Meitei Esei
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Thokchom Lansana Chanu
According to Laininghal Naoriya Phulo (1888–1941), the visionary Meitei religious reformer, poet, and founder of the Apokpa Marup “Meitei Esei” (Meitei music/song) is far more than a performative or aesthetic art. It is the spiritual voice of the Meitei ethos, a sacred medium for ancestral devotion (Apokpa Laining), and an indispensable vehicle for preserving the linguistic and cultural sovereignty of the Meetei people. Through his foundational texts and numerous devotional compositions (eshei), Naoriya Phulo established a tradition of indigenous hymns that restored native language and ancestor worship as the core of Meitei musical expression.
Key perspectives of Laininghal Naoriya Phulo on Meitei Esei are Sacred Devotion & Ancestral Communion, Linguistic Purity (Eelhou Lon), and Socio Cultural Awakening & Inclusivity.
1. Spiritual Communion with Apokpa Mapu (The Creator)
In Naoriya Phulo’s revivalist philosophy, Esei (singing) is the most intimate form of worship offered to Apokpa Mapu (the Supreme Creator/Ancestor). He emphasized that song should not rely on esoteric mantras or foreign liturgical chants; rather, heartfelt singing in one's mother tongue serves as a direct bridge between the human soul (Thawai) and the Divine.
2. Linguistic Purity and Cultural Autonomy
During the 18th to early 20th centuries, much of the devotional music in Manipur was dominated by foreign loanwords, Sanskritized verses, and Bengali Padavali traditions following the royal adoption of Vaishnavism. Naoriya Phulo strongly advocated that authentic Meitei Esei must be composed and sung strictly in pure Meetei language (Eelhou Lon/Meeteilon). He demonstrated this through his own extensive compositions of devotional hymns, poems, and chants designed to replace foreign liturgical music.
3. Democratization of Devotional Singing
Under the prevailing religious orthodoxy of his era, formal devotional singing (such as Sankirtana) was often strictly regulated by caste hierarchies and specialized guilds. Naoriya Phulo democratized Meitei Esei by asserting that singing is a universal right belonging to every individual regardless of social standing. In the Haunasang (assemblies of the Apokpa Marup), collective congregational singing became a cornerstone of communal solidarity.
4. Song as a Tool for National & Moral Awakening
For Naoriya Phulo, literature (Khorirol) and music (Esei) were inseparable twins. He utilized songs as educational and ideological tools to awaken the community from spiritual subjection, rebuild indigenous pride, and impart ethical values across generations.
Meitei Esei refers to the rich, multi-layered musical tradition of the Meitei people of Manipur. Deeply rooted in indigenous mythology, oral literature, and spiritual philosophy, Meitei Esei spans a vast continuum from ancient pre-Hindu ritual hymns to vibrant folk ballads and post-18th century devotional art forms. Music in Meitei culture is not viewed merely as auditory entertainment; it is an organic, spiritual expression that maps out the creation of the universe, ancestral lineage, daily livelihoods, and cosmic order.
The history of Meitei Esei can be broadly categorized into three distinct phases:
1. Ancient / Pre-Vaishnavite Period: Before the 18th century, Meitei Esei was entirely centered around Sanamahism (the indigenous animistic and ancestor-worshipping belief system). Music was exclusively sung in archaic Meeteilon (Meitei language) and performed by spiritual specialists like the Maibas (priests) and Maibis (priestesses) during rituals. The music of this era served to invoke the Umang Lai (forest deities) and Apokpa Mapu (the Ancestral Supreme Being).
2. Post-18th Century & Vaishnavite Synthesis: With the adoption of Bengal Vaishnavism as the state religion during the reigns of King Pamheiba (Garibniwaz) and King Bhagyachandra in the 18th century, Meitei Esei experienced a monumental synthesis. Rather than completely abandoning native traditions, the Meiteis adapted classical Vaishnavite devotional music (Kirtan) into their own distinct aesthetic framework, giving birth to Nata Sankirtana, a classical musical genre recognized by UNESCO as Intangible Cultural Heritage.
3. Modern & Revivalist Phase: In the 20th century, social reformers and scholars like Laininghal Naoriya Phulo advocated for a revival of pure indigenous Meitei Esei. They sought to strip away heavy foreign influences and promote native songs composed in the mother tongue to foster cultural self-respect and spiritual connection to ancestral roots. Philosophical & Cultural Significance of Meitei Esei can be expressed as:
• Oral Repository of History: Because much of early Meitei history was transmitted orally, Meitei Esei serves as a living archive of ancient myths, lineage histories, and socio-political events.
• Cosmological Link: Songs in rituals like the Lai Haraoba enactment are viewed as a bridge connecting human beings (Mi) with the cosmic divine (Lai).
• Community & Work Ethic: Folk genres like Khullang Esei turned tedious agricultural labor into a creative, collaborative art form, building social bonding across villages.
In traditional Meitei Esei, musical instruments are classified into four main categories based on their sound mechanism: 1) bowed/stringed instruments, membranophones/drums, idiophones/cymbals, and aerophones/wind instruments.
1. Stringed Instruments (Bowed & Plucked): Pena, the Pena is the most revered, sacred, and central instrument in traditional Meitei culture. It is played exclusively by trained male bard-priests called Pena Sheishakpa.
2. Percussion Instruments (Drums): Drums hold a central place in both sacred rituals and folk ballads. A) Meitei Pung, a long, cylindrical, double-headed hand drum made of wood (such as jackfruit or teak) and wrapped in leather straps. It is the heart of both traditional folk music and classical Nata Sankirtana / Pung Cholom dance-drumming. B) Langdeng Pung, a smaller, high-pitched drum used during specific ritual processions and folk storytelling. C) Khamak (or Khamak Pung), a traditional percussion instrument used in folk genres to create dynamic, rhythmic pulses during storytelling.
3. Idiophones (Cymbals & Metallic Instruments): Cymbals provide the structural timing (Tala) and tempo for vocalists. A) Mandila, Small, high-pitched brass cymbals tied with tassels, used primarily in devotional singing. B) Kartal / Jhal, Larger, heavy brass cymbals that produce a loud, resonant metallic chime during intense devotional climaxes. C) Sembung, A traditional metal plate or gong struck with a wooden stick to signal transitions in rituals or performances.
4. Wind Instruments: A) Bansi / Sanggai (Bamboo Flutes), simple transverse bamboo flutes used in romantic folk ballads (Khullang Esei) and pastoral melodies. B) Moibung (Conch Shell), blown during sacred openings, morning rituals, and royal proclamations to purify the environment and invite divine energy.
Meitei Esei is a comprehensive artistic system, a blend of ancient oral poetry, spiritual philosophy, and rhythmic storytelling that continues to define the cultural identity of the Meitei community today. Meitei Esei stands as far more than a musical genre and it is the living soul of the Meitei people, preserving their history, spiritual philosophy, and cultural resilience across centuries. From the sacred, ancient echoes of the Pena during Lai Haraoba to the refined devotional artistry of Nata Sankirtana and the revivalist hymns championed by Laininghal Naoriya Phulo, this musical tradition reflects a unique ability to honor ancestral roots while absorbing new influences. By blending indigenous language, ritual storytelling, and distinct rhythmic expressions, Meitei Esei continues to serve as an irreplaceable anchor of identity, bridging the divine and the everyday in the heart of Manipur's heritage.
Reference:
1. Naoriya, P. (1930). Sakok Thiren & Apokpa Mapu Gi Tungnapham.
Cachar: Apokpa Marup Publications.
2. Sanajaoba, N. (1988). Manipur, Past and Present: The Heritage and
Ordeals of a Civilization (Vol. 1). Mittal Publications.
3. Singh, M. K. (1998). Recent Researches in Oriental Indological Studies:
Including Meiteilogy. Parimal Publications.
4. Kabo, S. (2012). Ideology of Laininghan Naoriya Phulo and Modern
Meitei Society. Directorate of Art & Culture, Government of Manipur.
5. Singh, S. R. (2021). Pena: The Traditional Musical Instrument of Manipur.
Voice of Research, 10(2), 25–30.
6. Sanghamitra, W., & Singh, M. R. (2023). Phunga Wari: A Cultural
Memory of Manipur in the Modern Digital World. Research Journal of
English Language and Literature (RJELAL), 11(4), 115–122.
7. Singh, I. R. (2013). Manipuri Literature: A Journey to Post-Independence
Period. Language in India, 13(7), 211–225.
8. Bhalerao, A. K., et al. (2016). Agricultural Folk Songs of Manipur. ICAR
Agricultural Technology Application Research Institute (ATARI), ZoneVII, Umiam, Meghalaya.
According to Laininghal Naoriya Phulo (1888–1941), the visionary Meitei religious reformer, poet, and founder of the Apokpa Marup “Meitei Esei” (Meitei music/song) is far more than a performative or aesthetic art. It is the spiritual voice of the Meitei ethos, a sacred medium for ancestral devotion (Apokpa Laining), and an indispensable vehicle for preserving the linguistic and cultural sovereignty of the Meetei people. Through his foundational texts and numerous devotional compositions (eshei), Naoriya Phulo established a tradition of indigenous hymns that restored native language and ancestor worship as the core of Meitei musical expression.
Key perspectives of Laininghal Naoriya Phulo on Meitei Esei are Sacred Devotion & Ancestral Communion, Linguistic Purity (Eelhou Lon), and Socio Cultural Awakening & Inclusivity.
1. Spiritual Communion with Apokpa Mapu (The Creator)
In Naoriya Phulo’s revivalist philosophy, Esei (singing) is the most intimate form of worship offered to Apokpa Mapu (the Supreme Creator/Ancestor). He emphasized that song should not rely on esoteric mantras or foreign liturgical chants; rather, heartfelt singing in one's mother tongue serves as a direct bridge between the human soul (Thawai) and the Divine.
2. Linguistic Purity and Cultural Autonomy
During the 18th to early 20th centuries, much of the devotional music in Manipur was dominated by foreign loanwords, Sanskritized verses, and Bengali Padavali traditions following the royal adoption of Vaishnavism. Naoriya Phulo strongly advocated that authentic Meitei Esei must be composed and sung strictly in pure Meetei language (Eelhou Lon/Meeteilon). He demonstrated this through his own extensive compositions of devotional hymns, poems, and chants designed to replace foreign liturgical music.
3. Democratization of Devotional Singing
Under the prevailing religious orthodoxy of his era, formal devotional singing (such as Sankirtana) was often strictly regulated by caste hierarchies and specialized guilds. Naoriya Phulo democratized Meitei Esei by asserting that singing is a universal right belonging to every individual regardless of social standing. In the Haunasang (assemblies of the Apokpa Marup), collective congregational singing became a cornerstone of communal solidarity.
4. Song as a Tool for National & Moral Awakening
For Naoriya Phulo, literature (Khorirol) and music (Esei) were inseparable twins. He utilized songs as educational and ideological tools to awaken the community from spiritual subjection, rebuild indigenous pride, and impart ethical values across generations.
Meitei Esei refers to the rich, multi-layered musical tradition of the Meitei people of Manipur. Deeply rooted in indigenous mythology, oral literature, and spiritual philosophy, Meitei Esei spans a vast continuum from ancient pre-Hindu ritual hymns to vibrant folk ballads and post-18th century devotional art forms. Music in Meitei culture is not viewed merely as auditory entertainment; it is an organic, spiritual expression that maps out the creation of the universe, ancestral lineage, daily livelihoods, and cosmic order.
The history of Meitei Esei can be broadly categorized into three distinct phases:
1. Ancient / Pre-Vaishnavite Period: Before the 18th century, Meitei Esei was entirely centered around Sanamahism (the indigenous animistic and ancestor-worshipping belief system). Music was exclusively sung in archaic Meeteilon (Meitei language) and performed by spiritual specialists like the Maibas (priests) and Maibis (priestesses) during rituals. The music of this era served to invoke the Umang Lai (forest deities) and Apokpa Mapu (the Ancestral Supreme Being).
2. Post-18th Century & Vaishnavite Synthesis: With the adoption of Bengal Vaishnavism as the state religion during the reigns of King Pamheiba (Garibniwaz) and King Bhagyachandra in the 18th century, Meitei Esei experienced a monumental synthesis. Rather than completely abandoning native traditions, the Meiteis adapted classical Vaishnavite devotional music (Kirtan) into their own distinct aesthetic framework, giving birth to Nata Sankirtana, a classical musical genre recognized by UNESCO as Intangible Cultural Heritage.
3. Modern & Revivalist Phase: In the 20th century, social reformers and scholars like Laininghal Naoriya Phulo advocated for a revival of pure indigenous Meitei Esei. They sought to strip away heavy foreign influences and promote native songs composed in the mother tongue to foster cultural self-respect and spiritual connection to ancestral roots. Philosophical & Cultural Significance of Meitei Esei can be expressed as:
• Oral Repository of History: Because much of early Meitei history was transmitted orally, Meitei Esei serves as a living archive of ancient myths, lineage histories, and socio-political events.
• Cosmological Link: Songs in rituals like the Lai Haraoba enactment are viewed as a bridge connecting human beings (Mi) with the cosmic divine (Lai).
• Community & Work Ethic: Folk genres like Khullang Esei turned tedious agricultural labor into a creative, collaborative art form, building social bonding across villages.
In traditional Meitei Esei, musical instruments are classified into four main categories based on their sound mechanism: 1) bowed/stringed instruments, membranophones/drums, idiophones/cymbals, and aerophones/wind instruments.
1. Stringed Instruments (Bowed & Plucked): Pena, the Pena is the most revered, sacred, and central instrument in traditional Meitei culture. It is played exclusively by trained male bard-priests called Pena Sheishakpa.
2. Percussion Instruments (Drums): Drums hold a central place in both sacred rituals and folk ballads. A) Meitei Pung, a long, cylindrical, double-headed hand drum made of wood (such as jackfruit or teak) and wrapped in leather straps. It is the heart of both traditional folk music and classical Nata Sankirtana / Pung Cholom dance-drumming. B) Langdeng Pung, a smaller, high-pitched drum used during specific ritual processions and folk storytelling. C) Khamak (or Khamak Pung), a traditional percussion instrument used in folk genres to create dynamic, rhythmic pulses during storytelling.
3. Idiophones (Cymbals & Metallic Instruments): Cymbals provide the structural timing (Tala) and tempo for vocalists. A) Mandila, Small, high-pitched brass cymbals tied with tassels, used primarily in devotional singing. B) Kartal / Jhal, Larger, heavy brass cymbals that produce a loud, resonant metallic chime during intense devotional climaxes. C) Sembung, A traditional metal plate or gong struck with a wooden stick to signal transitions in rituals or performances.
4. Wind Instruments: A) Bansi / Sanggai (Bamboo Flutes), simple transverse bamboo flutes used in romantic folk ballads (Khullang Esei) and pastoral melodies. B) Moibung (Conch Shell), blown during sacred openings, morning rituals, and royal proclamations to purify the environment and invite divine energy.
Meitei Esei is a comprehensive artistic system, a blend of ancient oral poetry, spiritual philosophy, and rhythmic storytelling that continues to define the cultural identity of the Meitei community today. Meitei Esei stands as far more than a musical genre and it is the living soul of the Meitei people, preserving their history, spiritual philosophy, and cultural resilience across centuries. From the sacred, ancient echoes of the Pena during Lai Haraoba to the refined devotional artistry of Nata Sankirtana and the revivalist hymns championed by Laininghal Naoriya Phulo, this musical tradition reflects a unique ability to honor ancestral roots while absorbing new influences. By blending indigenous language, ritual storytelling, and distinct rhythmic expressions, Meitei Esei continues to serve as an irreplaceable anchor of identity, bridging the divine and the everyday in the heart of Manipur's heritage.
Reference:
1. Naoriya, P. (1930). Sakok Thiren & Apokpa Mapu Gi Tungnapham.
Cachar: Apokpa Marup Publications.
2. Sanajaoba, N. (1988). Manipur, Past and Present: The Heritage and
Ordeals of a Civilization (Vol. 1). Mittal Publications.
3. Singh, M. K. (1998). Recent Researches in Oriental Indological Studies:
Including Meiteilogy. Parimal Publications.
4. Kabo, S. (2012). Ideology of Laininghan Naoriya Phulo and Modern
Meitei Society. Directorate of Art & Culture, Government of Manipur.
5. Singh, S. R. (2021). Pena: The Traditional Musical Instrument of Manipur.
Voice of Research, 10(2), 25–30.
6. Sanghamitra, W., & Singh, M. R. (2023). Phunga Wari: A Cultural
Memory of Manipur in the Modern Digital World. Research Journal of
English Language and Literature (RJELAL), 11(4), 115–122.
7. Singh, I. R. (2013). Manipuri Literature: A Journey to Post-Independence
Period. Language in India, 13(7), 211–225.
8. Bhalerao, A. K., et al. (2016). Agricultural Folk Songs of Manipur. ICAR
Agricultural Technology Application Research Institute (ATARI), ZoneVII, Umiam, Meghalaya.