Music and musical instruments are woven into the cultural essence of every human society, each boasting its own distinct gems. Among the Meitei people, who reside in Manipur and the bordering states of Assam and Tripura, as well as in countries like Bangladesh and Myanmar, the Pena shines as a unique and profound musical instrument.
In ancient times, the Pena was predominantly played by eminent royal court musicians to invoke the gods and goddesses or to entertain the king and his courtiers through musical concerts. It has been an essential part of the Meitei life, marking significant life events such as birth, marriage, and death.
The Pena can be categorized as an Oriental string and bow instrument that holds a significant place in the folk music traditions of the Meitei tribes. Over time, various repertoires of this musical instrument have evolved, incorporating traditional lyrical and technical styles that have developed appreciably throughout the historical phases of the Meitei culture. The instrument is also a vital accompaniment to many Manipuri dance forms, such as the Lai Haraoba.
The Mythical Origins of Pena
In the sacred text “Pena Meihaurol” by RK Achouubisana, it is described that before the Earth was formed, there was no day or night, no water or fire, no air, sun, or moon. The universe existed in the form of a galaxy. Lord Kuru Sidaba envisioned the creation of the universe from this celestial periphery. His first cry, producing a sound of “Hung” (Hum), expressed love and applause to form the universe. The God of Air then produced the sound “Ung,” resembling the buzz of a flying bee.
Thus, the origin of the first Pena music was born from the concentration of creating the universe.
Kuru Sidaba created everything from his mind and body. The Sun is considered the handle of the Pena, while its main frame symbolizes the Earth. The small bells adorning the Pena represent the 108 pulses and nerves of the human body. This mythical narrative encapsulates the profound significance of Pena in the cultural and spiritual tapestry of the Meitei people.
It is believed that the sound produced by the Pena played a role in the creation of the world and living beings. The holy melody fills human hearts with sacredness and satisfaction. Scholars suggest that the name “Pena” is derived from the phrase “Penba Naidaba” (never satisfied), reflecting the enchanting and holy nature of its music.
It is mentioned that the Pena was introduced in the Lai Haraoba festival by King Ngasappa of Hayi Chak, estimated to be around 22,000 years ago. In 33 AD, when Nongda Lairen Pakhangba ascended the throne of Kangla, Poreiton, the elder brother of Leima Leisana, established the Pena Loisang (House of Music) in the Royal Court—a tradition that continues to this day. According to ancient manuscripts, Nahaba Moirangjamba was the first human to play the Pena, while the minister Ningol Yaimaba developed its notes and finger movements.
In ancient times, singers with sanctified voices would play the Pena while seated, either in the Mangol (veranda) or the Sangoi (outhouse in front of the main house). These singers played a crucial role in spreading messages of love and triumph. This tradition has been passed down through generations, preserving the cultural heritage of the Meitei people.
A Timeless Musical Instrument of the Meitei
This unique musical instrument has been an integral part of the Meitei culture since time immemorial. The Meitei people believe that this magnificent instrument was bestowed upon them by the Almighty, Sidaba Mapu, and that it enjoys an unparalleled antiquity that no other musical instrument can surpass. In the first chapter of the ancient book on Pena, it is clearly mentioned that it is the first musical instrument ever played. This instrument is also referenced in an ancient Meitei archaic text, “Numit Kappa,” which chronicles a story that occurred thousands of years before the birth of Jesus Christ.
In the story, when Khwai Nongjengbam Piba Yekma Haotangla shot dead the King of Angom, the younger brother of the King, Numit Sana Khomdon Atonba, went into hiding in Loiren Khunbirok in the Moirang Kingdom, fearing for his life. In the absence of the king, the entire kingdom fell into a state of anarchy, chaos, and bedlam. To restore normalcy in the Kangla Kingdom, the council of ministers decided to search for the king and persuade him to return to the throne.
After discovering that the king was hiding in the hills of Moirang, they sent Wangamlon Panthoibi to placate him and urge his return to Kangla. Eventually, the king agreed to return and traveled on a raft made of banana logs towards present-day Mayang Imphal. During this river voyage, the king was entertained by Leinung Taruk Aseiba with songs accompanied by the soothing notes of the Pena.
However, as they journeyed, the Pena Cheijing broke. During the lengthy process of repairing it, the raft reached Samurou, a locality on the outskirts of Kangla. This incident gave rise to the proverb “Pena Semlingeida Samurou Youre” (Reached Samurou while repairing the Pena), which is still used today to describe situations where one reaches their destination unprepared and unplanned.
The Making and Structure of the Pena
The Pena, with its close resemblance to the Western lute, is a fascinating instrument crafted with precision and tradition. It comprises two main parts: the Pena Masa, sometimes called Pena Maru (Sound Box) and Pena Cheijing (the fiddle bow).
The Pena Maru, which is the body portion of the instrument, is intricately divided into nine distinct sub-parts: Maru, Tengkhai, Pungmai, Shamei, Chumbuli, Utong, Uyek, Leina, and Marek. Similarly, the Pena Cheijing, or the fiddle bow, also consists of nine different sections: Nareng Khongji, Yotkon, Sharik, Sharik Lang, Shamei, Shamei Konthang, Mon, Khudum, and Cheijing Mayang.
Typically, this musical instrument is created by threading a bamboo stick, which forms the fiddle bow, through a half coconut shell, the body portion. This shell is then covered with animal skin. The shell is meticulously cut to create a circular opening, which is covered with a thin hide to form a drum. A string made of horsehair is stretched across the length of the instrument, serving as its string.
The fiddle bow is crafted from wood, with curved metal pieces attached to one end. Small bells are affixed to these metal pieces, and adjusting mechanisms are included to tighten or loosen the string on the bamboo rod.
Crafting a Pena involves using various materials according to traditional customs. Items such as clay pots or coconut shells (maru), wood, brass bells or wild plants with bell-like seeds (Yong sarik), specific threads (chambuli lang), cloth (samai), bamboo (warukak), bamboo pipes (utong), iron, horse tail hairs (khongding shamei), and leather (pungmai) are meticulously selected and assembled in a particular configuration to create the instrument.
The Cheijing, held in the right hand, is regarded as the godfather, while the Maru, pressed against the chest, is considered the godmother. It is believed that the sound produced by the friction of these two components was instrumental in the creation of the world and living beings.
The Pena Maru (Sound Box)
The Pena Maru is a bowl-shaped structure with nine key components. It typically consists of a dry coconut shell covered with a piece of leather. In ancient times, the Maru was originally made of clay. Over time, it evolved to incorporate materials such as the primary root of a bamboo plant, eventually being replaced by a coconut shell. The Maru acts as the resonator, while the Pungmai (leather covering) serves as the head of the sound box. Initially, the head was made from the skin of a large frog, later replaced by ox hide.
The Uyek (curved wooden base of the neck) is attached to the Maru, and the Utong (hollow bamboo pipe) forms the upper portion of the neck. The Shamei (strings) are made from horse tail hair, numbering between 120 and 150. The Nura-Khangset (thread binding the Shamei) lies in the middle, beyond which the finger cannot move. The Leina (decorative and knitted piece of cloth) is positioned in a reverse “U” shape with thrums hanging down from the Chambuli Lang (thread knot) at the tip of the neck. The Tenkhal (bridge) is a small piece of bamboo.
The Pena Cheijing (Bow)
The Pena Cheijing is designed in a question mark shape by bending branches of the Ureirom (Bixa axellana) tree, stretching horse hairs from end to end. It comprises ten main components: Tenou Yotkol (curved metal frame of iron), Cheikhok (wooden handle), Sharik (small brass bells), Cheijing Shamei (strings made of horse tail), Konthang (iron ring), Mon (cloth pieces at the end of Shamei), Lang Thangjing (small-sized cotton thread), Khubi Khang (cloth piece joined with the Mon), Khurou Lang (cotton thread used for hanging and binding), and Uchan Marek (oily piece of pine wood that smoothens and straightens both strings).
To produce its distinctive music, the bamboo rod is held in the left hand, with the drum shell pressed against the chest. The curved iron rod is held in the right hand, and the string on the bamboo rod is rubbed against the string on the curved iron rod. This unique method of playing results in the melodious and resonant sounds characteristic of the Pena.
Significance and Uses of the Pena
There are two varieties of Pena: the larger Maru, known simply as Pena, and the smaller Khutkhong Pena, which is used during festivals of the Chakpa, a group of original settlers of Manipur.
The Pena is more than just a musical instrument; it is intertwined with dance, sports, traditional martial arts, rituals, narratives, and many other aspects of Manipuri cultural heritage.
Royal Court: The Pena was once a symbol of luxurious living, played at royal gatherings. Pena singers accompanied the king and queen during their tours, narrating the journey with their songs. Pena singers in the royal court were often trained martial artists, prepared to protect the king in case of sudden attacks.
Ceremonies: The Pena plays a crucial role in various ceremonies, including the Lai Haraoba festival, birth rituals, death ceremonies, and marriage ceremonies. For instance, during Lai Haraoba, Pena music accompanies the rituals, while in marriage ceremonies, it is used to seek blessings from the almighty.
Entertainment: In ancient times, the Meitei community organized Pena recitals for entertainment, especially after the harvest season. These events included stories of creation, heroic tales, and songs in archaic language. The entertainment aspect of Pena music is divided into two categories: Pena Phamshak (sitting position singing) and Pena Pala (performed during marriage and shraddha ceremonies).
Costumes and Ornaments
Costumes: Traditional attire includes Khamen Chatpa (a dhoti with colorful designs), Resham Phurit (a traditional blouse), Kokyet (a head attire), Inaphee (a white cotton cloth worn over the shoulder), and Khangset (a hand-woven cloth tied around the waist).
Ornaments: Traditional ornaments include Khuji (a brass bangle), Tan (an armlet with an embossed motif of Pakhangba), and various styles of garlands made from flowers or other materials.
The Grace of the Pena
The Pena is a delicate musical instrument, sublimely subtle and full of grace. Mastering the art of playing this indigenous instrument requires years of devoted and disciplined practice under the guidance of an experienced teacher. Without the accomplished and touching notes of this instrument, even the most skilled singer could not evoke the desired effect with finesse. This musical instrument offers different notes for various occasions, ranging from invoking the gods during the Lai Haraoba ceremony to paying homage to the brave warriors in battle. Some of the most popular notes of the Pena include Seihourol, Ekourol, Ekarol, Nongsharol, Nongkourol, and Laminrol.
Historical Significance
In the past, this musical instrument was an integral part of the life of the Meitei tribes. In the palace, this musical instrument was played at dawn to wake the king or to lull him to sleep at sunset. A Pena musician always accompanied the king on his trips. Before the advent of Hinduism in Manipur, this unique instrument was played during death ceremonies, but it is now practiced only in select Loi villages like Andro, Sekmai, Phayeng, and Khurkhul.
Cultural Revival
Every village generally had a Pena player, and if there was none, one was hired. People found peace and tranquility, solace and serenity in the pure, evocative notes of this musical instrument. Sometimes, there were duets where two Pena players engaged in captivating duels, each trying to outperform the other in showmanship, skill, and dexterity in handling the instrument or in the playful and enchanting lyrics (Pena Eshei) that accompany the Pena. The Pena Eshei narrates the enchanting tales of creation, the gods and goddesses, kings and queens, enthralling the audience with the chronicles of forefathers and keeping the younger generations in touch with their origins.
Resurgence and Legacy
The culture of the Pena came to a halt when the Manipur Kingdom was overrun by the Burmese until 1826. When peace returned to the kingdom, Maharaj Gambhir Singh ascended the throne and revived the Pena. The Pena musicians narrated the astounding tales of the gods, kings, and the seven reincarnations of Khamba and Thoibi (Moirang Kangleirol).
During the reign of Maharaj Chandrakirti, three renowned masters of the Pena—Chanamcha Bapuhanjaba, Pangamba, and Loitongbam Ngangba of Wangoo—performed a Pena recital for a full month, every evening in the royal court. They extended the rendition of the story of Moirang Kangleirol with new perspectives, beautiful verses, proverbial sentences, wit, and rustic charm, mesmerizing the audience day after day. Those were the golden days of this indigenous musical instrument in Manipur.
The Lainingthou Sanamahi Temple Board in Manipur is spearheading efforts to revive the dying art of Pena through the establishment of a dedicated Pena Loishang and a series of training programs for the younger generation. By engaging communities, leveraging media, collaborating with contemporary artists, and organizing cultural festivals, the board aims to bring Pena back into the spotlight.
Revival Among Younger Generations
Despite being a dying art form, recent times have seen younger generations embracing the Pena as an indigenous musical instrument. It is gradually replacing modern Western equipment in marriage ceremonies and is being favored by several folk singers as their instrument of choice. This revival highlights the enduring cultural significance of the musical instrument and its role in preserving the rich musical heritage of the Meitei people.
In this way, the Pena continues to be a cherished symbol of the Meitei’s cultural legacy, resonating through the ages and adapting to the times while retaining its unique essence.
(This article was first published as print version in April-May, 2009 issue of The Manipur Journal).
Image credit – Google
(C) Naorem Mohen
The Writer can be reached at Twitter @laimacha
Editor | Signpost News
