Lai Haraoba Practices 3

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Lai Haraoba
- Discursive Practices & Cultural Contestations -
Part 3 ( Mythological Orientations Of Lai Haraoba )

By: Rekha Konsam *

Lai Haraoba celebrates the Meitei origin myth. Its rituals recount the beginning of creation. In this, dance and music form an essential part. The process of creating the universe is enacted by the ritual functionaries through mime, dance and anti-phonal songs to the accompaniment of indigenous and non-indigenous music.

Meitei belief starts with a supreme being, Tengbanba Mapu, who is the source of all manifestation and to whom all manifestations ultimately return. The emanation of different deities from him is the beginning of creation. His earliest manifestations are that of Atingkok, the infinite expanse, and Amamba, the infinite darkness.

For the purpose of creating the world of living beings, he manifested himself into Lainingthou Salailel Sidaba (Atiya Sidaba) and Leimarel Leishi Leipunbi, the supreme male Pa and female Pi principles associated with his right and left, respectively.

Atiya Sidaba was commissioned the task of creating the universe. He went up to Atingkok to ask how the earth was to be created. The latter opened his mouth and showed within him the stars, sun, moon, galaxies, water, air, fire and so on. Atiya Sidaba threw himself within in an attempt to drive out all the elements with the cry ‘Ahei He Hoirou Hoirou Nakese’. [¹¹]

Maibi delivering hymns

To help Salailel in creating the world of living beings, Atingkok descended as a three-day-old child. This child, Konsen Tuleihenba (Aseeba, who later comes to be known as Sanamahi), grew up and created the different orders of living beings but these creations were unsatisfactory. Human being was then created based on Salailel’s image.

Seeing Me-Khalouba, the first man created, Leimarel wanted to have a child. This child born to her was Konchin Tukthaba, who later became Pakhangba. The process of creating the world was filled with numerous obstacles. Atiya Sidaba and Aseeba were aided by nine male deities and seven female deities.

The episode of Sanamahi-Pakhangba refers to the contest between the two sons of Salailel to win his throne. The test was to circle the universe seven times and whoever returned first would succeed him. Konsen Tuleihenba, the elder and stronger of the two, sets off immediately for the journey while Konchin Tukthaba sought the advice of his mother.

She advised that since the universe was created in the image of Salailel, encircling him seven times would be equivalent to encircling the universe seven times. Acting on her advice, he won the throne and assumed the title ‘Pakhangba’ meaning, ‘the one who knows his father’.

On his return, Konsen Tuleihenba found his younger brother seated on the throne. He became furious and was about to challenge him, but the latter was protected by seven female deities who encircled him. He then declared that if the advisor was a male, he would kill him and if a woman, he would marry her.

On realizing that it was his mother, he exiled himself to the moon, from where he started on a mission of destroying the very world that he had created. Salailel pacified Konsen Tuleihenba by bestowing him the status of a household deity to be worshipped in every Meitei household while Pakhangba would be worshipped only by the ruling king.

In Lai Haraoba the myth of Nongpok Ningthou and Panthoibi also makes recurrent appearances through the rituals. In fact it is to Nongpok Ningthou that some trace the origin of the festival. There is another version that is distinctly Hindu in its orientation tracing itself to Shiva and Uma.

Accordingly, they descended from Kailash to settle down in the land of Manipur for a brief sojourn. They first came to Nilakantha hills (Nongmaiching) and selected certain hills for their residence. Here, Shiva was given a new name Poireiton meaning ‘he who has come to a new place’. They then stopped at Kumara hills (Koubru).

Another reason for their sojourn was the intention of organizing the rasa dance for they had once acted as doorkeepers to the rasa dance of Krishna with the gopies (maidens). Enamoured by the accompanying music, Uma wished to see the performance but was denied permission.

Krishna suggested that they find a suitable site and organize one for themselves. This was how they came to Manipur; but the land was wet and moist. They then prayed to Krishna to intervene. When the country was dry and purified, the rasa dance of Shiva and Uma was arranged.

Many gods and goddesses were invited to the dance of which Anantanag, the king of the nags, was one. He lit up the site for the entire duration of the dance with the magical jewel mani on his forehead. Henceforth, the place originally named Siva-nagara after Shiva came to be known as Manipura after the maharasa dance.

In this way, the land was sanctified at the dawn of creation. [¹²]

Related Articles/Pictures:

Lai Haraoba- The Merry Festival of the Deities - P. Kunjo
An Experience Beyond Time - Christel Stevens
Gallery on Lai Haraoba - Various Sources
Laihui - Center for Research on Traditional and Indigenous Arts - Gallery
Lai Haraoba at World Music Institute, New York - Announcement

to be continued ...

* Rekha Konsam wrote this article for Eastern Quarterly . This article was webcasted with written permission from Eastern Quaterly on August 07th, 2007.

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