The plays staged by Kalakshetra Manipur honours Heisnam Kanhailal and underscores his work’s enduring relevance to Manipur’s socio-political and cultural struggles.
By Usham Rojio
Kalakshetra Manipur celebrated the three days birth anniversary Celebrating Heisnam Kanhailal (from 17th to 19th January 2025. This year marks the 50th anniversary of Pebet, a hallmark production of Kalakshetra Manipur directed by the late Heisnam Kanhailal. Renowned globally for his contributions to theatre as both a practitioner and theorist, Kanhailal’s legacy was honored through a series of performances. During the 3-days celebration, Kalakshetra Manipur staged three plays – Pebet, Tamnalai and Keibu Keioiba. Pebet and Tamnalai are in-house productions of Kalakshetra Manipur. The students of School of Drama & Fine Arts, University of Calicut, Thrissur, Kerala performed Keibu Keioiba, directed by Heisnam Tomba, highlighting Kanhailal’s influence on a new generation of artists. This commemorative event displayed a rich tapestry of performances, reflecting the deep cultural roots and innovative spirit fostered by Heisnam Kanhailal throughout his illustrious career. It provided an opportunity for audiences to reconnect with his works and celebrate the enduring impact he had made on theatre. Professor Anuradha Kapur delivered a memorial lecture on January 18, 2025.
Pebet: A Revisit
On the first day of the celebration (17th January 2025), Pebet was staged at Chandrakirti Auditorium, Imphal. The play Pebet has a notable history, with its first performance in February 1975 during a Jatra festival at Polo Ground in Imphal. The original cast featured seven actors portraying Pebet children, each identifiable by their kokyet colours associated with the seven clans of the Meetei community. The performance included Sabitri as Mother Pebet, two actors as cats, and two drummers on six-foot scaffolds who engaged with the action. Today, we see a different Pebet performance different from the first premiered show.
In one poignant scene of the performance, I was told, Kanhailal’s portrayal of the Old Man of the Village served as a crucial narrative device that underscored the struggle faced by the Pebet community. His intervention during the moment of crisis offered a bridge between the past and the present, highlighting the themes of ancestral wisdom and collective memory. The act of carrying the mother back to the scaffold symbolizes the importance of heritage and the need to honor one’s roots, even in the face of overwhelming adversity.
The reaction of the Cats—a representation of oppressive forces—illustrated the lengths to which these antagonists went to suppress the spirit of the villagers. Their brutal response to the Old Man’s act of kindness suggests a desperate attempt to eradicate any hope or resistance within the Pebet community. This reflects the broader dynamics of power and resistance, where the spirit of the oppressed often becomes a target for those seeking to maintain control. However, the emergence of Mother Pebet, holding the flag made of the seven-clan colors in the earlier production, brings a powerful message of resilience and hope. The colors symbolize not only the diversity within the community but also their unity in the face of struggle. Her presence as a powerful figure reaffirms the idea that the Pebet identity cannot be extinguished; rather, it must be fought for and celebrated. This narrative highlights the cyclical nature of struggle and resistance, suggesting that while there may be moments of despair, the spirit of a community and its identity can rise again, emboldened by its past and the shared commitment to fight for a future that honors that heritage. The flag serves as a rallying emblem, reminding the Pebets of their strength and the importance of continuing their fight against oppression.
In this contemporary performance of Pebet, the absence of physical props and flags marks a significant evolution in its performance history. The action is conveyed entirely through mime, allowing the performers to express deeper emotional and thematic narratives without reliance on visual symbols. This shift not only streamlines the storytelling process, making it more fluid and economical, but also reflects a departure from traditional linear causality in storytelling.
Kanhailal’s dramaturgy also embraces physical movement and non-verbal communication, encapsulating a more profound sense of expression that contrasts starkly with earlier, more verbose productions. The minimalist approach enhances the thematic resonance of the piece, as the repetitive use of the two words, “Pebet” and “Tetu,” evokes a rhythm reminiscent of folk traditions. These repeated sounds serve not only as a central motif but also as a means of crystallizing the play’s essence in a manner that is both rare and impactful in the realm of minimalist non-verbal theatre. Overall, this fresh interpretation of Pebet showcases a mature artistic vision that deepens the engagement with its themes and invites the audience to explore the nuances of communication beyond spoken language.
The evolution of Pebet‘s performance reflects significant changes in both the staging and thematic portrayal over the years. By the second performance in 1976 at the Manipur Dramatic Union, the editing choices visibly altered the dynamics of the production. The removal of certain elements, such as the scaffold and drummers, while retaining the cats, implies a refinement in focus—perhaps prioritizing the emotional resonance and immediacy of the characters over elaborate staging.
The Old Man of the Village, once a pivotal figure whose spirit served as a connection to cultural heritage, has gradually faded from the performance, signaling a shift in how cultural identity is represented within the performance. His disappearance, particularly in light of Kanhailal’s exit from the role, marks a transition toward a deeper integration of cultural themes into the performance itself, embodied now by the character of Sabitri. This transformation suggests that the essence of the community, once externalized through a distinct character, has become internalized in Sabitri’s portrayal.
Sabitri’s ability to invoke the spirit of the community without relying on a physical representation of the Old Man denotes a significant step in the evolution of Pebet. It emphasizes the idea that cultural identity can be expressed through the individual rather than through an intermediary character. The notion that the Old Man is redundant signals a maturity in the performance’s ability to convey meaning, allowing for a nuanced exploration of identity that resonates deeply with the audience. Sabitri’s embodiment of these issues suggests a shift toward a more personal and holistic representation of cultural legacy, highlighting the fluidity of identity in contemporary performances.
The 1982 production of Pebet at Sangeet Natak Academi (SNA) marked a significant shift in Kanhailal’s approach to theatre. Invited by the Sangeet Natak Akademi to conduct a workshop demonstration, Kanhailal faced the challenge of working with a limited number of actors. This limitation pushed him to strip down the play’s elements and emphasize the essence of performance itself, rather than relying on elaborate costumes or sets.
By choosing to have the actors wear their everyday work clothes, Kanhailal shifted the focus from external appearances to the raw energy and physicality of the performers. This choice not only fostered a deeper connection between the actors and their characters but also encouraged a more authentic and spontaneous expression of emotion. The actors were forced to engage fully with the physical demands of their roles, prioritizing movement and presence over traditional theatrical conventions.
This production’s impact was profound, prompting Kanhailal to reevaluate the core principles of theatre. It challenged conventional notions of what constitutes a theatrical experience and highlighted the importance of the actor’s body as an instrument of storytelling. The SNA workshop not only showcased the potential of minimalist staging but also emphasized the idea that the essence of theatre lies in the performers’ connection to their roles and to each other, rather than in the trappings of production.
Kanhailal’s experience in this production ultimately contributed to a transformative period in his directorial career, where he began to explore new methodologies and forms that prioritized bodily expression, energy, and a more visceral connection to the narrative. This turning point in Pebet signified a broader evolution in contemporary Indian theatre, where traditional practices were reexamined in favor of innovative and personal storytelling techniques.
This journey highlights the dynamic nature of theatrical productions, particularly referencing the evolution of Pebet as it was performed across various locations in India. After the 1982 Sangeet Natak Academi expedition, the involvement of key figures like director Prasanna from Karnataka and the contributions from esteemed theatre organizations such as Samudaya and Koothu-p-pattarai underscore the collaborative spirit of the theatre community. Kanhailal’s philosophy, that theatre should be flexible rather than rigid, is a central theme, reiterating the idea that performances can and should adapt to different audiences and contexts. This adaptability not only enhances the performance itself but also enriches the overall experience for both the actors and the spectators. The journey of Pebet from Imphal to Karnataka, Madras, and Calcutta illustrates the broader cultural exchange and the vitality of live performance as an art form capable of continuous transformation.
The essence of Kalakshetra Manipur’s theatre, exemplified by the enduring production of Pebet for the last 50 years, underscores the significance of flexibility in artistic expression. While many revolutionary works may quickly become outdated or trapped in nostalgia, Pebet has managed to transcend the typical lifecycle of theatrical productions, maintaining its relevance and vitality over five decades. This adaptability not only speaks to the play’s fundamental themes but also to the creative approach of its practitioners, allowing the work to resonate anew with each generation of audiences.
When Pebet was performed for the 2017 Bharat Rang Mahotsav in honor of Oja Kanhailal, it was perceived by many as a fresh creation, highlighting the play’s ability to engage with contemporary audiences despite its historical roots. The play’s sustained energy invites continuous interpretation and reinvention, demonstrating that true art possesses the power to evolve while addressing enduring questions of survival and human experience. In a world where time often pressures artistic creation, the flexibility of Pebet serves as a potent reminder of the transformative potential of theatre to adapt, inspire, and connect across time and space.
Kalakshetra Manipur’s staging of the play on January 17th, 2025, as part of the celebrations for the birth anniversary of the late Oja Heisnam Kanhailal, remains highly relevant in today’s context. Given the current political turmoil in Manipur, the play’s themes and messages must be striking a chord with audiences, offering a powerful commentary on the state’s ongoing struggles.
The fact that the play still resonates with such freshness and urgency is a testament to Oja Heisnam Kanhailal’s visionary work and the timelessness of his art. His legacy continues to inspire and influence new generations of artists and audiences, and it’s wonderful to see his work being revisited and reinterpreted in a way that speaks to the contemporary time.
By staging this play as part of the birth anniversary celebrations, Kalakshetra Manipur is not only paying tribute to Oja Heisnam Kanhailal’s memory but also highlighting the ongoing relevance of his work in addressing the social, political, and cultural issues that continue to affect Manipur today. This is a powerful example of how art can be used to spark conversations, challenge perspectives, and inspire change, and it’s a fitting tribute to a legendary artist like Oja Heisnam Kanhailal.
(Usham Rojio teaches at Visva-Bharati (a Central University), Santiniketan, West Bengal. He is also a theatre worker and co-author of the book Heisnam Sabitri: The Way of the Thamoi.)