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Theatre Traditions of North-East India Is a Record of Bonafide Research Done by Me Under the Supervision of Dr THEATRE TRADITIONS OF NORTH -EAST INDIA Thesis submitted to the Nagaland University in partial fulfilment of the requirements for the Award of the Degree of Doctor of Philosophy in English By ANJAN KONWAR Registration No. 508/2012 Under the Supervision of PROF. NIGAMANANDA DAS DEPARTMENT OF ENGLISH SCHOOL OF HUMANITIES & EDUCATION NAGALAND UNIVERSITY, KOHIMA CAMPUS MERIEMA 2016 DECLARATION I, Anjan Konwar , hereby declare that the thesis entitled Theatre Traditions of North-East India is a record of bonafide research done by me under the supervision of Dr. Nigamananda Das, in the Department of English, Nagaland University, Kohima Campus during the period of 2012-16 and that it has not been submitted either in full or in part to any other university or institute for the award of any other degree, diploma and title. Dated the 7 th October 2016 Anjan Konwar Regn. No. 508/2012 Countersigned by Head, Department of English Supervisor Nagaland University (A Central University established by the act of Parliament, 35/1989 ) Department of English Kohima Campus, Kohima-797001 NU/ Eng/2016/ 7th October 2016 CERTIFICATE This is to certify that thesis entitled Theatre Traditions of North-East India is a bonafide record of research work done by Mr. Anjan Konwar, Regn No. 508/2012, Department of English, Nagaland University, Kohim a Campus, Meriema during 2012-16. Submitted to the Nagaland University in partial fulfillment of the requirements for award of the degree of Doctor of Philosophy in English, this thesis has not previously formed the basis for th e award of any degree, diploma, associateship, fellowship or other title and that the thesis represents independent and original work on the part of the candidate under my supervision. This is again certified that the research has been undertaken as per UGC regulations 2009 and the candidate has fulfilled the criteria mentioned in the University Ordinances-OC-4, sub-section 5(i) of the section-9 for submission of the thesis. The 7th of October, 2016 Kohima SUPERVISOR Dr. Nigamananda Das Professor & Head Department of English Nagaland University, Kohima Campus, Meriema Kohima-797001, Nagaland, Mob.-+919436608904 [email protected] Acknowledgement The present study would not have been possible without the help of a number of people and institutions to whom I offer my profound gratefulness. However, at the outset I specially take this opportunity to express my sincere gratitude to my supervisor Dr. Nigamananda Das, Professor and Head, Department of English, Nagaland University, under whose guidance I have completed my research work. I sincerely believe that it would not have been possible to submit the thesis without his invaluable guidance and help in every step of this endeavour. I would like tender my heartfelt thanks to the Joint Secretary, UGC (NERO), Guwahati, for granting me the fellowship under the Faculty Improvement Programme and also Dr. P. D. Gogoi, Principal, Gargaon College, Simaluguri for his kind help and inspiration in availing the same. I also offer my deep sense gratitude to Dr. R. Rosemary Dzuvichu, Dr. Jano S. Liegise, Faculty members of the Department of English, Nagaland University for their suggestions and encouragements. I convey my gratitude to Dr. L. Khiangte of Mizoram University, Dr. Gambhir Singh of Manipur University, Subhas Ch. Das from Agartala for their help and suggestions. I am thankful to Thaba Thiyam of Chorus Repertoire, Sabitri Heisnam of Kalakshetra Manipur, S. Thaninleima, Mr. Birchandra, Ms. T. Yeegha, Prasanta Sarma for their valuable help. My sincere thanks also go to the staff and officers of the following Libraries that I visited during my research: National Library, Kolkata, Dibrugarh University, Gauhati University, National School of Drama, New Delhi, Agartala, and Sikkim, North Eastern Hill University, Shillong, Mizoram University, Namgyal Institute of Tibetology, Sikkim, Bomdila Monastery and Gargaon College. I seize this opportunity to thank my colleagues Sri Rajiv Gogoi, Mrs. R. R. Saikia, Dr. Jitu Saikia, Ms. S. Saikia- all from the Dept. of English, Sri P. K. Nath, Librarian and all the members of Gargaon College for their help and words of encouragement. Last but not the least I express my sincerest gratitude to my mother Smt. Bharati Konwar, my paternal aunt Smt. Leela Konwar, also Sri Jadav Gogoi and Smt. Swapna Gogoi, my in-laws for their blessings and support. My work would not have completed had I not have the encouragement from my brother Mr. Nilanjan Konwar, sister-in-law Dr. Kakoli Gogoi and nephew Bornabh (Anish). I take this opportunity to express my heartfelt gratitude to my wife Mrs. Madhumita Gogoi Konwar and our son Krishnabh (Chun Cheng) for their toil and constant support throughout the course of my work. Date: 07/10/2016 (Anjan Konwar ) Contents Particulars Page Nos. Preface I - II Chapter - I Introduction 1 - 48 1. Introduction 1.1 Theatre: A brief idea 1 - 3 1.2 Tradition: A cursory observation 3 - 5 1.3 North-East: A brief note 5 - 6 1.4 Folk and Folk theatre 7 - 12 1.5 Tradition of Theatre in India: Origin and development through Sanskrit drama 12 - 27 1.6 Major Traditions of Theatre in India 27 - 48 Chapter- II The Land of Red River and Blue Hills: Theatre in Assam 49-185 2. Tradition and Transition: Assamese Theatre 49 - 50 2.1 Putala Nac 50 - 83 2.2 Ojā Pāli 83 - 104 2.3 Kushan Gan 104 - 108 2.4 Ankiyā Nāt or Bhaona 108 - 150 2.5 Amateur Theatre in Pre and Post-Independent Assam 151 - 163 2.6 Mobile Theatre of Assam 163 - 185 Chapter-III Echoes in the Nine Hills: Theatre Tradition in Manipur 186-233 3. Manipur 186 3.1 Lai Haraoba 186 - 190 3.2 Rasa-Lila 190 - 193 3.3 Shumang Lila 193 - 196 3.4 Manipuri Theatre in the Modern Times 196 - 233 Chapter-IV Rhythms of Theatre: Tripura, Meghalaya and Mizoram 234-312 4. Tripura 234 4.1 Theatre in Tripura 234 - 239 4.2 Tradition of Yatra in Tripura 239 - 241 4.3 Tradition of Kokborok Theatre 241 - 244 4.4 Puppet Theatre 244 - 246 4.5 Meghalaya 247 4.6 Literature of the Garos 247 - 255 4.7 Theatre of the Garos 255 - 265 4.8 Literature of the Khasis 265 - 274 4.9 Theatre of thee Khasis 274 - 290 4.10 Mizoram 290 - 291 4.11 Arrival of the British and Christianity 291 - 295 4.12 Literature of the Mizos 295 - 298 4.13 Theatre of the Mizos 298 - 312 Chapter- V Dance of the Dragons: Theatre in Nagaland, Arunachal Pradesh and Sikkim 313-349 5. Nagaland 313 - 318 5.1 Literature of Nagaland 318 - 322 5.2 Theatre in Nagaland 322 - 328 5.3 Arunachal Pradesh 328 - 330 5.4 Literature of Arunachal Pradesh 330 - 333 5.5 Theatre in Arunachal Pradesh 333 - 337 5.6 Sikkim 337 - 339 5.7 Literature of Sikkim 339 - 342 5.8 Theatre in Sikkim 342 - 349 Chapter-VI Conclusion 350-359 Works Cited 360-370 Photographs III - XVI PREFACE Theatre is a composite but pure art form. It is not considered as a pure form of literature since it not only involves reading and listening but also watching. It is because of this very combination of the three different art forms that the study of theatre becomes more arduous than the other forms. Theatre, as a form of art, involves the performance of human experiences with the help of various tools and with a set purpose to provide delight to both the performers as well as the spectators. Theatre has an indispensable relationship with the evolution of human civilization. Perhaps it emerged much before humans could make use of languages to exchange their thoughts and feelings. The gestures which human beings used in order to express the inner ideas were possibly the earliest lessons on drama that over the passage of time were attached with other forms of expressions resulting into a more complex yet delightful medium. India has an enormously rich heritage of theatre traditions belonging to different cultural milieu. They are as varied as the cultures of India are and they function as the mouthpieces for the millions of people who have no other voices to speak in. Since these theatre traditions do not have any written form and are preserved by the people of the society, they are usually considered as folk art forms. The North-East India, with a variegated conglomeration of people, is itself an enchanted region and is as diverse as the nation is. The region has a rich treasure of folk traditions and culture that is manifested through variety of styles of dance forms, music, rituals, and theatre traditions though in some areas the theatre traditions are not so vibrant. Theatre has always been a medium through which the people of a society has sustained itself by depicting or sharing in a common platform the joys, anguishes, losses, upheavals etc. But of late it has faced tremendous challenges from the modern means of media and entertainment. The onslaught of television with multiple channels, internet, and films has in a way sapped the theatre traditions. It has greater I implications that are apparently visible. It is not only the theatre traditions that are in danger but the general creativity of the people which is at the risk as well. The present work has been a humble attempt to study the different theatre traditions available in the North-Eastern region of India. Since only a few states from the region have prominent theatre traditions it has been very difficult to find out the other lesser known theatre traditions. The study further has sought to take a stock of the present status of the theatre traditions from the North-East in the wake of the electronic media and entertainment boom.
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