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Read and Write Unicode Bishnupriya Manipuri in your Browser

Monday, January 11, 2010

Unicode has become the most popular way to display many writing systems of the world. in browsers. Each language has it's own assigned code for it's all alphabets. It is the best way to show any regional script in the internet. Hopefully our language is included in the Unicode. Bishnupriya Manipuri language uses Bengali script (বাংলা লিপি) which is a variant of the Eastern Nagari script, also used in writing systems for Bengali, Assamese and Maithili. So we should use the advantage to promote our language and literature in the world wide web.

It is very easy to enable Unicode Bishnupriya Manipuri Support in your PC.


Step 01 : Add Unicode support

If you are running Windows Vista or Gnome (2.8 or higher) based Linux Distro or KDE (3.0.3 or higher) based Linux Distro congratulation you don't need any tweak to view Unicode supported sites since these systems are already Unicode supported. This configuration is for windows XP users.

1. Download IComplex 2.0.0 from
http://omicronlab.com/download/tools/iComplex_2.0.0.exe
2. Install it (click Install Complex Script Button)

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This is enough to only view Bangla correctly. (you might need to restart the pc)


Step 2 : Install Unicode fonts

Click here to download & install Unicode fonts to your computer (Usually in C:\Windows\Fonts).

To install fonts, just copy and then paste the fonts to your Fonts directory (e.g. C:\Windows\Fonts).


Step 03 : Writing Bishnupriya Manipuri

To write Bishnupriya Manipuri anywhere, download and install the “Avro” software from here. (you might need to restart the PC)

Run “Avro”, you will see a shortcut menu in the desktop and Voila! To start writing Bishnupriya Manipuri change keyboard from English to বাংলা, like this -

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There are several modes to write Bishnupriya Manipuri. Easiest way is to Select “Avro Phonetic” from the menu of AVRO KEYBOARD.

Write anywhere " mi imar Thar bana pauri ",
it will be automatically become মি ইমার ঠার বানা পাউরি

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For typing help you can see the keyboard layout next to the button. You can even type with the help of your mouse. In notepad. wordpad, yahoo mail, gmail, facebook, blogs ... everywhere anywhere you can write Bishnupriya Manipuri.
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Step 04 : Browser Configuration (Optional)

Internet Explorer
  1. From menu, go to "Tools navigation Internet Options"
  2. From this window click on "Fonts"
  3. Click on the drop down list for "Language Scripts" and select "Bengali" from this drop down list (you may have to scroll up to locate it.
  4. Select "SolaimanLipi" font for "Web Page Font". Then click ok and ok again

Mozilla Firefox
  1. From menu click on "Tools" and select "Options> Content> Advanced" button.
  2. On the drop down list for option "Fonts for" select "Bengali" from this list.
  3. Complete all the option fields by selecting "SolaimanLipi"
  4. Select "Default Character Encoding" as "Unicode (UTF-8)" and click ok and ok again

Opera
  1. From menu click on "Tools" and select Preferences> Advanced tab
  2. Click on "Fonts" from left menu and click "International Fonts"
  3. Choose writing system "Bengali" from drop-down list
  4. Choose "SolaimanLipi" for normal font. click ok until you exit from preferences.

Google Chrome
  1. Click on the "Tools" icon and Select "Options"
  2. On the "Minor Tweaks" tab, click on "Change font and language settings" button
  3. On the "Fonts and Languages" dialogue box, click on "Fonts and Encoding" tab
  4. Select "SolaimanLipi" font as "Serif" and "Sans-serif" fonts
  5. Select "Unicode (utf-8)" as the "Default Encoding"
  6. Click OK and Click Close

Step 05 : For smooth and clear view (Optional)

1. Right Clik youe Desktop select properties
2. Select the tab "Appearance" - click on Effects
3. Select "clear type" in use the following method to smooth edges of screen fonts

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4. Click apply and Ok.

Now you can see the unicode texts more clearly in your browser.

Related post: Bishnupriya Manipuri unicode websites in your Mobile!


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Some links of Unicode compliant Bishnupriya Manipuri websites:


http://bpy.wikipedia.org

http://imarthar.blogspot.com

http://somewhereinblog.net/blog/sorahalblog

http://www.somewhereinblog.net/blog/kungothangblog/28899290

http://manipuriblog.blogspot.com/2008/11/blog-post_24.html


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Earning activities of rural manipuris in Bangladesh

Tuesday, September 15, 2009

Manipuri people are renowned as laborious. Both males and females involve themselves in earning activities. It is very rare to find a Bishnupriya Manipuri or a Manipuri Meitei person who is not economically engaged in an earning activity. Among 378 residents of studied villages 261 was found to be involved in different earning activities. Except for dependents such as children, ill and elderly people almost all are working for survival.

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Although agriculture is their traditional and prime earning source, Manipuris are involved in different earning activities. Over the course of time, many are changing their occupation due to different circumstances e.g. scarcity of land for agriculture, less demanding traditional work, less benefit, lack of available work in rural areas, lack of capital etc. Those who are receiving higher education have started to involve themselves in different mainstream earning sources. They are involving both in government and non government organizations. Manipuris have gained positions as Government high Officials. The researchers found a number of primary and high school teachers who are respected and have a good reputation.

Although both males and females are involved in earning sources, most of their earning activities do not produce high incomes. Therefore they have to involve themselves in different activities simultaneously. Among our 80 participants we found 78 individuals who were involved in earning activities. Two of our participants who were not involved in any direct earning activity were very aged and retired from service. But they contributed to their families by gardening vegetables for family use. The earning sources were not consistent and we found different earning sources according to availability or work and the capacities of the earners. These activities can be ranked on the basis of the number of villagers involved including participants by the following table:

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Listing 1.1: Earning activities of the Manipuris

  1. Agriculture
  2. Handloom weaving
  3. Government Service
  4. Non-government Service
  5. Teaching
  6. Carpentry
  7. Automobile mechanics
  8. Goldsmith
  9. Business
  10. Ayurvedic treatment
  11. Livestock rearing
  12. Cultural activist
  13. Priest
  14. Tailoring
  15. Religious work


To be contd...


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Manipuri Food Habits

Sunday, February 22, 2009

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Historical evidence suggests that there was a change in the diet of the Manipuris, mainly due to introduction of Hinduism at the beginning of eighteen century. The earlier reigns seem to have been one long feast with hecatombs of fat cattle and oceans of spirituous drinks, even culminating on more than one instance in fatalities due to an excessive appreciation of the good cheer[1]. But the official adoption of Hinduism created many food type prohibitions. Although fish is allowed, animal flesh is forbidden as well as eggs; onion and garlic.

Manipuri people are health conscious. Their food habit is healthy and generally consists of a balanced diet. Therefore apart from a few exceptions, they do not usually suffer from any severe health problems. Manipuris are mainly vegetarian. Rice is the main staple food. But they have some different food habits to the mainstream people of Bangladesh. Dal and different leafy vegetables (including yennum which is used instead of onion) are favorite food items. Manipuri women tend to use less oil when cooking curries in comparison to the majority style of cooking. Milk and butter are also popular.

Both males and females are inveterate chewers of pan-suparee and it is widely popular among the older people. Although tobacco is used by all classes and ages, female smokers are barely seen among Manipuris. While the cultural dietary rules are strictly followed in rural areas, they are less so in urban areas, especially among the young. Young generations of urban areas largely interact with majority culture and try to follow many of their cultural practices including food habits.

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Mainstream food is widely popular among the urban Manipuris. When young groups go to their native villages, they try to continue the food habit in which they are familiar with in urban areas if there is nobody to resist this adapted food habits. We found a few villagers who are habituated with mainstream foods. But older people are still very strict and loyal to their tradition. [2]

Manipuri people produce their own foods. Most of the houses have vegetable gardens where they produce vegetables for their personal needs. A few also produce vegetables for commercial purposes. Rice, dal, and oil seeds are also homegrown. Although landownership is low, most of them have the capacity to fulfill their personal needs. Despite many Manipuri families facing severe poverty, none of the villagers were found to spend days without food. If someone does not have the means to feed themselves, relatives and community people help the person to arrange food.


References:
1. Shashi, S.S. / Encyclopedia of Indian Tribes (Volume-4). New Delhi, 1997
2. Ahmed & Singh / The State of the Rural Manipuri’s in Bangladesh, Sylhet, 2006


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Bishnupriya (Manipuri) Speakers in Bangladesh: A Sociolinguistic Survey

Tuesday, January 27, 2009

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This report presents the findings of a survey conducted in the Bishnupriya Manipuri community of Bangladesh. Data gathered through word lists, sociolinguistic questionnaires, and SRTs are presented and analyzed to determine the current sociolinguistic situation. In brief, it was concluded that the Bishnupriya are highly bilingual in Bangla, the national language, but also speak their mother tongue enough to keep its vitality high and have a positive attitude toward their mother tongue. Still, an increased use of mother tongue literacy would strengthen its usefulness and vitality even more. Amy Kim & Seung Kim prepared this report for SIL International.

1.1. Purposes and goals
The purpose of this sociolinguistic survey of Bishnupriya was to gather information that would be used to plan a language-development program for the Bishnupriya Manipuris living in Bangladesh. We wanted to know how linguistically uniform the Bishnupriya Manipuri language is throughout their community and, from a sociolinguistic point of view, whether or not Bishnupriya warranted literature production and literacy programs. Just as importantly, we wanted to know the community’s attitude toward such programs. To meet these purposes, the following goals were established:
1. To investigate possible dialectal differences among Bishnupriya speakers
2. To determine the Bishnupriya people’s attitudes towards their own language and towards
other language varieties
3. To assess the Bishnupriya community’s fluency in Bangla
4. To assess the long-term viability of the Bishnupriya language in Bangladesh

To accomplish these goals, this sociolinguistic survey of Bishnupriya was carried out in three interrelated parts: 1) a study of the dialects of the language, 2) a study of language use, attitudes, and vitality, and 3) a bilingualism study. Figure 1 gives a summary of the sociolinguistic methods used in this survey.

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1.1.1. Study of the dialects of the language
A 307-item wordlist was taken at six Bishnupriya villages. These wordlists were then compared as a way of determining lexical similarity among Bishnupriya varieties in Bangladesh. See appendix B.1 for procedures for lexical similarity comparison.


1.1.2. Language use, attitudes, and vitality study
In order to assess the Bishnupriya people’s patterns of language use and their attitudes towards their own and other languages, a sociolinguistic questionnaire was used. Information from the questionnaire gives an indication as to whether the Bishnupriya would accept and use materials translated into their own languages or into another language which is highly intelligible with their own. The questionnaire is given in appendix C.1.


1.1.3. Bilingualism study
A Sentence Repetition Test (SRT) in Bangla was specifically developed to assess levels of bilingualism among minority language speakers in Bangladesh. Thus, it was the primary tool used in the survey of the Bishnupriya to study their bilingual ability in Bangla as well as patterns of bilingualism within the community. The Community Information Questionnaire (CIQ) and the sociolinguistic questionnaire were also used to gather information about the depth and breadth of bilingualism. See appendix E.1 for procedures for using the SRT; see appendix C.4 for the CIQ and appendix F for information gathered through the CIQ.


1.2. Geography
In Bangladesh, almost all of the Bishnupriya live in the flat farmlands of Sylhet division (see figure 2), mainly in Moulvibazar district. They also reside in a few villages in the other three districts of Sylhet division. (See figure 3 for approximate locations of the villages we visited during the research.) The vast majority of Bishnupriya villages are easily accessible by a combination of public buses and/or rickshaws, as they are quite close to main roads and towns. Living on flat farmland—and in Bangladesh one is never too far from a sizable river— Bishnupriya villages are prone to the yearly flooding that afflicts most of Bangladesh. In Kamalganj thana of Moulvibazar district—the population and cultural center of the Bangladesh Bishnupriya community—the Dhala river first snakes down along the Indian border and then travels up through the heart of the thana, often causing bank damage and floods.


1.4. People
One can see a bit of the Bishnupriya history in their faces, for they indeed look like they come from Aryan stock, but with a tinge of Mongoloid features. They are a hardworking, peaceful people who value hospitality highly: they were very understanding when we declined their offer of paan, but it was difficult to keep them from preparing tea and snacks. The Bishnupriya of Bangladesh are a predominantly agricultural people who rely on rice farming for much of their livelihood. There are only a few businessmen among them; as one Bishnupriya man put it, “We are not aggressive or cunning enough to compete in the world of businesses and markets.” However, there have been efforts to market their handwoven clothes and fabrics, and the Bishnupriya seem to recognize that to thrive in the modern world, it would be advantageous to expand beyond the rice paddy.

Almost all of the Bishnupriya live in predominantly Bishnupriya villages, where they live in peaceful coexistence with other Bengalis, both Muslim and Hindu. At first glance, their villages look no different from other villages, but on closer inspection, one notices certain differences: a wall-less temple area that is the heart of any village, as well as a loom on the front veranda of every house. The Bishnupriya are justifiably proud of their culture as expressed in their handwoven clothing. Even today, the Bishnupriya men and women wear their distinctly colored and patterned handmade clothing, though the men seem just as comfortable in modern western clothing, and the younger women often wear salwar kamize. Another source of pride for the Bishnupriya is their dance and music. They recognize their dance and music as an important heritage, as a cultural wealth. Thus, they are active in promoting and performing their dance and music not only in Bangladesh, but also abroad in England. Not only that, they see their dance and music as a means of connecting and communicating with the outside world. On many occasions, the Bishnupriya use them as a gesture of welcome and friendship towards us.

The factor that unites the Bishnupriya culture and people is their religion. One might say that the people, culture, and religion constitute a seamless whole. The Bishnupriya people’s religion can be called a sect of Hinduism, more specifically a cult of Vishnu. Though the name Bishnupriya comes from the god Vishnu, another principal deity is Krishna, for whom many of the songs and dances are performed (Singha, www.manipuri.freehomepage.com). The Bishnupriya do not have a caste system as in mainline Hinduism, but instead they follow a twotiered hierarchy consisting of the brahmin priests and all the others. Also, the Bishnupriya cannot marry outside their religion, even with mainline Hindus.

The Bishnupriya are generally better educated than the average Bangladeshi. Almost everyone we talked with said they recognized the importance of education, and their actions match their words. Today, nearly all children go to school, with a very high percentage taking the secondary school certificate (SSC) examination, and their level of literacy in Bangla—for everyone but the very oldest members of their community—is very high. (11)

In summary, it can be said that among the twenty thousand to forty thousand Bishnupriya living in Bangladesh, there is both a strong attachment to the traditions of the past and a deep desire to appropriate the trends of the present. As a minority community, the Bishnupriya seem to have an innate sense that both are vital for their standing in the world in the future.

1.5. Language
Bishnupriya can be categorized into the following language family and subclassifications: Indo-European, Indo-Iranian, Indo-Aryan, Eastern zone, Bengali-Assamese (Grimes 2000:393).

Some scholars like Dr. Suniti Kumar Chatterjee have claimed that Bishnupriya is a dialect of Bengali, while others like Dr. Maheswar Neog and Dr. Banikanta Kakti have said that it is a dialect of Assamese (Singha, www.languageinindia.com). The Bishnupriya would generally dispute these claims, and assert that Bishnupriya is a distinct, separate language. Their advocates site lexical and grammatical features unique to Bishnupriya as proof (Singha, www.languageinindia.com). Again, resolving this dispute was not our goal. A far more rigorous study of Bishnupriya, as well as of Bengali and Assamese, would be required, and that is simply outside the scope of our research. A summary of what we found regarding the lexical similarity between Bangla and Bishnupriya can be found in section 2.1., but even this data is not conclusive because it is difficult to know what percentage of Bishnupriya words have been more recently borrowed from Bangla, Sylhetti, or Assamese.

Currently, Bishnupriya is spoken in Manipur, Tripura, and Assam states in India, in some parts of Myanmar, and in Sylhet division in Bangladesh. There are only a small number of Bishnupriya remaining in Manipur state (in the Jiribam subdistrict) since most Bishnupriya fled Manipur to neighboring lands and countries in the eighteenth century. For those who remained, it was difficult to keep and promote their mother tongue due to the dominant influence of the Meitei people, culture, and language.

Bishnupriya has two main dialects: 1) Rajar Gang (or king’s-village speech), and 2) Madoi Gang (or queen’s-village speech). What is interesting is that, in present-day Bangladesh, the dialects are not divided by geography, but by clan. That is, two villages that lie side-by-side may have different dialects, and people from the king’s village would not be allowed to marry those from the queen’s village. Originally, geography may have played more of a role in the dialect difference: “The Madoi Gang dialect was spoken probably in the Khangabok- Heirok area and the Rajar Gang dialect, in the Bishnupur Ningthankhong area of Manipur. Morphological difference between the two dialects is negligible, but from the point of vocabulary, there are differences.” (Singha, manipuri.freeservers.com)

Bishnupriya is primarily used for oral communication, but there is also a small, committed group of people who want to promote Bishnupriya in written form. In Bangladesh, there are literary magazines and books that are being published in Bishnupriya and, in Assam state, Bishnupriya is being taught in government primary schools. Also, although Bishnupriya is now written exclusively using the Bangla script, this wasn’t always so. According to some, Bishnupriya was written using the Devanagri script prior to the takeover of Manipur by the Meiteis. (12)

W. Shaw and Raj Mohan Nath, two eminent scholars, are of the view that Bishnupriya with its Devanagri script had been the court language of Manipur and was replaced by king Khagenba [in A.D. 1627]. R.M. Nath says "so in Manipur in spite of Devanagri scripts which the kala-chaias might have been using, the Meitei when they came into power introduced the new scripts." (Singha, manipuri.org). In spite of all the controversy (or perhaps because of it), it becomes all the more clear that the Bishnupriya people in Bangladesh value their mother tongue and see it as an important part of their culture and heritage. They see it as a distinguishing hallmark for the Bishnupriya people and a factor that unites their community to give it strength and an identity.


Contd...


REFERENCES:


  1. Blair, Frank. 1990. Survey on a Shoestring: A manual for small-scale language surveys. Dallas: The Summer Institute of Linguistics and The University of Texas at Arlington.

  2. Casad, Eugene. 1974. Dialect Intelligibility Testing. Norman, OK: Summer Institute of Linguistics and The University of Oklahoma. (reprinted 1980, 1987.)

  3. Fasold, Ralph. 1984. The Sociolinguistics of Society. Oxford: Blackwell Publishers.

  4. Grimes, Barbara F, editor. 2000. Ethnologue: Languages of the world. 14th edition. Dallas: SIL International.
  5. Kim, Amy. 2003. A Report on the Development of the Bangla Sentence Repetition Test. Unpublished manuscript.
  6. O'Leary, Clare F. (series editor). 1992. Sociolinguistic Survey of Northern Pakistan. Islamabad, Pakistan; High Wycombe, England: National Institute of Pakistan Studies and Summer Institute of Linguistics.
  7. Radloff, Carla F. 1991. Sentence Repetition Testing for Studies of Community Bilingualism. Publications in Linguistics, 104. Dallas: The Summer Institute of Linguistics and TheUniversity of Texas at Arlington.
  8. Singha, Ashim Kumar. 2002. A brief history of Manipur and Manipuris. Retrieved August 3, 2003 from http://manipuri.org/language.html.
  9. Singha, Ashim Kumar. 2002. Bishnupriya Manipuri: A Brief Introduction. Retrieved August 3, 2003 from http://www.languageinindia.com/dec2002/bishnupriya.html.
  10. Singha, Ashim Kumar. 2002. Bishnupriya Manipuri. Retrieved August 3, 2003 from http://www.manipuri.freehomepage.com/people.html.
  11. Singha, Ashim Kumar. 2002. The Bishnupriya Language. Retrieved August 3, 2003 from http://manipuri.freeservers.com/bpm.html.
  12. Wimbish, John S. 1989. WordSurv: A program for analyzing language survey word lists. Dallas: The Summer Institute of Linguistics.


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Manipuri Ras Festival 2008 Bangladesh : photos and videos

Saturday, November 29, 2008

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Manipuri Maha Ras festival 2008 organized by the Bishnupriya Manipuri community in Bangladesh. The first item was Rakhual or Gushthalila, the dance drama between Sri Krishna and his Gopal friends. For an excellent photo gallery of daytime programs and events of, please visit Ihtisham Kabirs Blog...

Place: Madhabpur Juramandav, Kamalganj, Moulvibazar.
Time:
10:00 PM (Nov 13' 08)- 6:00 AM (Nov 14'08)


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This 7 years old girl plays the role of Sri Radha.

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And the Krishna, he's young boy of same age.

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The Rasmondoli - workers are busy constructing the fancy stage.


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The main part starts with the entrance of Sri Vrinda, Sri Radha's main companion and messenger.

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Vrinda's Arati with Candle Watch the video here

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Sri Vrinda arranging the "Kunjo" and "Asan" for Sri Krishna with flowers

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Krishna appears holding a flute in his hand

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Krishna Nartan - Sri Krishna dances. Watch the Video here

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The audience and Bhakta's cry out emotion

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Appearance ri Radha nad Radha Nartan. Video here

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In the north-west corner of the hall the Rasdhari, Sutradharis and the Badoks took their seats with traditional instruments like Pung, Kortal, Mandira, Moibung, Selbung etc.

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The Gopis are preparing Sri RadhikaWatch video

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Sri Radha dances with the Gopis. Video here

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Sri Krishna meets sri Radha and the Gopis at the appointed place

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The dance competition between Sri Krishna and sri Radha!

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Sri Krishna lost to Radha, so the Gopis are taking away his flute

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Sri Krishna begs to Sri Rsdha for the flute

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After a long series of events Sri Radha returns the flute.

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Sri Krishna dances with the Gopis

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Sri Krishna disappears and Radha's Biraha

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Sri Krishna apologies to Radha for his mistake and asks her to forgive him. What a scene! Bhagaban bows down to a Bhakta!

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The dances of Gopis

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The Bhangi Parengs. The tradition is while presenting a Pareng the audience cannot leave the place till the presentation is completed.

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At last the Yugolmilana of Sri Radha nad Sri Krishna. Gopis are crying because they have to leave Sri Krishna and the great Maharas.

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The Ras ended with the 'Arati' in which the whole audience stands up and takes part. The audience Bhakta's are crying. Some of them take dust form Radha-Krishna's feet.

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Sri vrinda is also shedding tears. Watch the video of this sentiment of the religious devotion

...

...

...

Yet not finished ...

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The Gopis and the performers of Rasleela haven't took off their costumes. They will have to perform a short demonstration back home for those who have missed the great occasion due to problems...



Links on 166th observation of Manipuri Rasleela Bangladesh
* Manipuris in Bangladesh celebrate 166th Ras Leela...
* বিডিনিউজ24: চিরাচরিত নিয়মে শেষ হলো রাস উৎসব
* মণিপুরী রাসমেলা নিয়ে ইহ‍‍তিশাম কবিরের ফটো ব্লগ
* Daily Star: Moha Rash Lila observed
* আমার দেশ পত্রিকার সপাদকীয়: রাসপূণিমার মণিপুরীরা


Acknowledgments
* My Siemens CX70 Mobile
* Sangram Singha, Sylhet


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আমার মানু কাপ আহান কাইলে সেচুরেয়া বেঙ আহান লামতারা

Monday, November 24, 2008

আমার বিষ্ণুপ্রিয়া মণিপুরী গজেদে কাহানি পাহুরিয়া লামানির সিংনাত আসি। এবাকার দশাহান ফালদিয়া কাপ আহান কাইলে সেচুরেয়া বেঙ আহান লামরাং। এগদে আমার মানু ছিটারেয়া থাইলেউ, হৌগদে চাকা চাকা ইয়া আসি। অতার পরেউ তানুর দশা এগোদের মানুরাংত জিঙে আরো সলসে। বিশ্ব জুড়ে চলের জাতর শিংনাত আমিয়ৌ গারগো বরিক এজাত হৎনা দশগো তিলুয়া আমার মানুয়ে নাকরতারা। দশগো তিলুইলে দশানন ইয়া আগরে আগই তাল দিয়া চচানির শিংনাত লামতারা। রাষ্ট্র বিজ্ঞানে ‘জনবলরে’ জবর গুরুত্ব দের। ঔ বল অতা এগোদের মানুরতা নেইলেউ হৌগদের আমার মানুরতা আসে। জনবলর লগে মনোবল, ঐক্য থাইলে কোটি কোটি রূপার ফান্ড হংকরতে লক্ষী গিথানকেউ বাধা দেনার কথা নাবে। বিচারপতি, এমপি, জজ, ডিসি, ম্যাজিস্ট্রেট, এসপি, কর্ণেল, মেজর এবাকা আমার মানুত আসি। কিন্তুমান আমার মানুত ভবিষ্যতে প্রধানমন্ত্রী ইলেউ হারৌপার কোন কারণ নেই। কারণ আমার মানু ফালদিয়া কাপ আহান কাইলে বেঙ আহান সেচুরেয়া লামতারা।

আমার (Bishnupriya Manipuri) সমাজর মানু যত গজে কাহিতারা ততো নিজর জাতহান পাহুরতারা। মানুর জাতর হিরো অনার সিংনা দিতারা-কথাবার্তা, চালচলন, খানাপিনাত। অহান নাইলে যুবকল্যাণর খেলা, মহামেল এতা এবাকাউ করানি পারলা অইস। বাংলাদেশর নগরর অজা দীননাথ গিরকে সমাজর ৭ হান দাবি রাষ্ট্রপতিগোরাংত আদায় করিসিল। আজি ৭০ হাজার মণিপুরীয়েউ ঔ দাবির চুল আহাস আদায় করে নুয়াররাং। এমনকি আদায় করিসে ঔ দাবি অতাউ রা করে নুয়াররাং।

ত্রিপুরাৎ আমার মানুত্ব মন্ত্রীগো ইসিল বেলীরাজা বিমল সিংহ গিরক। আমার ঔ রাখাল রাজা বারো বেয়ক রকেটরে তুখাত করেদিয়া কালাক পেলুইলা য়েকনাপায়। অতার লগে ডেমগোত বাগেদিলা বিশ্বর বিষ্ণুপ্রিয়া মণিপুরীর হপন। বিমল গিরক দৌ ইলেউ আমার ইমার উরেত্ব রাজ্য, রাষ্ট্রর সেবার মানু নুকুল্লা। বিমল গিরকর গরগিথানক বিজয় লক্ষী এপাগাউ এমপিগো। গিথানকে রাজনীতিত লামানির খেলতামে বেয়াপা কল্যাণ সমিতি করিয়া আমার বেয়াপারে জাগেইলো। এবাকা এমপিগো অনার পরে এতাত সময় নাদিরি। উঠেসিলা বেয়াপাউ বারো ঘুমজিলা বুলিয়াউ পৌ পেইলাং। বেলীগো বুরানির পরে থাচির আঁধারে পরিসি আমার সমাজহাত জোলাকহান নুকুলে আহের বুলিয়া হৌগদের মানুয়ে মাততারা।

এমতাগা এমপিগো ইল ধনপতি কার্তিক সেনারেলো এসাদে হপন দেখতারা হৌগদের মানুয়ে। যেগউ মাততারা পয়সা হিচানিত গিরক জবর চৌখাত বুলিয়া। লী গিথানক গিরকর গজে কালাক পেলুইছে বুলিয়াউ মানুয়ে মাততারা। কিন্তুমান সমাজর কোন ডাঙর কামে গিরকে এবাকাউ মিল্লেঙ নাদেসে। কুংগ কুগৌ সমালোচনা করিয়া ‘গজে কায়া তল পাহুরলো’ বুলিয়াউ ওয়াকাত হুনরাং। ভারতর মানু যেসাদে চাকা, চাকা অয়া লাম পরেসি হৌগদে অসাদে চাকালা চাকালা পরথানিতৌ আল নেই তানু। বিমল গিরকরে কতোতাই চুনা নাপেইলা। হারেইলা পরে হারপেইলা। কাদানিয়ৌ কাতলা এবাকা বিজয় লক্ষীরেউ কোনো কোনোগয় দেখে নারতারা। চচেইতারা বিজয় লী, কার্তিকসেনা দ্বগিরেউ। হানতে বিজয় লক্ষী, কার্তিক সেনা দ্বগিয়ৌ খানি শিঙোনা থক এবাকাই।


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মণিপুরী থিয়েটার পেয়েছে বাংলাদেশের সেরা নাট্যদলের সম্মাননা

Sunday, November 23, 2008

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সারা দেশের মধ্যে শ্রেষ্ঠ নাট্যদল হিসাবে "আরজু স্মৃতি নাট্যপদক" লাভ করেছে মৌলবীবাজার জেলার কমলগঞ্জের প্রত্যন্ত অঞ্চলে গড়ে উঠা মণিপুরী থিয়েটার। মণিপুরী থিয়েটার বাংলাদেশের অন্যতম প্রান্তিক জাতিসত্তা বিষ্ণুপ্রিয়া মণিপুরীদের সাংস্কৃতিক ধারার একটি সংগঠন। প্রায় একযুগ ধরে মণিপুরীদের ঐতিহ্যগত মিথগুলো নাট্যমঞ্চে উপস্থাপনের মাধ্যমে বাংলাদেশের সংস্কৃতিকে আরো সমৃদ্ধ করে আসছে এই প্রতিষ্ঠানটি। "সাংস্কৃতিক লড়াইয়ের নান্দনিক হাতিয়ারই থিয়েটার" - এই বিশ্বাসকে ধারন করে ১২ বছর ধরে ব্যাপৃত রয়েছে নানান পরীক্ষা-নিরীক্ষায়।

গত ২৮ জুন, ২০০৮ সন্ধ্যায় বেইলি রোডের মহিলা সমিতি মিলনায়তনে এ পদক দেওয়া হয়। উল্লেখ্য বাংলাদেশ গ্রুপ থিয়েটার ফেডারেশনের সাবেক অনুষ্ঠান সম্পাদক প্রয়াত আরজুর নামে এই স্মৃতিপদক প্রবর্তন করা হয়। এবছর দেশব্যাপী প্রায় দুইশ নাট্যদল থেকে চুড়ান্তভাবে পাঁচটি মনোনয়নের পর সেরা দলটি নির্বাচন করা হয়। এই প্রথমবার কোন নাট্যকার বা নাট্যনির্দেশককে না দিয়ে নাটকের দলকে পদক দেয়া হলো।


বিস্তারিত দেখুন:
১. সেরা নাট্যদল মণিপুরী থিয়েটার- প্রথম আলো
২. Arju Padak'08 went to Monipuri Theatre- The Daily Star


নাট্যপ্রতিকুল পরিবেশেও মণিপুরী থিয়েটার চালিয়ে যাচ্ছে স্বতন্ত্র ও ভঙ্গিতে নিজস্ব সাংস্কৃতিক ঐতিহ্য রক্ষার লড়াই। মণিপুরী থিয়েটারে কাজ করছেন শুভাশিস সিনহা সমীর, জ্যোতি সিনহা, অপর্ণা সিনহা এবং শর্মিলা সিনহার মতো গুণান্বিত একদল নাট্যকর্মী। সংগীত, নৃত্য, সাহিত্য, গবেষনা, পাঠচর্চ্চার পাশাপাশি প্রতিবছর মনিপুরীদের কৃত্যমুলক উৎসবগুলো বর্ণাঢ্য আংগিকে আয়োজন করে থাকে মণিপুরী থিয়েটার। তাদের রয়েছে বাংলা ও বিষ্ণুপ্রিয়া মণিপুরী ভাষায় ৩২টি প্রযোজনা।

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মণিপুরী থিয়েটারের উল্লেখযোগ্য প্রযোজনাঃ

বাংলা ভাষার নাটক

* মেঘ বৃষ্টি রোদ
* আজবপুরের বর্ষবরন
* নাই রাজার রাজদরবার
* কানাইলালের সানাই
* যাত্রা
* সুর বেসুর
* করকুন্তী সংবাদ
* দুর্ভাগা
* সাঁকো


বিষ্ণুপ্রিয়া মণিপুরী ভাষার নাটক
* নারগো ডাঙর ইলি
* তারালেইমার পালা
* মেঙসেল
* জুতা আবিস্কার
* শ্রীকৃষ্ণকীর্ত্তন
* সালয়া যানা
* চন্দ্রকলা
* ধ্বজো মেস্তরীর মরন
* নুংশিপী
* রুদ্রচন্ড
* ভানুবিল
* আমি আহিলেই
* ডিম্বরাজা
* মেঙসেল নেই গাঙর য়ারি
* সওদাগরর পাচগো পিতক
* ইঙাল আধাঁর পালা

সম্পাদিত প্রযোজনা
* মণিপুরী হোলি
* মণিপুরী রাসলীলা
* মণিপুরী বেলীরাস


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Manipuris in Bangladesh celebrate 166th ‘Ras Leela’ festival

Saturday, November 15, 2008

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The Manipuri communities living in Madhabpur and Adampur under Kamalganj upazila of Maulvibazar district celebrated their major religious and cultural festival 'Maha Ras Leela' on November 13. Celebrations were held at Manipuri Jora Mandaps in Madhabpur and the Sanatagore Mandap in Adampur.The Bisnhupriya manipuris celebrated 'Ras Leela' at the Madhabpur Jora Mandap and the Meiteis arranged their programme at Sanatagore Mandap, Adampur.

Manipuris have been celebrating this event on the 'Purnima Tithi' (full moon) of the Bangla month Kartik every year. This was the 166th celebration of 'Maha Ras Leela.'

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The celebration included "Rakhal Nritya" (the dance of Sri Krishna with the gopals), "Ras Leela" (dance of Sri Krishna, Radha & the gopis), "Pala Kirtan," discussion on 'Ras Leela' and other Manipuri traditions. The programme started from 11 am on Thursday and ended yesterday morning.

'Ras-Mela' (fairs) were also held at the two festival venues. The range of products included Manipuri handicrafts, household items, toys and such. Thousands of people irrespective of caste and creed from different areas of the country attended the festival.

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Manipuri Theatre Festival ends

Tuesday, November 11, 2008

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The two-day Manipuri Theatre Festival ended at the Experimental Theatre Hall, Bangladesh Shilpakala Academy on November 8 with the staging of "Ingaal Aandhar Pala". "Ingaal Aandhar Pala" is the Bishnupriya Manipuri indigenous troupe's 25th and latest production, Written and directed by Shubhashish Sameer, "Ingaal Aandhar Pala" centres on the struggles of a Manipuri 'mridanga' player Prem Singh.

The second day's programme also included a ceremony, where Manipuri Theatre honoured four noted personalities -- Ramendu Majumder; renowned Manipuri danseuse Tamanna Rahman; Manipuri 'raash lila' artistes Thaibee Devi and Krishna Kumari Sinha. Chief guest Rasheda K. Chowdhury, adviser, Ministry of Cultural Affairs, handed over the crests to the honourees.

As the play begins, Prem Singh returns home with a big hilsa. He has made some money performing in a 'naatpala'. But his wife Thaibee is far from pleased. She reminds him that there are pressing needs in the family, like getting school supplies for their daughter Lakkh. But a nonchalant Prem Singh is too excited about a potential good meal to care.

Prem Singh as a hedonist, who has not grasped the consequences of the reality yet. Even when working in the fields, he dreams about playing 'mridanga'.

The plot however, changes soon. One day, while performing in a 'naatpala', Prem Singh falls on the stage and badly hurts his back. The 'kabiraj' announces that Prem Singh would never be able to play 'mridanga' again. Eventually the injury paralyses Prem Singh -- both physically and psychologically.

A distraught Thaibee takes over all responsibilities on her fragile shoulders. She starts making cloths and sells them to Aalta Mahajan. One day, an exhausted Thaibee dozes off. In her dream, her daughter Lakkhi appears as the goddess Vrinda and performs 'raash lila'. Waking up, Thaibee plans to arrange a 'raash lila.' She is convinced that a 'raash lila' will change her family's misfortune.

Lakkhan Sinha and Shukla Sinha played the roles of Prem Singh and Thaibee. The key parts of the story were narrated by a storyteller, played by Jyoti Sinha. The narration was in Bangla and other dialogues were in the Bishnupriya Manipuri dialect.

The programme was presided over by Samarjit Sinha, adviser, Manipuri Theatre. Jhuna Chowdhury, secretary general, Bangladesh Group Theatre Federation; Noted theatre personalities Aly Zaker and Ataur Rahman and Bhuiyan Shafiqul Islam, director general, Bangladesh Shilpakala Academy were the special guests at the programme.

Courtesy: The Daily Star


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এগিয়ে চলেছে বিষ্ণুপ্রিয়া মণিপুরী ভাষার উইকিপিডিয়া

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মুক্ত বিশ্বকোষ উইকিপিডিয়াতে বিশ্বের ২৬৪টি ভাষার মধ্যে বাংলাদেশের একটি প্রান্তিক জনগোষ্ঠীর ভাষা অন্তর্ভূক্ত হয়েছে। ভাষাটির নাম বিষ্ণুপ্রিয়া মণিপুরী । বাংলাদেশের সিলেট, মৌলবীবাজার, হবিগঞ্জ ও সুনামগঞ্জ জেলার বিভিন্ন স্থানের প্রায় ৬০,০০০ আদিবাসি এ ভাষায় কথা বলে থাকে। বাংলাদেশ ছাড়াও ভারতের উত্তরপুর্বাঞ্চলের আসাম, ত্রিপুরা ও মণিপুরে এবং বার্মায় বিষ্ণুপ্রিয়া মণিপুরী জাতির লোক বাস করে।

বর্তমানে বিষ্ণুপ্রিয়া মণিপুরী উইকির (Bishnupriya Manipuri Wikipedia) নিবন্ধ সংখ্যা ২৩,৩৯৩ টি, প্রতি নিবন্ধে গড়ে ৪৭৪০টি অক্ষর এবং নিবন্ধসংখ্যার বিচারে এর অবস্থান বিশ্বের ২৬৪টি দেশের মধ্যে ৫০তম । অন্যদিকে বাংলা উইকির নিবন্ধ সংখ্যা ১৮,০৬২টি, প্রতি নিবন্ধে গড়ে ৩৯৫৭টি অক্ষর এবং এর অবস্থান ৬২তম।

রাষ্ট্রশক্তির অবহেলা, প্রবঞ্চনা ও দমননীতির কারণে এবং সংখ্যাগরিষ্ঠ জনগোষ্ঠীর প্রভাবে ক্রমশ তাদের ভাষা এবং ঐতিহ্যবাহী সংস্কৃতি বিলুপ্ত হতে চলেছে। ভারত ও বাংলাদেশে বিষ্ণুপ্রিয়া মণিপুরীরা তাদের অস্তিত্ব টিকিয়ে রাখার জন্য অবিরাম সংগ্রাম করে যাচ্ছে। সুদীর্ঘ সংগ্রাম , রক্তপাত এবং জীবন আত্মত্যাগের বিনিময়ে ভারত সরকার ভাষাটিকে সাংবিধানিক স্বীকৃতি দিয়েছে। বাংলাদেশে বিষ্ণুপ্রিয়া মণিপুরী ভাষার কোন সাংবিধানিক স্বীকৃতি নেই, পাঠ্যপুস্তক এবং বাংলাদেশের জাতীয় বিশ্বকোষ বলে প্রচারিত বাংলাপিডিয়ায় বিষ্ণুপ্রিয়া মণিপুরীদের কোন উল্লেখই নেই। সেকারণে মাতৃভাষার অস্তিত্ব টিকিয়ে রাখা এবং বিলুপ্তি থেকে মাতৃভাষাকে বাঁচানোর উদ্দেশ্যে বিষ্ণুপ্রিয়া মণিপুরী উইকিপিডিয়া'র যাত্রা এবং তারপর আজকের অবস্থানে পৌঁছানো বিষ্ণুপ্রিয়া মণিপুরীদের জন্য একটি বিরাট অর্জন।

আমাদের লোকবল খুবই কম কারণ বাংলাদেশ বা ভারতের যে সব অঞ্চলে বিষ্ণুপ্রিয়া মণিপুরীরা বসবাস করেন সেসব এলাকায় টেলিযোগাযোগ বা ইন্টারনেট প্রযুক্তি এখনো পৌঁছায়নি। সংখ্যায় বেশী হওয়া সত্ত্বেও ভারতের ব্যবহারীরা ইউনিকোডতো দুরের কথা, বিজয় বা মুনীর কীবোর্ডের সাথে পরিচিত নয়। সেখানে ডিটিপির জন্য আসামীজ কীবোর্ড ব্যবহৃত হয় যা আমাদেরগুলি থেকে সম্পুর্ণ আলাদা। অল্প সংখ্যক ব্যবহারকারির উৎসাহ ও পরিশ্রমের ফলে বিষ্ণুপ্রিয়া মণিপুরী উইকি আজ এ পর্যায়ে আসতে পেরেছে। বিশেষ করে উদ্যোক্তা উত্তম সিংহ এর পেছনে অক্লান্ত পরিশ্রম করেছেন। তিনি ডাটাবেজ ও বটস্ক্রীপ্টের সফল ব্যবহার করে বাংলাদেশসহ বিশ্বের বিভিন্ন অঞ্চলের উপর একাই কয়েক হাজার ভূক্তি যোগ করেছেন। বর্তমানে এ প্রজেক্টের জন্য কোয়ালিটি গবেষক, অনুবাদক ও ভলান্টিয়ার যোগাড় করা হচ্ছে যারা BPY উইকির নিজস্ব নিবন্ধ (যেমন বিষ্ণুপ্রিয়া মণিপুরী ভাষা, সাহিত্য, সংস্কৃতি, ইতিহাস, ব্যক্তিত্ব ইত্যাদি বিষয়ক) লেখার পাশাপাশি রোবট স্ক্রিপ্ট দিয়ে করা প্রাথমিক মডেল বা খসড়াগুলোতে কাজ করতে পারেন।


বিষ্ণুপ্রিয়া মণিপুরী উইকিপিডিয়ার লিংক: http://bpy.wikipedia.org
উইকিপিডিয়ার নিবন্ধ সংখ্যার হিসাব: http://meta.wikimedia.org/wiki/List_of_Wikipedias


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Guru Bipin Singha : Populariser of Manipuri Dance and Style

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A few decades ago Manipuri dance was not as popular as the other classical dance forms. But the subtlety of the tender dance form and the variety of the rhythm impressed Rabindranath Tagore so much that he is credited with introducing this enchanting style to the other parts of the world. Renowned gurus were invited to teach this dance form in Tagore's idyllic institute, Shantiniketan. Gradually the practice of this dance form extended outside the Manipuri community and was practiced with great enthusiasm, especially among the Bengalis. Following that initial period, the individual who can be credited for empowering and popularising the dance form, is Guru Bipin Singha.

Guru Bipin Singha was born on August 24, 1918 in a Bishnupriya Manipuri family deeply involved in Manipuri Culture. His grandfather P. Tona Singha was a Manipuri Maiba (priest), his father Laikhomsana Singha was a poet and his mother Indubala Devi was a vocalist. Thus dance and music are in his blood.

Right from his childhood Guru Bipin Singha received intensive and elaborate training in the art of Manipuri dancing from various experts residing in Manipur and its surrounding districts like Cachar, Sylhet and Tripura. Guru Bipin Singha is a rare combination of a dancer, choreographer, scholar and a teacher. For over the last 50 years he had dedicated himself to the task of exploring and revealing the classical elements of Manipuri dancing in order to preserve, promote and propagate the art form in its pristine purity.

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His genius for creating and innovating dance compositions and choreography had given him a rightful place among the choreographers of Indian dance. He composed various dance items, emphasising each classical element in a stylised way, bringing out its beauty to the fullest and keeping true to its original form and spirit. He gave a new direction to dance dramas and choreographed them keeping within the traditional framework. From within these dance dramas he chose the solo pieces and re-choreographed them for the stage, thereby making them complete. He was a pioneer in introducing solo dance performances in the Manipuri style.

Through studies and researches, he had continually established a significant correlation between the available Vaishnavite and other Indian texts on dance, as well as the oral tradition of Manipuri dance and music. His scholastic abilities had enabled him to analyse, classify, systematise and codify various aspects of Manipuri dance and create fundamental and universal principles and disciplines to impart effective training.

Guru Bipin Singha in collaboration with his well-known disciples Jhaveri sisters and Kalavati Devi, founded Manipuri Nartanalaya in Bombay, Kolkata and Manipur. The creative contribution of Guru Bipin Singha and the Jhaveri sisters had been to bring the traditional and classical dances of Manipur from the temples to the theatre without altering its form and spirit.

The state of Manipur recognised his scientific attitude and scholarly approach and had accredited his 'school' of dancing as a significant 'gharana' of Manipuri dance.In order to acknowledge and appreciate his contribution to the field of dance, Guru Bipin Singha was awarded with many prestigious awards among which were Nrityacharya by Maharaja of Manipur, National Sangeet Natok Academy awards given by Late Indira Gandhi, Uday Shankar Fellowship Calcutta, Kalidas Samman Madhya Pradesh, Anamika Kala Sangam Awards Calcutta and many others.

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Guru Bipin Singha's teachings and the Manipuri dance style were popularised in Bangladesh by Shantibala Sinha and Kalavati Devi at Chhayanat. Two of her direct students Sharmila Bandyopadhyay and Tamanna Rahman are now carrying on the legacy of Guru Bipin Singha in Bangladesh and introducing the young generation of dancers to the Manipuri style.

Contributed by: Tamanna Rahman | Dhaka


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