THE ROAD TO CACHAR

the bridge on the river Barak, 

connecting Imphal with Silchar

The national highway no. 53 popularly known as New Cachar road (NCR) is one of the important lifelines of Manipur connecting it with Assam. It was opened sometime in the early seventies. Before that Old Cachar road (OCR) or Tongjei Maril was the only mountain pass to reach southern Assam.

NCR is maintained by Border Roads Task Force, BRTF, under the ministry of surface transport, while OCR is left unattended and it  is in a pathetic and dilapidated condition, literally non-existent at some points.

From Imphal to Barak (145 km), the NH-53 is under the supervision of 25-BRTF located in Imphal while from Barak (suspension bridge included) to Silchar (124 km) is under 36-BRTF based at Silchar. From Jiribam to Silchar (45 km) about eighty percent of work is completed. The stretch is becoming a double-lane road by March 2003. From Imphal to Nungba (125 km)  the road is good. But from Nungba to Jiribam it is the worst part of the route. No work has been done in this portion for a long time and the neglect is deliberate according to some quarters. Bad law and order problem and non-cooperation by local people are some of the answers given by 36-BRTF.

Beautiful villages like Senam, Sehjang, Tupul, Noney (Longmai), Awangkhul, Irang, Khongsang, Rengpang, Nungba, Kambiron, Kaimai, Oinamlong, New Keiphundai and Leingangpokpi etc., dot the highway between Imphal and Jiribam (224 km). After the construction of Tipaimukh High Dam (THD), some of these villages, including a good part of the highway would be submerged forever and the rich biodiversity of the area destroyed beyond redemption. This proposed dam may be a reason for neglecting the highway between Nungba and Jiribam particularly. Pressure groups like Committee Against Tipaimukh Dam, Naga Women’s Union, Manipur Naga People’s Movement for Human Rights, United Naga Council and All Naga Students’ Association are against the dam construction. The work to be taken up by NEEPCO is thus stalled.

Wild flowers and ferns, orchids of different shapes and sizes, bamboos and bananas, canes and creepers etc. can be seen on both sides of the highway. The lush green sub-tropical forests of the region in fact are the storehouse of many rare and endemic plants yet to be explored scientifically. The spooky gorges, overhead cliffs and tumultuous streams may cast an engrossing spell of intrigue and fear to a new visitor. The hoolock gibbon (this ape is not found elsewhere in India except the Northeast) along with various hornbills and jungle fowls are here. There were confirmed reports of gharial (gavialis gangeticus), nga korial  in Manipuri,  found in Maku river near Oinamlong. With the depletion of forests cover these denizens are facing a total extinction.

The historic Old Cachar road also traversed through the area. Even some years back, Nungba, a subdivisional headquarters of Tamenglong district was the meeting point of NH-53 and OCR. Now the connecting point is being shifted to Rengpang village, six km. from Nungba towards Imphal. In the good old days British officers posted in Manipur took keen interest to keep OCR in good condition. Captain Guthrie of Bengal Engineers got the road widened between 1837 and1844 at the joint expense of the British and Manipur governments with the former paying the larger share. Political Agent in Manipur Captain Gordon visited the work site regularly and during one such visit he missed an important incident at the Imphal Palace in which King Narasingh was wounded in a failed coup in 1844. Some kilometers from Nungba towards the Barak river lies Kambiron village, the birthplace of Haipou Jadonang. A Naga freedom fighter, he was put to the gallows in August 1931 by the British Political Agent. Rani Gaidinliu, born at Nungkao village of the district was his disciple.

Konjengbam Kameshore

(Courtesy:  North East Enquirer,  Nov. 22 – Dec. 6, 2002)

NONEY -- A Rugged Grandeur

bird's eye view of Noney town seen from Lukhambi village.

photo by Manihar of sanjoy photo studio, Noney.

Noney – a beautiful and picturesque town of Tamenglong district in Manipur lies 63 km west of Imphal. The town is inhabited by the Rongmei Naga tribe popularly known as Kabui Naga. Situated on the left bank of the Iyei river, its another name is Longmai. It connects Imphal with Silchar in Assam. Lukhambi, Nungtek, Marangching, Langkhong etc. are surrounding villages for which Noney is the commercial centre.

This land-locked small town is very popular for its bananas. The area is literally full of bananas and bamboos. A delectable item called soibum made from fermented slices of bamboo shoot is very  much in demand. A popular tree bean called yongchak ( pod of parkia javanica ) is grown in abundance and this bean makes quick cash. Wet rice is cultivated in the fertile river valley. On the steep hill sides, the slash and burn method of farming called jhoom is practised extensively. ( The practice is responsible for soil erosion and resultant landslides ). Maize, cucumber, tapioca, chilli etc. are also grown along with succulent oranges and other citrus fruits. Tea and cardamom are grown. A coffee farm is being mooted.

The tribal folks here make tea using leaves grown wild. They prefer sipping it without sugar and milk seated around a fire. During the meal, instead of water this tea is liberally drunk.

Like the Koreans and theThais, the people here eat dog meat. Pork is another popular item. Small fishes caught from the crystal clear, shallow water of the meandering Iyei river, which is a tributary of the Barak, are fried fresh for catering to bus passengers. Crabs seeking shelter under the slabs of gushing streams end up as statistics in the ledgers of local hotel managers.

Hotel management (or rather kitchen management ?) is a thriving business here. In fact more than half of the bazar area is covered by hotels where passengers bound for Tamenglong, Jiribam and Silchar etc. usually take their meals and refreshments.

The bazar, according to Shri K. Gaichui, secretary of the village authority, is not older than twenty years or so. During this short period it has grown fast simply because of the good roads maintained by the border roads people. Had it not been for them the present position of the small town could have been different.

Exotic orchids of epiphytal genera like khongunmellei (dendrobium chrysotoxum) and kwaklei angangba (red vanda) etc. are found in its exclusivity. There are a couple of video parlours here where Arnold and Jackie Chan cassettes rule the roost. Youngsters in their jeans and teeshirts happily sing on guitars. The people are Christians by faith.

Far from the madding crowd of Imphal and an ideal spot for picnicking – Noney is another feather in the wonder cap of  mysterious Tamenglong district

Konjengbam Kameshore

(Courtesy: Prime Time, October 1994) 

Manimacha Devi – the sankirtana heroine

                                                                     Manimacha Devi

Manimacha Devi,  a popular Manipuri  nata sankirtana singer,  had to fight the members of Sangeet Natya Sabha  (SNS), formed in the early sixties,  a conglomerate of male chauvinists out to destroy her professional  career.  With tacit understanding and support from Ariba Pala, Brahma Sabha and Govinda Temple Board,  the SNS had objected to the use of cymbal called kartal  in Manipuri,  during the performance of nata sankirtana  by Manimacha and her party in particular and by any female singer in general. The  kartal,  according to them, was males’ preserve only. The orthodox Manipuri Hindu society  during that period of time was under the octopusnal grip of Vaishnavism .  Social values and religious mores were fixed  by the Brahma Sabha and anybody  who  went beyond the line had to face  the ire of excommunication.

She bravely fought a court battle that was won and  lost. She won the case and the respondents  were fined a sum of  rupees  five hundred each for practising untouchability. But she lost them again because the  orthodox and superstitious  middle class landed gentries   did not like to incur the wrath of all powerful  Brahma  Sabha.  A  female   singer had to fight the Goliath for her professional survival. A tragic heroine had to seek a medium to fully express her suppressed musical talents.

Manimacha Devi, on being invited, was about to begin her programme at Thanga village, along with her trusted co-artiste Ashangbi. The male singers who were supposed to finish their part never did it. They had extended  the  sankirtana  programme covering the portion from where Manimacha was to take over. Ashangbi  later reported the matter to the  police and soon male singers like Ngaram Gourabidhu, Lamangdong Iboton, Lai Angoubi Irabot, Bokunjao etc., were arrested.

At  Singjamei   Mayengbam Leikai, a Ras Leela was held.  Manimacha Devi and  Tampakleima were to participate in the programme. Sarungbam Lamphel, one of the organisers  of the function, had objected to Manimacha’s presence saying that she was a musical outcaste and the sanctity of the Leela   would be polluted. Tampakleima, on behalf of Manimacha, went to the court and  the magistrate   gave court strictures to the defendant.

On another occasion Ibomcha Sharma, popularly known as Abhiram Saba, the first president of  SNS, was fined rupees five hundred by the court for causing untouchability to Manimacha  Devi and her party.

The biggest blow to Manimacha Devi’s personality  was the death of her father- in-law in 1966. In the shradha ceremony,  according to Manipuri hindu tradition, a hari sankirtana  at the residence of Manimacha Devi was to be held.  Laishram Tolpishak of SNS was invited to sing. Since Manimacha Devi  was boycotted by the members of SNS  she was asked to come to the temple of Shri Shri Govindaji to take an oath so that she could not use kartal again. She went to the temple  and in front of SNS members took  an oath saying that when the Lord Govindaji blessed her she would take the  kartal again.

Tolpishak of SNS did not come for the shradha  and instead other nata singers were invited and performed the ceremony. Mayanglambam Ibobi,  Thangjam Chaoba,  Sagolsem Kalidaman,  Abhiram Saba etc., were active members of SNS then. The parampara  of the musical genre should not be vitiated was their opinion. Manimacha Devi had suffered the pang of dejection and humiliation.

Born on December 26, 1929 in Imphal,  sixty seven long years have since rolled on. She is today a happy and contended singer. She never looks back in anger. She best recaptures her past in the glory of the devotional songs she had sung.  Her versatility and  continuous hold on the public is even greater.

She became a rage among her fans.  An instant success and unprecedented sellouts. Singer queen of the mass, she was virtually mobbed by fans  wherever she performed.  Her sterling qualities  were her good voice and charismatic personality.

Manimacha and her troupe.

In a village, Heirok, along Indo-Burma road she was invited by one of her fans, Rupamani, for a basok  programme. Rupamani held a microphone in her hand  and asked the villagers to dare excommunicate her  for organising the musical play. Thus the number of Manimacha’s fans  grew steadily.

When she broke into song, she was like a flamboyant bird, wafting the golden wings for a flight of melody, tinged with bhakti. Her frame swung gently with every line of song and her eyelashes fluttered with every nuance of lyric, with tears down the cheek. The ultimate devotion was ecstatic.

At the age of 16 she got married to a landed gentry, Thokchom Modhu. After the marriage, her singing career took a new turn. She went to the house of Konjengbam Ojha Toyaima of Sagolband Nepra Menjor Leikai to learn further the secrets of nata sankirtana  techniques. This Ojha was more or less responsible for what Manimacha has achieved today. She proudly acknowledges that she is a product of Toyaima  gharana.

 Manimacha Devi had learned from her Ojha the nata songs like murli siksha, gurujan pareng, gostha, nitya lila, basok pareng, nimai sanyas and geet govinda etc. Popular nata singers of the time like Leimapokpam Herachandra, Mayanglambam Ibobi, Laishram Tolpishak and Gulapi etc. were male students of the Ojha while Kshetri Tombi,  Lourembam Tombi, Kamong Leimahan, Tampakleima  and Thambal Marik were female singers.

Singing standing, holding small cymbal called mandila  was somehow agreed by her Ojha. Before that the female nata sankirtana  singers used to sing the songs by sitting on the floor of the mandapa.

Sometime in March 1962 at the mandapa of Thiyam Raghav,  Sapam Leirak, a marriage ceremony was held and in that Manimacha Devi was invited to sing with larger cymbal  --kartal – instead of smaller version mandila.  After some hesitation she agreed and this was to be the starting point of war of attrition between her and SNS. Male singers thought that their preserve had been encroached upon by the female singers.

On January 9, 1972 a sankirtana programme was held  in the mandapa of Shri Shri Govindaji, Manimacha Devi and her party was invited.  On January 21, 1973 another sankirtana programme was arranged  as a part of the Statehood Day celebration . Manimacha’s party, on being invited, took part there. In 1979 Manipur State Kala Akademy had organised a Geet  Govinda festival.  Manimacha and Tampakleima were invited to sing. The interesting part was that Sagolsem Kalidaman, the ex-president of SNS, was the chairman of the festival committee. No voice of protest, let alone excommunication, ever came from him.

In 1991 Manimacha Devi was invited to America to participate  in the cultural programme sponsored by ISKCON. Tampakleima and Kunjeswari were included in Manimacha’s party of Nupipala. In 1994 Manimacha Devi was given the prestigious  Manipur State Kala Akademy Award in recognition of her contribution for the cause of  Manipuri  nata  sankirtana.  Her long search for a medium to express  her musical talents was at last recognised by the state cultural body.

Today, Manimacha Devi is an institution by herself. Students are coming to her house to learn music. Among them  Charangpat Bino,  Praneshori, Chajing Angoubi and Sarojit are some of the popular singers of the day.

Konjengbam Kameshore, Imphal

(Courtesy: Eastern Panorama, Shillong, November 1996) 

Golden voice of olden days

A. Tombisana Sharma

Khanguthaki  shingarei… … As the soulful voice of Tombisana Sharma drifts in, one is sure to evoke a nostalgic moment.  The uncrowned monarch of modern Manipuri song, who  ruled the roost in the early sixties,  once sent thousands of his fans into a frenzy of ecstasy – his song  being a combination of melody with certain melancholy that was pulsed with verve  and  exuberance.

Tombisana was,  and still is, an enigma. He had sung only a handful of songs compared to his contemporaries  like Pahari. But the romantic songs he had sung are still regarded as the best ones. Recorded on 78 rpm disc manufactured and marketed by the Hindusthan of Calcutta his records are today a collector’s items.

The versatility and range of his voice were enhanced by the fluidity and uninhibitedness of his expressions. His rendition of songs like bidai loure pombi;  khoinou itaroi  etc., made it clear that  he had developed his own inimitable style.  The anguish  of a forlorn, unsatiated lover, and the pang of separation between two souls were the thematic contents  of the two songs respectively.

Though moody and romantic songs were his forte, he could sing bhajan or devotional songs also. In fact those were the days in which singing devotional songs  was very popular.Tombisana took full advantage of the time and presented evergreen popular  devotional  hits like  nandalal;  radhe chatkhinu;  koubiranu shyam  etc.

The popular songwriter of the time Jayantakumar Sharma was responsible for the success of Tombisana. Almost all the songs sung by the  singer were penned by Jayantakumar.  Other artistes like Gourahari,  Nongthon,  Tomba  and  Mani also helped Tombisana in getting his songs recorded.

However, the path to success for Tombisana was not full of roses.  He had his share of  competitors like Pahari, Budha,  Jaminikanta, Iboyaima,  Shyam and  Rabindra. Even then, none of the singers except Pahari was a serious threat to Tombisana’s singing career. They did not have the kind of  melodious voice that Tombisana had. And as the luck would have it, when Tombisana cut his first disc  haiyu shingel chanabiyo  in 1959, Pahari was far away  in Lucknow learning hindustani sangeet. During the period  Tombisana easily established himself as the number one singer of modern manipuri songs also called adhunik. Had it not been so his singing fortune would have been different.

Among the evergreen oldies of the singer – nangi maithong thajana;  haineine toungamba shyam;  ngasi lakle eikhoi  etc., were popular hits. He sang in light and tripping tunes also. His records were so popular that no social functions in Manipur were completed without some of his songs being played through the loudspeakers.

Born in 1942 Tombisana today is 55 years young. But he looks older than his age.  Ravaged by bad times and changing values, he found it difficult to reconcile to the reality.  He lost his job, lost his son ( who died of renal failure sometime back). Like a tragic hero from a bygone era, he today walks from one spot of buried hope to the death rattle of another,  searching his spiritual hardwares in the concrete jungle of Imphal city.

Living near the old and dilapidated palace of Manipur, around the relics and antiquities, he spends his time by singing his once favourite number --  mingchat thiba phajaba keidano  -- a  song about the fragile values in this mundane world of shredded metaphysics.

Konjengbam Kameshore, Imphal
(Courtesy: Eastern Panorama, Shillong, Sept. 1997)