A Survey of the Performing Arts scene

While Karim's article strives to give an objective account of what went on in the few "nerve centres" that became famous for theatre in Dhaka, Lubna Marium's "Bells on Our Feet" is a comparatively more subjective account--reading in places like a memoir-- of how she as a dancer received training and grew up as a performer alongside other compatriots. But she then rescues it by peppering this narration with accounts of how her teachers made crucial contributions to the overall scene and how her peers made their forays into the dance world during those '60s years when the concept of Muslim girls growing up to be dancers was still seen as a form of social rebellion.

Unfortunately, with one more article, on Binodini, a scintillating new drama that recounts the life of Binodini, an actress of yesteryear, Jamini draws the curtain on the Bangladeshi performing arts scene. What remains unexcavated is a whole array of performances that constitute the vital cultural strands of the rural Bangladesh. From Jatra to Sang to Pata presentation, there is a definite spectrum of performances that are staged at different times of the year throughout Bangladesh. An article on this populist scene would have made a huge difference.

In fact, in the article titled "Picture and Performance" Suryanandini Sinha brings into view a number of art pieces that record the performances like Chorak puja, or the hook- swinging festival, and Nautch Party, where a dancing girl is accompanied by musicians. Many believe that the Bengalis have renounced such pre-Vedic festivals, but a couple of books by Simon Zakaria, who continues to tirelessly document myriad such performances and events in rural Bangladesh, prove otherwise.

In this issue of Jamini, there are a couple of articles that opens windows on to our neighbouring countries. One particular piece by Sheema Kermani zooms in on a theatre group in Pakistan. They call themselves Tehrik-e-Niswan, which literally mean women's movement. Tehrik-e-Niswan marries theatrical performances with activism. In fact, the very first performance of this group was a Safdar Hashmi play called 'Aurat,' a piece that examines women's place in the society. The article also lays bare the mechanism of censorship in Pakistan, which puts up hurdles against plays that defy norms like showing a Hindu as a good human being or a Maulvi being murdered. The second article focuses on the youth theatre scene in Bangalore. Written by Anjum Hasan, the article examines the latest developments in avant-garde theatres that not only defy theatrical norms but also parody real life.

Michael Coveney's take on the Royal Court Theatre is an enlightening piece. He argues in favour of the Royal Court and shows how it has been instrumental in keeping the theatre scene alive with new writings. He lets the readers know that it is the living writers who help keep the tradition of delving into current socio-political issues alive in Britain. Besides the articles on performing arts and theatre there are two articles that touch on the subject of fine arts. One, which surveys the works of the last Asian Art Biennale, is by Syed Manzoorul Islam. His appeal to the authorities for a curated show in the future is a timely one. The article on S.H. Raza, the eminent Indian abstractionist, seems out of place. The piece on the movie made on Modigliani seems to have fit well into the overall design.

The exhibition reviews are a crucial part of the journal. The one on Dan Flavin, the minimalist master who proposes compositions with neon lights as art, certainly provides the readers with an overview of the artist's ordered but visually intriguing world. The cover, showing the virtuoso actress Shimul Yusuf in her electrifying performance as Binodini, is an eloquent homage to the modern theatre practice in Bangladesh. It is a fitting jacket for this prestigious periodical.

Mustafa Zaman is senior staff writer, The Daily Star magazine.