Thang Ta

Found in Manipur, in northeast India, Thang Ta has managed to remain intact as a complete and discernible fighting style unlike other Indian arts. The techniques are largely unknown outside of its home region. Legend holds that the people of Manipur are descended from the serpent god Pakhangba, who also gifted to the inhabitants the art of Thang Ta. Following unification of the area in the fifteenth century a corpus of techniques was organized and recognized and the modern day art traces its roots to this time. Like other regions affected by the colonial aggression of European and American powers the art was forced into secrecy under British rule.

Thang Ta - Sword and Spear

The name literally means Sword - Spear and it is first and foremost a weapon art. The unarmed style imitates the movements of animals in forms, which are made up of punches, kicks and other simulated fighting techniques. The influence of animals on the art is further demonstrated when some masters instruct their students on how to combat wild beasts. More advanced practice reveals the battlefield origins of the art as the student becomes familiar with the dagger, spear, broadsword, bow and dart. Centuries ago weapons would have been studied as a priority, including usage from horseback. It was this latter area of study that led to the invention of the game polo by the warriors of Manipur. This game is played on horseback and was subsequently adopted by the occupying British forces before finding a competitive home in most of the world’s leading military nations. The proper name however is Huyen Lallong, or ‘Method of Safeguarding’, implying a less aggressive and warlike approach and message.

Training is not merely physical and offensive-minded. Internal and spiritual development are also stressed, with a leaning towards Tantric Buddhism (which holds that all of creation is a joyous expression of Divine Consciousness). Basic and advanced techniques are practiced through rituals that are handed down from master to student. Internally, the practitioner uses breathing exercises to control and manipulate his vital energy in a similar manner to yoga. As with yoga, the lower abdomen is recognized as being the seat of power. Spiritual awareness (here meaning an awareness that reality is an expression of Divine Consciousness) is achieved through prayer, meditation and rituals dedicated to different deities.

In combat the unarmed Thang Ta expert will seek to avoid strikes directed against him, allowing the momentum of his opponent to create an opening for a quick counter attack. This counter may take the form of a strike, but the practitioner may also choose to throw his enemy to the ground. Bear in mind that unlike other fighting arts where battlefield grappling was mostly necessary owing to the often-heavy armor worn by combatants, Indian fighting men did not possess the same level of technology and as such punches and kicks could be delivered even in the heat of battle (though we can assume that the distance between two combatants would have been closed very quickly, inevitably leading to the use of grappling movements).