Thang Ta–“The Art of the Sword and Spear”– is the traditional martial art of Manipur in Northeast India. It integrates various external weapons – the sword, spear, dagger, etc. – with the internal practice of physical control through soft movements coordinated with the rhythms of breathing. It is part of the great heroic tradition of Manipur.
The proper name for Thang-Ta is HUYEN LALLONG (“method of safe-guarding”). As the name implies, Huyen Lallong is more than just the training of fighting skills. It is an elaborate system of physical culture that involves breathing methods, meditations, and rituals. Some of the sword and spear forms are entirely ritualistic, although they are composed of material techniques. They are to be performed only at special occasions or under special circumstances. For example, there is a spear form that is performed at funerals. Perhaps the most famous form is the ritual spear dance done by King Bhagyachandra (ruled 1759-1798) on a mountain top during his exile due to the Burmese invasion in 1762. The Manipuris believe that the ritual was instrumental in driving the Burmese out of Manipur.
Table of Contents
Legend
Origin of Thang
Legend has it that Thang-Ta originated with the creator god Pakhangba, who assumed the form of a god by day and man by night. His serpentine body disintegrated into various swords and knives after his death. His grandson, Ngaitongamba, was caught in a fish trap, and when he died his bones also turned into swords. Swords thus have very profound significance in the Manipuri culture. Historical chronicles record the names of swords made for and used by various kings throughout history. Each clan lays claim to a distinctive type of sword.
Origin of Movement:
Atingkok Shidaba, the Eternal one bade his son Ashiba to create the universe. Ashiba found the job too heavy to accomplish single handedly. He caused nine male deities known as Laibungthous from his being . They participated in the escoteric exercise of Thengou in a process of creation. Four of these Laibungthous performed a sequence of three steps called ‘Leihou Thengou’ thus creating the Earth…The other four performed ‘ Nonghou Thengou’ comprisisng of five steps, thus shapping the sky….Thus according to Meitei creation Myth the movements involved in the process of creation ritualized as thengou believed to the original movement pattern involved in Thang ta.
HISTORY:
Anthropologists believe that the martial traditions among the tribes in northeastern India have developed as a result of continuous inter-tribal rivalry which necessitated constant preparedness on the part of the able bodied men. Martial dances and songs served both as entertainment and for the constant sharpening of skills—-Martial and Healing Traditions of India: An Anthology By Michael DeMarco
It was the commoners who were the warriors in the clans. The first and foremost creation of an armed force known as lallup was created by Loiyamba Shinyen between 1074-1122 AD. From 1404-1432 AD, king Punshiba formed a permanent army and a military department known as Shingchep Meira Haijouroi. By the 15th century, this army helped the warrior queen Linthoingambi to win over the Tangkhul tribe in the absence of the king. During the reign of King Khagemba between the late fifteenth and early sixteenth centuries A.D., thang-ta reached its zenith. Chainarol, a manuscript written in the sixteenth to seventeenth centuries that contains glimpses of the prevailing war customs, suggests that warriors were expected to adhere to a strict code of conduct. For instance, when an unarmed man was challenged, he had the right to fetch weapons and to fix the date for the fight. During the fight, when blood oozed from a scratch or wound on any part of a combatant’s body, that combatant was declared the loser. Afterward, the combatants shared food and wine supplied by their wives. Then, the victor cut off the loser’s head and, if the loser had requested this service, cremated the loser’s body. Heads usually were preserved by victors as trophies of prowess.
Lallup System
The general system of lallup is based on the assumption that it is the duty of every male between the ages of 17 and 60 to place his services at the disposal of the state, without remuneration, for a certain number of days in each year.The number of days thus placed nominally at the disposal of the state is ten days in every forty. This ten-days-service is so arranged that a man works his ten days and has an interval of thirty with regularity all the year round. On an individual coming of age to perform Lallup, he is entitled to cultivate for his support one purree of land, subject to the payment in kind of the tax to the raja. In the case of permanent illness or disability, a man under sixty may be excused from labour, but notice must be given and the authorities satisfied of the true nature of the case.
Although the Manipuri Agricultural communities were in contact with great civilizations of India, China and Southeast Asia for thousands of years, the relative isolation of the region allowed the development of a unique cultural tradition that includes a distinctive form of martial arts using the sword and spear. Originally, training in the martial arts was essential for the overall survival of the community, as well as for initiating the youth into the subtleties of religious knowledge and practice. However, over time, the martial arts were separated into two schools for training, one for actual combat and the other as ritual dances that served to reinforce Manipuri cultural identity and played an important role in the physical and spiritual growth of the students who studied it. Traditionally, most Manipuris were agriculturist, but the kingdom of Manipur did not have any need for a standing army as every able bodied man (and if necessary woman), was a warrior and most were skilled in swordsmanship or spear fighting.
Manipur, after losing the Anglo-Manipuri War, was annexed to the British Empire in 1891. In recognition of the heroism and skill of the Manipuri army, which was ably led by Major General Paona Brjabasi, the British immediately made it illegal for a citizen of Manipur to possess a weapon and outlawed the martial arts of Manipur, including thang-ta. Thang-ta went underground and was kept alive by only a few expert practitioners. After India gained independence in 1947 (Manipur became a territory of the Indian Union in 1949 and a constituent state in 1972), thang-ta slowly re-emerged. Considerable controversy surrounds modern differences in thang-ta techniques taught by the various gurus (teachers); these differences may be attributable to the long suppression of this martial art by the British colonial power.
Weapon
Swords hold an important place in Manipur culture, both symbolically and practically. The sword itself is regarded as the deity Pakhangba. The naming of swords is an ancient practice, found in other cultures as well (“Excalibur” is a good example). The Manipuris record the names of swords used by their kings and also swords belonging to the various deities. Each of the seven clans in Manipur has a sword with a distinct shape and name. There are many shapes and varieties of swords. The sword’s curvature is often inspired by the shape of a leaf of one of the indigenous plants of Manipur. In combat, the sword is usually used with a buckler, or small shield. Sometimes two swords are used. Two-handed swords may also be used. The sword is usually curved, with cutting edges on both sides of the blade, extending on the front edge about halfway from the tip to the guard, and on the back the cutting edge is about six inches at the tip. The dull part of the blade is used for blocking incoming strikes. When two swords are used, these are generally straight with two cutting edges each
Taa is a weapon used by meiteis since time immemorial and can be used for thrusting man and animal alike. Taa Khousaba is of ritual importance – 9 different styles – each consisting of unique sequences like salutation , watching of floor. Hunt and stroke. It was compulsorily performed in Kwak tanba festival in month of mera. Different Taa used for diffeerent occasions like Lambu Taa for huntng Tigers.
Chungoi – it is a shield……
Forms
There are many movements, postures and positions, postures and positions that are used which are used which are derived from habitual and culture uses of daily life. Khurumba is the the bow movement in which the practitioner flexes the spine in a forward or a downward manner. Then comes the leiba wherein the rotation and tilts of the pelvic joint are practised while keeping the torso in a curvilinear position. Thang Khong is a kind squat in which the upper extremeties are lowered to the nearest level to the ground. Wei Teba is the daily practice of women cleaning the floor while using a flexible squat system. The knees are bent and opened to enable the forward flexion of the torso and the spine . In this method, the wrists are also circling while using the washcloth.
The traditional repertoire of thang-ta is divided into four broad categories. These categories are Ta-khousarol (art of spear dance), Thanghairol (art of swordplay), Sarit-sarat (unarmed combat), and Thengkourol (art of touch and call).
Ta-khousarol consists of nine extremely demanding and sophisticated movement sequences: Maram Nungshetpa, Maram Achouba, Maram Ma-cha, Tangkhul, Athou Achouba, Thel, Maram Nungjrongba, Kabui, Athou Chumthang. Each involves a series of moves executed in a specific order— salutation, removing stakes, watching the foe, battle, and so forth. The martial artist holds the ta (spear) in the right hand and the chungoi (shield) in the left. The spear is made of bamboo, approximately 5 feet or more in length, with a blade attached on both sides. The spears used in present times are decorated with colored thread. The chungoi measures about 3 feet in length and 1 1/2 feet in breadth. It is usually black in color, with a motif painted on top.
Today, the spear dance is a popular solo performance piece for the expert martial artist, and Ta-khousarol techniques are used widely by drama directors and dance choreographers in Manipur.
Thanghairol encompasses two kinds of swordplay: Leiteng-thang (decorative swordplay) and Yanna-thang (combat swordplay). The expert swordsman carries a chungoi (shield) and three swords, namely, a yet-thang (right-hand sword), an oi-thang (left-hand sword), and a tendon-thang (additional sword); this last is kept at the back and used like an arrow in an emergency. In Leiteng-thang, the swordsman moves either two swords or one sword and the shield gracefully in a show of valor and virtuosity. A typical technique involves twirling two swords around the swordsman’s body so that they trace the path of a figure eight without ever touching one other. In Yanna-thang the swordsman learns to master the various units of Thanglon (language of the sword), which include blade-work and the accompanying footwork, so that the swordsman can defend against all modes of attack and counterattack. The thang is about 2 feet long, straight or slightly curved, with a handle made of brass and wood. In contemporary Manipur, Thanghairol is taught in martial arts academies and also seen frequently in theatrical productions.
Sarit-sarat consists of a series of techniques that must be mastered by every student. The training begins with different types of somersaults and various methods for rolling on the floor and later continues to include strategies of offense and defense without the use of weapons. This tradition focuses on using movements such as punching and kicking in strategic ways in order to deal with sudden attacks of any kind. It also includes unarmed fighting techniques for fighting an armed opponent. In stage performances of thang-ta, a popular theatrical piece is one showing a woman who defends herself against a male attacker by using the self-defense techniques of Sarit-sarat.
Thengkourol involves ritualistic movements that must be executed in sequence on the symbolic diagram of the paphal (coiled snake). The martial artist’s movements form patterns by connecting the points of the diagram with the feet. Rather than being a system of techniques used for direct combat with another human being or an animal, Thengkourol functions as a magical practice in which the prayer along with the mode of action performed brings about the desired effect on the enemy or the kingdom. The knowledge of Thengkourol is highly valued by the community, and those warriors who possess this knowledge are believed to possess the ultimate knowledge of the art of warfare.
Very little information is available about Thengkourol. It is a sacred art, the knowledge of which is preserved in secrecy. It is never performed in public. Currently, only a handful of martial artists claim to know Thengkouro
Training
Thang-Ta is a very dynamic art form, requiring a high degree of agility, speed, balance, and coordination. Most movements are curvilinear in nature. Sword and spear forms are very demanding,involving jumps, rolls, and rapid foot and hand movement.
Before formally learning Thang-Ta, the student undergoes an initiation ceremony, the Ojah Boriba. The Ojah Boriba is performed on an auspicious day (usually Saturday, considered the day of weapons), generally when the child is five to seven years old. After a ritual offering of various fruits, flowers, and other objects to Huyen Lalleima (goddess of war), the ojah, or teacher, will sprinkle the student with water while chanting a hymn. The student prostrates himself at the feet of the ojah. After this, the actual training starts. Long before this, however, a ceremony is performed when the child is several months old. Various objects (coins, books, weapons, etc.) are spread out in front of the child. The first object the child touches is seen as a sign of his future occupation. If he touches a weapon or shield, he will become a master of that weapon.
Thang Thingkoi Marol haiba is the basic sword yielding exercise along with thang and sword with perfect coordination of hand work and footwork.
Traing of Thang ta begins with Thangbi-short vocabulary ….technique of cuts, thrust , hits by swordsmen to vital links of opponents. Two types 1. Yanbagi Thangbi 2. Ngakpagi Thangbi…..A lots of footwork also practiced known as Yanbagi knonglon and ngangbagi khonglon.
Cheirol Mapi Hiaba is basic stick exercise for beginners before handling steel Blades.
Saajel Kanglol exercises to develop agility, flexility, endurance and coordination. Mastery of these exercises enables practitioners aware of inner realities of physical and mental self to become more confident.
Manipur martial arts involves the study and invocation of different elements like study of signs of clouds – Leichil lol. For instance if clouds assume shape of lion, battle will be won.
Art involves deep spiritual exercises. Like art of Thengou – rituals only by those over 40 years old – to
Practice
As a ritual
As a demonstration
As real combat
In recent times, as a sport
Thang Taa in other Art forms
Unlike some other martial arts, Thang-Ta performances are characterized by a beautiful dance-like quality, blending combat techniques with artistic expression. The practitioners move with a harmonious rhythm, their movements a symphony of grace and strength. The mesmerizing spectacle of Thang-Ta performances leaves spectators in awe of the artistry and prowess displayed by the practitioners.
Thang-ta provided the basis for two other movement traditions of Manipur: the classical Manipuri dance and the performance techniques of the ensembles of drum dancers and cymbal dancers and singers known as Nata Sankirtana. The decorative, nonnarrative hand gestures and the footwork of Manipuri dance are said to derive from thang-ta. Also, the basic stances of the drum dance and the cymbal dance have been influenced by this martial art.
The prospective student has been developing martial skills all along by playing certain games and doing the basic exercises. One such exercise that is taught to every child involves the rotation of the wrists in a figure-eight pattern. This same movement is used in both swordplay and in traditional Manipuri dance. The pattern is illustrated in sequence “A.” This is practiced until it can be done smoothly. In dance, it is only done in the one direction illustrated; but in Thang- Ta, it is also done in the reverse direction. This same wrist movement is further illustrated when using two swords in sequence “B” The movement is to be done to the front and sides of the body with extreme rapidity, such that the swords appear as a blur. This protects all sides of the body from attack, and represents a formidable attacking method as well. This is also the primary movement for the ritual sword dance.
Proponents of Thang Ta
Gurumayum Gourakishor Sharma is a distinguished Thang-Ta (Manipuri Martial Arts) Guru of Manipur. In 1983 he became the first Manipuri to receive the National Sangeet Natak Akademi Award in the field of Manipuri Martial Arts. Manipuri Sahitya Parishad also honoured him with the ‘Kala Ratna’ title in 1985 for his outstanding contribution to the field.
Paona Naol Singh( also known as Paona Brajabhasi), Ningthoukhongja Poila, Loukrakpam Sana Mityeng each founded a distinct style within the art of THANG-TA. Paona died fighting the British and is still regarded as a hero in Manipur.
Manipuris defeated Burmes using this martial arts. Proponents of Thang ta like Paona Brajabhasi during Anglo Manipur war. After British came to power, Thang ta was banned.
Thang-Taa as a Competitive Sport
Thang-Ta is a competitive sport, and there are a number of tournaments held every year in Manipur. The most prestigious tournament is the Thang-Ta World Cup, which is held every four years. The Thang-Ta World Cup is a major event, and it attracts teams from all over the world. It is prominent as a sport in Jammu and Kashmir and produces one of the strongest contenders against those from Manipur in competitions. It has also been included in the Khelo India Games by the Government of India and has also been included as a supplementary subject in the syllabus of BOSEM and COHSEM. There are undergraduate and graduate courses introduced at the university levels at Manipur University, Imphal. There is the scope of getting employed in cultural tourism, health tourism, self-defence centre, attire and equipment’s training, as well as in the sports tourism sector. This proves that Thang-ta is not only a great self-defence art but also a great career choice.
International and National Organizations
1. World Thang-Ta Federation (WTF)
The WTF is the governing body for Thang-Ta worldwide. The WTF is responsible for organizing international tournaments and promoting the sport.
2. Thang-Ta Federation of India
The Thang-Ta Federation of India is the governing body for Thang-Ta in India. It is responsible for organizing national tournaments and promoting the sport in India.