, among others, spoke at the programme. Professor Ranajit Sinha, advisor, Manipuri Theatre, presided over the programme.

Courtesy: The Daily Star

তিনটি সমকালীন বিষ্ণুপ্রিয়া মণিপুরী কবিতার বাংলা অনুবাদ

2008-11-09T23:09:00.005+06:00

ধনঞ্জয় রাজকুমার
প থ
পথকে মালা পরিয়ে দাও
ওই পথের গর্ভ থেকেই আমাদের জন্ম হয়েছিল ।

রঞ্জিত সিংহ
আ জ ও সে আ সে
আর
বিধবা নদীটি এসেছিল
আমাদের উঠান পর্যন্ত।
মন্দ্রিত রৌদ্রের মতো কী শান্তি
স্বপ্ন দেখেছিল সে।
বিশ্রামহীন তিনরাস্তার কোন পুলিশপয়েন্টের মতো
উদভ্রান্ত এখন।
তৃষ্ণাথরথর বুক চাপরিয়ে কেঁদে কেঁদে
আমার কাছে চেয়েছিল দু'ফোটা জল
আমি নিরুপায় ভয়ে লজ্জায়
ঘরের ভেতর নিঃশব্দ বসেছিলাম
এখনও আমি ভিজে উঠি চোখে -
নিষ্তেজ আমি
এমন নিম্নজ!

আর
বিধবা নদীটি এসেছিল
আমাদের উঠান পর্যন্ত।

সন্তোষ সান্তান
স ম্প র্ক সি রি জ - ২
ইস্কপনের বিবির সাবঅল্টার্ন য়াবেরুনীর সৌন্দর্যে নিপুন এক কবিতা লিখে যাব, এমন সময় হাতের তালু দাবী করে রাজসুলভ ভাগ্যলিপি। যে শিণ্পের টানে একজন জন্মকবি দারিদ্রের সাথে সংসার পাতে, সেই নির্বাক শিল্প ছড়িয়ে থাকে অতিচেতনায়, যুক্তির বাইরের কোন পৃথিবীতে। ইশ্বরের লীলা যেন মাকড়শার জাল। ইশ্বরও এখন বৃদ্ধ। তাকেও স্ট্রাগল করে বাঁচতে হয়। আকাঙ্খায় পূর্ণ আজ পিতলের বাটিখানা। প্রতি পদক্ষেপে বিধিনিষেধ, বিষ্ণুপ্রিয়া মণিপুরী ট্যাবু
সান্ধ্য আরতির মৃদঙ্গের তালে তালে নাচে নারীদের কন্ঠ। জয়দেবের গীত শুরু হলে আসরের বৈষ্ণব-নামাবলী থেকে নেমে আসের অষ্টসখির প্রানধন কৃষ্ণ। কৃষ্ণ, ময়ুরকন্ঠী রঙের নামবাচক এ বিশেষ্যের দ্বিতীয় অক্ষরটি যুক্তবর্ণ; "ষ" ও "ণ", এ দুই ব্যঞ্জনের মাঝে ছোট্ট একটি ফাঁকও খুঁজে পেলাম না, যেখানে অনায়াসে ঢুকিয়ে দেতে পারব বর্ণিল কিছু মানবতা। এদিকে "ক" খুব একলা, তার সাথে মিশে আছে "ঋ" কার, একা থাকলে তার গায়ে মেখে দিতাম কনেরাঙা মমতা; আর
কলঙ্কিনী রাইয়ের জন্য খয়েরি রঙের কিছু স্মৃতি। কলঙ্কিনী রাই আসলে এমন একটি নাম যার কোনো সর্বনাম নেই, আছে শুধু আকিঁবুকিহীন দুঃখীনি বিশেষন।আমরা জানি, বিশেষ্যের সাথে বিশেষনের ব্যবহার আত্মিক তৃপ্তি এনে দেয়।

ঘোমটার মতো শাদা কুয়াশা পৃথিবী মায়ের কোলে ছড়িয়ে পড়লে অবুঝ এ মন বৈষ্ণব-খড়ম, অহংকারী সানগ্লাস, অপরূপ কবিতা সব রেখে বৃন্দাবনের দিকে সরে পা বাড়ায়।

*য়াবেরুনী - কাঁচুলি বিশেষ। আগে মনিপুরী মেয়েরা শরীরের উর্ধ্বাংশে ব্যবহার করতো।
*জয়দেব - আষাঢ় মাসে মনিপুরীদের কাঙ উৎসবের সময় কবি জয়দেবের গীতগোবিন্দ গাওয়া হয়

ধনঞ্জয় রাজকুমার : আধুনিক বিষ্ণুপ্রিয়া মণিপুরী কবিতার জনক। জাতি, সংস্কৃতি, অতীত, ও শেকড়কে নিজের বিশাল কাব্যক্ষমতায় ধারন করেছেন। আশির দশক এবং তৎপরবর্তী কবিদের অধিকাংশ অনুসরন করেছেন তার পদাংক। প্রকাশিত কাব্যগ্রন্থ : হপনর বাবুয়ানি, ডিগল হাতহানল মোরে, ভিক্ষা দেনে এর আহিগিতৌ, হমাজি গাটর পানি ইত্যাদি।
রঞ্জিত সিংহ : নব্বই দশকের কবি। অরন্য রুপকল্প ও শান্ত সমাহিত বয়ানধরনের পাশাপাশি রাজনীতিশ্পর্শী এক গভীর হাহাকার তার কবিতায় ছুঁয়ে যায়। প্রকাশিত কাব্যগ্রন্থ : মোর ইমারঠার মোর প্রেমর কবিতা।
সন্তোষ সান্তান : নতুন শতাব্দীর কবি। প্রতিস্ঠান বিরোধিতার তার্কিক জায়গা থেকে হিউমারের মধ্য দিয়ে পেশ করেন কবিতা। বিষ্ণুপ্রিয়া মনিপুরী ভাষার মাসিক সাহিত্যপত্র "নুয়া এলা"য় নিয়মিত লেখেন।
সূত্র: মনিপুরী সাহিত্য সংগ্রহ। ভুমিকা ও অনুবাদ- শুভাশিস সিনহা। ঐতিহ্য, ঢাকা, ২০০৭।
ছবি: শক্তিকুমার সিংহের পেইন্টিং

মণিপুরীদের পুঁথিপাঠ বিষয়ে Daily Star এর বিভ্রান্তি

2008-11-09T22:59:00.003+06:00

ঢাকা থেকে প্রকাশিত The Daily Star পত্রিকার ৪ জুন ২০০৮ সংখ্যায় মণিপুরীদের পুঁথিপাঠ বিষয়ে বিভ্রান্তিকর তথ্য দেওয়া হয়েছে। Daily Star লিখেছে - "In tea gardens, the Monipuri labourers listen to puthi with musical instruments like dhol, mridanga, korotaal and harmonium." সাইমন জাকারিয়াকে উদ্ধৃত করে লেখা রিপোর্টে ডেইলি স্টার চা-শ্রমিক এবং মণিপুরী দুটি আলাদা জাতিসত্তাকে গুলিয়ে ফেলেছে। মণিপুরীরা চা বাগানে থাকে না, চা বাগানের শ্রমিকরা ভিন্ন জাতি, তাদের নিজস্ব ভাষা ও সংস্কৃতি রয়েছে। কথা হলো পুঁথিপাঠের মতো গুরুগম্ভীর বিষয় কিভাবে ঢোল, মৃদংগ, করতাল বা হারমোনিয়ামের সাথে পরিবেশিত হয় বোধগম্য নয়। আর দেশের প্রথম সারির একটি জাতীয় ইংরেজী দৈনিকে বহুল প্রচলিত "Manipuri" শব্দটিকে এভাবে ভুল বানানে "Monipuri" লেখার হেতু কি?

মণিপুরীদের পুঁথিপাঠের ঐতিহ্য সহস্রাধিক বছরের। কার্তিক মাসে মহারাস উৎসবের আগে মাসব্যাপী পুঁথিপাঠ ও শ্রবন মণিপুরী লোকঐতিহ্যের একটি গুরুত্বপুর্ণ অংশ। পর্বটি "নিয়মপালি" বা "নিয়মসেবা" নামে পরিচিত। নিয়মপালিতে ভক্ত শ্রোতাদের সম্মুখে মহাভারত, রামায়ন, ব্রহ্মবৈবর্ত পুরাণ ইত্যাদি পৌরাণিক ও ধর্মীয় গ্রন্থের পাঠ ও ব্যাখ্যা করা হয়। একজন বা দু'জন বিদ্বান ও পন্ডিতশ্রেণীর ব্যক্তি এই দ্বায়িত্ব পান। যিনি পাঠ করেন তাকে বলা হয় "থিপা" আর যিনি ব্যাখ্যাদান করেন তাকে বলা হয় "য়ারিলিপা"। পুঁথিপাঠ শেষ হলে ঐতিহ্যবাহী বাদ্যযন্ত্র সহযোগে বৈষ্ণব পদাবলী গাওয়া হয়। এরপর ভক্তদের মধ্যে প্রসাদ বিতরন করা হয়। নিয়মপালি মুলত মণিপুরীদের লোকশিক্ষার একটি অংশ। এখানে ধর্মীয় গ্রন্থের অমৃতবাণীর আড়ালে সততা, মুল্যবোধ ও নৈতিকতার সামাজিক শিক্ষা দেয়া হয়।

* ব্লগে মণিপুরীদের কার্তিকা ও নিয়মপালি সংক্রান্ত আরেকটি লেখা
* ইউ টিউবে দেখুন মণিপুরী পুঁথিপাঠের ভিডিও

মণিপুরী নৃত্যকলার প্রসারে কবিগুরু রবীন্দ্রনাথ ঠাকুরের অনবদ্য ভুমিকা, রবীন্দ্রনাথের গানে মণিপুরী সুর এবং অন্যান্য প্রসংগ

2008-11-09T04:52:00.006+06:00

মণিপুরী সংস্কৃতির সবচেয়ে সমৃদ্ধ শাখা মণিপুরী নৃত্য। মণিপুরী নৃত্যকলা তার কোমলতা, আঙ্গিক, রুচিশীল ভঙ্গিমা ও সৌন্দর্য দিয়ে জয় করেছে ভারতর্ষের অসংখ্য দর্শকের মন। শুধুমাত্র মণিপুরী জীবনধারা ও ধর্মাচরনের সাথে জড়িত এই নৃত্যকে বহির্বিশ্বে পরিচিত করান কবিগুরু রবীন্দ্রনাথ ঠাকুর।

কবিগুরুর ভ্রমনের ইতিহাস থেকে জানা যায় ১৯১৯ সালে তিনি সিলেট ভ্রমনে এলে ৬ই নভেম্বর সিলেট শহরের অদুরে মাছিমপুর পল্লীতে বেড়াতে আসেন। সেখানকার বিষ্ণুপ্রিয়া মণিপুরী মেয়েরা কবিগুরুকে অভ্যর্থনা জানান এবং পরে তার সম্মানে কবির বাংলোতে মণিপুরী নৃত্যের আসর আয়োজন করা হয়। দুপুরে কবিগুরুকে ঐতিহ্যবাহী মণিপুরী গোষ্ঠলীলা এবং রাতে মণিপুরী রাসলীলা দেখানো হয়। কবিগুরু মণিপুরী নৃত্যের সজ্জা, সাবলীল ছন্দ ও সৌন্দর্যে বিমোহিত হন এবং শান্তিনিকেতনের ছেলেমেয়েদের এ নৃত্য শেখাবার ইচ্ছা ব্যক্ত করেন। নৃত্য পরিচালনায় ছিলেন বিষ্ণুপ্রিয়া মনিপুরী নৃত্যশিল্পী ইমাগো দেবী। ইমাগো দেবীকে কবিগুরু শান্তিনিকেতনে নিয়ে যেতে চাইলেও মণিপুরীদের কঠোর সামাজিক বিধিনিষেধের জন্য তা সম্ভব হয়নি।

কবিগুরুর আমন্ত্রনে প্রথমে মণিপুর থেকে তিনজন নৃত্যশিক্ষক শান্তিনিকেতনে আসেন , কিন্ত বাংলা জানা না থাকার কারণে তার ফিরে যান। এরপর ১৯২৬ সালে আগরতলা থেকে গুরু বুদ্ধিমন্ত সিংহ এবং ত্রিপুরা থেকে গুরু নবকুমার সিংহ শান্তিনিকেতনে যোগ দেন। প্রথমবারের মতো মনিপুরী নৃত্য ব্যবহার করে শান্তিনিকেতনে মঞ্চষ্থ হয় "নটীর পুজা" ও "ঋতুরঙ্গ"। ২য় পর্য়ায়ে কবিগুরুর আমন্ত্রনে যোগ দেন সিলেটের কমলগঞ্জের বালিগাঁও গ্রামের বিষ্ণুপ্রিয়া মনিপুরী নৃত্যগুরু নীলেশ্বর মুখার্জ্জী। এরপর শান্তিনিকেতনে মণিপুরী নৃত্যের জন্য আলাদা শাখা গঠন করা হয়।

রবীন্দ্রসংগীতের গভীরতা ও কাব্যময়তার সাথে মণিপুরী নৃত্যের সাবলীল গতি ও বিশুদ্ধ নান্দনিকতার মধ্যে বিশেষ সামঞ্জস্য থাকায় শান্তিনিকেতনে উচ্চাঙ্গ নৃত্যধারার মধ্যে মণিপুরী নৃত্য সর্বাপেক্ষা সমাদৃত হয়। এরপর বাংলাদেশে এবং সারা ভারতে মণিপুরী নৃত্যের প্রচার ও প্রসার ঘটে। এছাড়া রবীন্দ্রনাথ মণিপুরী গানের সুর ও তাল দিয়েও প্রভাবিত হয়েছিলেন। রবীন্দ্রনাথের "শ্যামা" ও "চন্ডালিকা" ও নৃত্যনাট্যে আংশিক এবং "চিত্রাংগদা " নৃত্যনাট্যে সম্পুর্নভাবে মণিপুরী নৃত্যের সুর ও তাল অনুসরন করা হয়েছে। এছাড়া রবীন্দ্রনাথ ঠাকুরের অনেক গানে মণিপুরী সুর ব্যবহৃত হয়েছে, যেমন -

শ্রীবাস কাছে থেকে দুরে কেন ছিলগো আধাঁরে

আজি বসন্ত জাগ্রত দ্বারে

রোদন ভরা এ বসন্ত

বাকি আমি রাখবো না

লোকচক্ষুর অন্তরালে থাকা মণিপুরী নৃত্যের বিশ্বময় প্রচার এবং মনিপুরী সংস্কৃতির পুনর্জাগরনে অসামান্য ভুমিকা রাখার জন্য মনিপুরীরা আজো কবিগুরুকে মণিপুরী নৃত্যের পথিকৃৎ হিসাবে বিবেচনা করেন। মণিপুরী নৃত্যগুরুরা আজো গভীর শ্রদ্ধার সাথে উচ্চারন করেন কবিগুরুর নাম। সম্মানিত করার জন্য কবিগুরুর লেখা গান মণিপুরী রাসলীলায় অন্তর্ভুক্ত হয়েছে । সিলেটের মাছিমপুরের বিষ্ণুপ্রিয়া মণিপুরী পল্লীতে স্থাপন করা হয়েছে কবিগুরুর প্রতিকৃতি।

তথ্যসুত্রঃ
১. আকাংখা - শান্তিনিকেতনের পত্রিকা ১৩২৬ বাংলা
২. শ্রীভূমি সিলেটে রবীন্দ্রনাথ - অধ্যাপক নৃপেন্দ্রলাল দাস
৩. ভারতের নৃত্যকলা - গায়ত্রী চট্টোপাধ্যায়
৪. Tagore and his influence in Bishnupriya Manipuri Society

Schools of Manipuri Bishnupuryia language in Bangladesh

2008-11-09T03:50:00.009+06:00

Some schools of Manipuri Bishnupuria tribal language started functioning at the Bishnupriya Manipuri inhabited areas of greater Moulvibazar District. One of them started in the Madhabpur Manipuri Lalitkala Academy in Kamalganj upazila recently. Sil Bangladesh, a foreign NGO working with indigenous people helped establish the school to teach Monipuri tribal children in their own language.

Feed Shark

Nripendra Kumar Sinha, President of Monipuri Language Development Committee presided over the function while Raj Kanta Sinha, Headmaster of Madhabpur High School attended the opening function as the chief guest. A representative of the United Nations Children's Fund (UNICEF) Netanel Taniz and Sil Bangladesh official Unistan were present at the function.

In her address, the NGO representative announced that more such schools would be established here by her NGO soon for teaching tribal children in Meithei and Khasia languages.

A large number of Manipuri women and children attended the function and expressed their satisfaction as their children will be able to learn in their own Bishnupuriya Manipuri language in this schoool.

There is also another school of Manipuri Bishnupuria language started its activities at Ghoramara recently with the the joint venture of local youths along with the help of Sil Bangladesh.
Source:
1. কিসারে চলের আমার ঠারর ইসকুলগো
2. http://www.thedailystar.net/2004/11/20/d41120070669.htm
3. Imar Tharor School

Gokulananda Gitiswami - Father of Bishnupriya Manipuri Community

2008-11-09T03:14:00.006+06:00

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
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

BISHNUPRIYA MANIPURI: AS A CONTACT LANGUAGE

2008-11-09T02:23:00.008+06:00

Department of Linguistics
3600 Market Street, Suite 501
University of Pennsylvania
Philadelphia, PA 19104-2653

This talk is about Bishnupriya language which emerged as a result of contact between Indo Aryan Languages such as Assamese and Bengali and Tibeto Burman languages such as Meitei. The available evidence suggests that Bishnupriya must have emerged as a contact language in Manipur sometime in the late 18th century as a consequence of the spread of Hinduism (in particular, Vaishnavism) in the North Eastern Part of India. Though Bishnupriya emerged as a contact language in Manipur, a majority of the Bishnupriyas are at present located outside Manipur in parts of Assam, Tripura and Bangladesh, where they have come into a secondary contact with local Bengali vernacular.

The ongoing controversy regarding whether or not Bishnupriyas can be allowed to have any claims over Manipuri identity has its roots in the state politics and culture and the superimposed dominant presence of Indic languages, in particular, Bengali and to some extent Assamese that has been perceived as a threat to the very existence of tribal identity and culture in the North East. Thus, while the claim for the use of the term Bishnupriya Manipuri is seen by the Meities as a dilution of their own identity, the Bishnupriyas see it as their legitimate right to create a small but distinct space within the overall Meitei space (regional and cultural). However, the problems of the Bishnupriyas are much more complex precisely for the reasons that they can neither be regarded as Aryans nor as entirely Meitei or Tibeto Burman in general. This is because Bishnupriyas represent ethnically and culturally a mixed group and their language clearly a result of contact between the Tibeto Burman and the Indo Aryan population.

In this talk I intend to present Bishnupriya as a contact language and provide an overview of its major structural and cultural traits. I would also draw a comparison between the structures of the various languages that are involved in the contact and discuss the continuation of the features of the source languages on the one hand and transformations, innovations and changes on the other.
It should be noted that the people of Manipur comprise both the migrants of East and West who came to Manipur in different periods of history. During the earlier period migrants were in general assimilated and assigned to one or other to the clans, no doubt according to the area in which they settled. There origins were remembered by the terms Nongpok Haram (The Mongoloid migrants from the East, mainly the Shans, Kabaws and Pongs, a little of Chinese and Burmese) and Nongchup Haram (The Dravidian and Aryan migrants from the West, mainly the Bishnupriya's, the Brahmins etc.). The history of Manipur witnesses the process of racial fusion undermining the geographical features. So the mass people of Manipur is a composite one to which the Mongoloids, Dravidians, Aryans, Pongs, Chinese, Siamese, etc, were contributory.

Also some Linguistic Points shouldn't be ignored:

a) The relation between the Bishnupriya and Meitei language is well established. The Bishnupriya grammar is also influenced by Meitei

b) Bishnupriya Manipuri language incorporated some features from the languages of hill tribes. Sir G.A. Griersons(LSI Vol-4, p- 419) observation on BPM was the word for 'bad' is 'good-not' hoba-naya, as in all Kuki-Chin languages. The use of demonstrative pronoun after the noun which it qualifies is also a typical of Kuki. The Suffix of the dative 'rang' a Kuki idiom. The form of future that in ng, is taken from Thado Kuki.

c) Bishnupriya language has considerably good number of (more than 4,000) Meitei words. For example: laupuk, mang, matik, marup, ning, nungsi, pang, pham, sing, thungba, yathang etc. The most remarkable feature of Bishnupriya Manipuri Language is that it retained many older phonology of Meitei and also some words of Meitei of archaic and medieval age. It was because the Bishnupriyas left Manipur during the last part of 18th century. Colonel W McCulloch compiled a comparative vocabulary of Meitei and Bishnupriya which in published in 1859.

PENN LINGUISTICS SPEAKER SERIES Fall 2003
Held by the Department of Linguistics at the University of Pennsylvania. Co-sponsored by the Institute for Research in Cognitive Science (IRCS) and the Graduate Student Associations Council (GSAC). Open to members of the greater university community.

Oct. 16
Shobha Sathyanath
University of Delhi, Delhi, India
TOPIC: BISHNUPRIYA AS A CONTACT LANGUAGE

The Mandap or Mandav

2008-11-09T02:06:00.004+06:00

Almost in every villages of the Bishnupriya Manipuris, there are at least one or more ‘Mandav’ (sometimes referred as ‘Malthep’ ‘Mandop’ etc.), in which religious and cultural functions are observed. Although the ‘Mandav’’s have close similarities with the temples of Bengali Hindus or the ‘Namaghara’ of the Assamese, there is lot of difference between them. ‘Mandav’s are squire in shape and are very unique in architectural design. A ‘Mandav’ is considered as the core social center for the Bishnupriya Manipuris.

There is often a temple called Dou-gor-Leisang (‘Leisang’ in short, meaning the room of the God) is associated with a ‘Mandav’ though not mandatory for every ‘Mandav’. The images worshipped in the village Leisangs are Radha, Krishna, Jagannatha, Subhadra, Balarama, Gopala Deva, Saligrama etc. Composiye figures are very rare in the leisangs. The Manipuri Vaishnavs also worship sacred scriptures such as the Bhagavat Gita, Bhagavat Purana, Chaitanya Chatitamrita and other Vaishnavite scriptures. In the Leisangs, such books are also placed on an alter and the devotees offer flowers and Dhup.

GeekySpeaky: Submit Your Site!
A1 Web Links - Art Resources
Best Directory - Submit your Website

There are few villages which do not have at least one ‘Mandav’. It is said among the Manipuris that a Lam(place) without a ‘Mandav’, a Bamon and an Astrologer is not worth inhabiting. It is considered virtues to spend a part of one’s earning in the construction and endowment of a ‘Mandav’ or ‘Leishang’. In the villages, the ‘Mandav’s are not only the center of religious diffusion, but also the social life of the people. In early days the land grants for the ‘Mandav’ and the gift of vast amount of wealth to the village Bamons who are the caretakers of the ‘Leisang’s attached to a ‘Mandav’ by the Kings of Manipur. Outside Manipur, rich and wealthy people come forward by donating lands, idols, money, cloths and ornaments for the deities.

Bisnupriya Manipuri Communtiy - A study in Cutural Identity

2008-11-08T01:52:00.006+06:00

Bishnupriya Manipuris are, a constituent of the conglomeration of diverse ethnic groups in the Barak Valley. Officially, they are a linguistic minority. There are as many as 146 villages in the valley and population in rural areas was 66,623 in 1967. Curiously enough, figures published in 1961 census were totally incorrect. Social workers undertook, in protest, to conduct census, which revealed, tidy certified by t-he respective Village panchyats, the actual above - mentioned figures. Coming to the closing decade of the century the figure would be around one and half lakhs. Indeed this community has suffered diminution at every stage of its historical evolution.A quick look at its remote and recent past will hope , not be out of place here.

The Bishnupriya Manipuris, belonging as they do to the Indo-Aryan group of Manipuris, have a great antiquity. Manipur was known to the Burmese as Kathe as it belonged to the Kshatriyas coming from the Western and Northern India and to the people of Assam as Moglu. It was also known in the Epic age as Makhalee which the people of Southern China would call Meiun Khala meaning the country of the wide lake (Logtak) and the inhabitants were called Maiyangs or Khalachais,who claim their descent from Babrubahan, a son of the valiant Arjun of the Mahabharata fame, and adoption of the cult of Lord Bishnu. Hence they were called Bishnupriyas and had their ancient capital town at Bishnupur which the 7th century Chinese pilgrim Hsuan Tsang had mentioned in his account as Ishangnupul. Unfortunately , though reputed to be the first cultured ruling race of Manipur they had to bear the brunt of a series of Kuki-Chin incursions and the valley, ultimately went, under the occupation of the Melteis.

E.T.Dalton says : "By degrees the Meiteis became dominant and that name was applied to the entire colony. It is highly probable that these hordes oven-an a country that had been previously occupied by people of Aryan blood known in Western India and to the bards.Me present population of Manipur includes a tribe called Meiun who speak a language of Sanskrit derivation They are now in a servile condition performing the duties of grass-cutters to their conquerors".

The oppressions acted upon the Bishnupriyas followed by insensate burning of books and records during the reign of king Pamheiba in the early part of the 18th century, resulted in the annihilation of the old tradition. Repeated Burmese invasions that followed such tyrannical rule caused a large number of Bishnupriyas to leave their heart and home, migrate partly to Cachar, Sylhet and Tripura and partly to Burma. Of the remaining population a major portion merged with Meiteis and only a fraction was left to see its rapidly falling moral and material standards and find its mother tongue forced helplessly into oblivion. The burning of books, searched out even from hidden comers , however, continued to avert any possibility to trace the history of Manipur and Chronicles were prepared under the strict supervision of the Icings. W.Shaw and Raj Mohan Nath , two eminent scholars are of the view that " Bishnupriya " with its Devanagai script had been the court language of Manipur and was replaced by king Khagenba . The Meiung or the Bishnupriya Manipuri language is virtually extinct in present Manipur though 1000 speakers of this language could be traced there by Dr. Grierson early this century during his linguistic survey.

Ravages of history , however , have not been able to demoralize the people altogether. They have somehow sustained themselves with their devout nature and innate cultural traits . This Will be evident from the observations of late Mr. C.S.Mullan , I.C.S. - "The Manipuris of Cachar and Sylhet are really people apart... they are foreigners in a strange land and have kept very much to themselves preserving their own language . They must , in my opinion , be considered as a community requiring special treatment rather than a backward race".

The foreword by late A.K.Chanda , Bar-at-Law , one of the architects of the Barak- Valley. , to a memorial on the occasion of the eighth general session, of Nikhil Bishnupnriy Manipuri Mahasabha held at Bhakatpur near Silchar on 26th -and 27th December 1938 , is still more illuminating . As the chief guest of the session he addressed the Chief Minister, Assam, in memorable words -

"In forwarding the memorial to you for the sympathetic consideration of your govt. I desire to reinforce it by adding my humble voice in its support . As one between whose family and Manipuris have subsisted ties of friendship for three generations now, I feel it would not be presumptuous on my part but rather duty to submit that the memorialize have made out a strong case for special recognition of the claims of Manipuris. I endorse every word of the remarks made by Mr. C.S.Mullan, I.C.S. as quoted in the memorial . Manipuris have a culture of their own ; although settled among us , they have yet preserved their entity as inviolate . But this insular ism has caused them hard in that day they have been very reluctant to respond to the calls of time . Once high in annals of bravery and various kinds of arts in peace they find themselves relegated to the background for lack of modem education and also initiative. While other. communities are forging ahead , they are content to eke out a precarious existence steeped in illiteracy, ignorance and want . They are suffering from lack of initiative as they are without a leader strong enough to rouse them from their stupor.. It now behooves your govt. to extend them a special measure of protection without which the future of such a fine race seems doomed."

The historical role played at this juncture by the Surma Valley Manipuri Association , known as-the Nikhil Bishnupriya Manipuri Mahasabha later in 1932, cannot be over - emphasized . This is the foremost socio cultural organization of the society, established in June, 1 932, and has been working steadily for the betterment of the community. It may be noted here that in the census of 1931 Manipuris were classified as tribal people belonging to the Tibeto -Burman stock . The census commissioner Dr.J.H.Hutton , however, reclassified them under the caste Hindu Indo-Aryan group in 1933 on a thorough scrutiny of historical records received from the Bishnupriya Manipuris of Cachar under the aegis of Surma Valley Manipuri Association .

Foremost among the earlier poets is of course Gitiswami Gokulananda who traversed the whole of Bishnupriya-speaking region - singing with a missionary fervor of the ills of our society and their remedies His performance was mostly dramatic, the follies and foibles of our people were their by held up to ridicule. He denounced especially the vice of imitation It may be mentioned here that his role is comparable-.to that of Mukundadas in Bengal who flourished during the glorious years of national resurgence and stirred the hearts of millions with his powerful songs Though his sphere of activity was limited in sense , he must have come under the turbulence of the times and he appeared to have wider sympathies.

A quick look at our recent past will reveal the circumstances which were responsible for the making of this great reformer -poet. Laboring under a depressed economy our women belonging to the lower middle class went to the market to sell certain daily necessities This was not considered dishonorable till it was found that indignities were often hurled at. these innocent women by some vulgar people at the marketplace While a young man Gokulananda was shocked to find a women thus victimized -but none came to her help The incident filled him with pity and indignation and., led him on to a tragic realization of our predicament And he took the momentous decision of devoting himself to the cause of his 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 our men at the time . His songs were simple and direct , often did active in tone as he had a serious purpose in mind. His personality was eminently suited for the purpose -a very compassionate face with luminous eyes; his mouth slightly curved to the left which gave him the impression of a man of determination .His measure of success can be guessed from the endearing title "Gitiswami" bestowed on him He was indeed the master of lyricism in our language; his song immortalizing Mother Bishnupriya shows him as a man at the height of attachment to his community. What is more, he did much for the awakening of our social conscience through his dramatic performances and other works.

The impact of this great wandering singer on the Bisnupriya Manipuris has been manifold. We are, aware of the fact by now that we need real poets not mere versifiers poets at the altar of humanity. Gitiswami has been one of the major sources of inspiration from whom our present-day poets, and social workers for that matter, continue to draw their sustenance. Instead of just being blank onlookers , we are now more inclined to look within ourselves without illusion and any false sense of' self satisfaction . We are thus redeemed by the promptings of a loving heart which taught us to love our good things - our culture, our devout acceptance of life . He has proved himself to be our never-failing friend, philosopher and guide.

Bishnupriya Manipuris , as already pointed out, are of a devout nature belonging to the Gaudiya Vaishnava sect . Sri Bhubaneshwar Sadhu Thakur bom at Baropoa (now renamed Bhubaneshwar Nagar) in Cachar has, so to say 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. No wonder they look upon him as their saviour . The temple of Sri Govinda, popularly known as "Govindabari " at Nabadwip in West Bengal is a veritable abode of peace for the devotees.

Next , the name of the noted dramatist Leikhomsena Sinha from Singari near Silchar , late lamented father of Guru Bipin Sinha the ereat exponent of Manipuri dance, also deserves mention ..Besides , a host of other poets and socially conscious person have contributed their mite for the advancement of the community.

Despite their depressed economy , the position of the Bishnupriya Manipuris in the fields of education , science and culture in this valley is considerably good . Late Mahitosh Purkayastha , ex-MP, and a much respected leader of South Assam noted more than a decade ago : "as regards the sociocultural identity , the 40000 Bishnupriya Manipuris constituting less than 0.30% of state population do not consider themselves lost socially and culturally although they have socio-political evinces of deprivation." The case in point gets clear from the 13th Report of the Commissioner for Linguistic Minorities of India (July, 1970 -June , 1 971 Article 15, page 1 8)

"As a result of non-implementation of the constitutional provision of Artici.-I 3 50A by some states, specific demands of some linguistic minority groups to have instructions through their mother tongue at the primary stage, have not been conceded Prominent among such pending issues -are the cases of the-speakers of Bishnupriya Manipuri in Assam,,speakers of Saurastri in Tamil Nadu Santhali in West Bengal.."

This leads us on to the crux of the question 'Are Bisnupriyas Manipuris at all' ? Of course they are. That is why they have consistently refused offers of both the state and central Goverments to accept as Bisnupriya only They have voiced their constitutional demands through peaceful, democratic movements over the years. But unfortunately things have gone wrong The right- minded persons of the valley with a keen historical sense can I hope certainly solve this tangle The cultural identity of the Bisnupriya Manipuris would be at stake if the term "manipuri" is dropped or deleted "Culture", as renowned Prof. E.Ninkanta Singh from Manipur says , "reflects the soul of a people . And to understand a people's culture , one has to flow along with the current of heritage. The origin of the Manipuris ( or properly speaking, the Meiteis ) is still a mystery . But modem researches have pointed unwavering finger to the East from where migratory waves have reached this land thousands of years ago".

Rabindranath Tagore , with his poetic vision of beauty, was attracted to Manipuri dance on a visit to Sylhet early this century and decided to introduce this beautiful classical dance at Santiniketan recruiting teachers from both Bishnupriya and Meitei communities, Thus began the onward march of this unique culture . What is more, religion and culture are almost inseparably interwoven in this form and the artists of all age-groups perform it in a subdued manner peculiar to this. form . The Ras Leela , for example, on a moonlit night is a wonderful spiritual experience for the admirer. Towards the close of the performance , at the early hours of dawn , the rhythmic companions of Radha do not want to leave the " Kunja " , the bower meant for divine dalliance The whole atmosphere is- charged with emotion. as it were , and the performers , though traditionally dressed, appear to be "appareled in celestial light

In the final analysis , the present analyst , for want of an adequate critical apparatus , would like to have recourse to a simple botanical analogy. If the Bishnupriya ,Manipuris are divested of 'the authentic cultural identity of "Manipuri" a blossom of Manipuri culture will be detached or nipped from the stalk . Let it not wither away in desert air.

References:

1. The Mahasabha Review, 1970
2. Memorendum to Dr. Pratap Chandra, Ex. Education Minister, Govt. of India,1977.
3. Let history and facts speak Manipuris - Nikhil Bishnupn'ya Manipuri Sahitya Parishad, 1984.
4. Anatomy of North-East, Purkayastha M. 1980.
5. Souvenir, East India Cultural Conference 1975.
6. Ethnic Processes in North-eastern India - Acharjee, S.K. Special article in "Economic and Political weekly", May 21, 1986.

Cotributed by: Barun Kumar Sinha

Position of women in Bishnupriya Manipuri Society

2008-11-08T00:53:00.005+06:00

In Bishnupriya Manipuri society, the women were never neglected. Indian customs like widow-burning, dowry culture or devdasi system were never in practice in Bishnupriya Manipuri community. Goddess cults and myths in Manipur are very ancient and most of them prove the position of women in the society. After the propagation of Vaishnavism of Sri Chaitanya, the position of women became higher, as it is proved by the honor showed to them in religious rites like Birth rituals, Marriage ceremonies or Death rituals and in cultural observances such as ‘Kirtana’, ‘Rasleela’, ‘Vaasaka’ etc.

An unmarried girl is referred as a ‘Ningon’ in Bishnupriya Manipuri Society. ‘Ningon’ acquires such a wide meaning as to cover the unmarried girls, the socio-religious ceremonies cannot be performed without the attendance of them. Even after their marriage they are very respectably invited by her sagei (clan) in every social or religious observance. In the traditional design of Manipuri house ‘Inchau’ – there is always a dormitory for the girl called Ningolpham.

The role of women as a mother was, by far, the most important. Most respect was shown to het than to the father. The saying that ‘there may be a bad son but that we do not have a bad mother’ is so true in regard of Bishnupriya Manipuri community. Their sexual morality is above blame though they have been enjoying freedom and allowed to work outside freely with males. From the grand time down to the present, their activities are not confined to the four walls of domestic life unlike the Indian women who failed to attain even up to present day. They go out freely for purposes of petty trade mainly in the scale of products of their own hands. They weave fine and durable textures where colors are assembled in the most attractive manner. At the same time Bishnupriya Manipuri women have shown their gallantry and velour in desperate and critical situations.

As a wife, Bishnupriya women struggle throughout their lives to bring a peaceful and prosperous family. But some women have been put in a heavy burden in the name of family life. They accepted the way they spend their lives after marriage without a question because it is an old tradition. The influence of Indian society has made such an impression that women should be obedient to her husband and in-laws without consideration right or wrong.

Fortunately, these days, Bishnupriya Manipuri women are shining in the fields of education, because they are equally given the rights of education by the society and the families. Nowadays we can find lots of Bishnupriya Manipuri women are proving their excellence as professionals like Teachers, Doctors, Lawyers, Executives, Writers, Artists or Social workers. Some of the women came to challenging professions like journalism. Few of them have started making websites and writing ‘Blog’s in the internet. So we should be very proud of our Bishnupriya Manipuri women and wish to help to improve and transform them as sophisticated modern women as far as we can.

বিষ্ণুপ্রিয়া মণিপুরী মুক্তিযোদ্ধা শহীদ গিরীন্দ্র সিংহ

2008-11-07T23:59:00.003+06:00

বাংলাদেশের মুক্তিযুদ্ধে বাঙালি ছাড়াও অন্যান্য জাতিসত্তার সক্রিয় অংশগ্রহণ ছিল অনেকেই বিষয়টা প্রায় ভূলে থাকতে চান ৷ ফলে ইতিহাসের পাতা থেকে বাদ পড়ে যায় তারা৷ হিসাব-নিকাশ না করে কেবল অন্যায়ের বিরুদ্ধে লড়াই করার জন্য ক্ষুদ্র জাতিসত্তার মানুষ কীভাবে জীবন বাজি রেখে ঝাঁপিয়ে পড়েছিল, ইতিহাসের পাতা থেকে বাদ পড়ে যায় সেই পরিচ্ছেদ৷

... এ রকমই এক শহীদের নাম গিরীন্দ্র সিংহ ৷ জাতিগত পরিচয়ে মণিপুরী −বিষ্ণুপ্রিয়া আদিবাসী সম্প্রদায়ভূক্ত। জন্ম তার ১৯৩০ সালে তৎকালীন মৌলবীবাজার মহকুমার কমলগন্জের মাধবপুরে আউলেকি গ্রামে।

... মনিপুরী গ্রামের পেছনে নদী সংলগ্ন শ্বশানঘাট থেকে পাক বাহিনী ও তাদের দোসরদের সাথে যে যুদ্ধ শুরু হয়েছিল তার সংগঠন ও নেতৃত্তে ছিলেন গিরীন্দ্র। সাধারন অস্ত্র লাঠি, বর্শা এবং আরো নানান প্রাচীন অস্ত্রকে সম্বল করে পরিচালিত হয় এই লড়াই। রক্তে লাল হয় ধলাই নদীর পানি। ১৯৭১ সালের আগষ্টের ১২ তারিখে হানাদাররা মণিপুরী বিষ্ণুপ্রিয়া সমাজের পুরোহিত সার্বভৌম শর্মাকে গ্রেফতার করে নিয়ে গুলি করে মেরে ফেলে। এরপর ফুঁসে উঠে গিরীন্দ্রের নেতৃত্তে বিষ্ণুপ্রিয়া মণিপুরী সমাজের তরুন সম্প্রদায়। মুক্তিবাহিনীতে মণিপুরী যোদ্দ্ধাদের সংখ্যা বাড়তে থাকে। বাবুসেণা সিংহ, থইবা সিংহ, নিমাই সিংহ, বাসন্তী সিংহ, বসন্তকুমার সিংহ, পদ্মাসেন সিংহ, রবীন্দ্র সিংহ, আনন্দ সিংহ, মন্ত্রী সিংহ, নীলমণি চ্যাটার্জ্জিসহ অসংখ্য বীর তরুন জীবন বাজি রেখে মাতৃভূমি রক্ষার যুদ্ধে ঝাপিয়ে পড়েন। কেউ অস্ত্র হাতে,কেউ সংবাদবাহক হিসাবে, কেউ বা সংগঠকের ভূমিকায়, আর গিরীন্দ্র ছিলেন তাদের মধ্যমণি।

... স্বাধীন বাংলাদেশের জন্মযজ্ঞের অন্যতম এই কারিগরের পরিবার ও উত্তরসুরিরা কেউ আজ পর্যন্ত রাস্ট্রের কাছ থেকে কোন আনুকুল্য পায়নি, কারণ গিরীন্দ্রকে তথাকথিত মুক্তিযোদ্ধা সাটিফিকেট বা পদক দিয়ে জাতে তোলা হয়নি ।

... কয়েক বছর আগে স্থানীয় উদ্যোগে শিববাজারের মণিপুরী ললিতকলা একাডেমী প্রাঙ্গনে শহীদ গিরীন্দ্র সিংহের একটি স্মৃতিস্তম্ভ স্থাপন করা হয়েছে। অভাবক্লিষ্ট গিরীন্দ্রের উত্তরসুরিরা সেই স্মৃতিস্তম্ভের দিকে তাকিয়ে পাওয়া ন্যুনতম সান্তনায় রাস্ট্রের উদাসীনতাকে কখনোই মেনে নিতে পারেনা।

বাংলাদেশের সরকারি পাঠ্যবইতে মণিপুরীদের সম্বন্ধে ভুল তথ্য

2008-11-07T23:19:00.017+06:00

পাঠ্যবইতে ভুল ও বিভ্রান্তিকর তথ্যাবলীর সমাবেশ ঘটানো আমাদের শিক্ষাব্যবস্থার উল্লেখযোগ্য প্রধান দিক। জাতীয় শিক্ষাক্রম ও পাঠ্যপুস্তক র্বোড বলে আমাদের একটি সংস্থা আছে যেটি নানান সরকারের আমলে নানানরূপে এই আকামটি করে থাকে। জাতীয় শিক্ষাক্রম ও পাঠ্যপুস্তক বোর্ড কর্তৃক প্রকাশিত পঞ্চম শ্রেণীর ‘পরিবেশ পরিচিতি সমাজ’ এবং নবম ও দশম শ্রেণীর ‘English for Today’ পাঠ্যবইতে বাংলাদেশের রাজনৈতিক সীমানায় বসবাসরত মণিপুরী জনগোষ্ঠি সমন্ধে একগাদা ভুল ও বিকৃত তথ্য দেওয়া হয়েছে। এসব পাঠ্যগুলোতে আদিবাসী মণিপুরী জনগোষ্ঠির প্রধান ও বৃহত্তম শাখা বিষ্ণুপ্রিয়া মণিপুরীদের সম্পুর্নরূপে অগ্রাহ্য করা হয়েছে। উপরন্তু মণিপুরীদের জীবনধারা, ভাষা ও সংস্কৃতি সমন্ধে যেভাবে ভিত্তিহীন, খন্ডিত এবং ত্রেবিশেষে মনগড়া ও হাস্যকর তথ্যের অবতারনা করা হয়েছে, রাষ্ট্রের একজন সচেতন নাগরিক এবং একজন মণিপুরী হিসাবে তা আমার অনুভূতিকে গভীরভাবে আহত করেছে।

মণিপুরীরা বাংলাদেশের একটি অনগ্রসর ও অবহেলিত ক্ষুদ্র জাতিসত্তা। সিলেট বিভাগের এই প্রান্তিক জনগোষ্ঠি সমৃদ্ধ ভাষা, সাহিত্য ও সাংস্কৃতিক ঐতিহ্যের অধিকারি হওয়া সত্ত্বেও সংখ্যালঘুতা ও অনগ্রসরতার কারণে বিগত সরকারগুলোর আমলে উপোক্ষ ও অবহেলার শিকার হয়েছে। উল্লেখ্য, বিগত ২০০০ সনে পাঠ্যপুস্তকে মণিপুরীদের সমন্ধে ভুল তথ্য সংশোধনের জন্য আমার একটি আবেদন দৈনিক ভোরের কাগজ, দৈনিক প্রথম আলো এবং দৈনিক যুগান্তর পত্রিকায় প্রকাশিত হয়। পরবর্তী কালে মণিপুরীদের প্রতিনিধিত্তকারী বিভিন্ন সংগঠন তৎকালীন আওয়ামী লীগ এবং বিগত বিএনপি সরকারের আমলে বিভিন্ন সময়ে স্মারকলিপি প্রদান করে প্রতিবাদ জানায়। কিন্তু আজ অবধি জাতীয় শিক্ষাক্রম ও পাঠ্যপুস্তক বোর্ড বা শিক্ষা মন্ত্রনালয় এ বিষয়ে কোন ব্যবস্থা গ্রহন করেনি। আদিবাসি জনগোষ্ঠি হিসাবে সরকার প্রদত্ত শিক্ষা, সংস্কৃতি, ধর্মীয় ও অর্থনৈতিক সুযোগ সুবিধাদি একচ্ছত্রভাবে ভোগ করার উদ্দেশ্যে রাজনৈতিক ছত্রছায়ায় লালিত একটি বিশেষ মহলের অপতৎপরতা এর মুল কারণ বলে মণিপুরীরা মনে করছে। পাঠ্যপুস্তকসহ অন্যান্য সরকারি প্রকাশনা এবং প্রচারমাধ্যমে মণিপুরীদের সম্বন্ধে উদ্দেশ্যপ্রনোদিতভাবে ভুল এবং পপাতদুস্ট তথ্য প্রকাশ বা প্রচার করার উদ্দেশ্য জনমানসে মণিপুরী পরিচিতি নিয়ে বিভ্রান্তি ও বিভাজন সৃস্টির এই অশুভ তৎপরতা বন্ধ হওয়া জরুরী এটাই কাম্য।

জাতীয় শিক্ষাক্রম ও পাঠ্যপুস্তক বোর্ড ঢাকা থেকে প্রকাশিত পঞ্চম শ্রেণীর ‘পরিবেশ পরিচিত সমাজ’ পাঠ্যবইটির রচনায় ড. সাবিহা সুলতানা, মোহাম্মদ আলী জিন্নাহ, সেলিনা আক্তার ও লুৎফুর রহমান এবং সম্পাদনায় প্রফেসর মোহাম্মদ আলতাফ হোসেনের নাম রয়েছে। অন্যদিকে নবম ও দশম শ্রেণীর ‘English for Today’ বইটির রচয়িতা হিসাবে নায়না শাহজাদী, ফজলে রাব্বানী ও শামীমা তাসমিন এবং সম্পাদক হিসাবে এম. এস. হক এর নাম রয়েছে। কোন জাতিসত্তা, তাদের জীবনধারা, ভাষা বা সংস্কৃতির মতো স্পর্শকাতর বিষয় নিয়ে চর্চা করার পুর্বে পর্যাপ্ত গবেষনা ও মাঠ পর্যায়ে অনুসন্ধানের প্রয়োজন রয়েছে, কিন্তু অত্যন্ত দু:খের বিয়য় যে উপরোক্ত দুইটি পাঠ্যবই রচনার ক্ষেত্রে মাঠপর্য়ায়ে কোন তথ্য সংগ্রহ বা গবেষনার ধারা অনুসরন করা হয়নি। পঞ্চম শ্রেণীর ‘পরিবেশ পরিচিত সমাজ’ পাঠ্যবইটির ‘বিশ্বের বিভিন্ন জাতি’ শীর্ষক ষোলতম অধ্যায়ের ১৪৩, ১৪৪ ও ১৪৫ পৃষ্ঠাব্যাপী ‘মণিপুরী’ শিরোনামের লেখাটিতে বাস্তবের সাথে সংগতিহীন তথ্যের অবতারনা করা হয়েছে। যেমন -

(১) ‘এদের আদি বাসস্থান আসামের মণিপুর রাজ্যে।’
প্রকৃতপে মণিপুর ভারতের উত্তর-পুর্বাঞ্চলের একটি স্বতন্ত্র রাজ্য (২৩.৫º-১৫.৩º উত্তর আংশ থেকে ৯৩.১º -৯৪.৩º পুর্ব দ্রাঘিমাংশ পর্যন্ত বিস্তৃত এবং আয়তন ২২, ৩২৭ বর্গ কি.মি.); এর রাজধানীর নাম ইম্ফাল। মণিপুর আসামের অন্তর্গত নয়; আসাম হলো মণিপুরের সীমান্তবর্তী আরেকটি ভিন্ন রাজ্য এবং এর রাজধানী দিসপুর।

(২) ‘তাদের গায়ের রং ফর্সা, চোখ ছোট, নাক কিছুটা চ্যাপ্টা, উচ্চতা মাঝারি।’
প্রকৃতপে মণিপুরীদের সবার গায়ের রং ফর্সা নয়,সবার চোখ ছোট বা সবার নাক চ্যাপ্টাও নয়। মণিপুরীদের মুখাবয়বে একইসাথে অনার্য্য ও আর্য্য বৈশিষ্ঠ্য ল্য করা যায়। মণিপুরীদের মধ্যে তিনটি শাখা রয়েছে - (১) বিষ্ণুপ্রিয়া, (২) মৈতৈ ও (৩) পাঙন। বিষ্ণুপ্রিয়ারা ককেশয়েড মহাজাতির আর্য-ভারতীয় সাব-ফেমিলির অšতর্গত এবং তাদের দৈহিক গড়ন মিশ্র আর্য ও ভোটব্রহ্মী । মৈতৈরা মঙ্গোলয়েড মহাজাতির টিবেটো-বার্মান সাব-ফেমিলির অšতর্গত এবং তাদের দৈহিক গড়ন মিশ্র মঙ্গোলীয়। পাঙনরা পাঠান বংশদ্ভুত।

(৩) ‘বিয়েতে ছেলেমেয়েরা একত্রে দেবতাকে খুশী করার জন্য নৃত্য পরিবেশন করে।’
মণিপুরীদের বিবাহ অনুষ্ঠানটি অনুসরন করা হয় প্রাচীন মণিপুরী রীতির সাথে বৈদিক প্রাজপাত্য বিবাহরীতির সমন্বয় ঘটিয়ে। পরিচিতি, লগ্ন নির্ধারন ও আপ্যায়নের জন্য বিবাহের পুর্বে ‘ওয়ারৌপৎ’ ও ‘হেইজাপৎ’ নামে দুটি অনুষ্ঠান থাকে। বিবাহের দিন বৈষ্ণব রীতি অনুসারে পুরুষ পালাকার ও মৃদঙ্গ বাদকদের পরিবেশনায় বৈষ্ণব পালাকীর্ত্তন পরিবেশিত হয়, এর বাইরে কোন প্রকারের নাচের অনুষ্ঠানের অবকাশ নেই। পরে পুরোহিতের মন্ত্রপাঠ এবং বরকে ঘিরে কনের সপ্ত-প্রদক্ষিনের মাধ্যমে বিবাহ সম্পন্ন হয়।

(৪) ‘পরিস্কার পরিচ্ছন্ন থাকার জন্য তারা নদীর ধারে বাড়ি নির্মান করে।’
মণিপুরীরা পাহাড়ের অধিবাসী বা অরণ্যচারী নয়, তারা সমতলের বাসিন্দা। পুর্বপুরুষদের বিধান অনুসারে তারা বাড়ীর চারদিকে পর্যাপ্ত জায়গা রেখে বসতবাড়ি নির্মাণ করে থাকে এবং এই বসতবাড়ী নির্মাণের সাথে নদীর অবস্থানের কোন সম্পর্ক নেই। তাছাড়া নদীর দুষিত পানি কোন আনুষ্ঠানিক বা গৃহস্থালী কাজে মণিপুরীরা ব্যবহার করেনা। নদীমাতৃক বাংলাদেশের প্রতিটি গ্রামের পাশ দিয়েই কোন না কোন নদী বয়ে চলেছে, এক্ষেত্রে আলাদাভাবে মনিপুরীদের বসতবাড়ীর সাথে নদীর অবস্থান খুঁজে বেড়ানো বাহুল্যমাত্র।

(৫) ‘মণিপুরীদের নিজস্ব কোন ধর্ম নেই।’
মণিপুরীদের নিজস্ব লৌকিক ধর্মের নাম ‘আপোকপা’ যা অত্যন্ত প্রাচীন, আধ্যাত্তিকতায় গভীর ও দার্শনিকভাবে উচ্চস্তরের। প্রাচীন ধর্মবিশ্বাস অনুযায়ী সৃষ্টিকর্তা নিজের প্রতিকৃতি থেকে মানব জাতিকে সৃষ্টি করেছেন এবং প্রতিটি মানুষ সৃস্টিকর্তার একেকটি ছায়া। এখনো মণিপুরী মৈতৈদের অনেকে এই ধর্মের অনুসারী। মণিপুরী বিষ্ণুপ্রিয়াদের একাংশের মধ্যের ‘আপোকপা’ পুজার প্রচলন রয়েছে। অষ্টাদশ শতাব্দীতে মণিপুরীরা বৈষ্ণব ধর্মে দীক্ষিত হয়।

(৬) ‘রাধা, কৃষ্ণ, বিষ্ণু, গৌড়াঙ্গ এদের প্রধান দেব দেবী।’
মণিপুরীরা গৌড়ীয় বৈষ্ণব ধর্মের অনুসারী সেকারণে রাধা ও কৃষ্ণ এদের পরমারাধ্য। এছাড়া হিন্দুধর্মের পৌরাণিক দেব দেবীর মধ্যে বিষ্ণু, দুর্গা, শিব, স্বরসতী ও লীর পুজা মণিপুরীরা করে থাকে; গৌরাঙ্গ কোন দেব বা দেবী নন, তিনি গৌড়ীয় বৈষ্ণব ধর্মের প্রবক্তা মহাপুরুষ। এছাড়া মণিপুরীদের লৌকিক দেব দেবীর মধ্যে সরালেল, সনামাহি, পাখাঙবা, ইমাগিথানী ইত্যাদির নাম উল্লেখযোগ্য।

(৭) ‘মণিপুরীদের নিজস্ব ভাষা ও বর্ণমালা আছে। এই ভাষাকে বলা হয় মেথেয়ী।’
মণিপুরীদের মধ্যে দুইটি ভাষা প্রচলিত - মণিপুরী বিষ্ণুপ্রিয়া ও মণিপুরী মৈতৈ (‘মেথেয়ী’ নয়)। বিশ্বের বিভিন্ন ভাষার উপর গবেষনা ও সংরনকারী আন্তর্জাতিক প্রতিষ্ঠান ঝওখ ওহঃবৎহধঃরড়হধষ বাংলাদেশের ৩৯টি ভাষার মধ্যে বিষ্ণুপ্রিয়া ও মৈতৈ ভাষাকে তালিকাভুক্ত করেছে এবং উভয় ভাষার জন্য ওঝঙ ৬৩৯-২ খধহমঁধমব পড়ফব বরাদ্দ করেছে। এছাড়া দুইটি ভাষাই ভারতে স্বীকৃত লাভ করেছে এবং ভারত সরকার মণিপুর, আসাম ও ত্রিপুরা রাজ্যের স্কুলগুলোতে মণিপুরী মৈতৈ ও মণিপুরী বিষ্ণুপ্রিয়া উভয় ভাষায় শিক্ষা গ্রহনের সুযোগ করে দিয়েছে। উভয় ভাষারই প্রাচীন বর্ণমালা থাকলেও বর্তমানে মুদ্রন ও প্রকাশনার কাজে বাংলা অর ব্যবহৃত হয়।

অপরদিকে নবম ও দশম শ্রেণীর ‘English for Today ’ পাঠ্যবইটির ১৭৮ ও ১৭৯ নং পৃষ্ঠায় মণিপুরীদের বিবাহ অনুষ্ঠান নিয়ে সম্পুর্ণ কল্পিত, ভিত্তিহীন ও মনগড়া তথ্য দেওয়া হয়েছে যা মণিপুরীদের সংস্কৃতি সম্বন্ধে শিক্ষার্থীদের মনে হাস্যকর ধারনা সৃষ্টি করবে। উল্লেখিত পাঠ্যবইয়ের একটি কমপোজিশনে মণিপুরীদের উদ্ধৃত করে বলা হয়েছে -

The Monipuris want to … future by the sign and … marraige, they …. predict the future by interpreteing the … of the cock... is a Monipuri proverb: En Khang Tam Nau Bau, meaning all wisdom … cocks's foot...

যার সারমর্ম হলো মনিপুরীদের বিয়ের অনুষ্ঠানটি বড়ই অদ্ভূত... বিয়ের আগে মণিপুরী বরকনের উঠানে মুরগীর পা রশি দিয়ে বেঁধে বিভিন্ন ধরনের খেলা দেখানো হয়... এবং এভাবে বিবাহের শুভাশুভ নির্ণয় করা হয়। সবচেয়ে মর্মান্তিক হলো বইটিতে এই বিষয় নিয়ে রীতিমতো একটি প্রবচন রচনা করে তা মণিপুরীদের বলে চালিয়ে দেয়া হয়েছে।

প্রথমত: মণিপুরীদের বিবাহের মধ্যে ‘মুরগীর পায়ে রশি বাঁধা’ জাতীয় ব্যাপার নেই। এ ধরনের ঘটনার কোন বিবরন বা অস্তিত্ত্ব মণিপুরী বিষ্ণুপ্রিয়া বা মণিপুরী মৈতৈদের প্রাচীন কোন লোকাচার, লোকসাহিত্য বা মিথলজিতেও পাওয়া যায় না।

দ্বিতীয়ত: মণিপুরীদের মধ্যে হাঁস, মুরগী বা ছাগল পালনের প্রচলন নেই। গৃহপালিত জীবজন্তুর মধ্যে মণিপুরীরা প্রধানত গরু বা মহিষ পোষে থাকে কৃষিকাজের জন্যে।

তৃতীয়ত: একমাত্র মণিপুরী পাঙনদের মধ্যে হাঁস, মুরগী বা ছাগল পালনের প্রচলন রয়েছে কিন্ত তারা ইসলাম ধর্মাবালম্বী হওয়ায় তাদের বিবাহ মুসলিম শরীয়ত অনুযায়ী সম্পন্ন হয়ে থাকে, যেখানে মুরগী বা কোন জীবজন্তু নিয়ে এরকম হাস্যকর ক্রিয়ানুষ্ঠানের স্থান নেই।

চতুর্থত: মণিপুরী বিষ্ণুপ্রিয়া বা মণিপুরী মৈতৈ ভাষায় “এন খঙ তাম নাউ বাউ” নামে কোন প্রবাদ/প্রবচন নেই, এমনকি মণিপুরী বিষ্ণুপ্রিয়া বা মণিপুরী মৈতৈ ভাষায় শব্দকোষে ‘এন’, ‘খঙ’, ‘তাম’, ‘নাউ’ বা ‘বাউ’ বলে কোন শব্দ নেই।

তদুপরি উপরোক্ত পাঠ্যবইতে ‘মণিপুরী’ বানানটি ভুলভাবে ‘Monipuri’ লেখা হয়েছে যার অনুমোদিত ও প্রকৃত ইংরেজী বানান হবে ‘Manipuri ।

Manipuri Maha Ras Lila Bangladesh 2007: Pics and Video clips

2008-11-06T07:09:00.004+06:00

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

Pics:

For High Resolution visit Manipuri Raslila Pics in Flickr.com

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

Grand Observance of 165th Maha RasLila by Bangladesh Bishnupriya Manipuris

2008-11-05T07:35:00.004+06:00

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. 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.

The Kartika Festival of Bishnupriya Manipuris

2008-11-04T06:03:00.009+06:00

The most religious and ritualistic festival of the Bishnupriya Manipuris is the Kartika festival which continues during the month of Kartik from the Laxmi Purnima to the Rasa-Purnima. Throughout this period Arati’s (offerings of lights) to Radha-Krishna are performed in the morning, in the for-noon and in the evening in the temples by following traditional rites and rules. Bhajan songs are sung to the accompaniment of Kartal, Pung (Dhak), Bell, Selbong and Moibung. That time they offer Kaboks (puffed rice mixed with sugar) and fruits to the lord.

Religious text , specially the Mahabharata and Ramayana, are recited and explained at every mandav’s or at any certain places where the people gather. The citation & explanation of religious scriptures is called ‘Leirik-Thikorani’.

Generally two knowledgeable and learned persons do this – one plays the role of ‘Thipa’ (the narrator) and the other one as the ‘Warilipa’ (interpreter). The ‘Leirik-Thikorani’ culture played a very important and significant role in propagating the Vaushnavite literature among the people and at the same time it helped in developing the folk and ancient literature of Bishnupriya Manipuri language.

After the ‘Arati’ or ‘Leirik-Thikorani’, prasadam (the food offering given to the Lord) is distributed among the people. They are fed on banana or lotus leave.

Moreover, in the period of Kartika, competition of dance with traditional ‘Dhol’s or wardrums. ‘Jhal’s or big cymbals etc are held almost everyday from villages to villages. These cultural competitions are called ‘Kartikar Phanna’ or the rivalry of Karitika. The big drums ‘Dhol’s and the big cymbals ‘Jhal’s are frequently used by the Bishnupriya Manipuris almost in every socio-religious occasions. It has been heard from some old-aged persons of the community that formerly the competition of ‘Kartikar Phanna’ used to held under the patronage of the kings.

The Kartika festival ends at the day of Rasa Purnima, the great Rasa celebrated on the full moon day Kartika (December).

Link: An article on Kartika Festival in My Bangla Blog