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Shodh Drishti (An International Peer Reviewed Refereed Research Journal), Vol. 12, No. 1, January, 2021 ISSN : 0976-6650

Reflection of Tantric Symbolism on Lai-Haraoba

Festival of Manipur: A Study
Dr. Rajan Kumar Vaidhya
Asst. Professor, Dept. of Visual Arts, Assam University, Silchar-Assam
Abhik Sarkar
Research Scholar, Dept. of Visual Arts, Assam University, Silchar

Abstract
Lai Haraoba- a cultural Festival, significantly represents the ideological, mythological and
cultural aspects of the community of Manipur, it dates back long before the pursuance of Vaisnavism
during the medieval era of North east India. The term Lai Haraoba can be comprehended as ‘Lai’ which
means Holy Spirit (deity) worshiped by the native community and ‘Haraoba’ means to express joy, is a
ritual to gratify the wishes of the mythical spirits and deities of the ancient community to enchantment. It
is an existing and ongoing tradition of the Meitei people even today, which embraced the vivid events of
music, dance and ritualistic performances conducted under the direction of highly considered priests and
priestesses termed as ‘Maiba’ and ‘Maibis’ respectively in Manipuri tradition. It unusually reminds the
celebrated ‘Ambabuci’ festival, mainly devoted to the mother goddess of Kamakhya Temple situated in
Kamrup district of Assam. As Ambabuci is connected to the fertility rituals of Tantric origin, Lai
Haraoba also considerably possesses certain Tantric influences. The deities associated to Lai Haraoba
festival are primarily ‘Sanamahi’, and ‘Pakhangba’ which according to researches prevailed and
worshiped dates back to the anicient period. Moreover the Aryan influence on the Lai Haraoba rituals
can be traced through other perspectives.
Keywords: Lai Haraoba, Customs of Manipur, visual culture of Manipur, Tantric symbolism and
practices of Manipur.

Introduction
Manipur, a state located in the extreme east of India is endowed with rich history of
manuscript writing, Performing arts, sports, handicrafts, textiles and other traditional and
cultural customs are majorly community based. However the name Manipur is basically a
Sanskrit name adopted for the state by the King Garibniwaz (1709 – 1748 A.D) who embraced
and converted selflessly into the Hinduism during 18th century under the influence of a
‘Vaisnava’ preacher from the ‘Sylhet’ district of Bangladesh ‘Santi Das’. According to the
authentic records of Manipuri chronicles, Manipur is used to known by names such as
‘Meiteileipak’ and ‘Poireinamthak SaronPung’. Whereas ‘Manipur’ is a Sanskrit term which
literally means a ‘A land of gems’ was earlier linked to Manipur mentioned in Epic
Mahabharata where Arjun have married to Manipuri princess ‘Chitrangada’ and eventually
their son ‘Chitrabahan’ ruled the land. But such claims have been dismissed as the authentic
documents which have been discovered in later periods, shows no reference to Arjuna. The
Manipuris who are called Meiteis originally, are settled also in neighbouring territories like
Burma, Bangladesh, Assam and Tripura.
Manipur has both the aspects of aesthetics and ethical culture. Aesthetical side contains
literature, mysticism, music and dance which are acclaimed widely. Meiteis generally belongs
to Mongolian race covering the entire South East and Far East Asia. Manipuri language can be
attributed to Tibeto-Burman language group and a major section of the racial group came from
South-West China. However the valley was invaded several times by neighbouring countries
Burma and Thailand and exposed to various distant cultures. (Leisram Rena 2009:P.3) An
another theory establishing a link between Manipur and the neighbouring Kingdoms then,
P.Gogoi quoted that W.Shaw mentions, in the year 707 A.D, the King of Thailand defeated the

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king of Manipur, ‘Naothingkong’ and thereafter Manipur is believed to have been ruled by the
Thais for 10 years. ‘Vaisnavism’ and Hindu Brahmins started to cross the verge of Manipur
since 15th century from the time of King Kayamba 1597-1652 A.D and got absorbed with the
Meitei population. ‘Laisram 2009: p.9 confirms this fact where he suggests from the time of
‘Kayamba’ a regular inflow of Brahmins started and along with it inter marriage with local
women, allotting clan names and finally finding a place in the local population’. First Meitei
King who was initiated to Hindu religion was Charairongba who started to rule since 1697.
Therefore Meitei race has attributes of both Aryan and mongoloid race. Hence Manipuri culture
incorporated with many diverse cultures has successfully made a unique amalgamation out of
it’. (Joshi 2002)
Procession of Lai-Haraoba
Lai-Haraoba, major festival of Manipur is a set of activities which persists a plethora
of symbolism and mysticism. The core rituals of festival are observed by Meitei community in
the form of traditional dance and Performances by ‘Maibis’ (female priestess) of Manipur. The
exact origin of Lai Haraoba festival is been arguable, though a similar custom prevails in
Thailand since pre-medieval era where the outfits donned by the Thai priestess are similar to
Maibis of Manipur. The costume adorned by Thai priestesses is termed ‘Sharon’, and the same
term used in Manipur to describe the festive outfit of the Maibis. Lai Haraoba festival
generally celebrated between the month of May and June every year. Some particular forms of
lai-Haraoba rituals are called MoirangHaraoba, KakchingHaraoba, AndroHaraoba,
FayengHaraoba and KanglaiHaraoba. MoirangHaraoba has a stipulated date of
commencement which is observed in 3rd day of Vaishaka month, falls in April or May of every
year. Nevertheless all the segments of the ritual are dictated through divine prophecies of
‘Maibis’ only, when possessed by the deities to be worshipped.
Whole ritual is celebrated in various stages which start in the morning when Maibi
accompanied by a group of people proceeds to a nearby lake or pond. Here the concerned deity
is induced through various gestures and mystic syllables orated by Maibi. This phase is called
‘Yakoirol’. In the next step called Leirei-yu-Khangba Maibi offers intoxicating liquor as
oblation to the deity, here Leirei means a shore of a water body, Yu means Liquor and Khangba
means to offer. Then a mixture made up of raw rice and fruits wrapped in a banana leaf offered
to the deity as feast. The whole package is tied by a rope made of Bamboo. Later Maibi offers
lean coins made of gold and silver to the deity, this phase is called KojaiKhonba. Further step
of the performance is KabokNachelTaret in which Maibi offers roasted grains and yam (mix of
broken rice) made from fresh harvest of rice called ‘Kabok’ in Manipuri. Some particular
leaves of a native plants termed as ‘Haibi’ Along with Eel fish are also offered to the deity
which is called Ngaprumtanba.

Maibi, after pleasing the deity through several offerings carries a vessel which is
believed to incarnate the deity to the site of actual ritual. Remarkably Maibi moves performing
a particular direction and conceptually following a geometrical diagram similar to ‘Yantra’
accompanied by several people those who participate in the ritual. Occasionally the movement

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of Maibi resembles a snake like form which is defined as ‘Paphal’ in Meitei mythology. In next
movement Maibi with covering her face in a white robe tinkles and brass bell slowly enters into
a trance like condition and being in height of trance performance, Maibi prophesizes upcoming
events those are crucial to the particular region where Lai Haraoba is observed.
Symbolism in lai haraoba rituals
The concerned deity of Lai Haraoba festival is not worshipped in anthropomorphic
form rather it is worshipped in the form of certain biomorphic objects like Masks, Headgear
and feathers specific to the deity. Both Male and female deities are personified in the form of
Golden Masks. The male deity is adorned with a turban or a form of phallus, similarly the
Female goddess is personified as a golden mask adorned with Feathers and disc like ribbon.
After the ritual of prophesising, in upcoming events Maibis including participants relish the
feast from the oblation dedicated to the deity following up the dance performances till evening.
Maibies dance is vital element of the ritual, performed only on the tunes of a particular musical
instrument ‘Penna’ (long blowing instrument made up of bamboo and brass). Maibis
continually sing and dance collaboratively and through these dance performances the future
forecasts are disseminated to the natives, this significant stage is named as ‘Ishei’. These songs
every so often celebrate divine eroticism as appraisal of fertility. In whole dancing performance
Maibis seen in eccentric behaviour as if possessed by the worshipped deity and in such
moments of dance Maibis often loses their sense and collapses. Sometimes during the dance
she chooses arbitrarily someone from the crowd to pronounce prophecies. At the end of the Lai
Haraoba ritual, Maibis are supposed to perform the act of sending back the deities to their
abode. This concluding act is called MikonThagonba.
Reflection of Tantra ideology on cultural history of Manipur
The term Tantra encompasses a huge spectrum of various disciplines including
Religion, philosophy, astrology, meditational practices, social constructions and Art and culture
as well. In the study, word Tantra will be contextualised as a cultural and philosophical
undercurrent in Lai Haraoba festival of Manipur. Tantra belongs to Vedic and Sanskrit a
tradition that literally means process or something to spread or proliferate. (Bhattacarya, 1982)
Tantra can also be described as a system or way to comprehend the enigma of life and nature.
Ancient religious texts suggest that the word Tantra has not been considered as religious entity
only. Vedic text ‘Strota-Sutras’ defines the term Tantra in the sense that a work (procedure)
contains many facets and a particular act affects the purpose of many other acts. The later
interpretation is confirmed in the ‘Mimamsa’ tradition of Sanskrit philosophy, according to
which Tantra is an act- process; a method of doing or to create something. (Bhattacarya N.N
1982) Mentioning the Term Tantra in Sanskrit grammar text ‘Mahabhasya’, it signifies a
branch of knowledge while the writers of the sciences of polity and medicine used the word
‘Tantraniyukti’ to mean Canons, propositions, principles and expositions. According to
religious treatises origin of Tantra has been a matter of argument. Some scholars claim
Tantra’s origin to be vedic while some claim it to be a non Aryan. ‘Shakti’ cult and ‘Saiva’ cult
of Hindu doctrine is considered to be the origin of Tantric rituals and philosophy (Mishra T.N
1997). Atharva-Veda mentions many rites and rituals that have a close resemblance to Tantric
rituals. The Tantric practices have spread over almost all countries in Asia and South East Asia
since middle Ages. (Mishra T.N 1997)
There are some references which indicate that Meitei people have Shaivaite influences
since ancient times. Sanajaoba N 2009: p386 mentioned ‘the emergence of Tantric Buddhism
was concurrent with the development of Shaivism, Shaktism and Tantrism in Eastern India. In
an assumption of Pandit raj ‘Atombapu Sharma’, ‘Meitei people were Vratya Saivas before the
prehistoric times. The co-existence of Shaivism and Buddhism would be discernible in the

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Plastic Arts and stone statues of Manipur’. The evolution of Bodhisattva cult in Southeast Asia
viz. Java, Sumatra, Myanmar was reflected in Manipur Beliefs.
Buddhist Tantra is also considered to penetrate into Meitei religious and philosophical
sphere. There are some mystic elements of Buddhist Tantra such as Mantrayana, Vajrayana,
Kalachakrayana, and Sahajayana that are found considerably in Manipuri religious Practices.
This fact gets more insistence for Manipur have considerably Shaiva, Sakta and Vaisnava
admixture. Sanajaoba 2009: P.386 refers to it in a quote ‘Stress on Hath yoga, psychic or
supernatural power, belief in supernatural power, to walk on the waters of Loktak lake, to
become invisible, to fly through the air, to have divine communion etc. were common to the
Buddhist and Tantric practices. Such Practices were predominant in the 18th century 19th
century Manipur, perhaps more to show off their superiority to competing religions”.
Early Meitei records mentions a section of Chinese people from South west corner
settled at Manipur. It is expected that Meitei religion henceforth might have endorsed some of
its religious principles, especially when we encounter the form of Meitei deity ‘Pakhangba’,
who is of utmost importance in Meitei pantheon of deities. (Sanajaoba N.2009: P.446)
mentioned ‘In Particular, the image or idol of the divine ‘Pakhangba’ for worship and
adoration in neither in any anthropomorphic form and figure nor in any statue, depicts the
abstract image of the dragonish python reportedly carved out in 1799 A.D according to the
royal chronicle the image of worship is presumed to have been patterned after drawing
inspirations of the ‘Sino-Tao’ dragon veneration cult as then prevailed in, originated from
South China’, according to Padmeshwar gogoi its Indian counterpart of Naga/Serpent adoration
cult near Prayag and Kashi (Uttar Pradesh) prevailed prior to the establishment of Mauryan
Empire probably inherited from the Harappan age and still in inclination in south India.
Study of Tantric and visual symbolism in ‘Lai Haraoba’ community Festival
Meitei cosmogony of creation is reflected in the whole episode of Lai-Haraoba rituals.
(Laisram2009: p. 244) confirms the fact where it has been discussed as ‘Another significant
meaning of Lai-Haraoba is that, it is a universal expression of Human life from birth to death.
According to concept, birth signified as ‘Lai-hou’ first day of Haraoba, the short span of
existence of earth represented by Lai-Haraoba and Lai-roi symbolizes the ultimate journey of
man from mundane world’ this whole philosophy of creation and cycle of birth nevertheless
relates it with the Vedic doctrine of Tantra.
Rituals of Manipuri society are focused on the concept of Ancestor worship, which is a
typical feature of most of the tribal societies. Significantly the festivals of Manipur are largely
community oriented and the deities venerated there, are the personal deities who looks after
their growth and well being according to the Manipuri theological system. Remarkably the
concept of ‘Ancestor worship’ has two aspects. Ancestor worship at one position means
worshipping deceased person of a community and on the other side ancestor worship means to
worship the sublime creator god. Inevitably a curiosity arise here, that which of the concept
facilitates Manipuri Community Rituals. Here some contradictions are prevailing as historians
cannot clearly refute any of the two possibilities; simultaneously both the conduits are
important and related to each other. The concept of community deities who has authority over
each and every aspect of an individual is typical of a Tribal theological system. But some
researcher claims that the Lai-Haraoba festival of Manipur might have an Aryan origin.
(Sanajaoba 91: p.257) mentions ‘The Lai-Haraoba festival of Manipur represents what is finest
and best of the ancient Manipuri culture. And to understand it properly one has to study the
major character played by the Manipuri ‘Maibi’, who constitute the chosen few, embrace
celibacy and remain spiritually dedicated to Lord Shiva’.

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According to popular beliefs it is considered that Lai Haraoba is dedicated to lord

‘Shiva’ a primarily praised deity of Hinduism. Even the high priests ‘Maiba’ and ‘Maibis’ are
said to be ‘Shaivaite’ (follower of the worshipping cult of Shiva). This opens a threshold to
analyse the links towards ancient Tantra influences on the culture of Manipur. For instance in
a noticeable performance of Lai-haraoba, a visual presentation of ‘Pakhangba’ (primary deity)
venerated with Tantric Icons of ‘Najas’, ‘Kundalini’ and mandala forms similar to significant
Shakta cult of Kamakhya devi temple of kamrup worshiped as a mother goddess of fertility.
History suggests this land during ancient times mingled with the Shaivism of the south
and the tantric cults of the east freely, which emerged a new tradition, a new faith in
conformity with the intellect of people. The Maibis plays the major fraction in the ritual where it
is believed that she acts as a mediator through which God delivers prophecies regarding the
particular community. The ritual contains several occasions of dance, music which although
purely have a religious purpose creates opts to become a performance art in its own glory.
The importance of Lai Haraoba compare to other festivals of Manipur lies in the fact
that Lai Haraoba is the possible progenitor of Meitei Dance form and other art and craft
tradition. Among all the festivals celebrated at Manipur Lai Haraoba is the one whose role in
shaping Meitei culture plays the most important part. A noticeable aspect of Lai Haraoba
festival is, the deities venerated here are incarnated in both abstract and biomorphic forms that
relates it with forms of ‘linga’ (Phallus) and other fertility symbols of ‘prakriti’ (mother nature)
and ‘Purusha’ (Father) assumed as Lord Shiva and her counterpart ‘Shakti’. They incarnated
with the use of Brass or wooden Masks as a symbol of their deity, although they believe their
god to be formless and boundless, so a duality of belief in a religious system is remarkable. It is
somehow relatable to the Advaitavad and Dwaitawad of Hindu philosophy where Advaitawad
articulate of nonexistence of any personal form of God and simultaneously Dwaitawad discuss
the personification of the God. (Laisram 2009)
Conclusion
Lai haraoba is a Festival where multi- cultural aspects can be noticed which makes this
ancient Festival a sophisticated event, where at one part games of wrestling, polo plays are
integral part of the fair and on the other hand through dance performances by ‘Maibis’ (High
Priestesses) and the coordination of ‘Pung’ (Manipuri musical instrument similar to Drums)
Players simultaneously creates a unique ambience.
It is such an event that binds together the community as a whole, rising above from the
personal motives. Lai Haraoba festival also plays a major role in preserving the ancient
traditional values of Meitei society where prime importance is given to the Founders and
makers of community. The concept of Ancestor worship endorses the ideal of honouring their
roots. Despite of the annihilation of their culture by the then King GaribNiwaz by his merciless
order to burn Sacred Manipuri scriptures at a place called Kangla during 18th century; it didn’t
succeed to abolish their genuine respect of their culture. Therefore Lai Haraoba can be
considered as a prototype of a hybrid yet a unique culture of its own that clearly represents the
significant pattern of visual communication and amalgamation of public events and relates it
with ancient Vedic and tantric inclinations. Traditional symbolism, iconography and visual
communication of the festival is bridging up the gaps of the local artisans and the indigenous
society and providing a platform to the budding artists.
Glossary
Vratya Saivas – A sect of Hindu religious group of Saivate group(followers of Hindu god
Shiva) who lives a wanderer nomadic life .
Saivate – One belongs to the religious group who worships Hindu god Shiva.

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Advaitavad – A Hindu Philosophical principle which holds god as a non-personal entity e.g.
Vedanta philosophy
Dwaitavad- Hindu Philosophical Set of principles considering god as a personal being
Maibi – High priestess of Manipuri religious culture
Sakta – Hindu religious group, worships mother goddesss Shakti of Hindu pantheon who is
believed to be the creator of universe.
Vaisnava- A Hindu religious sect worships Hindu God Vishnu.
Meitei –Term Used to denote Inhabitants of Manipur
Mimamsa – One of the vital eight text (Astika) school of Hinduism.
Mahabhasya- significant text on Sanskrit Grammar

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