Wanghkhem Lokendrajit Singh has been a flag bearer of Nata-Sankirtana, one of the pillars of Manipuri dance. A dedicated guru, he is an exemplary choreographer too. In a meeting with the writer at Sangeet Natak Akademi’s Sanrachna Festival in Imphal, the tireless artist expresses his love for the dance form, his concerns and why he loves to teach and guide.
What do you find most exciting — performing, teaching or choreography? I am chiefly interested in choreography because it is inclusive of both performing as well as teaching. When I choreograph I have the opportunity of training artists who are in my team. It is immaterial whether I am the protagonist of the piece or I am merely in a minor role. I am duty-bound for the success of my choreographic work and that is what makes me click in all the three areas — choreographing, performing and teaching.
What are your most significant productions?
First and foremost I am deeply interested in the movements of Nata Sankirtana, which I have used in my production “Moirang Shaa”. Nata Sankirtana has pure and unadulterated classical movements, which is why “Moirang Sha” is my all-time favourite. “Wainu Pareng” is yet another of my production, which is close to my heart because in this, contemporary movements have been created from martial art movements and classical movements of Manipur. Classical solos that I have composed are some of my pet works.
Historical, mythological, social theme or environmental — which is your favourite subject?
Dance-dramas that have the underlying theme of environment are good subjects to work on. However a choreographer has to have the knowledge of history and mythology too and has to work on social themes for the betterment of our society. These topics are an integral part of a choreographer’s training.
How do you guide the upcoming choreographers of your team?
As a mentor I am most interested in nurturing the talent of those who are dependent on me. Some of my memorable productions have been made by the members of my team. To cite a few examples — N. Amusana Devi’s “Bidai Abhisap” based on the work of Rabindranath Tagore’s poem with the same title, has won many an accolade from all quarters; Th. Ibemubi Devi choreographed “Leima Namun Khambi”; S. Noyomsakhi Devi led the choreographic work in “Ahankar Binas”; Guru S. Thanil Singh’s “Phoola Judha”, Guru Ksh. Thouranishabi Devi’s “Radhi Shati” are a few I wish to mention.
I have also tutored those that are not in my team like upcoming choreographers of institutions such as P.A.C. Khurai, P.A.L. Lambui Khongnangkhong, TAPASYA Singjamei and many other tribal groups of Manipur.
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Who is your inspiration?
I got the basic idea of dance drama from Guru late R.K. Priyogopalsana, the founder Choreographer of JNMDA during my study in JNMDA from 1971-72. I have got the full knowledge of choreography from late Maya Rao. I got a scholarship from the Manipur State Kala Akademi for training in choreography at the Natya Institute of Kathak and Choreography, New Delhi under the Directorship of Maya Rao from 1978 to 1981. Maya Rao visited JNMDA to conduct a choreography workshop for one month in 1976 from which I got ideas and inspiration to study choreography as a subject. The mentioned choreography institution is the only one in India and it was established and situated in Bangalore.
As a performer, what kind of roles are you most comfortable with?
I am most comfortable with the role of Haoba from “Loktak Eshei”, and the role of Kadeng Thangjahauba of “Keibul Lamjao”. Wainu Kadamba of “Wainu Pareng” and the role of Moirang Shaa in “Moirang Shaa” are also two of my most favourite roles. I have enjoyed being Sukracharya of “Bidai AAbhisap”. However, I have special preference for roles that require great deal of energy and at the same time is very challenging.
Do you perceive a change in the mindset of Manipuri performers today?
Every performer has to have full knowledge of Pung Cholom and intricacies of Manipuri dance style to be a Manipuri dancer. They need to be trained in the professional way. Everybody wants to be a performer without going through the rigour. They want to perform Thougal Jagoi and Kabui dance, without the knowledge of time, space and energy, the meaning of movements, flexibility, synchronisation of rhythm and movements, movements and music. It is necessary to develop the techniques of training .They need to see works of other artistes. The mind should be open. JNMDA is teaching Manipuri style, techniques and theory.
How do you see yourself 10 years from now?
Manipuri dance should be accessible to everyone. All Indian dances, culture and tradition have changed. The new generation is into Western culture and Bollywood style of dance. They are interested in fame and money rather than aspiring to be perfect. None of the present generation wants to attend and be a part of Lai-Haraoba festival in a local area. As for myself I would like to preserve my culture and dance style till the end of my life.
