in the left. The spear is made of bamboo, approximately 5 feet or more in
length, with a blade attached on both sides. The spears used in present
times are decorated with colored thread. The chungoi measures about 3
feet in length and 1 1/2 feet in breadth. It is usually black in color, with a
motif painted on top.
Today, the spear dance is a popular solo performance piece for the ex-
pert martial artist, and Ta-khousarol techniques are used widely by drama
directors and dance choreographers in Manipur.
Thanghairol encompasses two kinds of swordplay: Leiteng-thang
(decorative swordplay) and Yanna-thang(combat swordplay). The expert
swordsman carries a chungoi (shield) and three swords, namely, a yet-
thang (right-hand sword), an oi-thang(left-hand sword), and a tendon-
thang(additional sword); this last is kept at the back and used like an ar-
row in an emergency. In Leiteng-thang, the swordsman moves either two
swords or one sword and the shield gracefully in a show of valor and vir-
tuosity. A typical technique involves twirling two swords around the
swordsman’s body so that they trace the path of a figure eight without ever
touching one other. In Yanna-thang the swordsman learns to master the
various units of Thanglon(language of the sword), which include blade-
work and the accompanying footwork, so that the swordsman can defend
against all modes of attack and counterattack. The thang is about 2 feet
long, straight or slightly curved, with a handle made of brass and wood. In
contemporary Manipur, Thanghairol is taught in martial arts academies
and also seen frequently in theatrical productions.
Sarit-sarat consists of a series of techniques that must be mastered by
every student. The training begins with different types of somersaults and
various methods for rolling on the floor and later continues to include
strategies of offense and defense without the use of weapons. This tradition
focuses on using movements such as punching and kicking in strategic
ways in order to deal with sudden attacks of any kind. It also includes un-
armed fighting techniques for fighting an armed opponent. In stage per-
formances of thang-ta, a popular theatrical piece is one showing a woman
who defends herself against a male attacker by using the self-defense tech-
niques of Sarit-sarat.
Thengkourol involves ritualistic movements that must be executed in
sequence on the symbolic diagram of the paphal(coiled snake). The mar-
tial artist’s movements form patterns by connecting the points of the dia-
gram with the feet. Rather than being a system of techniques used for di-
rect combat with another human being or an animal, Thengkourol
functions as a magical practice in which the prayer along with the mode of
action performed brings about the desired effect on the enemy or the king-
dom. The knowledge of Thengkourol is highly valued by the community,
640 Thang-Ta