Art Shows

 

First, it is important to note that many schools offer graduate certificates (sometimes called “non-credit”) which are less extensive than masters degrees, but offer some focused expertise in a certain area. With the exception perhaps of art history, most of the degrees listed below can be obtained as a graduate certificate or a masters degree. Certificate programs are ideal for the arts professional who doesn’t have the time to commit to a full masters degree. New York University, for instance, offers a non-credit professional certificate in arts administration that is separate from the NYU Masters in Visual Arts Administration.

 

It is also worth mentioning that some programs offer different types of masters degrees: for instance, Boston University awards an M.S. in arts administration–not an M.A. And not to confuse my readers, but some programs call their graduate degree an M.F.A. even thought it’s not a studio art program. These distinctions may be superficial, but worth paying attention to.

 

Art History: The masters in art history is a very useful and flexible degree to have for the arts. Coursework for degrees in art history tend to solely focus on academic subjects, comprising a fairly well-rounded curriculum of world art–that is, there will likely be few to no “real world” courses, such as art law, or financial management, or other like-minded classes. That is not to say that art history classes are impractical: if you’re interested in being an art specialist of any kind–a curator, or auction house appraiser, for instance–you will need a sound and solid foundation of the stylistic history of art in order to make creative judgments, or set a price on an object. This degree is highly recommended for anyone considering a fine arts curatorial career. And remember, there are also even more specialized graduate degrees in art history, such as degrees in film studies.

 

Arts Administration/Management: Arts administration degrees focus, as one might guess, on the administration and managerial side of the arts. These types of degrees offer flexibility in that you can apply the skills you learn to management of fine arts, performing arts, music, and other public and private art sectors. Coursework for degrees in arts administration vary from program to program, but you will usually find a heavy emphasis on “practical” real world classes related to administration, finance, and business aspects of the arts, whereas elective courses may give you an opportunity to take an art history or studio course to supplement your degree. With these credentials, you will be well-qualified especially for development, grant-writing, and other administrative departments. Requirements and curricula do vary from program to program, so I encourage you to do the research necessary to find the one that suits your needs. The arts administration degree is an option for anyone who has an eye for museum directorship, someday.

 

Museum Studies: This kind of degree is similar to the arts administration degree, but of course, it is more specifically tailored for the student seeking a profession in museums, and less so in galleries, auction houses or other institutions. A museum studies degree offers some flexibility in the type of museum you can work in: anthropology and natural history museums, science museums, children’s museums as well as fine arts museums. With a museum studies degree, you may also find yourself able to work in various museum departments, such as a Registrar’s office, or in Museum Programming. Depending on the curricula of the program, you may acquire credentials that open up the door for more curatorial or exhibition design opportunities for non-fine arts museums, but again, if you’re looking to be a fine arts curator, the masters in art history is the way to go.

 

Curatorial Studies: As the name states, this type of degree focuses on the history and practice of curatorial work. Along with museum studies, this degree will offer flexibility in that you can curate or design exhibitions for various types of museum institutions. In curatorial studies programs, you may find the curricula to have more of a balance of academically oriented courses (in art history, theory, criticism, etc) and the practical courses on curatorial practice than you would with a masters in arts administration. For instance, the rigorous curatorial studies program at Bard College, which is well-regarded, is a good example of a program that balances the academic and professional applications of art. The Institute of Fine Arts, the doctoral program of NYU, interestingly has a Ph.D. program in curatorial studies, which is unusual. I must emphasize again, however, that for someone interested working in a fine arts institution, art historical or stylistic specialization will be more valuable, and thus the art history degree is recommended.

 

Art Education: If you know you’re interested in teaching the arts, a masters degree in art education could be a smart career move. This degree can land you a job as a museum educator: sometimes we forget that museums are educational institutions, and working in the education department of a museum can be extremely fun and rewarding. You can also teach art in schools or community centers. Although it is more geared for an artist, the School of the Museum of Fine Arts in Boston, in conjunction with Tufts University, offers an M.A.T.–Masters of Art in Teaching in Arts Education.

 

Art Business: For someone who views the art market as just that–a market–a masters in art business will give you the business acumen you need to compete in the international business of buying and selling art. These degrees are fairly new, founded on a new sensitivity to the globalization and commercialization of art, although I do believe a the more versatile M.A. in arts administration opens the same doors as an M.A. in art business. A degree in art business prepares someone well for a career in the commercial sector of art–i.e. an auction house or gallery. It is no surprise, then, that Sotheby’s Institute of Art offers a masters in art business. Sotheby’s, and Christie’s as well, does offer some specialized graduate degrees (in contemporary art, design or arts of china, to name a few examples), and as might be expected, the programs are very object-oriented and geared for professional development. Ergo a degree from Christie’s or Sotheby’s of course can set someone up very well for a career in their own institutions, although their websites do boast to have alumni in museums and galleries too.

 

Art Therapy: Interested in the psychology of art? It is an undisputed fact that creating art and interpreting art are both powerful methods of self-expression and recovery. With a combined focus on the visual arts (and sometimes music) and psychotherapy, programs in art therapy that can train you to help people use art to express themselves, or to use it as a tool for recovery from medical procedures or trauma. Patients can range from children, to the mentally-disabed, to the elderly in senior care centers or assisted living homes.

 

Combined degrees: It is becoming more popular for top art administrators to get joint degrees–M.A.s and M.B.A.s–so they can be truly well-rounded leaders of cultural and non-profit institutions. The University of Cincinnati and Southern Methodist University, for instance, both offer an M.A./M.B.A. in Arts Administration. For someone interested in being a deputy director or director of an arts institution, this may be the type of degree you want.

 

There are scores of graduate degrees one can pursue in the arts–these, I would say, are probably the most common and popular. But you can also get a Masters in “Modern Art, Connoisseurship and the History of the Art Market” from Christie’s. My point is that there are other specialized degrees out there, so do the research you need to in order to find the program that best fits your career interests. Good luck!

 

Originally published here.

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Kate Alexander

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Within a few weeks, The Cairo Museum of Islamic Art (MIA) will reopen after a 7 year renovation project. It is the largest collection of its kind and features not only Egyptian works but pieces from all over the Middle East. Opened in 1881, the museum at that time had 111 works gathered from across Egypt. Now the collection contains more than 80,000 objects and the newly re-opened museum will have over 1700 pieces on display from Egypt and other countries.

Until its closing in 2003 for the renovation project, the museum was visited by only a few thousand visitors each month and it is hoped that the facelift and publicity will increase tourist attention. The thorough refurbishing should make the museum more appealing to tourists – there is a new library and children’s museum, and the lighting and security has been updated to meet modern standards. There is also a new, state-of-the art conservation laboratory on the premises.

The newly remodeled museum is designed to convey the influence of Islamic Art on the world and to show the evolution of Islamic art in Egypt since Islam arrived there in the 7th century. The building that houses the museum was built by an Italian, Alfonso Manescalo, and was opened in 1903. The building has not undergone a complete renovation since its inception and was becoming cluttered and structurally unsound.

It’s easy for the tourist to overlook such “recent” historical places of interest in Cairo, since most are drawn to the ancient sites and monuments which are all part of the collective image we have of Egypt. Of course, the first-time tourist should see the Sphinx and the Pyramids, but don’t neglect the treasures other not so trammeled sites have to offer. Set in the heart of Cairo, the MIA is a don’t miss opportunity for any Cairo visitor.

While in Egypt, you’ll want to remain in touch with friends and loved ones back home and you can utilize the services of one of the many telecommunication services that offer <a rel=”nofollow” onclick=”javascript:_gaq.push(['_trackPageview', '/outgoing/article_exit_link/3061012']);” href=”http://www.briing.com/cheap-calls/egypt.php”>cheap calls to Egypt</a>. If someone needs to <a rel=”nofollow” onclick=”javascript:_gaq.push(['_trackPageview', '/outgoing/article_exit_link/3061012']);” href=”http://www.briing.com/cheap-calls/egypt.php”>call Egypt</a> to contact you, they can rest assured that companies like Briing.com can offer cheap rates that won’t make them feel as if they have summoned up the Mummy’s curse!

Originally published here.

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Adrian Fisher

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Thang Ta: A journey

(Through the history of Kangleipak)

from an ancient combat art to a popular modern sport  [2nd section]

 

-2nd Part-

(h)  The Meetei martial art — Another seeding out:

Another emmigration of Thang Ta experts form Manipur took place, during the latter reign of Meitingu Chandrakirti (1834-1844, 1850-1886). Meitingu Gambhir Singh died on 1834 when Chandrakirti (his only son) was only 2 years old, & hence was, in accordance to the tradition, made the king of Manipur (hence he was also known by the name, ‘Ningthem Pishak’), with his uncle, Nara Singh, as the caretaker & regent (so the power & control was in his hand, Nara Singh, the second cousin of Meitingu Gambhir Singh).

[Meitingu Gambhir Singh died ( as reported, of Cholera, who was very sad & depressed) when the British, in order to please the Burmese, gave the Kabow Valley in (~7700 sq.Km, 1/3rd area of present Manipur) to them (Burmese), after the Treaty of Yandabo (24 Feb.1826, signed by General Sir Archibald Campbell on the British side & by Governor of Legaing, Maha Min Hla Kyaw Htin from Burmese side at Yandabo, 50miles from Ava, & as per it, Manipur was recognized as an Independent kingdom  after the 1st Anglo-Burmese war).

The valley had been an integral part of Kangleipak since olden days. However, to decrease the growing resentment, the British started giving compensation (~Rs500 Sicca per month) to the Manipur King, starting from 9th Jan 1834 (the valley was transferred on this day), which was to be continued till the day of its reversion back to Manipur , as per the agreement signed by Major F.J.Grant & Capt.R.B.Pemberton at Langthabal on 25th Jan.1834. Even after independence, & merger with India, the payment of compensation was continued till 1953 when the first Prime Minister of India, Pt. Jawaharlal Nehru, without even consulting then Manipur Govt., transferred the valley permanently to Burma.]

The queen & mother of Chandrakirti, Maisnam Chanu Kumudini Ponglen-Khombi, was not satisfied with the arrangement (power in the hand of Nara Singh); & supported the revolt against Narasingh by Nobin, who was the grandson of Meitingu Pamheibi.

Narasingh was a skilled Thang Ta expert, & a devotee of Lord Govinda (he built the original Govind temple in Kangla, Imphal in 1846, during his reign, 1844-1850).In 1844, one day, taking the advantage of the vulnerable hours of evening prayer (at the Brinamchandra Temple?), Nobin attacked to kill Narasingh (who was unarmed) when he was bending to bow the lord. Immediately, Narasingh reacted & retaliated, defeating Nobin (who was killed by his escort).This incident lights the undoubted effectiveness of Sharit-Sharak.

After the defeat of Nobin, Queen Kumudini with her son (said to be accompanied by Thangal General??) fled to Cachar (in Assam) in 1844. Narasingh became the king, as desired by the people (at the age of 51 years; with capital at the Kangla). Chandrakirti came from Cachar with his force (supported by rulers there) & defeated King Meitingu Devendra {the brother of King Meitingu Narasingh, who ascended the throne after his death (Meitingu Narasingh) in 1850, ruled for only 3 months}, & regained the throne of Kangleipak in 1850 (at the age of ~18 years)

The childhood incidents & hard struggles impacted deep in his mind, & in order to subdue any possible conspiracy against him (kingship), there started the killing (silent) of many Thang Ta masters, who were not in his group or directly under his control. Among the many killed was the Thang Ta master, Ojha Sanachapprando (paternal uncle – elder brother of father – of Ojha Rajkumar Sanahal, another great Thang Ta master, & also his teacher — it’s said that Ojha Sanahal used to record many of the famous Thang Ta moves/steps – which he preserved for us, the future generation – using a charcoal piece on the floor as revealed /done by Ojha Sanachapprando) who was murdered under a conspiracy.

Many surviving Thang Ta masters fled the Kingdom for neighboring countries (Kingdoms) – (present day Myanmar, Assam, Tripura etc.)- where they settled & spread the seed of Thang Ta martial art.

 

-3rd Part-

(a) The Interaction — The west & north- west Kingdoms  – Tripura, Assam etc.:

As with the Burmese, various kingdoms on the west, north (northwest) also exercised much influence over the Meetei Kingdom, & her tradition (including Martial art). There are many non- Meeteilon terms of various Thang Ta movements & steps (like Kalak, Yalak, Shut etc).

There were records of immigration of Takhels (from Tripura) during the reign of King Meitingu Moiramba (1278-1302), Meitingu Thangbi Lanthaba (1302-1324) & Meitingu Tonaba (1355-1359), who were settled at Takhel village, at the foothills of the Nongmaijing hills (Imphal East district). In 1533, the Meetei King Meitingu Kabomba (1524-1542) defeated the Tripuris, & brought many Tripuri prisoners of war, also by Meitingu Khagemba (1597-1652) who brought about 200? Takhel war captives around 1633-34. The Meetei King Meitingu Pamheiba (1709-1748) invaded Tripura in 1734, & brought about 1100? captives, hence he was also known by the name Takhel Ngamba (Takhel~Tripura; Ngamba~conqueror /victor). These people were gradually absorbed into the Meetei Community, along with their traditions.

The first? encounter between the people of Cachar & Kangleipak probably happened during the reign of Meitingu Kongyamba (1324-1335), when the great King defeated & drove away the attacking Cachar people who have come from the Imphal Tamenglong road (Tongjei Maril), & constructed a fort at Hinglen Ching (a hill, 18kms north of Imphal).Certain interaction has already been discussed above in various sections.

Some scholars believe that the Meetei king Meitingu Khongtekcha (763-773) must have exchanged many captives due to its frequent military confrontation with north Bengal.

 

(b) The Interaction — The west & north- west Kingdoms  – The Muslims:

The major interaction between Meetei & Muslim (Mughals — the Mughal Empire, India, 1526-1857?  –  & their fighting system) took place in 1606, when Prince Sanongba (one of the younger brothers of King Meitingu Khagemba) rose in rebellion with his army in Cachar, which included many Muslims soldiers from the Bengal province of Mughal Empire (Jahangir was the then Mughal Emperor; the 4th Mugal Emperor of India, 1605-1627),{also from the Muslims who got settled in Cachar during & after the invasion of Cachari Kingdom {during the reign of king Yasonarayan,1583-?1613?, who fought gallantly at Patharkandi/Karimganj, but lost, & hence, also all the territories to the west of the plains of Cachar} by the Subahdar/governor of Bengal & Dhaka cum army general of Mughal Empire in Bengal, Islam Khan (1608-1613, the title name awarded by Jahangir to his original name of Sheikh Alauddin Chisti)

{However as per some other source — Mughal army under Islam khan was defeated ? by Cachari king Indra Ballabh Narayan?  near Sylhet in early 17th century & hence, was adorned with the title Shatrudomon?}.

The great Meitingu Khagemba & his brave army defeated him (the prince) & brought many Muslims prisoners (~>1000) of war, who subsequently were assimilated into the community. Earlier also, many Muslims war captives from Tekhao (Assam) were settled at Mayang Imphal (in Imphal west district) during the reign of King Thingkhonba of Khuman Clan.

The Mughal Prince Shah Shuja (The 2nd son of Shah Jahan, the 5th Mughal Emperor of India, 1627-1658?) is said to have fled (through Tripura,) to Kangleipak {hiding & taking shelter in Ukhrul hill?; & Shujalok at Heimgang (Kairang), in Imphal East, where he died ultimately around~1691?} after he was defeated & pursued by Mughal army under Mir Jumla{1660-1663, Mir Muhammad Saeed Ardestabi, Iranian by birth, was appointed as Mughal Governor, of Bengal by Aurangzed, after his operation against Shah Shuja, forcing him to leave Bengal & Mughal India} as wanted by his brother Aurangzeb, 1658-1707, then Mughal Emperor.

{After being defeated repeatedly by his borthers, all fighting for the throne — first by Dara Shikoh’s army in the battle of Bahadurpur (~1658?, U.P.), then by Aurangzeb’s army at Khajwa (~1658?, U.P.); & ultimately by Aurangzeb’s army under Mir Jumla in Bengal ~1660?, he left Bengal & took shelter in Arakan (in Myanmar). However, due to a quarrel between him & the king of Arakan, Sanda Thudhamma (1652-1684), he is believed to have escaped to Tripura & finally fled to Kangleipak as mentioned above, while other believe that he might have been tortured to death by the Arakan king around 1660?}.

Also during the reign of Meitingu Paikhomba (1666-1697, around 1678?), it’s said that two Mughal Princes (or Makak princes- as Mughals were came to be known as Makak-mayum) – Sunarful {some source states that Sunarphul, from the word Shuna-i-pil, meaning ‘officer-in-charge of elephants’, was referred to Shah Shuja?, as he came to Kangleipak accompanied by guards & elephants given by the Tripura king,Chhatra Manikya/Nakhshatra Rai (1661?-1666?) around 1661? during the reign of Meitei king Meitingu Khunjaoba (1652-1666), also it was around 1679? that he returned to Kangleipak valley from his early hiding in Ukhrul} & Lakhiayrful, accompanied by saint Fulleicha Shantullah Shaikh, & traveller Millia Shaikh, with their slaves & attendants (~37) arrived on elephants in Kangleipak form Mughalpur (Makak).

These two Princes became the ancestral founders of Makakmayum {Sunarful- makakmayum Angouba, Lakhiaful- Makakmayum Amuba; according to the type of flowers they brought}.The Mangol Shanglen was converted? into Mughal Shanglen for them by the Meitei King.

[Meetei Muslims are called Pangals, derived from the word 'Bengal', as they came from Bengal (mainly as war captives). However, some actively argue that the word Pangal was derived from 'Pang tribes' (or Tai group: said to have come from northern & eastern sides of kingdom of Kangleipak)' who were the first to be converted into Islam.

Present day Meetei Pangals are considered by some to be descendants of various groups like- Pang tribes, Pashas (the Panshi in China, Panthay in Burma- the mongoloid Muslims coming from China, & upper Burma- through ancient silk route through Manipur: Manipur-Yunnan, China - it may be noted that many other learned strongly argue the silk route never included Manipur, even Indian mainland was never part of China-Europe silk route); the Bengalis, Mughal soldiers, Low caste Hindu converts etc.

It is said that earlier Muslim preacher like Hamza Ibn 'Abdul-Muttalib (568?-625), paternal uncle & foster brother of Prophet Muhammad (570?-632), also martially skilled (excellence in wrestling, swordsmanship, archery - he is said to have defeated then King of Bengal & King of Rosang in the south of Chattagram in Bengal, converting them to Islam) came to Kangleipak, as per some Meetei pangal scholars, during the reign of Meitingu Naophangba ?(428-518)& met the Meetei Scholar, Ashangba Laiba, & preached briefly here, living among the Pang tribes {The title 'Aribam' was conferred by the Meetei King (Meitingu Naophangba) to Muslims of that periods}. He was on his way to China, as per the saying of the Prophet 'Seek knowledge even unto China'.

During the reign of Meitingu Irengba (984-1074), two Pashas & one Pangal Village were recorded to have flourished in the ancient text, Ningthourel Lambuba.]

 

(c) The Interaction — The west & north- west Kingdoms — The influence:

We have already seen the influence of Hinduism & Vaishnavism. The first recorded entry of Hindu Brahmins (about 18) into Kangleipak was during the reign of Meitingu Kiyamba (1467-1508), & it was during the reign of Meitingu Pamheiba (1709-1748) that Hindu missionaries started immigrating in large numbers.

The Hindu immigrants, when they saw the Meetei race with their highest martial skills, the extra ordinary valor & courage, the life of honor & justice; starting linking them with one of their greatest hero, Arjuna {the 3rd of the five Pandavas of Mahabharata, all skilled martial artists, belonged to the Hindu warrior caste, Kshatriya- the Kshatriyas were excellent in various ancient Indian martial & combat arts: unarmed arts like Nara, Hsiang ch’a hsiang p’u, the Chinese name of ancient Indian martial art, Vajramushti etc; weapon arts like Shastra Vidya (like Kalaripayat), Dhanurvidya (in which Arjuna was the best) etc.}. Manipur was the place where the Pandava (Arjuna) faced defeat (according to the Aswamedha Parva of Mahabharata).

[After the Mahabharata war, Arjuna went to Manipur with the horse intended for Aswamedha. There he met Manipuri King Babhruvahana {who himself was the son of Arjuna & Chitrangada, the princess of Manipur, the only daughter of the King Chitrabahana, born during his (Arjuna's) exile in Manipur. But in accordance to the matrilineal customs of her people, Arjuna was not allowed to take away her & any of her children, as they were heir to Manipur, as a successor of her father, the King of Manipur.} on the way, & got into quarrel (they didn't know each other), & ultimately in the fight, Arjuna was killed by the Manipuri King Babhruvahana {Arjuna was later restored to life using a gem given by his (Babhruvahana) stepmother, Uloopi, the Naga princess- the name Manipur or the land of gems for the kingdom.}.

But the point to be noted is the Manipur of the Mahabharata is believed to be located somewhere in the Indian State of Orissa (near the eastern sea coast?, as concluded by many scholars, & not the present Manipur State of India) . The name Manipur itself was known  to neighbors or outsiders ~ after 2nd half of the 18th century AD for the Kingdom, the Kangleipak (which was the name much before 2000BC?, as proposed by some scholars, around ~15,000 BC?) --  christened by the Meitingu Pamheiba ~ in the first half of the 18th century, as influenced by the immigrants Hindus missionaries, so as to relate to the Manipur of Mahabharata.

In spites of this fact, the story is given special importance by Manipuri Bishnupriyas (having sharp Indo-Aryan features, & speak a language similar to Kamrupi) who believe they were descendants of immigrants from Hastinapur & Dwarika after the Mahabharata war, led by Babhruvahana (who had earlier returned to Hastinapur with his father), or from a group of people coming from Mithila (Videha), the eastern frontier of Aryan culture.

Most accepted one is that they were originally war captives brought by Kangleipak kings, who subsequently were settled & absorbed into the community [as believed by some, to be before 700AD, as in the same year when the Kangleipak Valley was invaded? by the Chinese, they  referred them (Bishnupriyas) as Khalachai (In southern Chinese - children of the wide lake; Kha=lake,La=wide,Chai=children) who had settled around the Loktak lake.

{the claim being based on the writing of the great Chinese Buddhist monk traveler, Xuanzang /Hiuen-Tsiang (600?-664) who came to India around 630? in search of ultimate knowledge of Buddhism, & subsequently visited the kingdom of Kamrupa - the first historical kingdom in Assam - around 640? as per the invitation by the king, Kumar Bhaskara Varman (600?-650, the last king of the Varman Dynasty, 350-650, Assam)

However, this Chinese invasion claim is rejected by many scholars due to the lack of evidence of considerable strength. They are of the opinion that these people were mostly from Cachar etc, who were first settled in the Kangleipak as war captives during the 14th century AD, & the name 'Bishnupriya' was given to them (Bishnupuri / Bishunpuris / Kalisha / Kalacheiya /  Kalachaya - originally worshippers of the Hindu Goddess Kali) by the Meitingu Gambhir Singh in the year 1827 AD}]

 

-4th Part-

(a) Wizard of Thang Ta — Paona:

Coming back to the reign of Meitingu Chandrakirti, there existed one of the greatest Meetei heroes & Thang Ta masters of all time. His name was Paona Brajabasi (1833?-1891) {Brajabasi- a Hindu honorable title for those who had been to Hindu sacred places like Brindaban etc}. His skill of Thang Ta was matchless & was so excellent that he was considered to have magical powers. Many techniques & moves of Thang Ta have been attributed to him {like Atharo Lakri Thangbi (one of the many sword exercises or alphabets for Yannaba Thang- combat applicable fighting system in Thang Ta) etc}.

As we have seen earlier, there was a shortage of skilled Thang Ta masters (not in the group of the king) in reign of Meitingu Chandrakirti, who had regained the throne in 1850 (around 18 years of his age). He had received some education when he was in Cachar, but no formal training in martial art. There was earlier reluctance from the part of the King to learn the Meetei martial art from the masters in his groups {about 10 in number, including Thangal General, Paona Brajabasi, Yengkhoiba etc.}, as they were basically his servants {also the age factor, especially in case of Paona who was about a year younger then the King himself}.

Accordingly, the King expressed his desire to learn other martial art styles (outside Kangleipak). There came a foreign martial art expert (believed to be a Punjabi / a Sikh?: exact information about him is lacking — who he was, where he came from, what style of martial art he practised etc) to teach the Meetei King. Obviously, there was much resentment among the Meetei Thang Ta experts, & after much objection & request to the king for at least giving a chance to test the martial skills of the foreign martial artist, finally after the king’s consent, a competitive duel was organized in the durbar/court.

Paona was chosen unanimously for this, due to his excellent skill & expertise of Thang Ta. Among the many techniques used by Paona, a special one was ‘Khujeng kakpi’ {cutting/striking the weapon bearing wrist of the opponent(s)}. Just as the Competition began, the foreign master could not understand & counter the lightning fast khujengkakpi of Paona, & his weapon slipped from his hand to the ground. Ultimately, feeling helpless to the showering of thunderous techniques & martial skills of the Paona, he conceded his defeat {in the competition, in place of sword, stick or Cheibi (cane stick covered with leather) was used, much like the present sport sparring of Thang Ta}. Thus Thang Ta once again arose supreme.

[Sikhs have a long tradition of Martial art {some trace it to ancient Shastar Vidiya (Shastar~arms,Vidiya~knowledge), other considered it to have been handed down from the period of the 6th guru, Guru Hargobind (1595-1644)}. More popularly, the word Gatka (after its primary weapon, while some give the meaning as: Gat~excellence,grace,respect in one's own power; Ka~belonging to or of) is used to refer to all traditional martial arts of Sikhs. Gatka (related terms: Gadka,Khutka,Gadd,Gadaa etc- believed to originate & derived from Sanskrit word 'Gada' or mace or Indian club) is a stick or club covered with leather, used for teaching & practicing fencing or club fighting.

This martial art has been thoroughly battle-tested, used by the Sikhs (Nihang, an armed Sikh order; Nihang~crocodile, name given to them by Mughals as they fought ferociously like crocodiles) to defend against the foreign invaders like Mughals. It was the 6th Sikh guru (Guru Hargobind) who propagated the idea of warrior saint, & popularized the practice of martial arts (for self defense), as demanded by the situation.

He was trained by the great Baba Budha Ji {1506-1631, the greatest Sikh martial artist, who had trained the race right from the 1st Guru (1469-1539) to the 6th Guru (1595-1644) era, who is believed to have been taught the art (Shastar Vidiya?) by the 1st Sikh guru, Guru Nanak himself (he met the guru for the first time in 1518, who had learnt the art form the God, as per a legend)} - also during his time, there occurred exchange of martial culture with the Rajput (another ancient martial race /Kshatriya of India) who in gratitude, said to have shared their martial style (~Shastar Vidiya??) after  he helped them to free their 52 princess, kidnapped by the Mughals.

But the greatest Sikh martial artist was the last Guru (10th Guru,1666-1708), Guru Govind Singh. He was the one who founded the great Khalsa army (the brotherhood, all specialized in Gatka- he fought & won many battles against the Mughals).

However, the Gatka as we know today, specially the sport part (khel; the other one- rasmi or ritualistic & traditional) was developed gradually around & after 1860's {after the 1857 mutiny, with the relaxation of the earlier banned on Sikh martial arts (after the 2nd Anglo-Sikh War, 1848-1849), & increasing British Indian influence (their sword practice); influence form other foreign styles (1880's) - application of western fencing rules etc}. From late 19th century, there has been active revival process undergoing, with the realization of its immense value - physical, cultural, spiritual, & as a potent bonding & unification factor.

It is believed that many Sikhs began to settle in Kangleipak valley near the end of 18th century. As per the population estimation of the Kingdom done by the British political agent, Mr. R.Brown (in 1873); & according to E. W. Dun (in 1886; about 105 foreigners including the Sikhs) confirmed the existence of Sikhs, as minority group in the Valley of Kangleipak.

But the influence of Sikhism (& their martial style) can be traced much earlier. There are records (Sikh chronicles like Janam Sakhi) of Guru Nanak having visited (~1509-1510) the Kingdom of Manipur, as proposed by some enthusiast scholar, during the reign of Meitingu Koiremba (~1508-1512, son of the great Meitingu Kiyamba) - but this estimation may be of less weight if the Manipur mentioned in the sacred chronicles may turn out to be the Manipur of Mahabharata (in Orissa?), which definitely is not the present Manipur state of India), & established a Sikh Sangat here.

Besides a great religious preacher, he is believed to be a great martial artist also (was born in a Kshatriya family), the founder of Sikh martial tradition (he is said to have defeated? the queen of tantric cult, Shah Noor? on the way to Manipur Kingdom; the tantric belts of Northeast India are said to extend form Tibet, Nepal, Bhutan, Assam & other parts of Northeast, & Bengal).

The story goes like this -- that He, the holiness, the 1st Guru , came to Manipur (through Kamrup & Guwahati, Assam,) accompanied by a disciple name Bhai Mardana (1459-1534, a Muslim by birth); where they met one Jhanda, a local carpenter, & Indersen, nephew of a local chief, who became his disciples. After a brief preaching, he is said to have returned in the southwestern direction {reaching Puri, Orissa, where he met Shri Chaitanya Mahaprabhu (1485?-1533) in the famous Jagannath temple of Puri, as recorded in the Oriya palmleaf manuscript of Bhakta Panchak by Jasobant Das of Sisu Math, Puri (~15th century?), & manuscript of Shri Chaitanya Bhagwata (~16th century/18th century?) by Ishwar Das}]

 

(b) Thang Ta : To die honorably than to surrender for a life of disgrace:

It was also the Paona (& every Meetei soldier), who stretched the limits of Thang Ta in the Great Khongjom war (23 April, 1891; the Anglo-Manipuri war), immortalizing the heroism, the valor & highest sense of devotion & patriotism shown by them in the hearts of every Manipuris for eternity. Paona was in his retirement (~58 years old) when he was selected {by Meitingu Kulachandra Dhaja (1890-1891), along with Chongtha Mia, both of whom were appointed to the posts of Major, from earlier Subedar} to resist (with~ +400? Meetei sepoys) the invading British force from Tammu {Burma, from south-east, under the command of Captain Rundall, 2-4th Gurkha Regiment; the other two columns of invading British army: from north- Kohima (Nagaland),under the command of Major General H.Collett; from west- Cachar (Assam), under the command of Col.R.H.F.Rennick}- he was selected with a reason.

[Almost everyone knew that, as concerned to physical prowess, it was already a lost battle; so the best feasible forces were sent to protect the Kingdom, as the Meetei preferred to die honorably, rather than surrendering for life of disgrace. Khongjom (~36km from Imphal, on the Indo-Myanmar road) front was the most dangerous; hence was given to Paona].

So gallantly they fought till their last breath, against the much larger & superior British Army & their steam roller attack, with a meager supply of small arms {like jinjals; unfortunately during the battle, there was non-compliance of even three consecutive request for immediate supply of pounders of high caliber to the Commander-in-charge of Manipuri force at Thoubal (under Wangkheirakpa & Yengkoiba Major)- hence it was Thang & Ta against the flying bullets & bombs form British army], earned the respect & admiration of even the British.

[Paona is said to have cut the igniting/detonating threads/wires of the British bombs in the air, hurled at Meetei army, with his mere sword before they exploded. The design of such bombs is very similar to the present day firecrackers or fire-works, with a long igniting thread/wire present for safe detonation].

Paona & almost all the Meetei army {including Yaiskul Lakpa, Chinglen Sana, Mairaba etc} scarified their lives, without any hesitancy & second thought, for the motherland.

Every year on 23rd April, Khongjom day is observed in memories of all these martyrs. Their extreme heroism & patriotism carved such a permanent imprint & inspired the  Meetei that, they started singing (coming out spontaneously) the glory of Paona & his heroic feats during the battle, as Khongjom Parva [meaning the episode of Khongjom- its musical narration on the beats of a dholok- said to have been started by one Dhobi Lairou? (some source: Madhu- who happened to be a gifted singer), who was an eyewitness of the battle, as he was one of the washer men of the Meetei army at Khongjom.]

Even today, when one hears the Khongjom parva, with each beat of dholok, a vivid picture of the battle unfolds; the heart becomes heavier, tears roll down, with goose skin all over, & a feeling of content; a deep adoration & salute comes out automatically for them.

With the fall of Paona (and the failure to resist other two columns of British army), Manipur lost her freedom on 27th April 1891. On 13th August 1891, at present B.T.park (Bir Tikendrajit park, earlier – pheida pung, Mapan Kangjei-bung / polo ground, Imphal), Thangal General {1817-1819, a Manipuri hero, born as Lungthoubu in a Thangal (officially referred as Koirao tribe) family of Thangal Surung village (to Saraingamba Thangal) & served the kingdom for 60 years (from 14 to 74 years) from the reign of Meitingu Gambhir Singh (1825-1834) upto that of Meitingu Kulachandra (1890-1891), taken into the Meitei community in Kangabam clan (as Kangabam Tulinaha Major?). The title ‘General’ was awarded in 1885 by Sir James Johnstone, as promoted by Meitingu Chandrakirti (1834-1844,1850-1886). However, some scholars consider him as a Meitei, born in Ningthouja Salai to Kangabam Khetri Singh & is believed to be the 18th line of descendent from MeitinguYarba (799-821 AD)} & Jubaraj Tikendrajit {1858-1891,another Manipuri hero, also known as Koireng (~Tiger Hunter), son of Meitingu Chandrakirti (1834-1844,1850-1886) & younger? brother of the Meitingu Kullachandra (1890-1891)} were publicly hanged till death.

[(a) It was the failure to arrest Jubaraj Tikendrajit twice?, & the killing (although the Meetei King wanted to keep as prisoners) of British officers (Mr.St.Clair Grimwood, Indian Civil Service, British Political Agent in Manipur - spared to death on the step of the Durbar hall; Mr.J.W.Quinton, Chief Commissioner of Assam; Col.Skene, Commanding Officer 42nd Gurkha Light Infantry; Lieutenant W.H.Cossins, Indian Civil Service,Assistant Secretary to the Chief Commissioner of Assam; Lieutenant Simpson & the Bulger who accompanied them - beheaded by public executioner in front of the two Kangla Shas, considered, by the order of Jubraj Tikendrajit & Thangal General on 24March? 1891) in the second attempt (& the subsequent attack of all the British outposts in Manipur by Manipuri force, killing Mr.W.B.Melville & Mr.O'Brian, superintendent of Telegraph Department,Assam division & a signaler respectively at Mayangkhang, in northern side, on the road between Manipur & Kohima), made the British govt. to wage open war against Manipur.

(b)Three more Manipuri warriors were also hanged inside the jail -- Niranjan Subedar (1852? --8th June 1891, ex-British army who left & fight against them on the side of Jubraj Tikendrajit); Kajao Singh, Jamandar/Pukhramba Phingang (1856? --25th May1891, he speared Mr.Grimwood to death); & Chirai Thangal (1861? --13th Oct.1891, he was among the Manipuri Troops who attacked British Telegraph Officers at Mayangkhang -- he killed Mr.W.B.Melville).

{Many more were transported for life -- Kullachandra Dhaja Singh, (Ex-King,died in 1934 at Radhakund,U.P.); Prince Angao Singh, Senapati(1866?-?,son of Meitingu Chandrakirti); Lokendrajit Birjit Singh, Wangkheirakpa (1848?-?); Samu Singh Colonel alias Luwang Ningthou (1831?-?); Chongtham Nilamani Singh, Awapurel Major (1836?-1897, incharge of Burmese affairs, in command of the king's bodyguard & of the citadel); Chongtham Mia Singh,Major(1841?-?, arrested at Thoubal, spent his last days at Radhakund,U.P.?); Uru Singh, Usurba; Chauba Hada, Machahal; Ghun Singh, Kongdram (1841?-?); Kumba Singh, Laishraba (1864?-?); Dhaja Singh, Mayengba (1858?-?); Nam Singh, Nepra, Machahal(1863?-?); Trilok Singh, Nongtholba Satwal (1831?-?); Dhon Singh, Sagolsemba (1841?-?, he was the one who beheaded the British officers with a Tendong Thang- a sword with a long handle - in front of the two Kangla Sha);Ghun Singh, Indujamba Jamadar (1849?-?); Ningthouba Singh, Chingshuba Jamadar (1850?-?); Thaoba Singh, Phanjao Jamadar; Tonjao Singh, Mangsataba Jamadar; Chaobatol Singh, Heigrujamba Subadar (1829?-?); Paradhumba Singh, alias Ashangba kut (Havildar of Mayangkhang post); Chowkami Naga of Mayangkhang; Gowho Naga of Mayangkhang}

(c) Kangla sha (sacred Kangla beast), the national emblem of Meetei Kingdom; two huge brick statues of which stood on either side of the way to Kangla uttra; which were originally erected by the Chinese prisoners of war, brought by Kangleipak king (some scholars believe that they were built during the reign of Meitingu Mungyangpa, 1562-1597), but are again said to have been constructed/repaired by Meitingu Narasingh (1844-1850) due to the destruction & dismantlement of the originals by the invading Burmese. After the Kangla was seized by the British on 27th April 1891, the two statues were blown to pieces.]

 

-5th Part-

(a) The Initial Ban:

The first & the foremost reform done by the British was the abolition of the Meetei Lallup system- with their nightmarish experience at the Khongjom- the ferocity of the Meetei army & their deadly martial art, Thang Ta. Subsequently, Thang Ta was banned (upto ~ 1930). Anyone found practising or teaching the art was labeled as rebel or insurgent affiliate, & summarily prosecuted.

Thang Ta, specially the combat aspect, was confined to the secret home schools of individual teachers, passing the knowledge down from generation to generation behind closed doors. Some of the teachers even started using different name for the art, so as to mislead the British. Thang Ta suffered enormously under their rule (early part- especially before 1930; the British rule in Manipur: 1891-1947) as the colonial administration took draconian measures to stamp out any form of resistance.

 

(b) The Revival:

The gradual revival of the art started slowly near & after the independence. Under the leadership (the President) of Meitingu Churachand (1891-1941), Nilhil Hindu Manipuri Mahasabha (NHMM) was established in 1934? (originally to regulate the religious activities, but latter exercising major influence in the socio-political domain). Due to the cooperative hard work of many Thang Ta teachers & members of NHMM (like noted people’s leader like Hijam Irabot, 1896-1951, the Vice-President), the ban on Thang Ta was lifted up, as per the 8th resolution of NHMM.

Some of the then eminent Thang Ta teachers were Ojha Rajkumar Sanahal, Ojha Thoudam Chaoba (who was a student of the Great Paona Brajabasi),Ojha Moirangthem Anganghal, Ojha Sagolsem Indramani, Ojha Angom Leiren Singh, Ojha Hijum Ibohal Singh, Ojha Mutum Maipak Singh, Ojha Chanambam Birahari Singh, Ojha Lairenmayum Damu Singh, Ojha P.Tarango Singh, Ojha Toijam Birahari Singh, Ojha Paonam Tonsana Singh (youngest son of Paona Brajabashi), Ojha L.Ibungohal Singh, Ojha P.Manikchand Singh, & many more.

 

(c) Ojha Rajkumar Sanahal — One of the greatest Thang Ta masters:

Ojha Rajkumar Sanahal (1901-1988) was one of the greatest Thang Ta teachers of all time. As a lineage of royal blood, he was born in the year 1901. Being a matriculate of 1924 (under the then Calcutta University), he recorded various techniques & aspects of the secret art, as revealed by his great teachers (who were mainly illiterate), for the future generations. His skill of Thang Ta was well known & admired by everyone at that time, specially the bare hand techniques against weapons.

There is an interesting incident in the history, highlighting his mastery of the art. In the early 1930’s, the movement of Indian Independence was growing & intensifying under Mahatma Gandhiji (1869-1948), & his followers (Ganghiwadis), with their non-violence & satyagrahi andolans etc, north east India was no exception. It was very common for the non-violent, unarmed Gandhiwadis in their satyagrahi andolans, to be beaten severely & lathi-charged by the British.

In one such common discussion, the leaders from Manipur {H. Irabot (1896-1951), noted people’s leader; Pandit Raj Atombapu Sharma (1889?-1963,Phurailatpam Atombapu Sharma, court Pandit); Officer Somorendro?} happened to mention about the Meetei Thang Ta, & the ability of blocking even swords by bare hands. Subsequently, with increasing request from the Gandhiwadis, a demonstration was decided to be organized in one of the conference/meeting of Indian National Congress in Guwahati, Assam; for which Ojha Rajkumar Sanahal was invited to demonstrate the ancient art.

(It may be noted that the 41st Congress session was held at Guwahati in the year 1926 & was presided by S.Srinivasa Iyengar. Not much reliable source is available to conclude without any doubt that the above demonstration of Thang-Ta was held in this session)

In front of the curious & amazed eyes of Gandhiwadis, with their heart beats shooting sky high, breaking the pin-drop silence, was the secret art revealed by Ojha Sanahal. The fierce, forceful attacks of the sharpen sword (by one martial art master- believed to be a Punjabi/Sikh?- as selected by them, Gandhiwadis) were met with such softness & peacefully, subduing the violence, & deflecting all the directed force towards the attacker himself (the weapon flied off uncontrollably, as a result), that all the heads bowed down automatically & involuntarily, in respect; yet again the ancient Meetei art rose supreme.

On the 4th November of 1934, under Ojha Sanahal, ‘Meetei Huyen Langlon Thang Ta Academy’ {the epicenter & origin of the modern sport Thang Ta movements, hence he is respected & remembered as the ‘Sintakpurel’(1st Grand Master)} was established at Yumnam Huidrom Village, Imphal to preserve & revive the ancient art of Thang Ta, to the level of its past glory.The expressive/demonstrative aspect of the art was started to be shown in various festivals & public gatherings etc. The academy was registered under the society registration act as ‘Scientific Defense Cultural Society’ in the year 1965-66, with registration no.:808.

 

(d) The Rise of Thang Ta, & The Masters:

Many other Thang Ta teachers, whose teachings were earlier confined to closed doors & secrecy, started forming open/public institutions/associations, working cooperatively for the development & preservation of the art.

The popularity of Thang Ta began climbing sky high, with the demonstration of many choreographed Thang Ta moves – Leiteng Thang {like — two swords/a sword with a shield decorative play, duels/more than two participants – like sword fight (Thang Yannaba), Sword vs spear (Thang Ta Chainaba), Dagger vs axe/spade fight (Thangjou-shingjang/yopak Yannaba) etc, with such high realism- scattering of sparks all around, from clashing of the weapons} or sometimes even without weapons/open handed – before audience as a performing art in mid 1950’s.

Many of the traditional Thang Ta institutes/associations are very much active still today with the same zeal, nurturing the ancient tradition among the youths.

Every Meetei is familiar with the name Pandit Ningthoukhongjam Khelchandra Singh (1st Sept.1920-2011). He is a legend, a source of constant inspiration; not only was he a right authority on the ancient Meetei literature, art & culture; but also a vast ocean of the Meetei martial art, Thang Ta. As a recipient of double fellowships from the Sahitya Akademi, & from Sangeet Natak Akademi; the prestigious Padmashree award in 1987, many other honors & awards, he had given us many valuable books & records on Meetei Martial arts. Many well known Thang Ta teachers used to sit besides his feet, & under his guidance, for the exploration of the endless secrets & depth of this ancient Meetei art. The great soul departed for its heavenly abode in the night of 31st Jan.2011 (90years old), leaving behind a vacuum which will be felt for eternity, yet immortalizing in each & every one of us.

In 1951, Nonpok Naharol Seva Marup (latter recoined as Kanglei Enat Thang Ta Shindam Sanglen) was established under the Chairmanship of the famous Thang Ta teacher, Ojha Leitanthem Heramot Meetei (born on 30th Sept.1930). Having learnt the art under different eminent Thang Ta Ojhas (including Ojha Thoudam Chaoba), he earned various name & fame {Gold medal by Meitingu Bodhchandra (1941-1955),1951; ‘Huyel Saphaba’ title by Akhil Manipuri Kalakar Sammelan,1975;Manipur State Kala Akademi Award,1988; Sangeet Natak Akademi Purushkar,2008 etc}- his contribution is immense & immeasurable- still passing the knowledge as a living legend as one of the famous living Thang Ta masters. He is credited with the creation of ‘Laphu-kakpa’ (a performing art, demanding highest skill & control- slicing/cutting a trunk of banana tree, kept perpendicular to the ground, into seven pieces with a sword, without disturbing its original position)

Another great living Thang Ta teacher of today is Ojha Gurumayum Gourakishor Sharma (born on 15th April 1936, a student of Ojha Sanahal, & many others great masters) from a family having a long tradition of Meetei martial arts. It was under his leadership that ‘The Huyen Lallong Manipur Thang Ta Cultural Association’ [which has been given recognition from Manipur State Kala Akademi, & Sangeet Natak Akademi since 1979; besides the provision of subsidies, & from 1994, a salary grant from the department of culture, Ministry of Human Resources Development] was established in the year 1958., & still very much active in its goal of preserving & promoting the tradition of Meetei martial art. Thang Ta, as a performing art on stages has been presented & popularized on both national & lately international stage. He has been conferred with many awards & honors, in recognition of his contributions & dedication for the art {fellow of Manipur State Kala Akademi, 1978; Sangeet Natak Akademi award, 1983; ‘Kala Ratna’ title by Manipur Sahitya Parishad, 1985; & recently the prestigious Padmashree award, 2009}

Any discussion on Thang Ta, is incomplete without mentioning about late Ojha Sinam Devabrata Singh (1939-2010). He was one of the most experienced & highly qualified Thang Ta teachers of today (recipient of the prestigious Sangeet Natak Akademi Award, 1992). He is also considered to be the first Thang Ta Ojha to have demonstrated the art at the level of international (at the age ~ 49 years, at the Indian Cultural Center, Cheiri, Italy, 1988; & at ~ 55years at the Festival of India, China, 1994). As a master of many styles of Thang Ta {mainly the ‘Paona’ style (after the great Paona Brajabasi – among many of the famous Thang Ta Ojhas who taught him was Ojha Paonam Tonsana Singh), the Poila (after Ningthoukhongja Poila), & many more, also have a deep knowledge of Mukna}, he founded HULA (from HUyen LAllong) Sindamsang in 1977, & since then dedicated his life for the promotion, popularization & most importantly, the unification & preservation of the priceless knowledge of all the different styles of Thang Ta. His untimely departure for the heavenly abode has created a gap, never can be filled, in the world of Thang Ta & Meetei arts. We pray for the great soul.

There are many other Thang Ta Ojhas also, who have been constantly working for the betterment of the art, dedicated their lives for it, popularizing the way of being a true Meetei warrior, spreading the message of love, peace, unity etc, making us, the younger generation, aware of the importance of our culture, tradition & identity. It’s impossible to mention them all in this little endeavourer of mine. With my head bows down, I salute them all……to be continued in 3rd section

Compiled & written by:

Dr.HanjabamCha Barun

MBBS,DSM(sports medicine) std.,

NS NIS,Patiala,Punjab,India,

Martial artist & Thang Ta practitioner.

Chief Instructor & founder,C.G.Thang Ta Association,Raipur,C.G.,India.

Email: dr.barun.hanjabam@gmail.com

Originally published here.

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HanjabamCha Barun

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