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Bringing Nazrul to the dance stage

Karim Waheed
With a cast of over 56 male, female and child dancers, Nrityanchal staged a spectacular production, "Badol-o Barishaney" - based on a short story by Kazi Nazrul Islam -- on March 30, 2007 and left the audience at the packed auditorium craving for more. A question cropped up: why do we not see more such dance productions based on the National Poet's works? ♦
Shibli Muhammad and Shamim Ara Nipa, two of the most accomplished dancers in the country, who staged "Badol-o Barishaney" at the dance festival by Shadhona and UNESCO (in 2007), reflected on the reasons, limitations and possibilities.
Shibli: 'The tradition of modem Bengali dance drama is predominantly the contribution ofTagore, who was an avid dance enthusiast His dance dramas, such as 'Chandalika,' 'Shyama' and 'Chitrangada' were staged in Tagore's lifetime, often by him or overseen by him. Tagore had even specified which dance form should be used in which dance drama. To put it in a nutshell, Tagore was meticulous and very disciplined when it came to his creations. He had financial freedom to do so.
"Nazrul wasn't blessed with family fortune. He was a rebel. Discipline and consistency were not his virtues. Exponents are still unsure about the exact number of songs composed by Nazrul. He didn't write dance dramas or indicate his wish to adapt particular works in his lifetime."
Nipa: "I consider the lack of dance productions based on Nazrul's works our failure as well. I don't want to compare but I feel thatTagore exponents and artistes are more active when it comes to experimental productions based on the Nobel laureate's compositions. Some of his long poems have been beautifully adapted as dance dramas, 'Shesh-er Kabita' and Abedan' for example. Unfortunately, adaptations (of similar standards) of Nazrul's works are few and far between. I think that certain drive is missing among Nazrul exponents, researchers and enthusiasts.
"We have to thank artistes Khairul Anam Shakil and Ferdaus Ara for their support to Badol-o Barishaney'
(originally adapted by Nazrul exponent Dr. Rafiqul Islam)."
There is also the issue of patronage, say the duo. It takes around Tk 5,00,000 for a standard dance production to go on stage. A dance drama requires songs to be re-recorded (use of instruments differ from regular renditions and 'bol' have to be included), elaborate costumes are involved; set and light designs should be innovative and so on.
"Frankly, if Shadhona hadn't financed it, 'Badol-o Barishaney' wouldn't have gone on stage," says Nipa.
"Another important factor is Bangladesh Shilpakala Academy's willingness (or lack of it) to encourage creativity. Over the last 7/8 years, it has become a 'tradition' to hold nationwide programmes on Nazrul Jayanti with some very uninventive arrangements," complains Shibli.
"There was a time when renowned cultural personalities were put in charge of this institution. When planning a major programme, artistes were consulted and shows were usually of a certain standard. Shilpakala Academy used to produce dance dramas as well. Now, Shilapakala programmes can't come out of the 'chorus and group dance' format," he adds.
Noteworthy adaptations of Nazrul's works: "Jodi Ba(n)shi Aar Na Bajey," adapted by Shahidul Islam and staged by Nrityanchal 12/13 years ago. The dance drama imagines Nazrul in diverse roles, featuring classics like "Amar nayan-e," "Parodeshi megh" and "Phool-er jalsha-e."
"Shunyo E Buk-e,n a Bangladesh Shilpakala Academy production, scripted by Manzur-E-Maula (when he was the DG of Shilpakala). The dance drama was directed by Deepa Khandokar.
"Navras," featuring Nazrul songs on nine basic human emotions, by Dr. Mahua Mukherjee (renowned Indian danseuse). The production highlights the 'Gaudiya' dance form ('Gaudiya' means old Bengal and the dance form vanished from the scene because of lack of patronage and political instability. Dr. Mukherjee has been working tirelessly to bring this dance form back to its old glory).
Dr. Mukherjee has also choreographed "Chai Chai Chai” -- an adaptation of a Nazul poem with the same title. The composition features 'Bratachari bol' and 'Raibeshey' (another dance form indigenous to Bengal).
Shibli are Nipa are hopeful that Nazrul can be effectively incorporated into the contemporary dance scene. "There is a sizeable audience, keen on dance, in our country. We've rarely performed at shows that were not housefill. And Nazrul's compositions, highlighting intricate use of classical music, are particularly suitable for dance. If competently adapted, they should draw an eager audience," Shibli says.