But his legend lives on : Khundrakpam Joykumar

Maisnam Bomcha *

Khundrakpam Joykumar :: Pix - Bunti Phurailatpam

It seems as if the demise of Khundrakpam Joykumar is symbolic of the frustration of the common men of Manipur with the state of affairs the state is witnessing. It seems as if he was tired of the turbulent times Manipur is passing through and social injustice so prevalent in our society today. Khun Joykumar was a crusading artist and to add a description that he was a great artist, a Star; would be tantamount to making a naive statement like telling the direction of the rising sun.

It is commonly believed that it is nearly impossible to write an impassive obituary. Well, I came across a statement somewhere that true touchstones of greatness must include originality, success and durability. If multi-faceted talent and varied cornerstones of achievements are added to the above features, you have a legend. In his death Manipur has lost a great son. He was an institute unto himself.

Many readers will find the fact, as news, that he was equally good a painter as he was renowned for his singing. During his young days he was also a contractual lecturer at the Imphal Arts College. He was one those fortunate people who had a 'problem of plenty'. He chose singing over painting. But his painting talent was not completely wasted.

The illustrations in the Manipuri text book lessons of lower school classes written by writers like Sanamacha Sharma and Dr Ch Jamini are his works. When Society Theatre was established under the tutelage of another great son of Manipur, the Late GC Tongbra, he was one of the founding activists. He acted as the main protagonist and sang the theme song, "Thamna Khenjongna Pomjei" of the unforgettable "Ngabong Khao".

During his life time he directed the musical score of innumerable Manipuri films. His swan song as a music director was of the yet to be released Manipuri film, Makar, a cinematic reproduction of the cartoons published in the vernacular daily, Poknapham. He also wrote some of his own songs. His talent also included acting for the silver screen.

An ironic measure of the artistic greatness of the man was his appointment as General Manager at the helm of the Manipur Film Development Corporation years after he failed in the audition as an artist of AIR, Imphal. His life following the unfortunate rebuff was, as they say, history. The man lived a life in the exalted company of artistic greats like Pupu Mangi and Jogindro Pebiya. And how he missed the presence of these men after that dark day in the art and cultural history of Manipur when they were killed that night which was widely rumoured as a glaring example of the rich getting away with murder, literally.

One summer evening I remember watching one of those 'private musicals' at Takhel Leikai. Khun Joy, on the persistent goading of the audience, sang that unforgettable "Lamhuina Inshillaba". When it came to the last notes of the song, which went on to be identified as a dirge of the helplessness of the oppression of the poor, he couldn't control his emotions and started weeping. That was the only time I saw a famous man expressing emotions openly in public.

How often he wept at injustice is a difficult proposition to imagine, given the condition in which we live in Manipur, but till date I supress a silent sob every time I hear his many songs of love of the place of his birth. Can any anguish be more profound than the story he narrates in the evergreen "Heibok Chingshang".

His versatility is written large on the other side of his songs. When he gets humorous he was really funny. His light hearted pranks seen in the numerous hits he belted out were almost a staple for those of us who grew up in the years Manipuri cinema was born.

Is there anyone so shy as to not have crooned a number or two of the great entertainer, at least in privacy? The man who gave us so many reasons to smile and to contemplate was, unlike men of his kind and stature, not larger than his life. He led a Spartan life. Not out of want of material possession, but inexplicably chose to make a humble bicycle a favourite mode of transport.

Personally I rate his rendition of "Paru, Eigi Parvati" as the most poignant portrayal, musical or cinematic, anywhere in India, of that great Bengali literary work.

Now that he is gone, I can't say how the people who rules with governance will act to remember the icon. For that matter, any decoration conferred will be graced by its association with him. And those truly great and beloved do not leave their names on ephemeral things of decay. Khundrakpam Joykumar has left his name in the assured posterity of the hearts of Manipuris, present and the future.

If the strength of love of the masses finds one a place with God: Khun Joy is with him. Rest in peace, Oja.

PS: He died at the age of 62 and was not married.

See a Photo Gallery on demise of Khundrakpam Joykumar