Madhabi : A Feminist Look at the Indian Mythology

Rajmani Aykepam *

Manipuri theatre is a fertile ground for experimenting of stories from Purans, Upanishads, Mahabharata & Ramayan etc. of Indian Mythology. Some of the best crops of Manipuri theatre like Chakiravihu, Uattar Priyadarshi etc. are stories from Indian Mythology. Not only stalwart of Manipuri theatre like Ratan Thiyam but also new entrants of Manipuri theatre still bewitched charm of Indian Mythology.

Khoriphaba Artistes' Association, Nambol's 'Madhabi' under the directorship of Ranabir Khoisnam is the latest production of this theatre group which originated story from Indian mythology. Even though, this story is the descended from Indian mythology like earlier predecessors but different view in this production. Both playwright Bishma Shahani and director Ranabir Khoisnam approached this play purely from feminist point of view. Women are worshipped as mother and many female goddesses like Lakshmi, Durga, Kali etc. are worshipped with great care. But, why Indian women are are kept second to male folk ?

Madhabi is the workshop based production of Khoriphaba Artistes' Association, Nambol under the aegis of Sangeet Natak Akademi, New Delhi. The play was staged in the auditorium of Manipur Dramatic Union, Imphal on 13th July, 2014. Manipuri translator of this play S. Nabachandra translated into Manipuri from Bishma Shahni's original Hindi text.

Ranabir Khoisnam, design and director of the play, took little liberty suits to his production style. Casts of this play are Mohindro (Bishwamitra), Punshilemba (Galava), Henbisana (Madhabi), Maipak (Yayati), Surjit Khuman (Rajyotishi), Khambaton (Guruda), Ashalata, Surjit and Sadananda as narrators, Ashanta, Bijeta, Rita & Bidya as female choirs and Leimatombi & Robindro as facilators etc. On the credit lines – Robindro (stage manager), Leimatombi (costume), Dhanapati (Make-up), Ibochouba (light), Ishwarchand (stage & props), Ratan, Romen, Nisheshwor, Shanta and Leimatombi (music), R.K. Khogen (dance choreograph) and M. Mohindro Asst. to Direction) etc.

The story of this play is borrowed from the great epic – the great Mahabharatta. Lord Vishnu sends his faithful attendant and vessel Garuda to relieve the grievance of his devotee Galava who attempts to commit suicide by jumping into the deep water of the river Ganges. Garuda, the disguise Brahmin asks Galava why he attempted to suicide. At this, Galava replies him that his attempt is due to his ignominious failure to give to Viswamitra, his guru 800 horses for Ashwamedha Yajna as his Guru Dakshina. To hear him thus, Gurudas suggests that he should go to benevolent kind Yayati and make a request to fulfil his wish.

Taking the words of Garuda into account, Galava makes a humble request to kind Yayati who has told him that he has no longer a king but engaged himself in devotional services and therefore, cannot offer him even a horse with a quest for it. Instead, Yayati has given him only daughter princess Madhabi as charity and further tells him that he can get those horses by betrothing his daughter to any king. According to Jyotish Shastra, Madhabi is pre-ordained to be the mother of brave king. She is such a princess who posses a mystic power to transform herself to a virgin girl even after she gives birth to sons as a mother.

Eventually, Galava brings Madhabi with him and can collect 600 horses by betrothing her to Hayash, king of Outh, then to Dibodas, king of Kashi and then to Ushinar, king of Bhojnagar one after another. At last, Madhabi can supplement another 200 horses by becoming herself the flower girl of Bishwamitra. Thus, Galava has fulfilled the offering of Guru Dakshina. Madhabi, too, has succeeded in carrying out her father's wish. In the final episode, Galava strongly presses her to transform herself to a virgin girl and to be his wife. But, Madhabi shokingly denies the proposal and leaves Galava and everybody behind in the twinkling of an eye.

The attempt in the play is to depict the cohesive picture of a real woman who has been instrumental in the hands of man-folk but revolts for women's liberation and emancipation. Madhabi, the central character is a prototype of victim of old aged evil tradition but a true revolutionary.

True picture of Indian society is that while a good number of goddesses are worshipped but Indian women are caught to the victim of social evil system. Indian women are like flowers which can be plucked by men folk at any time. Even in Indian mythology also, women are treated as subhuman. But, do Indian women raise against this social evil system ? Madhabi, the protagonist character of this play, tries to answer the above question ?

Khoisnam Ranabir's production style is to follow footsteps of earlier predecessor by fitting Manipuri culture into great stories of Indian mythology. Skillful use of Manipuri performing arts in the play added another feather to his production style. There's much improvement in the dance and music than his earlier plays. Beautifully choreograph dance and music brought the play at the level of musical play. Enthusiastic audience of this state loves to dance and music. Colorful costume and minimized stage craft but meaningful added fresh look to the play.

Overall performance of those artistes is commendable one. Henbisana in the role of protagonist character Madhabi is worth mentioning. Her versatile acting and good look raised the play at a new height. Performance of Punshilemba in the role of male protagonist Galava was powerful which can attract attention of audience but needs to show true personality of character what he acted. Though the production is workshop based production but the production has professional touch.