Manipuri Society and Its Art & Culture
Contemplation of a Victim Artist
- Part 3 -

Heisnam Kanhailal *

4th Dr Thingnam Kishan Memorial Lecture by Padmashree Heisnam Kanhailal at Hotel Imphal on June 30 2013 :: Pix - Sanjeev Thingnam

Let me for a moment remind the learned house about the relationship between man and art. Following excerpt is taken from the book, The Necessity of Art, written by Ernst Fischer. This curious description, reminiscent of the reports of certain mystics expresses Goethe's pantheism. Makarie is symbol of the world unity of creative man, and the astronomer at her side is a personification of science.

True, the 'superabundance of her condition' lacks a social element, that of the creative human being's unity not only with the natural world but also with the rest of mankind. Such 'superabundance' in society as we have known it until now, has been the lot and the heavy burden of only very few men and women, but in a truly human society, springs of creative power will gush forth in many, many more; the artist's experience will no longer be a privilege but the normal gift of free and active man; we shall achieve, as it were, social genius.

Man, who became man through work, who stepped out of the animal kingdom as transformer of the natural into the artificial, who became therefore the magician, man the creator of social reality, will always stay the great magician, will always be Prometheus bringing fire from heaven to earth, will always be Orpheus enthralling nature with his music. Not until humanity itself dies will the arts die.

Let us also have a look at the ancient cosmic theory of creation of the Meiteis. Gurushidaba desired to create a world and make the human beings its inhabitants. Haraba was a perennially destructive force and constantly destroyed the creation of the universe. To prevent the destructions, taking cues from Guru, Leimaren incarnated as Nongthang Leima. Nongthang Leima seduced Haraba using all forms of female guiles (looks, smiles and gestures) so that the creation of universe could be completed.

Haraba's intuition was against mankind. But Nongthang Leima as an actor in creation played the role of creative artist and manifested the energy of the thriving world. This very art has been recorded in our ancient text of Anoirol, the language of movement. Why I recollect this is because art exist in the midst of mankind. That art exists to make human beings lead a stable life is a tradition that has been prevailing since the ancient times.

Another issue of importance in this context is the wisdom and knowledge of our forefathers in naming the female deity as Nongthang Leima. In the ancient myth and folklore of indigenous people of other parts of the world, there are stories that relate to lightning. Jungian psychologists analyzing stories related with lightning states that lightning effect means inner knowing. Just as a torch light can reveal the whereabouts of things in a dark night, what lies hidden in another person's soul can be easily understood.

A true artist, actor in the context of theatre, is not solely an expert in imitating or displaying the mundane characters of the society. When his aura and the spectator's move in unison, his soul awakens the soul of the spectator. As different from others, this is a more difficult path meant to be undertaken as a rigorous discipline. What is pleasing is that our tradition is able to tell us the source of energy of acting as an art. Leading theatre personalities of the world are discovering it recently. The acting process of my theatre is built upon this foundation.

Credit of the success of this experiment goes to Sabitri, the embodiment of my vision. She is my wife, my companion. As an exponent of the process, Sabitri's acting has enthralled the world. Besides its religiosity, our thang-ta, Lai haraoba, Rass Lila and Sanskritan are clear manifestations of ritualistic art forms. Now these have mitigated into performing art forms. This ritualistic art form informs the world that we have been dwelling on earth since time immemorial. The humanistic facet of our land is showcased through this art.

In the light of the above mentioned proposition, I would like to put forward the theatre practice I have been practicing. I am a victim artist of this oppressed land. The wretchedness of the land gives us both pain and anguish. From a historical perspective, since the early period, subjugation of the lower strata of people by the higher-ups and coercion of the weak by the mighty is an ongoing practice. Oppression of the slaves by the Romans and victimhood in the 21st Century Manipur is not different, though the forms may differ. Oppression is a violent instrument of the powerful to stifle the voices of dissent, "Nakhoi narai kaangba yaroi" (You cannot rise up)! Oppression remains, the forms may vary.

It is impossible for theatre to bring about a change in the society, how-much-so-ever it is grounded in the foundation of politics. German's Bertolt Brecht was a communist. Using the principle of alienation effect in his beautifully crafted art of epic theatre, or in other words, using art as a medium, he taught and educated the spectators about the nature of a class based society. Piscator of Europe, Augusto Boal of Brazil and in other under-developed countries, political theatre also served a catalytic role in the process of social transformation. I do not identify my theatre as political theatre, not even it its expressive form. Nevertheless, the cultural and political vigour are kept sharpened in the core of my works.

When I started practicing theatre and drama, I neither trained myself in an academic ritual per se nor made the entry after rigorous analysis of the art. In 1968 after three months of stay, I was expelled from the National School of Drama for my incompetency and ineptness. My hopes were shattered, however, I embraced theatre even during my life's most painful struggle with poverty and hardship. Savitri, my wife, stood by me since our journey started from 1969 till today (she entered theatre when she was only seven years old and was already a child star; her aunt, Shrimati Gouramani, an acclaimed artist introduced her to opera). The journey of Kalakshetra Manipur, which was established along with a few friends, started on 19th July 1969. The journey continues.

From the beginning, we started with experimental theatre. There was no manifesto as such as it was experimental. However, there was a strong sense of conviction deep within us, though we could not express them into words or written forms. That conviction helped us to envision vividly the kind of play we wanted to create. It led us to detour from the conventional theatre and take a new approach.

Written plays were forsaken. Theatre is a synergy between an animated actor and a living spectator. A living body of an actor communicates to a living spectator. The objective is, with the help of the skill and technique of the actor, the intended feeling should be released in the form of energy propelled by intuitive impulses, to make a vibrant sensation. The vibration must invigorate the visceral and spatial being of the spectator and make a living body. The purpose is to provoke the private life of the spectator.

In order to achieve this, an actor needs to undergo a rigorous disciplining for a long time. In Gurukul system, it takes a minimum of around ten to fifteen years to learn our music, song, dance and pung. They give public performances only after acquiring the skills through dedicated heart and soul practice. Those of us who are in search of a new mode of manifestation of contemporary theatre need to adopt the practice of rigorous disciplining inherent in our tradition or in that of the eastern world; in fact, this is what theatre requires. At the same time, we also need to understand the objective and scientific research of the West. Combination of the two will enable us to give an objective impact of our practice.

A simple explanation of our construct (sic. theatre) is that it is an organic dialogue or meeting between the actor and the spectator at an intuitive plane. This invokes a self perception in the audience. In this manner, a healing-effect organically springs forth. We deem ourselves successful based on the response of the audience. In the following sections, let me share with you what the audience, especially theatre experts, have commented on what we wanted to convey in the plays or its thematic content. Let me quote Rustom Barucha.

He remarks:
It seems to me that when we talk of resistance in theatre today, our rhetoric has congealed through stereotypes of flags and slogans, statements and battle cries. From the presence of Sabitri, one learns that it is possible to resist the most painful operation of daily life through spirit and sheer creativity. The act of politics in theatre does not ultimately lie in the assertion of ideology, but in the very being of the actor which incarnates resistance. If Pebet is still a force to reckon with, it is because of the strength of its performance …

He further continues:
In this interregnum of history, when tensions accumulate and people wait for answer, Memoirs of Africa offers no solutions. Indeed, it does not even raise questions. What it does do is assert a certain faith in the resilience of human life, while acknowledging the increased brutality of our everyday existence…. Kanhailal's theatre is to disturb the spectators to the resilience of human spirit.

H.S. Shivprakash remarks, "Kanhailal's art goes back to Nature, and suggests the accumulated wisdom of earth. His theatre always remains cathartic." In Sadananda's opinion: The origin of Imphal's naked protest lies in Manipur theatre, ... with the sledge hammer slogan 'Indian Army Rape Us', were merely repeating what one of Manipur's (and India's) greatest actresses, Sabitri Heisnam, had done on stage a couple years ago, in the play (Draupadi) directed by her gifted husband, Kanhailal. It was clear even as one watched the play in the comfort of the theatre space that Sabitri's out-rage and passion in her ultimate act of resistance, was not merely 'drama'… evident that there was a social energy and force behind it … if the Mumbai press didn't get it, the Manipuri women were sure to take the cue. And the results have been electrifying. After all, it is not often that life imitates art.

Today, theatre has become a dying breed in Manipur. Most of theatre groups are facing the problem of getting prospective actors. Even the assurance of a monthly salary cannot persuade anyone. However, if it is for films, flocks and flocks of wannabes gather around. Take for instance, youths thronged at the recently concluded film-talent hunt at MFDC Hall. In this way, there is a serious crisis in the practice of the art form, which otherwise should be meaningfully undertaken, guided by proper ideological moorings.

On the other hand, sectarian groups nonchalantly fulfill their whims and fancies in every walk of life. We have lost the sense of direction. Even the sectarian groups established on primordial lines, who claim to work for the land, are in a state of disarray. Violence has become a characteristic feature, embraced and practiced, for any activity. Whenever there is a bandh or a strike, instead of seeking solidarity from the public, bandh supporters warn the people to follow their diktat, if not, they have to face the consequences on their own.

Are these verdicts non-violence or violence? Groups of bandh supporters move around in vehicles and raze down commuters' vehicles, innocent people are beaten up with sticks for defying their verdict. There is no respect for human life any more. There are no qualms in taking away a life. Where can one find a more decadent society than ours? There are agitations to safeguard the dignity of women, respect them, but every day we are ceaselessly hearing the news about rape and sexual violence against women.

Our society has become lost and directionless. All of us, starting from the top to bottom, including those who are making an effort to bring about a revolution in the society, have become reactionaries; this is the character of our society. Even if the present generation passes away in this manner, can the upcoming generation recuperate the lost vigorous élan of our society, I do not have any other hope other than asking this question. But let us place our hope and confidence to the new generation, for a vitalised, energetic and resilient Manipuri society and its art and culture.

To be continued...