“Traditional Musical Instrument of Manipur : A

Historical Study of Pena in Manipur Society”.

Takhelmayum Hellendro Singh
Lecturer/Asst.Prof., Dept.of Hist.
Naorem Birahari College,
Khundrakpam.

In Manipur society the uses of Pena are uncountable. It is

not just a simple musical instrument which serves to entertain the

audiences only but it also has a close affinity with the evolution of

mother earth. It also helped in spreading the sense of co-existence and

harmony in hills and valley of Manipur. The tunes of Pena is embedded

with a deep and vital message of harmony and honour in both hills and

valley which have long forgotten in the present Manipur society. If we

carefully look at how the art and culture of each ethnic group in

Manipur evolved into its present form, we will find that of a common

evolution and ancestry.

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Pena embodies the rich heritage reflecting the mythology, philosophy,

history, lifestyle, rituals and others of the Meiteis1.

In a broad view, the relation of Pena in Manipur society and its

culture may be classified into the following categories :-

(i) From the time of God specially the creation of Earth by God

Sanamahi.

(ii) From the time of establishment of Meitei Kingdom by

Pakhangba with the time of influencing Hinduism up to the end

of Meitei Kingdom and

(iii) After the end of Meitei Kingdom till the present day2.

When we consider about the above categories, we can elaborately

discuss the uses of Pena in Manipur society as under :

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(i) From the time of Ancestral God specially for the creation of

Earth by God Sanamahi :

It is known that when almighty God “Atingkok

Shidaba” created indefinite numbers of Gods and Goddesses

including God “Lainingthou Soraren”, “Salai Sidaba”,

“Sanamahi” etc., the Almighty God Used Pena to call all those

Gods who were not participated in the discussion of all Gods to

allot their respective tasks for the fulfilment of the Almighty

God, “Atinhkok Shidaba” dreams of creating universe and all

other things. This was the first time of using Pena by God

“Atingkok Shida” the almighty God in the history of Pena.

Then, the God “Lainingthou Soraren” and Goddess

“Leima Sidabi”, the progenitor of Almighty God “Atingkok

Shidaba” began to perform their tasks. Leima Shidabi

(Goddess) requested Lainingthou Soraren (God) to give seven

daughters

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for helping them. Accordingly, Lainingthou Soraren gave seven

daughters. The seven daughters were left Lainingthou Soraren

and Laima Shidabi to perform the tasks given to them by their

parents, as there was a lot of works to be done, the seven

daughters cannot finish to complete the works what they have

done timely, so they cannot return home timely when others

workers come back to their home. When seven daughters were

not timely present at their home, Goddess,Leima Shidabi was

restless and requested once again to God, Lainingthou Soraren

to call seven daughters through using Pena which used by

Almighty God “Atingkok Sidaba”. Accordingly, Lainingthou

Soraren (God father) used Pena for second time and after

playing Pena all the seven daughters were arrived while

listening the sound of Pena.

 Then, again Pena was used by God Sanamahi,

ancestor of Lainingthou Soraren and Leima Shidabi when he

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started to create environment of the world for calling all others

Gods helping him in his creation of environment of the world.

When listening the sound of Pena playing by God Sanamahi, all

the Gods were arrived and helped Sanamahi’s creation of

Environment of the world. By obeying the order of Lainingthou

Soraren and Leima Shidabi, the elder son God Sanamahi began

to create environment of the world along with other God. In

the time of creating environment of the world by God

Sanamahi , the younger brother God Konjin Tukthaba

(Pakhangba) also requested his parents to participate the

creation of environment of the world by his elder brother God

Sanamahi, accordingly God Konjin Tukthaba (Pakhangba) came

down from heaven to earth to participate the creation of

Sanamahi’s environment of the world. However, instead of

helping in the creation of environment of the world by God

Sanamahi, Konjin Tukthaba (Pakhangba) began to destroy the

creation of Sanamahi’s

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environment. On seeing the evil activities of Pakhangba’s

(Konjing Tukthaba) destroying the environment of Sanamah’s,

the God father (Lainingthou Soraren) try to avoid the

impending danger of Pakhangba activities. In order to avoid

such evil activities of Pakhangba, Lainingthou Soraren (god

father) used Pena, Konjin Tukthaba (Pakhangba) stop

destroying Sanamahi’s environment through listening Pena

playing by his father God Soraren with the sound of Pena- Hou-

a-riho-na-hung-hung-ri-a, na, chong-khong-lei-kheng-hei-pou-

hung-na-a. Thus, Pena once again used by God Soraren for

avoiding the evil activities of Pakhangba (Konjin Tukthaba).

After the completion of creating the environment of

the world by God Sanamahi, the God father Soraren advised

both the sons – Sanamahi and Pakhangba to wander about the

whole world and the first arrival to the Throne of God father

Soraren after the completion of wandering about the whole

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world will be ascended the Throne in place of their father

Soraren. Accordingly, elder brother God Sanamahi began to

wander about the whole world by riding the white horse.

Meanwhile, Pakhangba, younger brother of Sanamahi did not

obey the advice of his father Soraren as he was minor that he

had no dare to wander about the whole world. So, he was

regreted that the Throne should be ascended by his elder

brother Soraren. However, with the instigation of the seven

daughters of Soraren and Leima Shidabi, Pakhangba was

roaming around seven times of his father Throne instead of

roaming around the whole world with an advice of his mother

Leima Shidabi for the ascendency of His Father Throne. The

advice of Pakhang’s mother Leima Shidabi was mainly due to

the bestowing reward of the Seven daughters for helping their

parents of performing the tasks allot to them by God Soraren

and Leima Shidabi when they were in the earth to look after

the

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creation of Sanamahi’s environment of the world. In such a

way Pakhangba ascended the Throne in place of his father

Soraren. On the other hand, elder brother God sanamahi came

back for the throne of his father Soraren after completing

roaming around the world with an advice of his father Soraren.

But the Throne was already ascended by his younger brother

Pakhangba. On the wrong instigation of the act performed by

Pakhangba, Sanamahi decided to hide from the world and he

was hidden for so many long time. After the event took place,

number of living beings includings plants, flowers and many

others water bodies were produced by Sanamahi as well as

Pena was also produced by Sanamahi along with 18 Gods for

compromising the wrong instigation of enthroning by

Pakhangba and after playing the Pena, Sanamahi accepted the

enthroning of Pakhangba . Sanamahi became the King of

9(nine)

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families while Pakhangba became the King of 7(seven) Salais of

Kangla.

In the above facts and circumnstances, it has clearly

known that Pena has been using since the time of Ancestral

God. It is also further mentioned about the what Pena

is stand for through the comparison of the following while

study “Thousu Yangbi Pena” as discuss below :-

It is the time for interweave in between men and

God when Sanamahi became the King of nine families and

Pakhangba became the King of seven Salais. After awakening

the clans of 7(seven) Salais and 9(nine) Yeks (families), Human

beings came to be existed at Kangla through bisecting Human

beings and Gods. Both the God Sanamahi and Pakhangba

taught how to use Pena to both the clans of 9(nine) yek

families and 7(seven) salais through the version use in “Lai

Haraoba” (rejoicing of Gods) “Tokpaga Kambaga” “Laigi Yenni

Chaphade”

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“Yenkhong Phatte Chasilu” is still observing in the celebration

of Village deity. It is also further mention about the comparison

of the echo of Pena sound as the big trees growing on earth

surface spreading through all parts of world. For the purpose of

constructing the house of human beings and Gods, God

Sanamahi along with 9(nine) clans families of God brought all

those trees growing on the earth surface after cutting down

through the river basin reached to the place where his younger

brother Pakhangba awaited him. The place of Pakhangba

awaited his elder brother Sanamahi came to be known as

“Kangla”, both the brothers took rest for some time there at

“Kangla” introducing the 7 (seven) clans Salais along with the

introduction of the 9(nine) constructing methods of the house

of Human beings and the Gods3.

Thus, Pena took an important role from the time of

Ancestral God that starting from those days Pena is inseparable

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and took a very important role in “LaiHaraoba” (rejoicing of

God) festivals right from the earliest days that when all Gods

performed “Lai Haraoba” festivals at “Koubru Hills” of Manipur

is also clearly mentioned in some book of Meitei. Besides this,

not only the importance of Pena in “Lai Haraoba) (rejoicing of

God), it also took an important role in every sphere of Manipuri

society specially Meitei culture from time immemorial,i.e. from

the time of Ancestral Gods4.

(ii) From the time of establishment of Meitei Kingdom by

Pakhangba with the time of influencing Hinduism up to the

end of Meitei Kingdom and

(iii) After the end of Meitei Kingdom till the present day.

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Just after the establishment of Meitei Kingdom by

Pakhangba there were two natures in Pena playing, one is

Ritualistic(Asheiba Pena Khongba) and another one is Secular type

of Pena music(Phamsak Pena Khongba) in 19th century A.D upto the

end of Meitei Kingdom5. Thus, with the passage of time, the

musician of Pena player in Manipur society was also gradually

multiplied. Pena began to use for various purposes right from the

Ancestral God. It is because of its importance, it was during the reign

of Poireiton a great effort has given to popularize it by establishing

 “Asheiba Loishang” (institution of singers) is clearly stated in the

manuscripts of “Leishrapham”. Then again, after passing through a

several centuries, it was during the reign of King Pamheiba

(Garibiniwas) 1709-1748 A.D. a separate Pena Loishang (institution

of Pena Singer) was also established in Manipur 6.

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According to the uses of Pena playing, two types of Pena

playing (Ritualistic or Asheiba Pena Khongba) and (Secular or Phamsak
Pena Khongba) can also be discussed below as under :-

Ritualistic (Asheiba Pena Khongba) : In this ritualistic type of Pena

playing, “Lairol” has been sung through the medium of this musical
instrument Pena. The word “Lairol” signify a kind of song which used to
sing in honour of God and Goddess. It consists of “Yakairol”,
“Naosumlon”, “Phamang Thougal”, “Lamyin”, “Anoirol”, “Ahonglon”,
“Nongarol”, “Ikourol”, “Phamsalol”, “Yumsarol”, “Phisarol”, “Padon”,
“Longkhonba”, “Thawai-Mi-Kourol” etc. These Lairol songs form the
cycle of “Lai Haraoba” ritual songs.
 Besides, among of all these “Lairol” songs, “Yakairol” or
“Naosumlon” were also used to sing through Pena in the Royal Bed
Chamber to wake up the King by singing “Yakairol” and to lull the King
in time of sleep either ritualistic or secular type of music as the King and
Queen were regarded as God 7.

It was also during the reign of King Charairongba the “Lairol”

was recited to the accompaniment of Pena. There was also a customary

law to use Pena recitation whenever the Royal Tour performed. T.C.

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Hodson also mentioned it in his book “ the Pena Khongba”

accompanied the Raja and Rani on their travel by playing Pena 8. Such

type of Pena playing is called “Lamyin Pena”. Lamyin Pena played only

in the time of a long journey of the King and Queen for entertaining

them. One occasion of such type of “Lamyin Pena” playing may be

mentioned in the time of King Chandrakriti when he attempted to

attend a famous conference of historical journey to Chilchar in August

1874 popularly known as Chandrikriti Jilla Chatpa in the history of

Manipur.

Since from the time of God Pena has been using for some various

purposes that Pena took a keen role as a healer of a variety of ailments

while listening and with this aim in view, the Meitei King’s patronized

this art form so much so that they used to accompany a Pena artise in

his Jilla

darbar for the purpose of interpreting topographies and also for

entertaining him. In the social functions of the society in the pre-hindu

and post hindu period upto the reign of King Chandrakriti Sing which

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were “Nahut-Nareng” (Putting ear ring), “Mathou Mangam, Luhongba

(Wedding), and many others. All these ritualistic function of Pena

Khongba was known as “Asheiba Pena Khongba”9. With this view of

different purposes in Royal Court, Pena may rightly be described as the

“Royal Court” music of the Meiteis as almost all the civilized

nationalities had such an institutions. The Japanese too had paid high

respect for their imperial court music 10.

Secular(Phamsak Pena Khongba) : The Secular type of Pena music or

Phamsak Pena consists of social gathering program of the Localities of

countrysides which organized by the community together and listening

every till late night during the wealthy season after harvesting crops.

Such entertaining program was known as “Phamsak Pena” or secular

type of Pena playing11.

After the end of Meitei Kingdom, all the Pena playing program

of Asheiba Pena Khongba and Phamsak Pena khongba lost from

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Manipur society but it is still survived in its original form of Pena playing

in “Meitei Lai Haraoba” annual rejoicing of God (village deity). In this

festivals of “Lai Haraoba”, Pena is compulsory to use from the starting

day of “Lai Haraoba” till the end of “Lai Haraoba”. Some of the “Lai

Haraoba” in Manipur are Kanglei Haraoba, Moirang Haraoba, Kakching

Haraoba, Chakpa Haraoba, and the Chakpa Haraoba consists of

Phayeng, Andro, Khurkhul, Leishram, Wangu, Shugunu etc12.

In such a way Pena traditional musical instrument of

Manipur is still using in Meitei society specially “Lai Haraoba” festival in

every nook and corner of Manipur where “Umang Lai” existed. In the

festival of Lai Haraoba number of Pena playing are starting from the

day evoking the spirit of God and goddess, “Yakairol” early in morning

to awake the local deity till the end of “Lai Haraoba”, and in the evening

program “Anoirol”, “Hoirou Hoya” are performed through Pena playing

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and “Thawai Mikourol” of Pena playing also performed at the end of

the program of “Lai Haraoba” and at the closing day of “Lai Haraoba”.

Thus, Pena plays a very important role in Manipur society specially

Meiteis society in this present day of scientific age.

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References :-
1. N. Harimati Devi, “Pena The Meitei Traditional Folk Fiddle”2007,p-
12 and Makhon Mani Mongsaba, “Manipuri Sanskritida Pena”,
2010,p-55 &105 t0110.

2. Makhon Mani Mongsaba, “Manipuri Sanskritida Pena”, 2010,p-55.

3. Irabot Ningthouja, “Meitei Pena Meihourol Puwari”, 2014,p-32 to
57.
4. Ibid,p-170.
5. N. Harimati Devi, “Pena the Meitei Traditional Folk Fiddle”,p-

45&54.

6. T.C. Hodson, “The Meitheis”,1975,p-69 and “An Ancient Book of

Meitei”.

7. N. Harimati Devi, “Pena The Meitei Traditional Folk Fiddle”,p-45.

8. T.C. Hodson, “The Meitheis”,1975.

9. N. Harimati Devi, “Pena the Meitei Traditional Folk Fiddle”,p-44 to

45.

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10. Makhon Mani Mongsaba, “Manipuri Sanskritida Pena”,

2010,p-142.

11. N. Harimati Devi, “Pena The Meitei Traditional Folk

Fiddle”2007,p-45.
12. Makhon Mani Mongsaba, “Manipuri Sanskritida Pena”,

2010,p-79.