Imitation of the Imitated:
Popular Music and the Art of Rejection and Reflection

RONID CHINGANGBAM

Before I embark on the main theme of this paper on youth and popular culture, particularly music in Manipur, I would like to briefly address some issues related to what is art. There has been considerable debate on whether art is an imitation and a “mirror” that reflects “accurate duplication of reality” or art is what is being defined by the culture-specific authority of the art world.¹ I find both these contentions can help us develop further understandings to what we have been taught to believe “what is art” by the art world. For me, every art and art objects imitate and reflect life that fits into the notion of space and time. And it is this notion of space and time that also defines what is “imitation” and what is not “imitation.” It is with this understanding here that I propose to look at the development of western music as a popular youth culture in Manipur.

THE ADVENT OF POPULAR ROCK MUSIC CULTURE

Right at the outset, I must make it very clear that the idea of the popular culture I am referring to here is what has been popularly understood as the “rock band phenomena” of the post-1960s in Manipur. Whether the “rock band phenomena” under study here can be fitted into the idea of art or cultural movements in general needs further debate. This does not mean that there are no variegated popular art or music phenomena in Manipur of different genres that includes folk as well as “hindustani classical and popular music.”² Manipur which is home to various communities has many talented rock bands. The mushrooming of these rock bands during the decades of turmoil – particularly the 1970s and 1980s, however temporal they may be – has varied historical and sociological backdrops. The emergence of rock bands in Manipur goes back to the introduction of western music by Christian missionaries in the pre-and-post-colonial Manipur. The hills of Manipur were already a fertile ground for the growth of western music owing to the spread of Christianity. The youths in the hills, having learnt music through the church, adjusted themselves quite well to the ever expanding forms of western popular music culture. In the valley region, urban youth who were swayed by the Indian mainstream popular culture, particularly Hindi film music till the 1960s and the 1970s, were searching for a new medium to express themselves. They also began turning towards western music. In the valley, the early development was quite similiar to how the upper middle class children acquired the culture via the English medium education. Rock musicians and fans were associated with “anti-establishment” in the West; but in India, it was mainly the children of the “elite” who became “rockers or rock-fans” without being “anti-establishment.”³ In the 1980s, rock bands in Manipur were a force to reckon with. Not that they were anti-establishment, but they represented the big bands of the west by rendering near perfect covers. The band members had the “fret-board wizardry, soaring vocals, and a proficiency” that can match any other rock bands in the sub-continent.⁴

The speedy emergence and formations of rock bands in Manipur had their own problems. It was then just an imitation of the imitated. Most of the bands in this era reached the zenith of their popularity by playing covers of famous western rock bands. They imitated without much of creative innovation and consequently losing the essence and power of the form that has been so dynamic in the post-industrial West. Rock music as a popular culture in the West developed with a distinctive content/message as conveyed by the lyrics but also had the power of the form in its creative sound. There is much more to its form besides the power of guitar riffs or amplification of the sound. Rock music has also been a medium through which aspirations are projected representing contestations in politics, social issues, personal views, etc. Many have used rock music as the medium to protest and to resist and contest dominant views in the past and in contemporary times. In the United States, political music took roots in “traditional song and balladry, the category includes many other kinds of music from electoral songs of the 1730s to punk rock protests of the 1980s.”⁵

RELOOKING AT TRADITION OF CREATIVE SOUNDS

Blues artiste McKinley Morganfield, better known as Muddy Waters, sang “Blues had a baby and they named it rock and roll.”⁶ Here, the song served two purposes: first, the song is telling us how Rock “n” Roll evolved from blues. Second, it also shows how a song can be used to tell a story/history. In the United States, rock music has even preserved real or fictitious characters for decades if not centuries. Tom Joad is the protagonist of the John Steinbeck’s classic novel called The Grapes of Wrath (1939)⁷ which was later made into a movie. The story goes like this. Tom Joad came out of prison after serving four-year term for murder. When Tom arrived at his childhood home, he found his family members have deserted it. He subsequently joined them on their journey to the future in search of greener pastures. But he becomes a fugitive again as he commits a murder. He, however, vowed that no matter where he hides, he will stand up against any form of oppression.

The American folk and protest singer Woody Guthrie⁸ was inspired by this story and composed a ballad called “Tom Joad.” Bruce Springsteen too paid tribute to the protagonist of The Grapes of Wrath (1939) in his 1995 track “Ghost of Tom Joad.” Lately, “Rage Against the Machine (RATM)” joined the bandwagon but in their own unique style.⁹ Guthrie was the original protest singer whose conception of the power of the six-stringed instru-ment could be gauged from the words written on his guitar: “This machine kills fascists.” The symbolic conversion of the wooden hollow guitar into a machine speaks volumes. He resisted fascists and exploiters with his words and music using the same machine. He paved the way for the rise of other politically conscious icons like Pete Seeger, Bob Dylan and Bruce Springsteen. We would not have heard “Knocking on Heaven’s Door” if Guthrie had not inspired the young Dylan into embarking on a journey of protest and poetry. Every young man in the 1990s was humming the version by Guns “N” Roses (GNR). The idea of relooking at the tradition of creative innovation and imitation in the history of popular protest music is to emphasize that all these individuals and bands exactly knew the power of the medium called popular music.

DECAYING DECADES: WHERE ARE THE ROCKERS?

Rock music came to Manipur over three decades ago. And for any keen observer of popular culture, the “three decade tag” is good enough time for rock musicians in the state to evolve, create and of course “imitate” at least the idea of music that can be called their own. Have the rock bands made sense of their imitation of western rock music which is also the imitation or the mirror reflection of the post industrial western societies? Rock musicians and fans talk so much about the trends and genres and, more often than not, are overwhelmed by the nostalgia of the past. It has become an inevitable habit for all to recall the days when Manipuri rock pioneers led from the front.¹⁰ They made tremendous efforts to reach this stage and taught one and all to not only enjoy the medium but spread the significance of the medium. Perhaps, it is due to their fervent efforts, many in Manipur have been informed about what Rock music is all about and how it fits into the notion of space and time. Many former rock musicians, die-hard fans and well-informed critics in and from Manipur often say or claim that rock music in Manipur cannot survive because of the lack of financial support or mass audience. But the popularity of rock music in Manipur was not due to commercial success or the existence of a marketable mass audience. It was the performers’ sheer adaptability to new forms and genres supported by the curiosity about a new medium that could and can communicate youth angst.

Moreover, elsewhere in the Northeast, the view that rock music cannot survive because of non-commercial viability has been proven wrong by real stories one gets to hear. Lou Majaw of Shillong’s Great Society¹¹ fame still does not own a place that can be called home. He travelled from Kolkota to Kathmandu in the late 1960s and early 1970s in search of his dream, slinging an acoustic guitar on his back and just with one meal a day. He found the answer without a home. Music gave him shelter. Finally, Majaw discovered his deep rooted sense of belonging to Shillong, all too apparent in all his lyrics beginning with the Great Society’s first album Breakthrough.¹² The foundation he laid was so strong that it helped sprout many young talents rooted in the reality that was/is Meghalaya. And the multiplying effect was wonderful. Now, one can see, hear and watch countless bands in the state. Of all these, one great band that has captured the hearts and ears of rock and blues is Soulmate.¹³ The existence of fully matured bands playing well textured compositions in the Northeast is no longer a new phenomenon now. But the rock bands in Manipur seem to running on a haphazard route insofar as reflecting their immediate social and political reality is concerned.

There are rock bands with amazing talents setting the stage on fire with their magical fingers. Some have the gutsy inimitable voice, while others are just happy performing covers. The craft most of them are into reminds one of a peculiar situation in the Northeast. Whenever a rock band hits the stage for the ultimate performance on stage or is given a chance to scream against the vastness of the night sky, against the maddening crowd, they have only imitated their counterparts in California or Detroit City, thus rendering the acts as imitation of the imitated. Most have missed the chance to be their own Self in the region where one cannot roam free without being harassed by the armed security forces. Had they been so sensitive, would they be not singing something lyrically closer home?

AMPLIFYING THE SOUND AND SOULS

Between the closing decade of the 20th century and now, some rock bands in Manipur have transformed themselves from being “cover bands” to bands churning out original compositions. The transformation was not primarily brought about by the rock bands’ search for a wider language market only. Most of these compositions display a drastic change in the contours of the content too. Apart from switching on to Manipuri language lyrics, these bands have amplified not only their feelings and sensibilities but also their audience. This development has had a profound impact on both the form and the content of rock music. The lyrical content and performance forms of some bands in recent times make this amply clear by mimicking the cacophony of noise produced by scary gunshots that flow from the barrel of those who wield the guns.

Take the band, the Eastern Dark. The Band was formed in the year 1996 with the same name. In 1997, their debut album The Monkey Lies was banned due to “objectionable nature of their lyrics and music.” Their second album, Kangdrum – The Monkey Truth was produced after much consultations, arguments and compromise. It became a roaring success. In Manipur, the arrival of this band amidst the dominance of Manipuri popular music culture, akin to “Bollywood,” signals a new dawn in creating a new rock music sound by another popular maverick called Tapta. The Eastern Dark as a band sure knows that they “found it uneasy to adapt themselves to the Manipuri medium for their performances. Having overcome those initial hurdles, they now feel completely at home with the Meiteilon language rock.”¹⁴ The form and content of this band’s musical product has lit the flames of social and political consciousness. Their latest album in Manipuri evokes Meitei folk imageries and effectively ultilize them for communicating contemporary turmoil. Every song in the album Kanjei tells you the position of the people in the current socio-political reality by effectively using archaic Meiteilon language. Some songs that need analysis beyond the sounds are “Lamta Thangja,”¹⁵ wherein the Meitei ritual of Saroi-Ngaroi is re-performed to remind that people of the orgies of mindlessly violence, conflict and corruption that they have indulged in. Other songs have a very strong folklore foundation in understanding issues of Manipur while recalling historical events like that of “Seven Years Devastation” during the Burmese invasion between 1819 and 1825 and narrate how much Manipur has suffered since then. Eastern Dark, with their unique sounds, is making a statement that Manipuri or Meiteilon rock is finally coming of age. Having gone through inumerable hardships, literally and musically, their approach to music is known for creative and varied vocal rendition styles touching upon even folk genre like Moirang Parba or Khongjom Parba. They are comfortable handling socio-political issues musically.

Another force to reckon with is Tapta. Tapta too with his powerful lyrics and spontaneous poems have set a trend in the “imitation of the imitated” popular culture by making social and political comment considered beyond the rich of a popular culture steeped in “status quoist” agenda. Despite the “confused forms,” Tapta takes the best out of available resources and makes the “weakness” his “strength.” He is not scared of experimenting and creating his own sound to prove a point – be it social, political or cultural. His music, call it rock or pop, with his trademark unorthodox lyrics can be classified as a new genre. Tapta is one of the first to break the traditions and conventions in the popular music culture of Manipur. Tapta’s music epitomizes modernity with a traditional core. He uses folk tales, folk songs blended with Rock “n” Roll expressing a barrier-free spirit.¹⁶ And over the hills, there is the Tangkhul folk and blues exponent Rewben Mashangva who had composed a number of politically and socially sensitive songs like “My Land and People” and “Naga Folk Blues.”¹⁷

ATTEMPT AT SELF DISCOVERY: POEMS AS LYRICAL INSPIRATION

The emergence of rock, folk or blues band firmly rooted in the reality that is Manipur can be attributed to the gradual discovery of a corpus of rich traditions in the state. The trends set by bands like Eastern Dark are not as widespread as any reflective individuals would have imagined despite their popularity. Many more bands that have talents are yet to re-discover the rich traditions of abundant folklore and literature that Manipur has. Most of these folk and literary traditions have immense capacity to “inspire” new trends in popular youth culture. If a popular heavy metal band of the west like Iron Maiden can be inspired by Coleridge’s “The Rime of the Ancient Mariner” and also composed a song by the same name, rock bands in Manipur can start discovering elements across tradition and genres that have enriched protest and resistance. But the fact of the matter is that most young generation who have been exposed to the so-called western popular culture, particularly rock music, are either not interested or do not bother to look up for inspiration into elements like poems by radical Manipuri poets.

Amusingly, many youths in the United States of America in the 1950s were dogged with a similar kind of anxiety that contemporary youth in Manipur face. They had to find a way to resist and retaliate, seeking solutions or dealing with all the anxieties that gripped them. A group of daring young American writers/poets emerged. This group introduced a new culture called the Beat Generation.¹⁸ The rejection of the prevailing academic attitude to poetry was one of their first engagements. They felt poetry should be brought to the people. The poetry they had in mind was focussed on rejection of prevailing American middle-class values, the purposelessness of modern society and the need for withdrawal and protest. Whatever the beat writers/poets wrote, they read it out often to the accompaniment of Jazz. Eventually, hippies and anti-war movement followed the Beat Movement and subsequent concerns with environmental issues in the later part of the last century. Beat Generation artistic movement in America could be seen as a kind of liberation in the realm of spirit, gender and race. The same movement also raised concerns about text censorship. The Beat Generation poets and writers also impacted on the spread of ecological consciousness, emphasized early on by Gary Snyder and Michael McClure and their understanding of the idea of a “Fresh Planet.”¹⁹ The works of these radicals also infused respect for land and indigenous peoples and dislike for all forms of militarization and regimentation. The foremost impact of the Beat Generation, I think, was felt in the popular music scenario of the times. And the effect is not over yet. The radical band Rage Against the Machine (RATM) too recited and performed Allen Ginsberg’s poetry “Hadda been playing on the jukebox.” And Manipur can boast of many poets of prominence like Thangjam Ibopishak, Sri Biren, Yumlembam Ibomcha whom any aspiring rock bands can look up to if they choose not to write their own lyrics.

BACK TO REFLECTING REALITIES

The idea of dwelling on the American experience at some length is to understand the development of popular music culture in its proper context. No such broad-based protest culture has informed popular youth culture in Manipur. On the contrary, blind imitation has numbed the political and social sensibilities of the contemporary generations. The advent of insurgency and the counter measures to suppress it have led to a state of chaos. Swayed by the “independentist” ideology, Manipur has seen its bright young people heading for the jungles, while others just swam along with the tides of corruption and drug-abuse. Those who dared to pick up guns eventually perished, killed either by the security forces or by their own ranks. But many more of these youngsters tragically ended up being Human Immunodeficiency Virus (HIV) positives as a result of sharing of injection syringes. Everyone knew what was happening but none bothered to question.

What has popular music got to do with all these? Everything. For, this is the core of our contemporary social and cultural ethos. Rock or any other form of cultural expression has to emerge from the engagement with this reality. As proven by some of the rock bands in Manipur, the futuristic foundation lies in dealing with themes like degeneration of indigenous culture and way of life, oppression of the downtrodden, political depravity, etc. The use of language by rock bands had always been to attract the attention of the masses. There needs to be more bands which are significant not merely for their musical value but also the content. This shows how forms of cultural resistance can be effectively used to counter oppressive laws, thus making sense of our ideas of imitation as art and the art of reflection.