Technical Terms Of Thang-ta Training

* Huyel Langlong Thang Ta Association, Manipur

INTRODUCTION:

Though small in size, Manipur has a distinct culture of her own. This finds expression not only in the field of Dance, Music and other performing arts but in the field of Martial Arts also. From ancient times the martial arts had been using by the peoples for defending and offending the enemies. Martial arts is an education of physical and culture. The Manipuri martial arts, popularly known as Thang-Ta have a long history. It has different names such as Huyen Langlon, Huyel Lallong, Sarit-Sarak, Chainarol etc.

The different, meaning of the names are given below :
Huyen Langlon = Knowledge of war art
Huyen Lallong = Method of war
Sarit-Sarak = Defensive & Offensive
Chainarol = Fighting arts etc.

The long and incessant power struggle among her clans and frequent wars with Burma and other neighboring Kingdoms brought Manipur almost to the brink of devastation. But the cherished desire of the people to remain independent in the face of all odds gave the Manipuris a thrust in the development of their glorious martial tradition.

The Manipuri Thang-Ta, replete with unique forms of defensive and offensive fights, naturally evolved against this warlike background of the ancient kingdom. The Meiteis not only attained higher skills in Thang-Ta but also developed their games and sports like Sagol Kangjei (Polo), Mukna (Manipuri wrestling), Khong Kangjei (Manipuri style of hockey ) and Yubilakpi (Rugby) etc. These were also organized in a warlike manner to keep every male person fit for any eventuality.

If we have to know the background to the culture of Thang-Ta, we have to be aware of the geography of the land, the ecological environment and the ancient history of the settlers of the land. The state of Manipur was affirmed by a beautiful, oblong, fertiled valley surrounded on all sides by the hills. The hills were settled by many different tribal groups. The valley was settle by seven different clans known as Angom, Luwang, Ningthouja, Khuman, Khaba-Nganba, Moirang, and Sarang Leishangthem. Each group or clan was known as "Salai" or "Yek" (Sibs/Clans), having an independent principality of each clan. These clans, though related, were always in constant warfare amongst each other before the integration of the clans into one nationhood, now known as the "Meitei".

The ethics of battles, duels and combats amongst the clan heroes were high features in the strong codes of martial conduct. For the sake of honour of the country, community and the clan, these heroes would give their lives easily in battle. The CHAINAROL-PUYA gives many incidents of personal duels of combat. The fighters were mainly commoners.

There were bouts with bow and arrow and spear throws under strict codes of conduct. Violation of rules was regarded as sinful. The rules of bouts were simple but austere in nature and observance. When an unarmed man was challenged, he could fetch his arms and fixed a day for the bout. Surrendering of the choice to begin the first hurling of the weapon to his opponent was an open honour which was greatly valued as a sign of true hero. They used to swear in the name of father Sky and Mother Earth, and believed their god like ancestors would endow them with justice.

A scratch on any part of the body, and blood oozing out from the same would mean victory to the shooter or the thrower. The fighters would share the lunch packs and wines given by their wives before the head of the vanquished was cut off. The dead body of the loser would be cremated by the victor, if he was requested to so by the victim. Heads were usually taken away as trophies of prowess.

The real test of the strength, skill and courage of Meitei Warriors came in the wake of expansion of the Burmese Kingdom, in the 18th century, where many independent states in north-east faced the burnt of Burmese Kingdom on cavalry and waging battles. During the 17th century, "King Khagemba riding a white horse wielded his sword at Kiyang and captured many captives" (1614 A.D) Cheitharol Kumbaba. Certain Muslim forces were also defeated and captured by him from the west, and they were allowed to settle in his kingdom.

Garibaniwaj (1709-1748), one of the greatest of Meitei Kings defeated the Burmese time and again. He destroyed Burmese towns, and left the mark of his sword at Kaunghmudaw Pagoda, near Mandlay, and the ferocity of his army swifness of movement and speed of attack etc. were noted by adversaries. The defence of the state, the extension of the empire beyond the boundaries of the kingdom were organized at his time, and the art of warfare, the strength of the cavalry, the skill and courage of his army made the nation a proud race in the history of North-east India.

The Manipuris were not only adepts in using swords and spears, but they were also skillful in using different forms of weapons like "Long" a multi-pronged type of spear, "Sairong", a peculiar bow for shooting mud pellets, Ten, bow and arrow and "Arambai" a peculiar type of dart made of peacock quills fitted with pointed and poisoned iron heads", and flying with great force inflicted a fatal wound wherever it struck". T.C. Hudson in his book "The Meitheis" wrote "The cavalry of Manipur, better known as the Cassary Horse, fought both for and against us in the first Burmese War. Their weapon was the arambai or dart". Quoting Brown , he further writes, "In pursuing, the arambai was thrown in front, and in retreating was useful in throwing behind and impeding the enemy".

Martial Arts of the Manipuris were not simply the ability to wield weapons, to fight with physical strength and skill alone. The art included much deeper spiritual exercise which enabled the martial man to cope with other forces beyond human knowledge and comprehension. Metal and psychic powers were also commanded by him. Half of his orientation was on physical strength, flexibility and skills in weaponry and other practices, and the other half included deep spiritual control and exercise which were of the internal nature.

Ritual before proceeding to war and hunt were part of the system inculcated in the life of the warrior. They believed in sacrificial offerings etc. so that they may be endowed with victory. For example, King Kiyamba sacrificed a mithun at the foot of Khari hill before his venture to conquer "Kabo Kiyang" (1470 AD) Cheitharol Kumbaba. The valiant warriors observed strict code of conduct even in the killing of enemies and animals. Ritual performances such as "Sachak Lanchak Thakpa" were organised to exonerate from an undesirable killing and to please the spirits.

The art of Huyel Lallong was thus a solid all round encompassing physical and spiritual exercise system, inculcated by the Manipuris, to preserve the nation. Unfortunately, the British prohibited this practice after their defeat of the Manipuris in the Anglo Manipuri War of 1891 after a fierce battle. Even the possession of sword was liable "to punishment with death or transportation". However, the art went underground, and survived the enslavement by the British. In the Independent Manipur, Ojhas and Masters secretly learned the system, handed it down through the teachers and schools have sprung forth.

COMMON TECHNICAL TERMS OF THANG-TA TRAINING FOR DIFFERENT GURUS :

From the above fact, the unique secret arts and techniques should be investigated properly for the coming generation. It is unfortunate that our reknown Gurus had not left written record about this arts had not disclosed the secrecies properly during their living. But there are some common technical terms of different Gurus. The common technical terms are given below :

PHIBAM PHIREP (Stance) :

There should be solid effective stances and posture all the time. At both attack and defence, stances and body positions should be firmly maintained, which will enable protection of the body in defence and making effective counter attack as well. The most important thing is : each sword cut, thrust etc. has a co-ordinating body position with a keen eyesight. This must be learn solidly. That means, footwork, handwork and position of the eye should have effective co-ordination.

The forward leg is slightly bent, knee thrust forward, body forward inclined, back leg stretched on the toes (hyperextended) a supporting intent. The forward position of the knee and the toes should be in a vertical line. Distance between forward and back leg should be about a cubit's length. The heel of the for ward leg should be in line with the centre of the ankle-joint of the back leg planted laterally. The forward big toe should be pressing upon the floor. Weight on the front. Torso or trunk should be straight along with head. Unsound straightness of the body, unusual carriage of the head, may be disastrous.

KHONGTHANG, KHONGTHA (Steps and foot position) :

When the leg for movement is raised the toe should be hyperextended (marai kangba), (Not for spear movement). The heel of the raised leg in gesture should reach just above the knee of the single leg support. The raised bent knee should reach the position of the heart. When the raised leg is down for the first step, the heel should not touch the ground first. Right technique facilities movement, turns, changes in body positions etc.

KHONGPHAM (Steppings) :

There are two varieties of three steps (Khongpham Ahum) Phunga Nungdum Saba Khongpham Ahum (triangular three points) and Tha Machet Saba Khongpham Ahum (a Semi-circular three steps). These are the basis of all movement patterns for sword play.

KHONGLON (Foot work) :

Along with Khujeng Leibi action, simultaneously footwork could be organised. The right arm action in the wrist circling should have simultaneously raising and folding of the right leg and vice versa. The hand is brought down at the same with the lowering of the leg. As for forward steps, the steps could be in series of two counts as well as of three counts. Three basic steps in the triangular form (Khongpham Ahum), a semicircular form (Tha Machet Saba) and three steps in the three points system (Phunga Nungdum) are preliminary steps to be synchronized along with the Khujeng-Leibi.

KHUTLON (Hand Art) :

For flexible wrist which is most important in sword play Khujeng Leibi (free movement of the first along the line of 8) is exercised. The possessor of the flexible wrist (Khujeng Nouba) often gets on top in combat practices. A flexible wrist is the best exemplified in decorative sword play as well as in the execution of strokes. For, a Manipuri sword strike has two essential and distinctive features, Yanba and Lenba (Strike and simultaneous slash motion).

KHUTENG LEIBI (Wrist Circling) :

For wrist circling a special technique is required. The two hands, with one hyper-extended and the other flexed in opposite direction, begin circling along the line with the position of the heart. While the right palm is downward facing, the left palm is upward facing, and two wrists are nearly joined together. The upward facing palm turns to come on top while the other goes down. The reverse action of this pattern is used in Thang alone, not in dances.

The Thang wrist play reverse action is termed Khujeng Leibi Ahanbi. The Khujeng Leibi exercise gradually expands to engulf to defend the whole parts of the body and also while organising strikes on the enemy.

THANGLON (Sword play) :

There are two kinds of sword play-Leiteng Thang and Yannaba (Decorative sword play and actual fight system). For exhibition and for ensuring a correct postural pattern, the Leiteng Thang (decorative sword play) is used. For this two swords or a sword and a buckler could be yielded in such a way that the entire body is protected from all sides.

Also the footwork should be in a fixed order. For this Leiteng Thang supple wrist word is a necessity. Exercises called Khujeng-Leibi (wrist circling), Meibul Haibi (Fire ball swinging), Cheitup Haibi (Club swinging) etc. are done. The two swords in the process of handling should not produce a single sound of having scratched each other.

KHUTLON (Hand Art) :

For flexible wrist which is most important in sword play Khujeng Leibi (free movement of the first along the line of 8) is exercised. The possessor of the flexible wrist (Khujeng Nouba) often gets on top in combat practices. A flexible wrist is the best exemplified in decorative sword play as well as in the execution of strokes. For, a Manipuri sword strike has two essential and distinctive features, Yanba and Lenba (Strike and simultaneous slash motion).

KHUTENG LEIBI (Wrist Circling) :

For wrist circling a special technique is required. The two hands, with one hyperextended and the other flexed in opposite direction, begin circling along the line with the position of the heart. While the right palm is downward facing, the left palm is upward facing, and two wrists are nearly joined together. The upward facing palm turns to come on top while the other goes down. The reverse action of this pattern is used in Thang alone, not in dances.

The Thang wrist play reverse action is termed Khujeng Leibi Ahanbi. The Khujeng Leibi exercise gradually expands to engulf to defend the whole parts of the body and also while organising strikes on the enemy.

THANGLON (Sword play) :

There are two kinds of sword play-Leiteng Thang and Yannaba (Decorative sword play and actual fight system). For exhibition and for ensuring a correct postural pattern, the Leiteng Thang (decorative sword play) is used. For this two swords or a sword and a buckler could be yielded in such a way that the entire body is protected from all sides. Also the footwork should be in a fixed order. For this Leiteng Thang supple wrist word is a necessity. Exercises called Khujeng-Leibi (wrist circling), Meibul Haibi (Fire ball swinging), Cheitup Haibi (Club swinging) etc. are done. The two swords in the process of handling should not produce a single sound of having scratched each other.

The other one is the actual fighting sword play technique (Yanna-Thang). Two things here are important
(i) The technique should be of always protecting oneself from all modes of attack from the enemy defending the body from whatever angles of cut, thrust or blows,
(ii) The person should have the ability to make a counter attack i.e. effective blows or cuts to the enemy in the moment he so chooses. "Not to get myself hurt, but hurt the opponent at will that is the motto of a successful swordsman.

The Meiteis have traditional sword methods, foot patterns and handling systems (Thanglon, Khonglon and Khutlon). Yet-Thang, Oi-Thang (right hand and left hand sword play), Leikak-Thang (Diagonal downward cut), Lankak (slash diagonally with spells at the neck) are advanced spiritual systems (Sagol Khongchat) is also another spiritually related method.

Teaching was always secret, for, open methods had a way of providing anticipatory knowledge to an expert on looker of the footwork, handling styles and sword pattern of the teacher. Possibility of working cut counter attacking system based on the immediately received knowledge was always there. So the entire method had to work at mutually enforced secret system.

THANGBI (Sword alphabets) :

The practice of yannathang is learned through rigorous repeated learning of basics of wielding the sword, which is known as Thangbi. Thangbi, in brief, is the technique of delivering hits, cuts or thrusts by the swordsman to the vital limbs of his adversary along with the use of footwork. There are more than 18 vital spots in the human body where sword hits, cut or thrusts may be applied to inflict a sudden death or main upon a person.

For an effective control of the sword and exact delivery of cuts or thrusts to the said vital parts. There are more than 50 lessons of Thangbi in the Manipur martial arts system. These are standardized vocabularies created by different Gurus through the ages. Manipuri swordsmanship has much specialities. Even the back edge on the tip portion of the sword has its utility. One rear speciality in the ability to deliver multiple strokes in a single footstep and another speciality is the cut-pull (Lenba) principle of the sword.

The first learning system for beginners in sword exercise is the six count system :
Strike the opponent's
(i) Neck from the left (Oi-Ngak),
(ii) Neck from the right (Yet-Ngak),
(iii) left waist (Oi-Khawang),
(iv) Strike at the head (Kok) and
(v) Thrust at the heart (Thinba).
After these alphabets six in number, further stroke additions are made :
(vi) Strike at the opponents's right shoulder (Yet-Lengjum),
(vii) counter attack by the opponent at my right shoulder (Yet-Lengjum Hanba),
(viii) Strike the opponents left shoulder (Oi-Lengjum) and
(ix) counter attack by the opponent at my left shoulder (Oi-Lengjum Hanba).

Along with these strokes a number of footwork for attack and defence are also practised, which are known as Yanbagi Khonglon and Ngakpagi Khonglon. In these footworks, advancing steps in attack and backward retreating steps in defence as well as the Tha-Machet (semi-circular) three steps are mainly used. Individual teachers ad further variations in these alphabetical orders (Thanglon).

PHUNABA CHANGDAMNABA (Test of fighting) :

In practicing Yanna Thang (Actual fight system) we used a kind of weapon generally known as "Cheibee" (Phunachei), a canestick covered with leather for striking the opponent and "Chungoi" (Buckler) for defending oneself. Usually the right hand holds "Phunachei" (Cheibee) and left hand, "Chungoi". Thang-Ta trainees fight with this weapon in the arena of fighting. This type of fighting is organised Village level, State level, National level competitions.

TA (Spear) :

For getting proficiency in handling Ta, the Manipuri still practice a kind of samatic exercise by holding Chung and Ta, popularly known as "Ta Khousaba" (spear dance). This special form of exercise aims at attaining the utmost dexterity of hands and legs and study physique through mainly muscular movements involving all parts of the body.

There are slight variation in handling Ta with swordsmanship in posture and stances etc. There are many thematic stages in the very system of Ta-Khousaba.

They are Then Chongba, Then Hotpa, Setpa, Sou Kaiba, Sou Hotpa, Sou Kaoba, Sou Kanba, Sami Lanmi netpa, Uchek Khongba, hanba, Lan Yengba, Lan Koiba, Sa-Thatpa, Sa-Thinba etc.

The Khousarol are of nine principal varieties with a special name for each
(1) Maram Nungsetpa,
(2) Maram Achouba,
(3) Maram Macha,
(4) Kabui,
(5) Athou,
(6) Tangkhul
(7) yangbi,
(8) Thel and
(9) A tan etc.

Each Khousarol has specific movements, gestures and in the mode of Sou-Kaiba (removal of stakes) and Sou-Thinba (thrusting) etc.

SARIT-SARAK (Unarmed combat) :

The Manipur is not only developed in the use of weapon system but also they had developed a special technique of unarmed combat known as Sarit-Sarak. Every swordsman has to perfect his art of Thang-Ta by mastering this specific form of unarmed combat. The singular character of this native art form in an uarmed combat is ever so unique that the evasive and offensive moves could be effective against any form of attack with or without weapon.

MUKNA (Manipuri Wrestling) :

It is an indigenous style of wrestling which has been in vogue since the existence of the Manipuri Society. In Mukna, two male partner by holding the loincloths tried to throw and hold down the opponent. There are specific rules, costumes and techniques of Mukna.

Some of the main techniques are Ningong (Hip throw) left and right, Longkhrou (Specific throw by twisting the opponent's calf) left and right, Khudong (throwing the opponent by raising him high), Khu-Theibi, Chepching, Kamlak Kotpi, Heibong Kabi, Ngakthi Chappa, Suptek, Chaokot, etc. Each of the above mentioned Laws (Techniques) have also their defensive counter Laws/Techniques.

Related Articles on Thang Ta /Photo / Video :

• 1st World Thang-Ta Championship 2011 (14 Mar) :: Gallery
• Thang Ta - A journey - 7 parts series :: Dr. HanjabamCha Barun
• Guru Gurumayum Gourakishor Sharma :: Donny Luwang Maisnam
• A Brief Bio Data of Sinam Devabrata Singh :: Donny Luwang Maisnam
• Pandit Ningthoukhongjam Khelchandra Singh :: Donny Luwang Maisnam
• Search for "Thang Ta" Tag :: Ooba Video