"LALLESHWARI " DANCE DRAMA OR STAGE ADAPTATION OF LALLA VAAKHS ( VERSES )
I saw one one-hour dance drama/stage adaptation of Lalla Vaakhs scripted by Bal Krishen Sanyasi at Abhinav Theatre on 20th March 2025 It was something special, superb and scintillating. A crowd of 1000 came to see it in a theatre that had a capacity of 600. Many were sitting on the floor while some watched it standing. It kept the audience spellbound. Never have I seen something like this performed on stage after Dina Nath Nadim's Vitasta. It was comparable to Rama Vaidyanathan's dance drama on Lal Vaakhs performed at SKICC Auditorium Srinagar in 2012. Special mention needs to be made of sets designed by artist Virji Sumbly. Other prominent contributors to this dance include Ramesh Marhatta ( narration ), Shazi Khan ( Lights ) , Bharti Kaul( costumes ) , Shammi Dhamir (make-up) , Heeramani Singh ( videography ), Pallavi Kaul ( singer ) and Saurabh Zadoo ("Malinev hoe" composition ).
Presented by Vomedh in collaboration with North Zone Cultural Centre ( Patiala ),the dance drama was performed by Suman Pandita as Lalleshwari and Arvind Tickoo as Sidha Sri Kantha . It was directed by Rohit Bhat . Lal Vaakhs were set to music by Rajesh Khar and sung by Shazia Bashir .
Though deeply rooted in Kashmir’s Trika Shaivite creed, Lal Ded had risen much above the world of creeds or labels. One can safely call her a torch bearer of ‘Mediaeval Mysticism’ and ‘Bhakti Movement’ of the country. Ramanand ( 1400-1470 ), Kabir (1440-1518 ), Guru Nanak Dev ( 1489-1538 )and Sant Tukaram ( 1577-1650 ) followed her. Like Kabir , she also makes symbolic use of swan ( Raaazhans ), grinding mill ( Gratta ), washerman ( Dhob) , weaver ( Vovur ) , and lotus flower ( Pamposh ) to put forth her spiritual thought . Her frequent use of Prakash Dhaam or Prakash Sthaan is synonymous with Kabir’s Anahad Naad or “ Baaje Anhad dol “ or the musical chimes that are created when the seeker gets a glimpse of reality .
It was satisfying to note that the Vaakhs selected for the opera carried the core message of the Shiva Yogini. Suman Pandita was spectacular in her stage performance as Lal Ded. Her body language, facial expressions and movements on stage matched the intense feeling of Lal Vaakhs she was singing. Attired in Pheran, she looked like a Yogini in trance with strains of Vairagya. Her acting on more than 30 Vaakhs was exceptional. Some Vaakhs that were put to dance drama are:-
"Goruss Pratchhom Saasi La’teiy
Yuss na Kenh Vanaan Tuss Kyaa Naav.
Pratchhaan Pratchhaan Tha’cheiss Ta loosuss
Kenh’nuss Nishe Kyah’taam Draav"
(To my Master, I asked a thousand times,
By what name should we call the nameless one.
Drained I became from seeking this knowledge,
And lo ! Something emerged from Nothingness only.)
"Lalithh Lalithh vadaai Boh Vaai
Tchietaa Muhutch Peyii Maai
Rozii Na Pataa Loh Langareitch Tchhaai
Niz Swroof Kyaah Mothuaai Haai"
(Nonstop, I shall sob for you ,
O Mind, How you fell to this worldly greed.
Not even the shadow of this shall hang around at the end.
O Mind! Why did you ignore the real self within ?)
"Kandheiv karakh kandhe Kandhe
Kandheiv karakh kandhe Veylaas
Bhoogaai Meethii Deitithh Yuthh Kandhe
Athh Kandhe Rozii na soor na saas"
( What this fuss of fulfilling the demands of this body,
Ornamenting it , providing numerous luxuries and sweetmeats for it ,
Not a secret but a well-known fact ,
Not even its ashes would survive )
"Gagan Tcheiyii Bhootal Tcheiyii,
Tcheiyii chhukh Dhyen Pavan taai Raathh,
Arag , Tchandun , Posh Poen Tcheiyii,
Tcheiyii Chhukh Soruyii Ta Laegizey Kyaah"
( You are the Heavens and the underworld,
The night as well as the day!
You are the existing flowers, water, sandalwood and the grains of rice,
You, who is everything,
What else can I offer you in worship? )
"Shiva keshv va Zin va
Kamalaz Naath Naam Daarien
YuhMey Abhlii KaaeisteinBhav Roz
Suva Suva Su Va Suh"
(You may call him Shiva, Keshva ,Budha or even lotus-born Narayana,
Makes no difference.
Whoever it may be ,
I wish this poor woman released from the sickness of life ,
Weak and helpless she is ,
Unable to meet its truest purpose !”)
"Aami pana so'dras naavi chhes lamaan
Kati bozi dhai myon meyti diyi taar
Aameyn taakeyn poniy zan shreman
Zuv chhum braman gara gatshaha."
(Tied to cotton thread, I tow my boat to cross this vast sea.
Would that God hear my prayer and help me to cross over!
I run waste like water held in poorly baked clay pots,
Would that God hear my prayer as
my soul desires to reach its real home.)
Arvin Tickoo as Sidha Sri Kantha or Guru of Lal Ded was superb. The sets, lighting and music matched the aesthetic purity of the Vaakh which are sung by Kashmiri Pandits as Slokas of Bhagwad Gita or treated at par with Rishi Vasugupta's Shivsutras. The Vomedh team should take this dance drama to cities where Kashmiris reside after 1990. This dance drama demands audience and visibility . About this dance drama, Padamashri Pran Kishore Kaul wrote this to me:-
" am really happy to see the younger generation carrying our legacy forward. Rohit Bhat has established his identity as a competent director with his play Birbal. I am sorry for not being there to see this production. The shots you have sent and your review have made me feel the stature of the production. Highlight is Virji Sumbli's art direction. I know his calibre as he has worked with me in the making of the film Sarvavyapak. Bhagwan Gopinath as its art director.Please Convey my greetings to all of them".........Pran Kishore Kaul, Pune
Lastly, Lal-Ded has an indelible impact on the Kashmiri psyche. It has remained unabated inspite of a time lapse of about seven hundred years. This is also a fact that we have failed to place Lal Ded on the ground geographically. She belongs to Pampore yet there is no visible spot either in Sempur or Pampore or Lal-traag (that had more than 60 Kanals of land) to place her geographically. The Lal-traag spring which the great saint poetess used to visit frequently stands completely encroached upon. She has yet to find a place in her own land. Does she also face exile?
( Avtar Mota )
CHINAR SHADE by Autarmota is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 2.5 India License.
Based on a work at http:\\autarmota.blogspot.com\.
No comments:
Post a Comment
Note: Only a member of this blog may post a comment.