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Chompaboti: Rising from the East
Karim Waheed
We, children of the '80s, grew up on a steady diet of unimaginative, dull, and to some extent, insufferable, "snake dance", "fishermen's dance" and "farmers' dance" (aired on good ol' HIV). We were told by elders that these were our heritage, these are the performances that define rural, agrarian East Bengal.
At this point 1 feel the need to explain what a stereotype is: "A conventional, formulaic, and oversimplified conception, opinion, or image."
Stereotypes and cliches don't have to be bad things. IF you can own it, hone it, take pride in it and can astound the world with it.
That's how I'd articulate Shadhona's latest production "Chompaboti". It is essentially all about wandering snake charmers; simple, hard working rural folk; the sinister yet buffoonish village headman; objectification and abuse of women.. .the usual. "Chompaboti" is an adaptation of poet Jasim Uddin's "Beder Meye* by poet-playwright extraordinaire Syed Shamsul Haq. The premiere show was held at the Experimental Theatre Hall, Bangladesh Shilpakala Academy on October 25.
I won't give out a detailed synopsis: for one, J don't think it's necessary, and I’d like everyone to have a magical experience (as I did) when they see it for the first time.
In a nutshell, Chompa is an embodiment of Behula,
Savitri, Sita and all the heroines traditional Bengali literature upholds and celebrates -- beautiful belles whom every male wants and objectifies, who must guard their “dignity" as defined by a patriarchal society, whose beloveds betray them and move on while they wallow in agony and are always ready to embrace martyrdom for the sake of the beloved.
So far, so cliched, right? T hen why did this production work? And not just work, but excel with flying colours? For startets, artists of Shadhona worked their tails off researching on and training in folk art forms such as "Lathi-khela", "Raibeshe", "Ihumur" and "Chhau". They incorporated contemporary elements like “glow in the dark/neon" dance which hasn't been used in dance productions here.
The music - directed by Zahidul Kabir and arranged by Dutbado) Chattopadhyay, Niijher Chowdhury and Rokon Emon - and songs rendered by Anusheh Anadil and Shofi Mondol were laden with ethos. The "Dohar" (accompanying instrumentalists on stage - Shamim Fiasan, Shoron I’rottoy, Suman Chowdhury, Ajoy Chakraborty, Khairul Islam and Nasirul Islam Raj) complemented the whole musical ambiance.
But what took the production from Crade-A to Grade-A+, were the young dancer-actors of Shadhona. The sweat, the passion, the tears were all real, very real. They went above and beyond. Shammy Akter as Chompaboti, the lithe, beautiful snake charmer, won hearts and broke hearts. She lived her character even after the curtain came down. 1 feel obligated to mention all the artistes — Sabbir
Ahmed Khan (as Goya); Amit Chowdhury (Mainka/Snake); Manosh Talukdar (Moroi); Rehana Haque Poly (Maleka); Zuiriyah Mouli (Asmani); Lubna Marium (Boishnobi); Taskin Anha, Sankari Mridha, Lamiya Saiyara Mela, Abu Nyeem, Labonno Sultana Bonna, Anandita Khan, Md I lanif, Sohan Arefin Nayan, S.M. Flassan Ishtiaque Imran, Nurul Haque Abir and Nasirul Islam Raj (villagers and Bede people). It takes the whole team to make a production fly.
Kudos to Sabbir Ahmed Khan and Shamim Hasan for their brilliant dance and theatrical direction, respectively. Artistic direction by Lubna Marium and light design by Reazuddin Mahmud employed creativity and intelligent use of the limited space at the Experimental Theatre Hall; a boat making its way through two of the openings, on to the performance space was one of the best demonstrations of
Note to the Government high-ups who decide which artists/troupes would represent Bangladesh as delegates at international cultural events: 1 do realise I'm in no position to make recommendations, but I strongly believe this production deserves to represent Bangladesh, and can make us proud.
This is not a review; it's a heartfelt appreciation. I'd like to argue that Shadhona has been doing what no one else has in the contemporary cultural scene Awestruck. Indebted. Karim Waheed Is Editor, SHOUT.