Discussion with Prof. Gangmumei Kamei

Prof. Gangumei Kamei is a historian and writer.  He was born at Imphal, in Manipur and he was educated at Imphal and Guwahati.  He has taught at JNU and he is a retired Professor of History of Manipur University.  He is also a social and political activist concerned with the development of tribal communities as a whole.   His works are:
“Anal:  A Trans- Border Tribe of Manipur”, “The Koirengs:  Their Socio-Economic Life”, “A History of Manipur Vol. 1, Pre-colonial Period”, “Ithai Barrage: A Boon or Scourge for Manipur”, “On History and Historiography of Manipur”, “Ethnicity and Change: An Anthology of Essays”, “History of the Zeliangrong Nagas: from Makhel to Rani Guidinliu”, “Federalism and Autonomy for Manipur”, “Essays on Primordial Religion”, “Tamenglong:  A Brief History” and “Jadonang:  A Mystic Naga Rebel”.

Prof. Gangmumei is currently a National Fellow of the Indian Institute of Advanced Study, Shimla.

On 23 February 2012 I met Prof. Gangmumei at his residence in Imphal.  Introducing himself as a historian, he points out that his knowledge of folklore is as a source of history for illiterate and non-literate society.  In response to questions about indigenous tribal art of Manipur he observes its primitive nature and explains that in the Rongmei community the only significant example of art is seen in the decoration of the ceremonial Taraangkai building, although some rudimentary wood carving also exists.

The Taraangkai traditionally belongs to the individual who performs the appropriate ceremony but nowadays only two genuine Taraangkai still exist in Manipur – one in Tamenglong village and the other in Khoupong Valley, and both are in a state disrepair.  “It is a very costly ceremony” explains Prof. Gangmumei, “lots of man power is required in the construction of the Taraangkai.  It is a process that might take a year to complete and throughout this time the builders must be fed”.  Looking at an illustration of the Taraangkai, he identifies tribal designs representing dog’s teeth and diamond shaped patterns that are also used in cloth design, while at the bottom there are figures representing Kuki heads.  Prof. Gangmumei also has information on the origin of the Taraangkai, and he explains that the first building of this type was constructed by the cultural hero Tengpu Rensongang, a primeval figure who built a dormitory where man and spirit could meet each other and where the sun, moon and animals were also represented.  “According to the story, man wanted to construct a house in imitation of that.  40 years back there were a lot of Taarangkai, but the requisite ceremonial practices have stopped with conversion to Christianity.  Without the ceremony, the Taarangkai would be superficial”, he explains.  Some people still know the procedure for the expensive ceremony, described by anthropologists as “distribution of surplus wealth”.  The Taarangkai ceremony could only be carried out by a married man, though a widow was still permitted to perform it.    “These days the essence of it is glossed over.  There are lots of traditions involved, for example rules of maintaining purity that has to be practiced and so on”. 

Regarding stories for animation, Prof. Gangmumei indicates sources for folktales at the Manipur University, with additional suggestions of people who would be able to relate some tribal stories.  He went on to mention a Man-Tiger story that has also been adopted by the Meitei community, and on seeing the short film from Nagaland “Man Tiger Spirit” Prof. Gangmumei remarks that the connectivity of the three brothers has been depicted well and that the visualization and music are good.

“I tell my son that synthesis between indigeneity and modernity is required.  The Government of India is allergic to the word indigeneity with the idea that it implies pre-Hindu or non Hindu, and in government institutions folk art is the preferred term”.