Every year, on the 12th day of the Wakching month, the Meiteis celebrate the ‘Emoinu Eratpa’ festival, a sacred occasion to worship and honour Goddess Emoinu.
This article is a humble endeavour to explore the origins of Goddess Emoinu within the revered Meitei pantheon, tracing the history of the festival and examining the rituals associated with this sacred celebration.
Goddess Emoinu:
When Atiya Sidaba, the Supreme Creator God of the Universe in Meitei religion, concluded the creation of the sky and the planets, he ordered his wife, Leimarel Sidabi, to create another Leimarel. Consequently, another Leimarel, named Emoinu Ahongbi, was born from the left side of his body. Thus, Soibamcha Manglem in ‘Leeklam‘ writes:
‘Chingu khoiyum sidabagi oithangba samu hakchang tangkhai dagi lairemma lma puthokle. Lairemma Ima Gi Minglen bu Emoinu Ahongbi koloiy o mingthonkhiye.’
The Goddess Emoinu is also regarded as one of the manifestations of Goddess Leimarel Sidabi and is believed to reside in the phungga lairu. The phungga lairu is the traditional hearth or fireplace of a Meitei household. According to Ibungohal Singh, the term Phungga Lairu refers to the ‘fireplace in the centre of the main room of the house’, while K B Singh regards the term as meaning ‘Phungga, an important lai’. Both definitions are understandable, as the phungga lairu is used to refer to the hearth alone and is also worshipped.
Some people regard Goddess Emoinu as a personification of the phungga lairu. Historically, people worshipped the phungga lairu as Goddess Emoinu herself. Over time, however, the practice has evolved, and we now worship her through images and idols. Nevertheless, the phungga lairu is still kept in front of the image or idol during worship.
The Goddess Emoinu also finds her place in the popular story of the Nongkhong Koiba. According to this myth, Atiya Sidaba announced that the first brother to circuit the nongkhong (universe) would become the King of the earth. The first son, Kuptreng (Sanamahi), set out to circle the entire universe. Meanwhile, Sentreng (Pakhangba), the second son, circled his father’s throne seven times, following his mother’s advice.
Enraged, Kuptreng chased his younger brother, determined to fight him. Pakhangba ran and sought the help of the Lai Nura Taret (the seven goddesses), who surrounded him and prevented Sanamahi from entering and beating him. These seven goddesses, namely Hipokpi, Yaipokpi, Hireima, Yaireima, Hikubi, Yaikubi, and Yaisna, were, in fact, manifestations of Goddess Emoinu herself.
Furthermore, other goddesses, including Ngareima (goddess of fish), Phouoibi (goddess of agriculture), Lanleima (goddess of wealth), and Thumleima (goddess of salt), are also believed to be manifestations of Goddess Emoinu. This aspect of Goddess Emoinu’s mythology is explored in depth by Chungkham Supriya Devi in her work ‘Goddess Emoinu and her significance in the life of Meitei women’.
Origin of the festival:
The origin of this festival is found in the story ‘Washak Ngakpa’, written by late Shri Ningombam Angouton Meetei.
The story dates back to a time when four kings – Khuman Kwaakpa, Meitei King Thawan Thaba, Selloi Nongmai Ningthou, and Chingsanglakpa – ruled four independent kingdoms. Khuman Kwaakpa had a wife named Piyainu, who was a Meitei woman. Later, relations between the Khumans and Meiteis deteriorated, and they decided to sever all ties. In the process, Khuman Kwaakpa also divorced his wife Piyainu, unaware that she was already pregnant with their son.
Piyainu gave birth to a son named Chalaamba, who grew up without knowing his father.
Years later, on a fine day, Chalaamba went on to hunt deer as an offering to Yumjao Lairembi. He came across a deer, chased it, but it outran him and finally hid beneath Khuman Kwaakpa’s throne. The Khuman king advised him to return to Meitei land if he valued his life. However, Chalaamba was determined to take the deer back with him and instead challenged the Khuman King to a mukna fight.
The Khuman King was instantly defeated by Chalaamba and, impressed, asked who he was. Chalaamba revealed that he was Piyainu’s son and that he was unaware of his father’s identity. Hearing this, Khuman Kwaakpa immediately realized that Chalaamba was his son. Overjoyed at being reunited with his son after so many years, Khuman Kwaakpa gladly promised to grant Chalaamba any request.
Chalaamba replied that he would consult his mother and ask her what to request. When he returned, he asked Khuman Kwaakpa to promise him that he would grant any request. However, he was shocked to learn that Piyainu had requested Goddess Emoinu, who resided in the phungga lairu of the Khuman King’s palace. As he couldn’t retract his promise, Khuman Kwaakpa reluctantly complied.
In this way, Chalaamba carried Goddess Emoinu on his back and returned to the Meitei Kingdom. Confident that her son would bring the Goddess home, Piyainu lit lights along the way to welcome the Goddess of Fortune. And the day Goddess Emoinu arrived at Piyainu’s house is still celebrated as ‘Emoinu Eratpa’ to this day.
Goddess Emoinu’s Mystical Powers:
Goddess Emoinu’s mystical transformative powers were beautifully displayed during her journey from Khuman Kwaakpa’s palace to Piyainu’s humble abode. These remarkable events have been documented in various anecdotes.
The following brief anecdotes, sourced from the Meitei Puya Wari Leeba by Erengbam Sanakhomba Meitei, offer a glimpse into these extraordinary events.
After Khuman Kwaapa granted Chalaamba’s request, he carried the Goddess on his back. Along the way, Goddess Emoinu decided to test Chalaamba’s knowledge, taught by his mother Piyainu. She asked him to put her down so she could eat the meal she had brought. Chalaamba promptly recalled his mother’s advice: “Never put the Goddess down, for she has the power to transform into anything and vanish. If you do put her down and she disappears, search for any living entity nearby, and that will be her transformed form.”
Chalaamba refused to put the Goddess down, impressing her with his obedience to his mother’s teachings. However, Goddess Emoinu was not finished showcasing her powers. With her mystical abilities, she made herself feel incredibly heavy to Chalaamba, in order to prompt him to put her down.
Unable to bear the heavy weight, Chalaamba stumbled upon a stone and injured his foot. Moved by the sight of Chalaamba’s bleeding foot, Goddess Emoinu took pity on him. She asked him to put her down so she could tend to his wounds.
In that moment, Goddess Emoinu proclaimed, “May this place, where my grandson Chalaamba’s blood has fallen, be forever known as Ipokpat!”
They resumed their journey after this. Some time later, Goddess Emoinu asked Chalaamba to put her down so she could eat the meal she had mentioned earlier. Chalaamba set her down, not wanting her to go hungry.
After the meal, Goddess Emoinu requested that Chalaamba fetch water from a nearby stream. He happily obliged and went. But when he returned with the water, he was devastated to find the Goddess gone.
He searched around and eventually spotted a beautiful young maiden catching fish with a net. Chalaamba, smitten by her beauty, approached her. She asked for his help catching fish, and Chalaamba gladly assisted.
But the moment he touched her hand, she transformed into Goddess Emoinu. Chalaamba was left stunned and speechless by the Goddess’s sudden transformation.
After traveling a few miles, they crossed through Tera Pokpi. Goddess Emoinu asked Chalaamba to set her down once more, this time to offer prayers to the celestial gods. Chalaamba set her down, and within minutes, the Goddess vanished once more.
At that moment, Chalaamba remembered his mother’s words. He searched for any living being near the spot where the Goddess had disappeared. Eventually, he spotted a kakcheng kokchaobi climbing up and down a massive tree. Convinced that it was the Goddess, he attempted to capture it.
As soon as he touched the ant with a huge head, it transformed into Goddess Emoinu. In this way, the Goddess and Chalaamba finally reached Piyainu’s abode.
History of the festival:
The exact date of the festival’s origin remains unclear to this day. Chana Lukhoi suggests that the festival has been celebrated since the Meiteis began building houses and adopting a sedentary lifestyle. Given the importance of fire in cooking and sustenance, the goddess has been worshipped in the form of phungga lairu.
However, according to Indrakanta Ngangbam Singh’s article “Meiteis Celebrate Emoinu,” the worship of Emoinu began in the 5th century CE, initially limited to the royal family. Singh notes that it wasn’t until the 15th century that the general population also began to worship her.
According to Soibamcha Manglem’s section “Emoinu Imagi Lamchat” in the book “Leeklam,” the worship of Goddess Emoinu on the 12th day of the Wakching month originated during King Khagemba’s reign. This account is corroborated by Chungkham Supriya Devi’s work.
Chungkham Supriya Devi further states that King Khagemba’s son, Meidingu Khakta Khoinai, also known as Khunjaoba, followed in his father’s footsteps to maintain the popularity of the goddess. Notably, the name “Khunjaoba” itself signifies “one who brings wealth and prosperity,” reflecting the blessings that the state received as a result of his devotion to Goddess Emoinu.
Rituals of Emoinu Iratpa:
The rituals associated with Emoinu Iratpa have undergone changes over the years, but some traditions remain intact. On the day of the festival, homes are thoroughly cleaned, particularly the kitchen and the phungga lairu area, where the Goddess is worshipped.
In the past, the hearth was kept burning and it was considered inauspicious to extinguish the fire in the phungga lairu at dusk. Chungkham Supriya Devi suggests that there may be a scientific reason behind this practice, as smoke from the fire can repel mosquitoes and other insects. However, in modern Meitei homes, the phungga lairu is rarely found.
Traditionally, a hole was dug west of the phungga lairu, where an earthen pot was placed to store the Goddess’s dresses, including inna phee, phanek, khwaangchet, and other jewelry. However, with the advent of brick and cement houses, this practice has been modified. Today, people offer dresses and jewelry to the Goddess’s picture or idol, either by adorning the idol or placing the offerings on a banana leaf.
Another significant ritual associated with Emoinu Iratpa is the offering of two athenpot, one to Lainingthou Sanamahi and the other to Goddess Emoinu. The athenpot typically consists of seasonal vegetables, with homegrown produce being preferred. The athenpot are arranged in a lukmai, a bamboo tray, and sanctified using a bunch of herbs, including tairen and pungfai.
The athenpot offered to Goddess Emoinu differs from the one offered to Lainingthou Sanamahi, as it includes a fish, preferably white fish. The head woman of the household then offers rice to Goddess Emoinu, which is cooked along with the other offerings in the athenpot after the worship is completed.
Once the cooking is done, the cooked food is offered to the phungga lairu. The three ends of the tripod (yotshabi makhong ahum) represent the Mangang, Luwang, and Khuman clans. The cooked food is served at these three ends.
It is advised to maintain harmony and avoid arguments on this day, as discord is believed to anger Goddess Emoinu. Families pray for wealth, prosperity, and a joyful future.
Conclusion:
Emoinu Iratpa is a sacred festival deeply rooted in the state’s rich history and civilisation. Although its form has evolved over time, from worshipping the goddess as a personification of the phungga lairu to revering her through images and idols, the festival’s essence remains unchanged. As a testament to its enduring significance, Emoinu Iratpa will continue to thrive for generations to come.
References:
- The Religion of Manipur, Saroj Nalini Paratt (1980)
2. Emoinu Imagi Lamchat, Soibamcha Manglem (Leeklam,2009)
3. The Great Reconciliation Process: Revisiting the Classical Folklore on “Emoinu Chakhong Ngahongbi” by Late Shri Ningombam Angouton Meitei: Sanjib Meitei (E Pao article)
4. “Meiteis celebrate Emoinu” by Indrakanta Ngangbam Singh (2015)
5. Meitei Puya Wari Leeba by Irengbam Sanakhomba Meitei (courtesy of Doordarshan Manipur YouTube Channel)
6. Goddess Emoinu and her significance in the life of Meitei women, Chungkham Supriya Devi.
Daniel Yumkham | Film Critic and Researcher
Passionate about history and Manipuri culture, Daniel shares film reviews and research on:
-Manipuri Cinema (Instagram : thefilmdiary )
-Regional History and Traditions.