Delhi hosts indigenous Northeast fest

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The IGNCA is a research centre, but in the past year has brought its projects to the public. After the successful unveiling of the cultural and social Mahabharata in contemporary India it is currently presenting the Indigenous Theatre Festival of the North East (2-10 APRIL).
A national workshop on the subject ended on 7 April. In her learned concept note Prof. Molly Kaushal, head, Janapada Sampada Division, IGNCA, writing on the dialectics of change and continuity of arts in reference to the North East points out that the indigenous theatre forms are dying off due to the transformations in the value systems of the people themselves. “No doubt, cultural transformations in a way are essential for the younger generation to keep up with the global demands on cultural expressions for a universalistic character of the modern age. But the Asian nations are also aware of the need for re-orientation of these changes in consonance with affirmation of Asian values are part of the enterprise of change.” Though one gets the gist of it, perhaps “Asian values” is used in a wide term in the context.
When we mourn of the gradual disappearance of vital parts of the performing art forms like rituals, clown performances, fertility rites, games, folk skits that filled the indigenous theatre we are trying to hold back a changing tradition in several ways. We are denying the progress that science has made, we are denying the new modern forces particularly the global market where there is a demand for indigenous art. This demand may mean the commoditisation of art for tourist consumption. However, if this art has severed links with its roots, with the creative source, it will soon become derelict and dissipated. And this is where it will need to be reminded of its own originality ;this is partly what the goals of the IGNCA theatre festival and workshop are.
Of the five plays seen so far, the one which appeared most authentic was Chati Kango presented by Tal-Khamti Literature and Heritage Society of Arunachal Pradesh. There is a strong influence of Thailand in the costumes and a bit from Bali in style of gongs. One also noticed the Burmese-style headgear. The Buddhist priest was peaking in Sanskrit. This variegated influence on the people who it is said migrated from Thailand via Burma, notwithstanding the signature is Arunachal. Except for the dancers who wear typical Thai style headgear and shimmering dress and the priest, all the other actors walk with a jerky knee action. the actors sing out their dialogues in different tones but keep the same rhythm. The orchestra. of two brass gongs with elaborate inlay, two large cymbals and a huge two-sided drum, stays upstage behind the throne throughout the performance playing at crucial junctures and at the entry of a character. No one else on stage moves as a new character is introduced coming with his own story. The repetitive circular movements form a liet motif for the play which is well executed and entertaining.
The story is simple. Peace in the Pala kingdom is disturbed by a rakshasa (demon). The hunter comes to report the sighting of the demon while he is hunting a deer. We see the frolicking around. It is formed by two men, like the lions of Ladakh, with a beautiful head mask. The king is told by the Buddhist hermit to dedicate a Cheti Pagoda to bring back peace. On seeing the Pagoda the Demon realises its virtue and leaves the kingdom.
Longtoraini Eklobya directed by Nand Kumar Deb Barma for the Sampli Theatre Centre, Tripura, is the story of Eklavya told in contemporary times. After the usual thumb cutting episode the young boys in the village get excited. They decide to go to Indraprastha with their demands. The placards proclaim “we want to learn”. Whether they want to join the school of archery set up by King Bhishma for the royal family boys with Guru Dronacharya, or just study further is not clear.
The production was marked by some excellent choreography. The formations of a wall with arches made by linking the bows together, a boat, waterfall with the fingers, and finally the pyre on which burns the young boy who is leading the boys were neat scenes. This was a contemporary adaptation of a tale from the Mahabharata and it worked.
There were two plays from Assam, the first Konaxalaya was a conventional adaptation of the birth of Lord Krishna directed by Hemanta Dutta and presented by the Sangeet Natak Akademi Assam division. The note on the play says Konxalaya is based on the indigenous form of theatre and dance, on the raasleela (playfulness) of Krishna. As such one expected some dance and music of which there was none. Instead the staging was in the company theatre style with loud declamatory and rhetorical dialogues.
Just as Devaki, Kansa’s sister and her husband Vasudeva come to seek blessings from Kansa, there is a oracle from the heavens that Kansa will die at the hands of the eighth born child of Devaki. Kansa who rules Mathura ruthlessly has illegitimately taken the throne from his father Ugrasen whom he has imprisoned.
The young couple is also incarcerated, when the eighth child is due, goddess of sleep comes and dances on stage as she put the guards to sleep. Now Vasudeva can do the exchange in the pouring rain. The next day when Kansa comes to the prison and discovers a female child he is still scared and wants to kill her but the gods intervene.
Reyanti Rabha, the director of Janong-Jinong, a Rabha Folk Drama from Assam based on the eponymous novel by Rajen Pam ,who also plays the female lead Jinong, has tried to show the lifestyle and traditions of the Rabha community through the enactment. Except for the weaving and smoking, of what looks like hemp, by both sexes, and the hakim or witch doctor’s treatment of a backache, there was little else in the lifestyle department.
The story concerns the two protagonist and their unfortunate love affair. While Janong has been adopted by the couple Jinong is their own child. The two know they belong to different gotras but even so the gossip and jibes of the neighbours and their conniving to part them gets the better of the couple.
The final drowning scene would have been quite electrifying if there had not been a similar scene earlier. Reyanti is a good actress and should do what suits her better.
The Nagaland offering Lichaba”S Daughter by Dreams Unlimited, written by Arenla Subong is based on an Ao-Naga folktale, that narrates the story of Tsungrosenla the daughter of Lichiba the maker of the Universe and her marriage to an earthling. After a while on earth, Tsungrosenla starts missing the food from her mother’s kitchen. When her husband discovers that it is human flesh he is disgusted and decides to get rid of Tsungrosenla. He takes her into the jungle and turns her into a bird. He places her on a high tree from where she cannot escape.