JNMDA's latest production Ahangkar Vinash

Rajmani Ayekpam *

To get a chance to witness a dance drama is a great opportunity for any dance enthusiast or art lover. For any dance drama or ballet is more on creative exercise than its pure dance form. It has a story line and its dance composition also correlated to its story line. On the other hand, choreographer of the dance drama or ballet has more creative freedom when he / she choreograph. So, to witness a production of dance drama or ballet is more colorful and attractive than a performance of pure dance.

Jawaharlal Nehru Manipur Dance Academy, Imphal (JNMDA) is the only professional group in the whole of north-eastern India who had produced a dance drama or ballet regularly other than its regular teaching programme. JNMA boast of it's as a constituent unit of Sangeet Natak Akademi, New Delhi. Some of its productions reach at a higher level e.g. ‘Keibul Lamjao' accomplish at the international level.

Production unit of JNMDA is the pioneering group in whole of north-east India who produced dance-dramas and ballets regularly. So, any lover of this region enthusiastically looks into the any production of JNMDA since they are the oldest professional group in this region. Any critic may look into any production of JNMDA from the point of professionalism.

Ahangkar Vinash (Annihilation of Ego) is the latest production of JNMDA. It's a dance drama production with much enthusiasm The Ahangkar Vinash was the 37th production of JNMDA and its premier was held on two consecutive days i.e. 17 & 18 December of the last year i.e. 2014 in the auditorium of JNMDA. Choreographer and director of the dance drama was Smt. S. Noyonshakhi Devi, the senior artist of production unit, JNMDA while Shri T. Yaiskul Singh was the script writer.

The case and credit of this dance drama were as fellows ;

On stage – Ajit (Krishna, Dwarka), Chandan (Radha, Kalangkini), Bilash (Nardha Rishi), Krishnanda (Krishna, Vrindavan), Anita (Radha, Vrindavan),
male chorus – Jiten, Modhusudon, Inaomacha, Surendrajit, Roneld, Nokuljit,
female chorus – Amusana, Ibemubi, Debala, Jayatisana, Parul and Nososhakhi etc.
musicians – Jadu & Upendro (Pung), Meghachandra (flute), Rameshkumar & Brojen (violin), Nelson (Sitar),
Shashikumar (Sarod), Lebakmacha (Pen), Rameshkumar (Moibung), Harichandra (Israj),
Boynao (Effect) and Gayatri, Kunje, Arun, Deban & Rameshkumar (vocal) etc.

On credit lines –
Rameshkumar (Music Director),
Ajit (Light Designer),
Keshori & Rajesh (Asst. on light),
Sharat (Costume Designer), Amusana, Chandro, Ibemubi & Jayatisana (Asst. in costume),
Jiten (Stage Designer), D.G. Recording Centre (Sound Recording),
consultants – W. Lokendrajit, Prof. Th. Tombi Singh, Ibopishak Singh & Ch. Gopeshwar,
Production-in-charge – W. Lokendrjit Singh, G. Krishnachandra Sharma & T. Yaiskul Singh etc.

The story of this dance drama was based on the episode of selfless love of Smt. Radhika for Lord Krishna and annihilation of ego of Maharishi Narda by the Lord. There's a time Maharishi Narda boasted among devotees that Lord Krishna favoured him most. He was elated with this ego. Despite of his great wisdom and talents he was blind to the fact that there's no superior quality than selfless love and devotion. Lord Krishna wanted to annihilate this off beam ego of his great devotee and teach him a lesson. Narda realized his mistake after seeing the selfless of Smt. Radhika for Lord Krishna. The humbleness of Smt. Radhika inspired Narda and overwhelmed

For this dance drama, the choreographer used movements from Nupa Khubak Eshei, Cholom, and Manipuri Martial Art besides movements of Manipuri folk and classical dance. The story of this dance drama was basically a classical one but movement used was a hybrid of different movements of Manipuri performing arts. But, it doesn't matter because a dance drama is purely creative work says it's neither classical nor folk but it's a composite work.

After witnessing this dance drama, any audience may ask can an innocent audience understand the story of this dance drama without the brochure distributed on that day. It's a difficult question to answer. The clarity of story line was very much needed for a simple audience. Parallel establish of three important characters i.e. Krishna, Radha and Narda in the story line makes difficult to know who the protagonist of this dance drama is.

The choreographic dance and movements are exotic and full of vibrant but not new ones to a regular and enthusiastic audience of JNMDA. Gesture of Narda, shown on the premier day, was little hard to an audience what he / she imagined according to what he / she found in Indian mythology. Other participant artistes were also less visible to maintain body culture. To know how to use our martial body intelligently in a soft and rhythmic way is the key of our forefathers. Any practioner of Manipuri performing art must have to know the secrets of our forefathers. We must not to forget the earliest dance composers of Manipuri dance were the great worrier of that time.

A good lighting design can enhance the beauty of a dance drama or ballet. So, in modern day production of any dance drama or ballet used heavy lighting design. The lighting design of the said dance drama was very poor in comparison with any production of modern dance drama or ballet. Dance and music is very much depended & entwine each other in any dance drama or ballet. Any art enthusiast wants fresh music for any production of dance drama or ballet. The musical score of the dance drama couldn't give fresh music to the audience.

Costume design is also play a very important role to enhance the beauty of a dance drama or ballet. So, any choreographer or director tried his / her maximum level to use the best costume in any production. The costume design of the said dance drama again couldn't give best level costume design in comparison with any production of national level but average one.

Another, important aspect of this dance drama was to make use of child image of Lord Krishna and Radha. Such repeated use of image of Lord Krishna and Radha make to lessen divine look of this dance drama. One may ask who's real Lord Krishna and Radha. It may be very helpful to study minutely the Dasam Khanda of Shrimad Bhagawat if anybody attempted to produce any performing art related to Lord Krishna and Radha.

In spite of above few words the JNMDA's new production Ahangkar Vinash was deserved to watch by any art enthusiast of this state.