How Manipur’s ancient martial art, Thang-Ta, is flourishing as part of state's school curriculum

Once teetering on the brink of extinction, the ancient Manipuri martial art of Thang-Ta, meaning “The Art of the Sword and Spear”, is witnessing a powerful resurgence, thanks to the unwavering dedication of cultural custodians and educational reformers. What was once considered a dying art is now being actively pursued by thousands of school students across Manipur elevated from a neglected tradition to a respected academic and co-curricular discipline.

At the heart of this cultural revival is the Kanglei Indigenous Martial Arts and Cultural Society (KIMACS)—a grassroots organization instrumental in integrating Thang-Ta into the mainstream education system. According to Thangjam Suraj, Vice President of KIMACS, the effort to introduce Thang-Ta into schools began in 2003, soon after the formation of the society. “We believed that this art could transform not only bodies but also minds and morals. It was about discipline, identity, and empowerment,” he explained.

The turning point arrived in 2007, when the Department of Art and Culture, Government of Manipur, constituted the “Committee for the Formulation of Common Syllabus of Thang-Ta.” The panel included eminent Thang-Ta gurus, sports officials, and education department representatives, and was chaired by Padma Shri awardee N. Khelchandra Singh.

After years of preparation, Thang-Ta was officially introduced as an optional subject in Class IX in 2014, followed by its inclusion in the Class X board examinations in 2016. That year, 441 students from 18 schools chose Thang-Ta. Since then, interest has skyrocketed—with 23,937 students across 154 schools having studied Thang-Ta as an optional subject in Class X so far.

In the Class XII curriculum, Thang-Ta debuted in 2018 with 55 students. As of today, 2,475 students have completed Class XII with Thang-Ta as an academic subject. The course includes not only the physical techniques but also the philosophical, historical, and ethical foundations of the art.

Also known as "Huyen Langlon", Thang-Ta is more than combat training—it is a holistic way of life. “It is a native educational system that nurtures physical fitness, cultural pride, mental discipline, and spiritual development,” said Suraj.

One of the driving philosophies behind KIMACS’s campaign is the belief that Thang-Ta cultivates self-control, respect, and a sense of purpose among youth. “This art teaches dietary habits, ethical behaviour, and even mental resilience. Several schools have reported that students who were once unruly have transformed into disciplined learners through Thang-Ta,” Suraj noted.

Parents and teachers, too, have observed positive changes. “There’s a consistent pattern of improvement in behavior, attentiveness, and health in students participating in Thang-Ta classes,” Suraj added.

Before its inclusion in school curricula, Thang-Ta existed largely through over 100 martial arts institutions scattered across Manipur. However, most struggled due to limited funding, low enrolment, and a perception that Thang-Ta offered little by way of career opportunities.

“There was a time when very few took up Thang-Ta seriously,” said Suraj. “People didn’t see it as a sustainable path, either as a professional artist or in sports. But that mindset is changing. Thang-Ta is now a gateway to performance arts, sports tournaments, and even national platforms.”

Introducing Thang-Ta in schools was no easy feat. KIMACS embarked on a massive awareness and advocacy campaign, convincing school administrators, community leaders, and policymakers of its benefits. Today, many institutions have willingly embraced Thang-Ta, both as an optional subject and as a physical education component.

This resurgence of Thang-Ta marks more than just a return to roots—it signifies a model for cultural education that is both indigenous and progressive. By integrating traditional knowledge systems into formal education, Manipur is crafting a generation of youth who are physically fit, ethically grounded, and culturally aware.

Suraj remains optimistic about the future. “We hope that more states follow this model. Our ultimate dream is to see Thang-Ta and similar native art forms not only preserved but celebrated across the nation.”