The Royal Palace and its Loisangs
- Cultural History Of Manipur -

Dr. Ch. Jamini Devi *

Ras Leela dance on 215th Death Anniversary of Rajarshi Bhagyachandra at Nabadwip, WB in October 2013 :: Pix - Jinendra Maibam / Nanao Heishnam

The Royal Palace and its Loisangs:

The Loisang was established for proper handling of Shri Govinda's Astakal seva. Four Panas: Laipham Pana, Khabam Pana, Ahallup Pana and Naharup Pana attended to this Loisang. These Panas wore different coloured Kokyet.

The Laipham and Ahallup Pana, generally referred to as Ningthou Nai, wore red-coloured Kokyet. The officials belonging to the Khabam and Naharup Panas were yellow Koyet.

These two Panas were referred to as Leima Nai. On special occasions of the land, these officials were allowed to travel on palanquins, and were permitted to use Pe. They were seated on red-coloured cloth.

The officials of the four Panas took turns, ten days at a time, attending to the Loisang. To avoid missing turns, on the 9th day of each term, all the officials from each Pana gathered at a meeting known as Taret-ni Khundin to discuss and determine whose turn was about to end and whose turn was about to start, and other matters pertaining to the care of the deity.

Responsibilities of different Loisangs

The Pala Loisang: Since the Nata Sankirtan occupied a significant place in the artistic and cultural realm of Manipur, Rajarshi Bhagyachandra developed the Pala Loisang with utmost care. The Pala Loisang played an important role in Shri Govinda's Astakal seva, the Rasa dance performed on Parvadin, and on other occasions. The two palas that belonged to this Loisang were Bangadesh Pala/ Ariba Pala, and the Nata Sankirtan Pala.

In order to say a few words about Bangadesh Pala, it is imperative that we turn back a few pages of history and have a look. Meiding-u Kyamba (c 1467-1508) was presented with an idol by the Pong King Thikhomba. The Brahmans at the time identified the idol to be that of Vishnu, and the king subsequently built a temple at Lamangdong and worshipping it. From this Vishnu worship, the place came to be known as Bishnupur.

At the Vishnu Puja, the chanting of Vishnu Sahasranam, as well as singing of kirtans was introduced. During the time of Meiding-u Garibniwaj (1709-1748), a Bengali singer who became a Meitei took up the surname Konthoujam, and established Bangadesh Pala. Those who helped in founding the Bangadesh pala were Guru Premananda, Kitna radha, Kitna Rupa, Thakur Shyama, Langlenhanba, Tensuba, Sougaijamba Bhim, Pungyeiba Dhaniram, and swarupananda.

This Pala is today known as Ariba Pala. From the Bangadesh Kirtan, Rajarshi Bhagyachandra incorporated Meitei worship rituals and indigenous traditions of songs and dances, and reformulated Nata Sankirtan. The fact is, the Nata Sankirtan was first established when Tubi Charairongba (1697-1709) adopted Vaishnavism. From the Cheitharol Kumbaba, it is ascertained that Sankirtans were sung not only at religious occasions, but on occasions of births and deaths.

Each reigning king added more Nata Sankirtan palas during their times, thus facilitating a better seva of Shri Govinda. Gambhirsing Maharaj developed Leibak Chaba and Sevak Pala as part of Bangadesh Pala. During Chandrakirti's reign, the Palahan and Palanaha were added to the Nata Pala. Later on, the Palahan and Palanaha grew and expanded.

During Rajarshi Bhagyachandra's regin, both the Nata pala and the Bangadesh Pala were ade of 64 members each. However, during Churachand Maharaj's time, the count was reduced to 45 members each. The Sana pala and the Baman Pala were subsequently added. From Rajarshi Bhagyachandra's time, these palas were divided into Panas, each bearing a specific responsibility.

Each Pala consisted of a Pung Hanjaba, a Hidang, an Eseihanda, a Duhar, and a Khobangba. A Pala was chosen and put in charge of relegating duties to each Pala. Those who were deemed qualified and responsible were put in charge of the Pala Loisang.

There were other Palas that did not report to the Pala Loisang on a regular basis. They took part in Shri Govinda's seva from time to time. Among those Palas worth mentioning here were the Akhanba Pala or the Sana Pala, the Naam Pala, the Cheiteinya Sampradaya Pala, the Pala Yaima, and Lamboiba pala.

One important assignment of the Pala Loisang was to settle disputes that arose among the Palas at the time of Sankirtan performances, and as regards to matters relating to differences in opinions about songs and dances. Since the Palahan was the king's Sana Pala, its lead singer acted as the authority in terms of songs. Likewise for each Pala, the Eseihanba (lead singer) directed the singing and the Pung Hanjaba (lead drummer) directed the Pung renditions.

Besides the differences in singing traditions, the Nata Pala and the Bangadesh Pala were easily identified and differentiated by their attires. For example, the waist band worn by the Leibakchaba Pala was decorated with patterns of Yensin aphangba ( a clover-like plant). A pattern in the shape of Yensin aphangba was cut out of a white cloth and embroidered on red cloth.

On the waist band of the Sevak Pala, there were two Yensin aphangbas, one facing the other in a row, with a banyan tree in the middle.

The women's art embroidery known as Phiriba was established by Rajarshi Bhagyachandra in relation to Sankirtan. Prior to that, the Phiriba art was exclusively used for embroidering the image of Pakhangba on the King's Ningkham (head dress), and or decorating garments worn by high government officials.

The artistic and cultural events established and promoted by Rajarshi Bhagyachandra in relation to the nirupan of Shri Govinda were minute in detail and magnificent in effect.

(Extracted from the book 'Cultural History of Manipur' by Dr. Ch. Jamini Devi)