6:30 to 9:00 pm at IGNCA Amphitheatre
tuesday 9th march at
Name of the play: Once Upon A
– Manipuri Theatre
The story revolves around the
life of a young girl whose mother dies while giving birth. Although
her father loves her deeply, her life is made miserable by the
abusive and cruel behaviour of her step-mother. Once, when her
father is away, her step-mother inflicts such violence on her that
she is almost crippled. Just then she is rescued by a flock of birds
and carried away to a distant land. When her father returns and
finds her daughter missing he takes his wife and goes to the goddess
Nongthang Leima (the lightning lady) to pray for her return.
While at the temple the step-mother, for the first time in her life,
starts experiencing the emotions and feelings of a mother. Filled
with remorse, she is transformed and begins a new life.
(Priestess): H. Sabitri 2.
S. Bembem, Bijay Rabha, P.Tyson
Jyoti Rabha, S. Bembem, Malika Khakhalary, Dhananjoy Rabha,P. Tyson,
Radhika Rabha, S. Brojen, S. Bimol, Th. Muhindro, A. Upendro, H.
Costume & Set: N.
Koken & Bidyutjit Chakraborty
Concept & Direction: H.
Established in 1969 with Heisnam
Kanhailal as founder-director the main objective was to study,
revive and project the culture of Manipur through the art of theatre
and to set the highest standards of performance both in the country
but on the world theatre scene.
As at Kalakshetra we believed in
the notion of a workshop that is a laboratory or research theatre
rather than a production company. The group began its experiment in
a continuous process of renewal of ‘ancestral tradition’ for a
contemporary cultural expression as they are all the progeny of an
ethno-social tradition of Manipur.
The artists of the group
endeavoured to learn afresh the native lore travelling throughout
Manipur and strengthened their creative will. Tamnalai,
Kabui-Keioiba, Pebet Memoirs of Africa, Migi Sharang (Human Cage),
Draupadi, Kangkhathang (The Unused Sword) and Dakgharare
some of its prestigious productions.
Seventy years old Heisnam Kanhailal
is active in theatre for past 45 years as a playwright, actor and
director. Founder director of Kalakshetra Manipur, he is in the
vanguard of the experimental theatre movement for the past three
decades. He has been attempting to discover an alternative theatre
using the rich Manipur traditional performing arts and culture as
spring board. He has written 15 plays and directed 35. He has
conducted actor training workshops all over the country and also
worked with international theatre groups. He has conducted projects
for formulation of a new actor training methodology. He is a
recipient of the State Award for Theatre and the Sangeet Natak
Akademi Award for stage direction.He received the Padmashri in 2003
from the Government of India.
This programme is being organized in collaboration
with the Sangeet Natak Akademi, Delhi
tuesday 9th march at 8.00 pm
‘PEOPLE OF THE PACIFIC- An
Ancestral Musical Journey through Polynesia’ by The Kahurangi Maori
Dance Theatre of New Zealand
Under the influence of Christianity
the use of musical instruments declined rendering most traditional
music vocal. There are 2 categories of songs. Recitatives: welcoming
ceremonies, dances without weapons, incantations and spells. And
Songs including Poi (accompanied by a women’s dance), song-poetry,
love songs and laments.
Maori dance is called ‘Posture Dance’ and is vigourous and
rhythmical for the male dancers and graceful for women dancers. The
Haka was danced without weapons and could express a variety
of emotions, joy, anger, and sorrow requiring exceptional rhythmical
skill In contrast the war dances were danced with the use of spears,
clubs or other weapons and required a lot of stamping, chest
slapping and facial distortions. The Haka poi performed by
women is the most graceful of all Polynesian dances.
The Maori had a habit of composing songs and haka to mark
incidents which, by European standards, would appear trivial in
themselves. Elsdon Best lists haka composed for such reasons
as — Reception of native visitors, reception of Government
officials, an insulting remark made by a tribesman, ill-treatment of
a woman married to a member of another tribe and a faithless wife.
The Kahurangi Maori Dance Theatre is a dynamic indigenous company
employing outstanding young Maori composers and choreographers whose
work in song, chant and haka - war dance - reflects the
vibrancy and energy of the Ngati Kahungunu tribe.
ELLISON MIHIROA TOMOANA HUATA
KIRSTEN CARISSA TE WAI-MARIE KAPEA
KIMBERLEY TE-AWHI JONES
THOMAS PAREKURA COLLINS
AARON BOYDIE MAUI