By Sangram Datta
Amid the cultural diversity of Bangladesh shines a radiant gem—the Manipuri people. Through a blend of history, mythology, dance, music, and rituals, they have shaped a unique cultural world of their own. From the legends of the Mahabharata to the green rural landscapes of Sylhet, their heritage remains equally vibrant and distinctive today.
Mythical Origins of the Name-
According to the Mahabharata, in the northeastern valleys lived a dance-loving tribe called the Gandharvas. Arjuna, one of the Pandavas, married Princess Chitrangada here. This marked the beginning of the Vaishnavite Kshatriya tradition in Manipuri history.
Another legend tells that when Goddess Durga and Lord Shiva played their divine sport, the serpent king Ananta showered radiant gems. The land, illuminated by their brilliance, came to be known as Manipur—“the land of jewels.”
Three Ethnic Strands-
Today’s Manipuri people are broadly divided into three main groups:
Bishnupriya Manipuri: Descendants of Arjuna and Chitrangada, belonging to the Vaishnavite Kshatriya community.
Meitei Manipuri: Of Tibeto-Mongoloid origin, later initiated into Vaishnavism.
Pangan Manipuri: Born of Meitei mothers and Muslim fathers, they practice Islam while retaining their maternal language.
Migration and Settlement in Bangladesh-
Following the Manipuri–Myanmar war of 1819–1825, many Manipuris sought refuge in the Sylhet region. King Chourajit Singh and his brothers built palaces in Mirzajangal. Gradually, Manipuri settlements spread across Moulvibazar, Habiganj, Sunamganj, and Sylhet.
Even today, in these lush villages, the Manipuri community preserves its distinctive traditions of dance, music, weaving, and religious practices.
Language and Literature-
The Manipuris speak two distinct languages:
Bishnupriya Manipuri
Meitei Lon Manipuri
Both are recognized in the Indian Constitution. Ancient literary traces appear in 8th-century copper-plate inscriptions. Later, Vaishnava devotional poetry, Jayadeva’s Gita Govinda, and the influences of Rabindranath Tagore, Kazi Nazrul Islam, and Jibanananda Das enriched Manipuri verse.
Poet Khoiram Kamini Kumar wrote:
“I am indebted to Mother Bengal;
In the ocean of my consciousness forever flow
Rabindranath, Nazrul, Jibanananda…”
Dance: A Union of Faith and Aesthetics-
The heart of Manipuri culture lies in its dance traditions.
Ras Leela: Centered on Radha-Krishna’s divine love, performed in six forms—Kunja Ras, Gopa Ras, Maha Ras, Basanta Ras, Nritya Ras, and Beni Ras.
Lai Haraoba: A festival dance in honor of deities, entwined with the romantic legend of Khamba and Thoibi.
Khuba Kusei or Kartal Dance: Especially performed during Ratha Yatra.
Others: Pala Pung Cholom, Thang Ta, and the Seven Clan Dance.
Rabindranath Tagore, during his visit to Sylhet, was deeply moved by Manipuri dance and later introduced it to Santiniketan. Its influence is evident in his dance dramas Chitrangada and Chandalika.
Religious Practices and Beliefs-
Most Manipuris are Gaudiya Vaishnavas. Their social and religious ceremonies revolve around Krishna devotion.
Sharadiya Maha Ras Leela: The grandest festival of the Manipuris.
Sankirtan: Essential in weddings, funerals, and worship.
Shakta Influence: Even Durga Puja incorporates sankirtan.
The Pangan Manipuris, while practicing Islam, still preserve maternal traditions in language and attire.
Economy and Lifestyle-
Though largely agrarian, the Manipuris are renowned for their weaving. Nearly every household owns a loom. Women produce saris, shawls, scarves, and bags—for both personal use and commerce.
Both men and women contribute equally to labor. Begging is absent; self-reliance strengthens their social order.
Cultural Contribution in Bangladesh-
In 1976, the Manipuri Lalitkala Academy was established in Moulvibazar. Sylhet Radio continues to broadcast regular programs in Bishnupriya and Meitei languages.
Today, over 80 percent of Manipuris are literate. While they remain mostly middle-class economically, they are culturally very rich.
Conclusion-
The Manipuris are not merely an ethnic group; they are a living monument of Bangladesh’s cultural heritage. Their dance, music, literature, weaving, and rituals together create a colorful cultural canvas.
Their existence proves that culture is humanity’s truest identity, a bridge of unity, and the most powerful tool for preserving heritage.