This play is a translation of a play performed by artists of Roop Raag at Rupmahal Theater on February 20, 1966. In Crimson Rainclouds, a Manipuri play from the 1960s, an artist determined to uphold his freedom is torn between his two loves, both only too gentle in their demands, and yet deeply caring. A sensitive man, he chooses art, knowing full well that he lets them down. While Indu would like him to change his lifestyle just a little bit, for recognition and comfort, Keinatombi would be happy to give him the little care and comfort that she thinks he needs for his art. For the time being at least, Gautam would go with her. The play draws on the playwright’s interactions with Ramkinkar Baij (1906-80), the eminent sculptor, with whom she studied in Santiniketan, and who has left behind a whole suite of sculptures and paintings of Binodini. The English translation of the play appears for the first time, followed by the original, now out of print, in both the Bangla and Meitei Mayek scripts; along with stills from two productions of the play and a couple of paintings of Binodini by Ramkinkar Baij, and a self-portrait by …

This Manipuri Learning Module is a group of interlinked language, linguistics, literature and AV components based on Asangba Nongjabi, a modern Manipuri play by M. K. Binodini Devi. It is designed to be a learning tool for English-speaking, non-Manipuri scholars and students to learn Manipuri, while gaining insight into Manipuri culture and society with a classic of modern Manipuri literature. It is an initiative of Imasi: The Maharaj Kumari Binodini Devi Foundation of Manipur.

The House of Narasingh Genealogy Tree is a component of The Jalakeli Project, a web-based, women’s oral histories initiative in Manipur, India. As only women of the House of Narasingh are admitted into the two choirs of the Shree Shree Govinda Jiu Jalakeli Pala, the House of Narasingh Genealogy Tree is designed to help the Pala members keep track of familial relations in the lineage of the king. It seeks to preserve their oral genealogical information as data.

Primer for Meitei Mayek for teaching in Kindergarten and Class 1, Board of Secondary Education, Manipur. By L. Basanta Kumar Meitei, Prime Publication.

Translations of Tagore songs by MK Binodini Devi, Maibam Haricharan, RK Surendrajit, and Ayekpam Shyamsundar Singh, performed by Roop Raag. Binodini translated 28 of these songs written and composed by Rabindranath Tagore from the original Bangla.

Recording of Binodini's Asangba Nogjabi.

Audio recording of a performance of the play.

Book of Christian hymns in Lamkang.

Recording of Irfan Jan reciting "Burushaski Saqafat," or a poem on Burushaski. The poem is recited in the Yasin dialect of Burushaski.

Recording of Bulbul-e-Yasin reciting "Poetry Lesson for the Younger Generation," in the Yasin dialect of Burushaski.

Recording of Farman Khan and a Group reciting "Bor Bor," a popular folk song in the Yasin dialect of Burushaski.

Recording of Farman Khan and a group singing the traditional song "Hashki," in the Yasin dialect of Burushaski.

This translator's note is for the translation of Biodini's Asangba Nongjabi (Crimson Rainclouds).

Biography of M. K. Binodini Devi.

Transcript of Samik Bandyopadhyaya's Lecture on Indian Regional Cinema and Binodini at the 1st M. K. Binodini Devi Memorial Lecture in Imphal, Manipur, India.

Brochure on M.K. Binodini Devi and her place in modern Manipuri culture from the program booklet of the M. K. Binodini Memorial Lecture in Imphal, Manipur, India.

Transcript of speech on India's Feminist Writing and Binodini giving at the 2nd M. K. Binodini Devi Memorial Lecture in Imphal, Manipur, India on February 6, 2014

Photograph of Bungtit Suungnem from Charangching Khunkha playing the drum while the Laapuus are singing during the first death anniversary of late Behon Shilshi at Deering Khu village. Organized by the family and participated by the community members along with the Lamkang Language Education Committee and SIL for documentation of the folk songs, folktales and dances of the Lamkangs.

This version of the Asangba Nongjabi (Crimson Rainclouds) is in Manipuri using the Roman script.

An interview with Thoidingjam Lakshmipriya Devi and Huidrom Anuradha Devi. daughters of Maharaj Kumari Angousana Devi, of the Shree Shree Govinda Jiu Jalakeli Pala of Manipur. On getting their education, the establishment of Dhanamanjuri University in Manipur by their grandmother Maharani Dhanamanjuri Devi; their education and teachers at Tamphasana Girls High School founded by their aunt Maharaj Kumari Tamphasana Devi; and the founding of Tombisana Boys High School by their second aunt Maharaj Kumari Tombisana Devi.

Illustrated Lamkang-English dictionary for children with five sections: the natural world, water, animals, animal life cycles, and animal anatomy (external and internal).

Lamkang-language primer containing illustrated stories for young readers.

Booklet of compiled information about the clans of the Lamkang people, with tables of family trees for each clan, and naming conventions to represent information such as birth order and familial relationships, a list of "extraordinary persons," and other relevant information.

The Jalakeli of the Ningol Pala, the Choir of the Royal Daughters, comprises of 6 compositions. Their lyrics are published here in the order in which they are sung. They date to the 19th century royal court of Manipur; the sixth is from the first part of the 20th century. The first four lyrics are called padavali, songs of praise to Lord Krishna and his consort the Lady Radha. They were composed during the reign of Maharaja Narasingh (regent 1834-1844; r.1844-1850) but gathered in a collection during the reign of his nephew Maharaja Chandrakirti (1834-44; 1850-1886). The first lyric is attributed to Ghanashyamara Das, and the second to Basu Ghosh; the fourth is by Kabi Karnapur. All were Bhakti poets of Bengali origin. The lyricist of the third padavali is unknown. All four are in Bangla, the language of worship and ritual in Manipur of the time. The fifth and sixth lyrics are called rachna, a lyrical form response of appreciation upon listenging to the Jalakeli. The fifth lyric (and the first rachna) also in Bangla, is attributed to Maharaja Narasingh himself and is in Sanskrit. It is reputed to have been composed upon the funeral services of his guru, …