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| A scene from Kao-Kei. Picture by H. Shatananda Sharma |
A theatre genre that had been banned by a Manipuri king fearing it would hinder the spread of Vaishnavism for its strong Hindu undercurrents is slowly and steadily making a comeback, thanks to a few dedicated shumang leela troupes.
Moirang parva was first staged in the late 19th century and though a non-Hindu genre, it contained a mix of Hindu religious art forms like raas leela, gour leela, sabha parva and virat parva.
After being banned by the Vaishnavite king, it began fading from the Manipuri stage and even from collective memory.
It would have been lost completely but for occasional performances by women in courtyards.
Probably keeping that tradition in mind, Imphal Theatre chose an all-woman cast to stage a Moirang parva at the auditorium of Manipur Dramatic Union on May 20.
The play was Kao-Kei (The Bull and Tiger), written, designed and directed by Loitongbam Dorendra.
The entire play was done in shumang leela style but instead of a courtyard with the audience on all four sides, the director chose a conventional stage.
The experiment worked and helped the cause of the National School of Drama, which organised the show as part of a 45-day workshop-cum-production on the process revitalising Moirang parva.
The story is about a bull which understands the language of human beings, legendary hero Khamba and his sister, Khamnu.
When Khamba and Khamnu are orphaned, the bull comes to their rescue.
On a rainy day, Kao Ngangba Ningthi Pamheiba (the bull) goes to a widow’s house to ask for fire to warm the orphans.
Kao (the bull) finally leaves the two children to their fate and becomes a wild animal.
When Khamba grows up, he fails to recognise the bull.
Legendary villain Angom Nongban, on the pretext of being possessed, makes an oracle to capture the wild bull and sacrifice it before Lord Thangjing.
According to the Moirang king’s order, Khamba captures and sacrifices the bull at the altar of Thangjing.
Being a divine creature, Kao reincarnates as a tiger and kills Angom.
Th. Anandi was perfect for the role of Kao, handling elements of Moirang parva style, Khongjom parva and wari leeba with equal ease.
S.T. Haamacha Devi, as Angom, was superb.
Child artiste A. Lanthoibi, who played the role of little Khamnu, managed to grab attention.
The most interesting aspect of the play was its all-woman cast.
It would have been even more exciting had the backstage artistes, musicians, light technicians also been women.