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Khamba Thoibi Jagoi

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This article is about a traditional Meitei classical dance. For the Classical Meitei language epic poem, see Khamba Thoibi Sheireng. For the general topic, see Khamba and Thoibi. "Khamba Thoibi ballet" redirects here. Not to be confused with Khamba Thoibi ballad.
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Khamba Thoibi Jagoi
(Khamba Thoibi classical dance)
Male and female dancers, re-enacting the classical performances of Khuman Khamba and Moirang Thoibi
Native nameMeitei: ꯈꯝꯕ ꯊꯣꯢꯕꯤ ꯖꯒꯣꯢ
EtymologyKhamba Thoibi dance or Khamba Thoibi ballet
Genrejagoi, classical dance, ritual dance, theatre dance (histrionic) ballet
InventorKhuman Khamba and Moirang Thoibi
OriginAncient Moirang
Meetei Mayek This article contains the Meitei alphabet. Without proper rendering support, you may see errors in display.

Khamba Thoibi Jagoi (Meitei: ꯈꯝꯕ ꯊꯣꯢꯕꯤ ꯖꯒꯣꯢ, lit. 'Khamba Thoibi dance'), also known as Khamba Thoibi classical dance or Khamba Thoibi ballet, is a traditional Meitei ritualistic and theatrical classical dance form, which is usually enacted as a part and parcel of the Lai Haraoba performances, dedicated to God Thangching (Old Manipuri for 'Thangjing'), the national deity of Ancient Moirang realm. Notably, it is one of the cultural elements, giving inspirations to the development of the Manipuri Raas Leela classical dance drama form.

The dance form is believed to be first performed by Khuman Khamba and Moirang Thoibi, in the premise of the deity.

Women performing the dance form

Another remarkable achievement of Meitei cultural heritage, directly related to the Khamba Thoibi dance, is Khamba Thoibi Sheireng (Meitei for 'Epic poem about Khamba and Thoibi'), the third longest Indian epic poem, next to the Mahabharata and the Ramayana, which is a classical Meitei language epic poem, having 39,000 lines, recognised and honoured to be the national epic of the Manipuris, originated from the traditional ballads, popularly sung by minstrels or bards, by playing Pena (musical instrument).

Origin

Further information: Khamba and Thoibi § Gathering of rare flowers, and Festival of the Gods

In Ancient Moirang, once Khuman Khamba and his rival Nongban (alias Kongyamba) were asked by the then ruling king, to bring rare orchid flowers from the hilly and mountainous terrains, for the celebration of the annual sacred Lai Haraoba festival in honour of deity Thangching (Old Manipuri for 'Thangjing'). With great difficulty but by the grace of gods, Khamba brought finest of all the available flowers from the wilds, with extreme care. On the other hand, without any difficulty, Kongyamba brought some flowers which were messy due to his carelessness. Kongyamba distributed the flowers to the King first and then to others. However, Khamba, being humble, sought advice from a high priestess, and first set flowers before deity Thangching, and then to the King, the Queen, the high officers of kingdom. Pleased with the courtesy, decorum and etiquette of Khamba, the royalties and nobles presented him rare gifts, many times more than the customary presents which Kongyamba received. After Kongyamba and his wives had danced, Khamba and his lover Thoibi danced and sang before God Thangching, and their party was great, and the people gathered together and shouted with joy as they danced, whirling together, till at last they knelt in salutation before the God.

Khamba Thoibi dance drama

In the 1960s, Mrs. Vimala Raina composed a new dance drama cum ballet, known as Khamba Thoibi dance drama, based on the traditions of Khamba and Thoibi. It was performed for the first time on 1 January 1960, in an event attended by Humayun Kabir, the then Union Minister for Scientific Research and Cultural Affairs of the Government of India. It was again performed in Delhi on 6 and 7 November 1961, where it was acclaimed by the Times of India. The art form was later even witnessed by John Kenneth Galbraith, the then US Ambassador to India, and Mrs. J.K., Galbraith on 2 May 1962. Afterwards, the Khamba Thoibi dance drama was staged multiple times in numerous places, where it was praised and appreciated.

Influences to notable personalities & groups

Humayun Kabir

“I was delighted to see Khamba Thoibi at Manipur when you produced it as perhaps the first full scale ballet in the Manipuri form of dancing. The whole conception and execution was excellent and some of the dancers were obviously highly talented and extremely well trained. I personally think that the Manipuri style is the most graceful form of Indian dancing and I wish you every success in your attempt to develop and popularise it.”

— Humayun Kabir (on 1st January 1960), the then Union Minister for Scientific Research and Cultural Affairs, Government of India
Times of India

“Khamba Thoibi is a Manipuri tale of delicate charm. This ballet of unusual charm has been composed by Vimala Raina. The most appealing aspect of the show was the care and patience with which the music, dances, costumes and settings had been brought together to create authenticity. Every scene was realistic that one felt transported to the magic land of Manipur in the medieval days of the King of Moirang. The market scene and the water-sports on the lake were quaint and beautiful.”

— Times of India, Delhi on 6th and 7th November 1961
The Baltimore Sun

“Ambassador John Kenneth Galbraith is inclined to agree-- The Manipuri Dance managed and directed by Mrs Vimala Raina staged a beautiful performance of Khamba Thoibi. It is a Dance Drama based on a story of royal life in the 11th century. He believes Khamba Thoibi would win acclaim in any America theatre.”

— The Baltimore Sun of America
Catherine Galbraith

“I shall never forget the beautiful dancing in your ballet. The story was so lively and the whole thing moved along with grace and drama. We wish this kind of ballet could come to the United States. It has colour and vitality and good appeal to Western audiences. Your ballets were easy to understand as well as charmingly done.”

— Mrs. J.K., Galbraith (May 2, 1962)

Depiction in painting

A contemporary classical Meitei painting depicting Khamba and Thoibi performing the Khamba Thoibi Jagoi (Meitei for 'Khamba Thoibi dance') in the premises of the historic Thangjing Temple, Moirang, during the Lai Haraoba festival, in honour of Thangching (Old Manipuri for 'Thangjing'), the presiding deity of Ancient Moirang.

See also

References

  1. ^ —Pathway Volume 41. Vol. 41. University of Michigan; Marg Foundation (Mumbai, India), Modern Architectural Research Group, Modern Artists and Architects Research Group, National Centre for the Performing Arts (India). 1988. pp. XV. First and foremost are the surviving ritual dances which have been absorbed into the repertoire. The Lai-haraoba and the Khamba Thoibi may be counted amongst these. Their historical and mythical theme makes them as classical as any of the later Vaishnavite dances.{{cite book}}: CS1 maint: others (link)
    —Doshi, Saryu (1989). Dances of Manipur: The Classical Tradition. University of Michigan. Marg Publications. pp. XIX. ISBN 978-81-85026-09-1. First and foremost are the surviving ritual dances which have been absorbed into the repertoire. The Lai-haraoba and the Khamba Thoibi may be counted amongst these. Their historical and mythical theme makes them as classical as any of the later Vaishnavite dances. They have an element of abhinaya (histrionic representation)...
    —DM Silveira's India Book. University of Michigan. Classic Publishers. 1994. p. 230. ISBN 978-81-900218-2-1. ...Lai Haraoba is the ritual folk-cum-classical dance of Manipur and tells the story of creation according to the Manipuris. Khamba Thoibi is a popular Manipuri dance which tells the story of princess Thoibi and poor boy Khamba...{{cite book}}: CS1 maint: others (link)
    —Mãrg. Vol. 41. Pennsylvania State University; National Centre for the Performing Arts (India). p. 109. First and foremost are the surviving ritual dances which have been absorbed into the repertoire. The Lai-haraoba and the Khamba Thoibi may be counted amongst these. Their historical and mythical theme makes them as classical as any of the later Vaishnavite dances. They have an element of abhinaya histrionic representation)...{{cite book}}: CS1 maint: others (link)
    —Khuraijam, Bobo (2011-03-13). "Three Cheers – KanglaOnline". Retrieved 2023-11-13. ... Would it not be like asking for a Hip-Hop dance from a classical Khamba-Thoibi jagoi performance if we expect street aggression from our teachers? ...
  2. ^ Banerji, Projesh (1983). Indian Ballet Dancing. India. p. 74. ISBN 978-0-391-02716-9.{{cite book}}: CS1 maint: location missing publisher (link)
  3. ^ Raina, Vimala (1963-01-18). Khamba Thoibi And Poems On Manipur. Manipur Government Press; Manipur University Library; North Eastern States Libraries. India: Digital Library of India; Internet Archive. pp. ii.
  4. ^ Banerji, Projesh (1983). Indian Ballet Dancing. India. p. 77. ISBN 978-0-391-02716-9.{{cite book}}: CS1 maint: location missing publisher (link)
  5. ^ "khamba Thoibi Folk Dance of Manipur". www.indianfolkdances.com. Retrieved 2021-02-07.
  6. ^ "Everything Experiential | Khamba Thoibi Dance". Everything Experiential. Retrieved 2021-02-07.
  7. ^ "Khamba Thaibi Dance". Indian Classical Folk & Tribal Dance. 2012-03-19. Retrieved 2021-02-07.
  8. Dances Of India. Har-Anand Publications Pvt. Limited. 2010. p. 19. ISBN 978-81-241-1337-0. ...The Rasa Lila dances of Shiva and Parvati, Radha and Krishna, and the local deities Khamba and Thoibi form the foundation of the Manipuri dance...
  9. KanglaOnline (2011-04-04). "The great Meitei Reconciliation Process: Revisiting the classical folklore on "Emoinu Chakhong Ngahongbi" by Late Shri Ningomabam Angouton Meetei – KanglaOnline". Retrieved 2023-11-12. ... The folklore of Emoinu Celebration from the story "Washak Ngakpa" meaning Keeping the Promise, written by Late Shri Ningombam Angouton Meetei and the classical love story "Khamba -Thoibi" are classical examples of successful reconciliation process of the old Meitei factions...
  10. Delhi, All India Radio (AIR), New (1968-03-17). "Some Classics of Manipur". AKASHVANI: Vol. XXXIII, No.12 ( 17 MARCH, 1968 ). India: All India Radio (AIR), New Delhi. pp. 7, 8.{{cite book}}: CS1 maint: multiple names: authors list (link)
  11. Bond, Ruskin (2000-10-14). "The Story of Khamba and Thoibi". The Penguin Book of Classical Indian Love Stories and Lyrics. Penguin UK. pp. 3, 4. ISBN 978-93-5118-814-8.
  12. George, K. M. (1992). Modern Indian Literature, an Anthology: Surveys and poems. India: Sahitya Akademi. p. 258. ISBN 978-81-7201-324-0. H. Anganghal Singh's Khamba Thoibi Sheireng (Poem on Khamba Thoibi, 1940) is a national epic of the Manipuris based on the story of Khamba and Thoibi of Moirang. The poet composes the whole epic in the Pena Saisak style of folk ballads sung by minstrels or bards popular in Manipur.
  13. Datta, Amaresh (1988). Encyclopaedia of Indian Literature: Devraj to Jyoti. India: Sahitya Akademi. p. 1186. ISBN 978-81-260-1194-0.
  14. Das, Sisir Kumar (2005). A History of Indian Literature: 1911-1956, struggle for freedom : triumph and tragedy. Sahitya Akademi. p. 190. ISBN 978-81-7201-798-9. His epic Singel Indu was published in 1938 which was followed by his magnum opus Khamba Thoibi Sheireng (1940), a poem of 39000 lines, considered to be the 'national' epic of the Manipuris, written in the Pena Saisak style of folk ballads.
  15. T.C. Hodson (1908). The Meitheis. London: David Nutt. p. 139.
  16. T.C. Hodson (1908). The Meitheis. London: David Nutt. p. 140.
  17. T.C. Hodson (1908). The Meitheis. London: David Nutt. p. 141.
  18. ^ Raina, Vimala (1963-01-18). Khamba Thoibi And Poems On Manipur. Manipur Government Press; Manipur University Library; North Eastern States Libraries. India: Digital Library of India; Internet Archive. pp. iii.

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