asked:




Thang Ta: A journey

(Through the history of Kangleipak)

from an ancient combat art to a popular modern sport  [3rd section]

 

-6th Part-

 

(a) The Sports aspect:

However, there is another equally important aspect of Thang Ta (the sport aspect), which was left unheeded or not so seriously considered. Though the expressive or the performing form of Thang Ta on stage looks very impressive & attractive, but some modern Thang Ta lovers & practitioners fear that it might eventually just remain as any other exhibitory item or a commodity product. As the time has changed much, with the scientific advancement, & the availability of many futuristic weapons of mass destruction, training in martial arts for warfare is not as useful as in olden days, even the chance of using it in self-defense has much reduced.

What remains to learn is the spirit, the inner knowledge, & essence of the art, which has taken thousands of years, blood & sweat of our fore-fathers to accumulate. The understanding of which not only fulfills one’s physical (including health & fitness), inner & spiritual necessity, but more importantly fosters the cultural identity & the nationalistic pride. But, the problem is to convey the message effectively to the youths in this fast, busy, highly competitive, result & career oriented, impatient present society. To be sincere, very few have the time, hard work, seriousness, sincerity & dedication- which too with no lucrative career option; becoming a warrior (that too of swords & spears etc., in this nuclear world) which generally is not the intended by many – as required in the teaching style of olden days.

As popularized by almost all martial art countries (mostly orient countries & some western countries), the sport aspect of Martial arts is becoming much more preferred. Along with the cultural & spiritual components, if additional benefit of a career in sport is there, no doubt, the concerned art will be much more readily acceptable & spreadable. Here, starts the birth of sport movement in the world of Martial arts.

Using this formula, we all know, how  much advancement are made by the Korean, Japanese, Chinese, Thai & many other south east Asian (some western also; which give their martial arts the status of their national sports – WTF Taekwondo, South Korea; Muay Thai, Thailand etc) countries in the development of their martial arts. Their martial arts have been included in our schools, colleges, universities, as a part of NIS teaching curriculum, even research-phd programmes. They are the official sport events in our national games, common wealth games, Asian games & some even in Olympic games

[Taekwondo (it was a demonstration sport in 1988 Olympic, & finally after 12 years, in the year 2000 Olympic, it became an official medal event), Judo (first introduced in the 1964 Tokyo Olympic games, but dropped from 1968 Mexico Olympic; & finally restored for Munich 1972 Olympic games.) etc].

 

(b) A Thought – Changing the way Thang Ta used to be viewed completely:

Does this mean they are superior to our Thang Ta of Ipu Athoupa Pakhangpa? not at all. They- all of which were once battlefield, killing arts – have only been moulded & modified as per the need & demand of the time- the sport movement, gaining immense popularity. Not only their culture, language & national identity is propagated, these martial arts are also major source of foreign exchange for their countries; for which higher qualifications or certificates, one definitely has to go there & learn from their masters, or invite them (in spite of the popular belief that martial arts were originally exported from Indian in ancient times). No surprise, if the practitioners of these foreign styles come out to be far exceeding those of our own indigenous styles. So much manpower, time, resources including brains have been deflected due to them (foreign martial arts), the benefit of whose could have been ours (Thang Ta).

Just imagine how it would like to have Thang Ta in the international Olympic arena; with our young players competing & bringing medals & honor in our own art; just like the Meetei lalmee (soldiers), in olden days, using Thang Ta, for protecting the dignity of the motherland.

 

(c) A Master with a distant vision & a strong vow – Ojha H. Premkumar Singh:

Foreseeing the gravity of the situations much earlier, one Thang Ta teacher, with his modern & revolutionary ideas, much ahead of his time, not only dreamed of Thang Ta as an official Olympic medal event, but also constantly working for its realization. His name is Ojha Huidrom Premkumar Singh. Born in a lower middle class family, to Shrimati H.(ongbi) Shakmacha Devi, & (late) Huidrom Pashot Singh on 30th Sept.1959, he is the direct, first generation disciple of the  great Thang Ta master, Ojha Rajkumar Sanahal.

Although sparring in Thang Ta with Cheibi (a cane stick covered with leather, instead of sword) etc- with or without Chungoi, or buckler/shield- has been in practice since olden days, as a means to sharpen the actual battle field skills {Yanna Thang: sword fighting system; one among the many traditional training aspects  à Ta Khousarol (~ spears aspect), Thanghairol (~ swords aspect – Leiteng thang, demonstrative component; Yanna thang : fighting/combat component, including practice of various Thanglon: sword movements/techniques etc), Sharit-Sharak (unarmed combat aspect, including practice of various Khutlon – hand/upper limb movements/techniques, Khonglon – foot/lower limb movements/techniques, etc), Thengourol (sacred, spiritual & ritualistic aspect) etc}, or for just comparing martial skills/techniques.

{we have already read the duel competition between the great Paona & a foreign martial artist during the latter reign of Meitingu Chandrakirti (1834-1844, 1850-1886). Also the practice using Cheibi was common during the reign of Meitingu Churachand (1891-1941). Hence, the sport aspect of Thang Ta, in the form of competitions etc, using ‘Cheibi’, was already there since very ancient times, & as an integral component of the curriculum of traditional teaching & practice of Thang Ta.

Only what was needed, was to standardize, systematize & popularize it, thereby presenting, as per the need of the present society, to international sport arena, & hence ultimately up to the level of Olympic status. His association is constantly working with this very goal.}.

Also many others associations/institutions have been working in this field (sport aspect of Thang Ta) since very early times. But he was the one who brought this (sport aspect of Thang Ta) to such a level, very popular, well systematized & scientifically sound, in accordance with the need & demand of the time; recognized & approved by the concerned authorities; well appreciated, & hence  most wide spread both nationally & internationally. (Hence, regarded as Grandmaster, in the world of sport Thang Ta today)

Ojha Premkumar belongs to a family with martial arts in the blood {specially in Mukna, indigenous Meetei Grappling & wrestling style; besides all his brothers, relatives & students are very much active in this field – younger brother, shri H. Dinachandra is the present (year 2010) secretary of TTFI (Thang Ta Federation of India), after shri Th. Priyokumar (the founding Secretary); shri Ibomcha (his beloved student, the present,2010, Secretary of the Academy), shri H.Kiran Kumar, the youngest brother, & many  others – working very hard, understanding the taste of the younger generations & much focused to the Olympic goal, that only a few places are left in the country (increasingly also beyond) where they have not given demonstrations & trainings, immensely popularizing the sport}.

He was just in class two when he saw Thang Ta moves for the first time, in a local drama (or ‘Sumang Leela’- in those days, it was common for such dramas to be based on topics related with Meetei Kings & Kingdom- with many Thang Ta moves- swords fight etc, with ‘original’ weapons) in one of his neighbors; the scattering sparks coming from the clashing of swords & spears ignited the passion of Thang Ta in his heart for eternity.

He used to watch very carefully & tried to imitate what the local drama artists did as they practised in their drama rehearsals (as taught by invited Thang Ta teachers from Imphal etc- such as Ojha Ningthem etc). Deeply influenced, he started, with few of his friends, a youth drama (Leela) party, under his uncle, a drama enthusiast. But, with the tempest & his curiosity in Thang Ta growing much stronger inside him, he started searching for a  right master, & finally ,in  the year 1976, under the great Ojha Rajkumar Sanahal, he started serious & formal training of the ancient Meetei art. He gave various demonstrations, displaying his skills of the art, in many functions & festivals.

Even up to now, no one has forgotten (the sound of the sword clashing, the applauding claps still lingers afresh in the ears) the amazing & breath-taking demonstration (Thang-Ta Chainaba: sword vs spear fight) given by him& his group in the ‘Indian Martial art Seminar’ organized by the (late) Karate Sensai Moses Thilak, at Chennai, in the year 1980, in front of many Gurus of different Indian Martial arts.

{Late Dai Sensei soshihan Dr.Moses Muthiah Thilagan (born in Nagercoil,Tamil Nadu) was not only one of the pioneers of karate in India (8th dan in Shito Ryu style, co-founder of All India Karate-Do Federation,1976 with Late Renshi R.V.T. Mani; founder of All India Shito-Ryu Karate-Do Federation , & Alan Thilak Karate School etc), but also highly trained in Indian martial arts (Kalaripayattu, Silambam, Adi Murai/advanced art of Marma-Adi, Kuttu Varisai) & other also (Yang style Tai Chi Chuan etc). A doctorate holder in Acupuncture, he intended & tried to preserve various systems of Indian martial arts by documenting them. Unfortunately, he passed away due to a sudden stroke while conducting a national championship in Coimbatore in Jan.2004}

So deeply impressed by his mastery of the art, was one of the Kalaripayattu guru, Shri Balan Gurukkal {from Mepiel? Village, Calicut; ‘Gurukkal’ (Guru, Sanskrit word,+kal, which is used in Malayalam to indicate a plural, & also to indicate politeness & respect), refers to Kalaripayattu master (northern & central styles; like the word Asan in southern style)} that he requested the Ojha to teach basics of Thang Ta to his son, Sunil. In 1985, overcoming the distance & language barrier, Sunil came (he stayed for nearly one month) to Manipur, & was taught the basics, after getting the permission from Ojha Sanahal.

[Kalaripayattu {kalari (~gymnasium/school/temple of learning), Malayalam, from? Sanskrit khaloorika, with similar meaning (a military training ground/place where martial training is imparted); payattu, Malayalam ~ fight/exercise in arms/practice or ‘to put hard work into'}is an ancient

{the oldest text referring to this art/northern style is considered to be the Dhanurveda, part of the Agni Purana, one of the sacred texts of Hindu (the references of the term marman of marma ati/southern Kalaripayattu style ,vedic Sanskrit,~mortal spot,vulnerable point,any exposed/weak/sensitive part of the body are found in Rigveda- the oldest of all the Vedas, when the god Indra hits Vritra in a marman with his vajra; in Atharva veda etc). However, some date its development to 11th century, when warfare was common between the Cheras (3rd century BC?-3rd century AD?, 9th century?-12th century?) & the Cholas (2nd century BC?-2nd century AD?, 9th century?-13th century?)}

South Indian (mostly in Kerala, surrounding parts of Tamil Nadu & Karnataka, even the northeastern Sri Lankan & among the Malayalese of Malaysia) martial art. It has three major styles – Northern, Central & Southern. Northern style {founder is considered to be the 6thAvatar of lord Vishnu, lord Parashurama, the first warrior saint (a Brahmakshatriya, as born to a brahmin father Jamadagni & a kshatriya mother Renuka) who was taught  martial arts & other skills by the Lord Shiva himself}gives more emphasis on weapons training, with forms, most of which are more detailed, long & elaborate (with more straight line footwork; the medical system practised is based on Ayurveda; practised in pit-kalari with the used of high ritualistic components).

The central style is considered to be an derivative of the northern style (by some, a composite of northern & southern styles with many of its own techniques), with multitude of footwork patterns (& hence considered by some, ideal for evasion of a multiple opponents attack) with a tendency to mysticism {most masters are Mappila Muslims (Muslims of Kerala) who followed the mystic Sufism, unlike the northern & southern masters (traditionally, mostly warrior Hindu castes ; northern- Nayar, Ezhava ‘Aryans’, Nambudiri Brahmins; southern- Nadar/Nayar of Tamil Nadu, Sambavar)}.

The southern style {worshiped the vedic sage Agastya (the greatest of the seven vedic sages or saptarshis, who was not only a martial artist, but also a great scientist, & a famous medical practitioner – considered as the first & foremost siddha, who was taught by the lord Murugan, the son of lord Shiva, passing the ultimate knowledge from the Lord Shiva himself) as the founder; & closely related/associated with Tamil martial arts (Kalaripayattu is considered to be a Keralan martial art) like silambam, ati tata (hit & defend),varma ati/marma ati(hitting vital sports),cheena ati(Chinese hitting) etc. After the formation of Kerala Kalarippayat Association in 1958, for organizational reasons, varma ati came to be known as the southern style of kalaripayattu (however some consider the techniques involved in both the arts to be distinct from one another)}emphasis on empty-hand techniques, use of wooden weapons, use of knives (generally not much iron weapons other than knife are trained in) etc, designed to be simple, straight forward, accurate, effective, suitable for mass combat

(forms are generally short, practical & effective with cross/square footwork patterns, suitable for battlefield with multiple opponents. Instead of pit-kalari, it is practised in an enclosed area, generally of palm leaves, with relatively simple rituals. The medical system involved is based on Siddha medical system or Siddha Vaidyam which is also attributed to sage Agastya).

With the English controlling most of Kerala at the end of 18th century, the art suffered great damage until the revival began slowly at the start of 20th century, when a major movement in the defense of Keralan culture came into existence. The art is presented as a part of cultural activity both in national & international stages, much like the performing art component of Thang Ta attracting many national & international martial artists (with advancement of the time, the initiation of sports movement in the art is being under consideration).

{Many scholars consider that Kalaripayattu (along with yoga) was the martial art taken by the South Indian Buddhist monk, Bodhidharma to China (& some other southeast Asian countries}& laid the foundation of the famous Shaolin kungfu (even Chinese martial arts as a whole, & other Asian martial arts like karate etc).

However, some consider the martial art involved as a form of Vajramusthi (Sanskrit,~ thunder fist/diamond fist,  another ancient Indian martial art, identified with a knuckleduster-like weapon of the same name. Simhananda Vajramushti/Lions roar variant of vajramushti is considered by some to be the martial art of the historical Buddha’s blood line) or some other ancient Indian martial art forms (besides historical evidence, the prestige of being the founding martial art of the famous Shaolin kungfu is also another driving factor behind such claims).

Bodhidharma (440?-535?-?/-528?), born (in Kanchipuram, near Chennai, Tamil Nadu) as Bodhitara (the name Bodhidharma was given by his master Prajnatara, the headmaster of the Sarvastivada? sect of Buddhism & the 27th Buddhist patriarch right from the 1stpatriarch Mahaksyapa, the direct disciple of Shakyamuni, 624?/563?-544?/483?, to whom he passed on special transmission/wisdom outside the scriptures, & not founded upon words & letters – who, before his death in 457?, instructed Bodhitara to travel to China & spread the dharma), the 3rd son of a great king (king sugandha?/Hsiang Chih? belonging to the family Sha-li-ti?/Sardilli?) of the Pallava dynasty (4th? century-9th? century, Brahmin by birth, Kshatriya by profession) of ancient south India.

He is the 28th Buddhist patriarch, & the first Ch’an/Zen (from Sanskrit word Dhyana~meditation) Buddhist patriarch in China.He arrived in China around 520?/527? by sea route.

(He took~3years, as the land route was blocked by white Huns, a mongoloid central Asiatic tribe.White Huns invaded northern India first  around 455/before 460-61?,& by 500?,set up a kingdom with capital at Sakal/Sialkot,Punjab. They were defeated ultimately by a coalition of  Indian princes – Skandagupta,455-456 to 467-468/455-467?, & Narasimhagupta Baladitya ,II 485-530?, of Gupta empire, 320-550/647?; & king Yashodharman,490?/530-550?/540, of Mandasor, of western Malwa Aulikara dynasty,350-550? – Hun king Mihiragula,502-10?/515 to 530-35?/540? a tyrant, was defeated by Narasimhagupta Baladitya in 520?,& finally by Yashodharman around 532-33/528?), & went to Shaolin Temple at Songshan, in Henan province (‘Shao’- from the Mt.Shaoshi along whose foot the temple was built, one of the two mountains-other one Mt.Taishi- of Mt.Song + ‘lin’~ forest in Mandarin Chinese).

He came to Shaolin after crossing the Yangtze river (by floating on a single hollow reed/walking across the river, after being dissatisfied with Emperor Wu Ti,r.502-549,of Southern Liang Dynasty,502-557,who had invited him to his court at his capital Jiankang/modern Nanjing, for an interview, but remained unenlightened- some even said that because of the straight forward & undiplomatic nature of Bodhidharma, who rejected the king’s understanding of Buddhism directly, some believe the king even sent his troops to kill him after he left his court. But ultimately after knowing the truth & greatness of Bodhidharma, realizing his fault, he invited him again, but the latter declined to come).

After initial rejection to entry in the Shaolin temple (by then abbot Fang Chang- he then confined himself in a cave about a mile from the temple & meditated facing a wall- or a form of meditation referred to as wall gazing/wall like gazing- for nine years. His shadow is said to have carved out the rock on which it was falling, leaving a permanent imprint. He even cut off his eyelids to stay awake while meditating, & when the lids fell on the ground, tea bushes grew up, hence tea is an important part of Zen meditation, making the monks awake & alert), finally he was invited in the Temple (?due to his ability to use mind to mind transmission, which he developed during the mediation- he is believed to have taught using no language, but this special method of mind transmission), & he became the abbot finally introducing his Zen teaching & Zen meditation/Zazen (the main previous philosophy is believed to be that of Xiao Xing/Lesser vehicle/Small Buddhism?).



Caffeinated Content – Members-Only Content for WordPress