Indigenous Theatre Festival of North East India: A step
towards glorious diversity:
(published)
It is a great opportunity for me being
present as an observer in the indigenous theatre festival of N-E India held at
the Indira Gandhi Centre for Arts, New Delhi (IGNCA). The spirit of North East
India has got a wonderful chance to re-energize their culture. However, the N-E
India is fulled of colourful culture and tradition with a vast diversity.
Holding a festival like such enabled this part of the country to rub their shoulders
to the rest of the country. Moreover it brought a great effort by putting the
views of scholars, practitioners, performers, policy makers together towards
the issues of the performing arts in general and the theatre in particular in
contemporary NE India.
North-East
India is a paradise of performing arts and its vitality. There are considerable
diversity and plurality through unity within the region. As such the art and
artistic traditions of N-E India are significant for their ‘exotic’ and ‘otherly’
dimensions.
The Indira Gandhi
National Centre for Arts has taken a step to explore the cultural patterns,
practises of ethnic communities of N-E India in the modern times. In its own
premises at New Delhi, IGNCA with collaboration to Srimanta Sankardeva Kalakshetra
(Guwahati) organised ‘Indigenous Theatre Festival of the North –East India-
past, present and future’- A workshop cum festival of thirty days. The entire
festivals were strewn into different locations of its own premises. There was
given a well thought out, by carving up Workshop, Cultural performances, Exhibition,
Craft bazaar as well as Food court.
Workshop:
Themes and
concepts:
Day 1:
Presentations from the states Mizoram, Sikkim, Nagaland, Assam (characters and
identity of indigenous theatre-past, present and future).
Day2:
Presentations from the states Manipur, Meghalaya and Tripura (characters and
identity of indigenous theatre-past, present and future).
Day 3:
Discussions on Policies, issues of institutions and relationship with arts as
well as the impact on culture.
Day 4:
Patronage, Tourism and its implications and general overall discourse on
theatre and empowerment.
The workshop (4th-7th
April 2011) had a short inauguration where the objectives of the workshop were
placed by Dr. P. J. Mahanta, the co-ordinator of the workshop. The workshop
addressed the issues of the North East Indian Indigenous theatre being brought
into the public sphere for the mutual understanding of the state of theatre
arts in general in NE India, issues of modernization in traditional cultures to
understand the past, present and future of the theatres of NE India. Certain
issues of understanding of the aesthetics and identity of the Indigenous
Theatres were also involved in the presentations on the first two days of the
workshop. Prof. Lokendra Arambam, a renowned theatre personality from Manipur
acted as mentor of some performing troupes with a few of the veteran artists
where interactions with interpretations were made in an intimate manner so as
to facilitate understanding the world of the Indigenous Theatres. Veterans both
male and female present short excerpts on the indigenous forms to reflect on
the need for fresh understanding the character and identity of the indigenous
theatres and different scholars, invited delegates, resource persons have
carried out the sessions in the domain of theatrical development.
Some scenes/excerpts from the play ‘Loikaba’ (Return from exile) by the
group of Women’s folk Opera, Manipur
were performed at the academic session and also demonstrated the narrative of
princess, women’s strength and weaving dances. It was commented that how dance,
music, prose, songs together show the way to a total performance and among
these how dance can be used as dialogue. Also it was referred that the modern
process of development is acquainted to distinguish the use of the body in
various ways. It has been observed the simple
footsteps, the performing sequence along with the emotions of the performers.
Again, Miss Anewsa Mahanta from Assam and
Miss Khoni from Manipur who performed and
demonstrated excerpt from traditional Ankia
Nat of Assam and Raas lila of
Manipur respectively. There they beautifully depicted the performing body as
well as salient characteristics of the respective performing genre demonstrating
the performance-centered text. Both of the performance-texts were based on
Krishna lore. The performers also presented a dual composition -Jugal Bandi of Satriya and Manipuri
style of classical dance which mesmerised the entire environment.
The other two inter-connected issues of
contemporary concerns viz. (1) the Discourse on Space, Voice and Dignity of the
Indigenous Theatres of NE India and the politics of cultural development in the
on the 6th April, 11. The
second and the final day (7th April, 11) focused on (2) Policies,
Institutions and Empowerment issues on the Performing arts of NE India as a
whole.
Dr.
Premchand, Theatre and Film Director from Manipur beamed about the existence of
theatres in different cultures. Starting his point to a global view of South
East Asia, its various indigenous form or otherwise he has given the
Aristotelian as well as Indian perspective of conceptualising theatre saying
that it is also need to redefine
theatre by giving a modern meaning. Then he also mentioned how the
theatre comes through the rituals to proscenium arc.
Dr.
Paramananda Rajbonsi (Assam) and Noted Film personality Shri Kulada Kr.
Bhattacarya (Assam) focused mainly on the principle of imitations of
performance citing the theatrical forms prevalent in Assam. Dr. Rajbangsi
started with a view of folk beliefs of community and how it helps in evolution
of performing arts in a region. Also mentioned about the theatrical performance
Ojā-pāli, the psychological effects
from art form towards a society analysing a study of the clown character.
Performance can enrich the gallery of knowledge, it owns philosophical
connotations like Dharma, Artha, Kama
and Moksha. The discussions were
continued interpreting the issues of space, voice and dignity saying about the
impacts due to electronic media and the kind of modernisation/modern elements
found upon traditional performances which diminishes its own dignity. His paper
discussed the forms in both of the contexts -secular and religious. Sri Kulada
kr. Bhattacarya while discussed some of the major traditional performance of
Assam like Kusan gaan, Bhari gaan, Oja-pali,
Bhaona, Kali-chandi dance, Dhulia jatra in a detailed way. He specified the
performance style, sequence, skit, time, characters, stage, sources, structure
etc. of these traditional forms of Assam.
Prof.
Bhagawati, a renowned and noted scholar
from Assam observed the threshold
point regarding the elements of theatre and also pointed out the need of the
regular use of mapping to locate the performance into a geographical boundary
so that it can be clearly indentified the cultural area. Also located those
areas into the definition of theatre in the N-E Indian perspective. And
then the concerns of cultural policy, knowledge from practical experience from
field were also raised where the presenter Dr. Premchand ‘s views on the
requirements of the initials before going into field can be mentioned.
The
interpretation was carried on by the discussants about the dynamic view point of modernity. Again the performances too are
not free from political influence. And due to this non detachment and also for
the survivals of the performing forms they imbibe political as well as cultural
negotiations.
In his
paper, Dr. Premchand has given a thought of cultural micro spaces. Continuous
act of negotiation of spaces- negotiation with ecology and environment where we
live; concept of ethnic groups and their performances with ethic and emic point
of view; performative dynamic which can be expressed by even folk tales and
other forms were the focal point. In that sense whether the indigenous form is
considered to be frozen or not is a question!
The
discussion moved to the various manifestations of performance like dance
theatre; proceeding the dynamic of modernity, how the negotiation can be taken
place looking at the performance from a particular period of time, holy entity
of a spoken words in a performance and so on.
The
comments were very ambitious in the matter of patronage to the dying form of performance. It was
also suggested to preserve not only the traditional way of performance of the
existing form but also the traditional performance with innovation. Prof.
Lokendra Arambam suggested to persist a systemic survey of post independence performance of N-E
India in particular.
Prof. C.
Marak and Prof. Desmond Kharmawphlang from Meghalaya depicting the cultures and
traditions from the community including Khasi and Garo. Prof. Kharmawphlang
discussed about religious ceremony most of which are dying practises and how
dramatic elements can be found in those ritual and never apart from theatrical performance.
He cited about Mock Marriage , a dying practises from this part of the country.
Prof. C. Marak has pointed about the role of university in promotion and preservation of the art
forms. She elaborated that through various workshop and documentations how
carrying and rediscovering can be insisted to the art forms.
Dr. P. Dutta, from Assam mentioned how the crisis
of dignity, voice and space of indigenous theatre is caused by increasing
differences in terms of cultural values that have emerged in the heterogeneity
of regional, national, global as well as generation. He also said that there
needs to be an inclusive statistic
policy in handling with these differences that can provide adequate
space for the emic, the insider perspectives and worldview.
Dr. O.Bhagat
started with the idea of the term indigenous and elaborated how the term
becomes meaningful when we juxtapose it with modernity. He also highlighted
about the vision-2020 which create a deeper impact on the life and aesthetics
of the art form. Are we going to keep the indigenous identity as a show piece
and sell it as a tourism
package? This is the fear that all the indigenous theatre should look
upon. He also insisted in retaining the idea of beauty which is constantly
being affected by the globalisation.
Discussion
highlighted upon the gap between the Academia and the performing community and
how the institution like IGNCA can help to build a cultural bridge between the
two.
Dr. L.
Biswanath and Dr. Jiten Nongthonbam from Manipur beautifully explained in their
papers on Manipuri performing art , its sources and folktales as a performance
respectively. The presenters noticed the changes in their tradional forms and
also how the performance establish itself as a dynamic structure while
transforming. It was said that aesthetic experience that the performers need to
be acquired is basically the symbolic behaviour as well as symbolic
understanding. It was cited the reference of river signifies as human body as generated from their folk belief.
The
scholars from Mizoram and Sikkim; Arist and Directors from Tripura and Nagaland have
also presented papers on their traditional practises and modern perspective of
theatre respectively.
The valedictory in the evening of the last
session addressed by well meaning experts on policy formulation so as to
suggest measures for a fresh initiative on the discourse on cultural
development to be a compulsory Policy of the Govt. of India in the new era.
Prof . Molly Kaushal, head, Janapada Sapada
Divission,IGNCA, New Delhi appreciated the scholars for issuing the major
problems towards the theatrical activity, artists for their creativity with
indigenousity. She gave her valuable suggestions to the N-East Indians
regarding the forms it has and to look at in a dynamic way. She gave her thanks
to the president of IGNCA, Advisors and congratulated artistic director Prof.
L. Arambam, Observers, Repporteurs, and above all the co-ordinator and his entire
co-ordinating team.
The
aim of the workshop of course became successful to raise the question among the
public domain about to discover the vital changes require for the government,
institutions and art bodies to look at the human creativity. Instead of
organising such kind of workshop in an urban area, it will be more fruitful to
organise in those remote areas so that it can be minimized the gap between the
academia and performers. Also it is necessary to recounter the problems of
learning the practises by the new generations/performers. To provide patronage
to the dying art forms should also not be denied. Undoubtedly, this workshop has brought
closeness to the artists, scholars, art lovers nationally and in the N-E India
itself. But what should be the approach, response and measures to be undertaken
by the present day cultural society, government agencies and institutions
towards their preservation is yet to be thinking out.
Cultural performances, Exhibition and Food
court:
Cultural performances performed by various
group from eight different states of N-E India representing indigenous form as
a performing form. Cultural intermixing has been observed in terms of language,
costumes and performance. It reflects the unity with diversity. Theatrical
performances of one hour or more with new techniques, creativity, dialogues in
the original folk form were really appreciating. Using as much as folk
materials, performing folk customs, rituals in the plays made a distinguish
domain of culture and tradition of N-E India.
The festival and its realm towards Indigenous
theatre where it is tried to denote the concepts of human play forms, rituals,
rites and theatrical activities which also contributed artistic and cultural
discourse formation of the communities. Some forms are totally symbolic, some
are dialogue specific and others are specific in acting. Most of the forms have
essence of animism, some has similarity with the folk theatrical form Nautanki, and some has essence of Hindu
culture.
The exhibition of textiles from N-E India-‘Digh-Bani’ (2nd-30th April,
11) where an attempt was made to present a holistic picture in the ream of
textile weaving. Dress, appareals and other cognate objects had been displayed in
relation to their ecological situation such as the high altitude mountains,
river valleys, marshy lands, forested hilly topography and so on. The curator
of the exhibition is Prof. A.K Das.
And the food court with the Craft Bazar (2nd-10th
April 2011) actually made all gathered people afresh and cheerful. Various
ethnic dishes made almost the people tempted to taste.
It is indeed
not simply a festival in its words but more than that not only for the richness
culture rather the colourful diversification sharing the same soil and land. It
is glorious.
Purabi
Baruah
baruah.p12@gmail.com
No comments:
Post a Comment