Traditional Meitei theatre

This article is about pre-modern Meitei culture. For the modern times, see Modern Meitei theatre.

Traditional Meitei drama in Manipur has its roots in religious and community Meitei festivals, especially the Lai Haraoba festival. Lai Haraoba is a sacred ritual that combines music, dance, and drama to tell the story of creation and human birth according to Meitei mythology and Meitei folklore of Ancient Kangleipak. It is performed with rhythmic movements and emotional expression. Men, women, and children all take part in this performance.[1][2]

The classical performances of Lai Haraoba are not only "ritualistic" but also distinctively "histrionic", which strongly indicates its dramatic and theatrical elements.[3][4]

Origin

Lai Haraoba Festival

Lai Haraoba (ꯂꯥꯏ ꯍꯔꯥꯎꯕ) is made up of three types of festivals, each held in a different season:[1][4]

  • Chakpa Haraoba (ꯆꯛꯄ ꯍꯔꯥꯎꯕ, summer): Focuses on rituals to please the gods.[1][4]
  • Moirang Haraoba (ꯃꯣꯏꯔꯥꯡ ꯍꯔꯥꯎꯕ, autumn): Tells the adventurous love story of the deity Thangjing.[1][4]

These festivals take place outdoors and last for several days. Sacred natural sites like forests and meadows are used as venues. Priests (maibas) and priestesses (maibis) lead the rituals and wear traditional costumes, as do the participants. The themes of the performances are mainly centered on divine power and romantic love.[1][4]

Dramatic Elements

Further information: Umang Lai

Lai Haraoba includes plot, action, and dramatic situations. It reflects the aesthetic values of traditional Meitei culture. Historically, it was performed in over 300 locations, but only about a few of these remain in use today. Lai Haraoba has greatly influenced other forms of performance, including the classical dance drama Manipuri Raslila.[1][3]

Antiquity

Early Meitei Drama

The earliest known Meitei drama appeared during the reign of King Khuyoi Tompok (ꯈꯨꯌꯣꯏ ꯇꯣꯝꯄꯣꯛ) in the 2nd century CE. Soldiers performed a play about the King’s military victories. This early drama focused on real-life events rather than mythological or fictional stories.[1]

During the time of King Taothingmang (ꯇꯥꯎꯊꯤꯡꯃꯥꯡ, around 263 CE), a form of street performance developed where people wore black bamboo masks to drive away evil spirits. These plays were popular for about 100 years and emphasized the victory of good over evil. This style contributed to the development of opera in Manipur.[1]

Development of Meitei Opera

Under King Naokhamba (ꯅꯥꯎꯈꯝꯕ, from 410 CE), opera began to take form in Manipur. It was different from Western opera. Initially, only royal men performed, but over time, others joined as well. The opera form of theatre was influential for over 1,300 years, from 410 CE to 1748 CE.[1]

Medieval times

Further information: Meitei Hindus and Meitei Mahabharata

Women began singing in operas during King Khagemba's rule in 1597 CE, making the performances more socially engaging. These operas included humor, action, and poetic dialogue to teach moral lessons. During King Chitsai’s reign (from 1748 CE), performances of the Ramayana were banned, and only Mahabharata-based stories continued.[1]

Romantic Operas and Raslila

From 1753 CE, romantic themes became popular in Meitei opera. Stories of royal love were presented with detailed costumes and poetic dialogue. Plot and character development improved, and the performances became more complex and popular.[1]

In 1776 CE, the Raslila emerged. It is a dance-drama based on the spiritual love stories of Krishna, influenced by sacred texts like the Bhagavat Purana and Gitagovinda. Raslila is considered a major cultural achievement and has shaped the aesthetics of Meitei drama.[1]

Children’s Theatre

In the early 19th century, a play called Sansenba (ꯁꯟꯁꯦꯟꯕ), focused on the childhood of Lord Krishna, was introduced. It involved only child performers and was staged partly indoors and partly outdoors. This marked the beginning of children's theatre in Manipur.[1]

Kalia Daman and Realistic Theatre

Between 1851 and 1886, the mythological play Kaliya Daman was performed under King Chandrakirti Singh’s patronage. It showed Krishna defeating the serpent Kaliya and was staged in a natural setting to enhance realism. This performance marked a turning point in dramatic presentation. Other successful plays during this time included Draupadi Bastraharan, Chitrapat, and Udhukhol.[1]

Secular period

The secular (non-religious) phase of Meitei drama began in the late 19th century. This period brought improvements in stagecraft, storytelling, and performance techniques, setting the foundation for modern Meitei theatre.[1]

See also

References

  1. ^ a b c d e f g h i j k l m n o p Singh, M. Bira; Singh, H. Romain (2004). Manipuri drama and theatre. India: Sangeet Natak Akademi, New Delhi. pp. 50–56.
  2. ^ Kullachandra Singh, Ngariyambam (1963). Meitei Lai Haraoba (in Manipuri). India: Internet Archive; Digital Library of India. p. 15.
  3. ^ a b —Pathway Volume 41. Vol. 41. University of Michigan; Marg Foundation (Mumbai, India), Modern Architectural Research Group, Modern Artists and Architects Research Group, National Centre for the Performing Arts (India). 1988. pp. XV. First and foremost are the surviving ritual dances which have been absorbed into the repertoire. The Lai-haraoba and the Khamba Thoibi may be counted amongst these. Their historical and mythical theme makes them as classical as any of the later Vaishnavite dances.{{cite book}}: CS1 maint: others (link)
    —Doshi, Saryu (1989). Dances of Manipur: The Classical Tradition. University of Michigan. Marg Publications. pp. XIX. ISBN 978-81-85026-09-1. First and foremost are the surviving ritual dances which have been absorbed into the repertoire. The Lai-haraoba and the Khamba Thoibi may be counted amongst these. Their historical and mythical theme makes them as classical as any of the later Vaishnavite dances. They have an element of abhinaya (histrionic representation)...
    —DM Silveira's India Book. University of Michigan. Classic Publishers. 1994. p. 230. ISBN 978-81-900218-2-1. ...Lai Haraoba is the ritual folk-cum-classical dance of Manipur and tells the story of creation according to the Manipuris. Khamba Thoibi is a popular Manipuri dance which tells the story of princess Thoibi and poor boy Khamba...{{cite book}}: CS1 maint: others (link)
    —Mãrg. Vol. 41. Pennsylvania State University; National Centre for the Performing Arts (India). p. 109. First and foremost are the surviving ritual dances which have been absorbed into the repertoire. The Lai-haraoba and the Khamba Thoibi may be counted amongst these. Their historical and mythical theme makes them as classical as any of the later Vaishnavite dances. They have an element of abhinaya histrionic representation)...{{cite book}}: CS1 maint: others (link)
  4. ^ a b c d e f "Cultural Significance of the Lai Haraoba". Sahapedia. Retrieved 2025-02-11.
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