By Adrian N Dkhar
On August 31, 2022, a programme titled, Ka Phan Nonglait – A Tribute to Unsung Heroes was organised by the North-East Zone Cultural Centre (NEZCC), Dimapur, in collaboration with the Department of Arts and Culture, Meghalaya as part of the Azadi Ka Amrit Mahotsav at Nongrmai, Eastern West Khasi Hills.
Lapdiang A. Syiem is a ‘Physical Theatre’ practitioner trained in acting at the National School of Drama (NSD), New Delhi and the Commedia School, Copenhagen.
Since her return to Shillong, she has performed numerous plays by blending folktales with contemporary socio-political, gender and identity issues. Some of her plays are Ka Tiew Larun (2013), Ka Nam (2013), Ka Noh Ka Likai (2016), Reaching out to Grasp Roots… I Stand Uprooted (2019), Ngan Hiar Sha Wah (a digital theatre performance) in 2022, and many others.
After two years of the pandemic, she returned to the public stage for a live performance at Nongrmai with her team for the play Ka Phan Nonglait, an interpretation of the tale of a Khasi woman freedom fighter who fought alongside U Tirot Sing of Hima Nongkhlaw, U Bormanik Syiem, U Monbhut and others, in an attempt to liberate the Khasis from the English East India Company at the Anglo-Khasi War (1829 -1833).
Lapdiang portrayed her creativity through the embodiment of Ka Phan Nonglait’s role as a woman who broke boundaries and societal norms, along with the thirst for freedom – to liberate not only herself but other women.
Mention must be made of the exceptional genius of her teammate Juban Lamar, in-charge of the light and the sound system, ensuring that they blend in and evoke the aestheticism of the play; Apkyrmenskhem Tangsong’s euphonic music – the strumming of ka duitara, the beating of ka ksing and ka bisli – along with the props crafted and designed by Fillamore Kharsynteng, transported the audience to a panoramic adventure and a realm of ecstasy.
All of them combined, transformed a mere story of a female freedom fighter in the 1820s into a relevant story of the present-day women fighting for multiple forms of freedom in a society that, though matrilineal, is bound by patriarchal norms.
Syiem’s journey as an artist is applaudable and for most of us who have been following her journey as a performer and the experimentation with multiple forms of theatrical art and stage props, we see that the murra (a round cane stool indigenous to the region) has been one that stayed with her. Over time, it has become an essential part of her plays.
Perhaps I would imagine that the symbolism of the murra bears a close resemblance to that of the Japanese Noh masks, which signifies the characters’ gender, age, and social ranking, and by wearing them, the actors may portray youngsters, old men, women, or nonhuman (divine, demonic, or animal) characters.
The use of ka murra is also Syiem’s identity as a performer. When she returned to Meghalaya in 2016, she found a physical stage in this round cane stool. Wherever she placed it, she could tell her story and transform into a storyteller. With time, she discovered that it could also be an extension of her performing body.
At the beginning of the play, we see her (Syiem) lying in a sleeping position with her head inside the murra. She uses it as a tool for storytelling and as a substitute for the khoh (a conical-shaped cane basket).
The setting of the play, Ka Phan Nonglait, is minimalist, with props consisting of the murra, khiew phiang, bamboos standing upright adorned with the jaiñkyrshah, which symbolises women fighting for freedom alongside Ka Phan Nonglait.
There is nothing too fancy nor shabby about its setting and props, yet despite its minimalism, it did not fail to provide the audience with a vivid picture of what would have been back in the days when the event took place.
Despite Syiem’s effort in building a foundation and promoting along with spreading the art of theatre to the audiences with her team through her performances, there is a lack of resources, educators, participants and spaces dedicated specifically to the art. Collective action is to be desired from all sections.
In 1993, David Pammenter observed, “Theatre, at its best, is the communication and quality exploration of human experience; it is a form for our values, political, moral and ethical. It is concerned with the interaction of these values at a philosophical, emotional and intellectual level”.
We are aware that there is a need to bring about an awareness on what, why and how theatre as an art form, a movement and a visual element can bring people together, and explore the values mentioned by Pammenter.
Shillong requires some staunch supporters, educators and enthusiasts who are willing to bring people together and help them discover the cultural phenomenon, the transformation, the use of the body as an expression for self-empowerment, and socio-political change through theatre.
We hope that in the near future, Shillong would see a vast number of theatre enthusiasts and practitioners.