| |
 |
CULTURE |
 |
AT THE CROSS ROADS
The glorious classical heritage of Punjab
Virasat Punjab — 2000, dedicated to Ustad Bade Ghulam Ali Khan, Bhai Vir Singh and Ustad Alla Rakha Khan, has heralded cultural renaissance in Punjab. Its slogan is — ‘Back to your moorings’. The revival of classical music, classical dance, folk songs and folk theatre is likely to usher in a new era of dignity, glory and splendour. This is what I felt when I attended the inaugural function in Ludhiana of Virasat Punjab — 2000, organised by Spic-Macay at Pal Auditorium (PAU) on August 31. Niladri Kumar presented scintillating sitar recital (raag jhanjhoti and shringar), while Bharati Shivaji captivated the audience with her classical dance, Mohiniattam. When Somnath Mukherjee accompanied Niladri Kumar on tabla, it was a rare treat, transcending time and space. Indeed music has a language of its own that reveals its meaning when the mind is attuned to the essence of the matter.SPIC (Society for the Promotion of Indian Classical) MACAY (Music and Culture Among Youth) was founded in 1977 at New Delhi by Dr Kiran Seth. I met him on March 26, 2000, when the Convention for holding the festival Virasat-2000 in Punjab, during the month of September, was held in GND University, Amritsar. He deeply impressed me with his single-minded devotion to the cause of classical heritage that has been relegated to a secondary position in this age. His singular personality exudes warmth, geniality and bonhomie. The convener (Coordinator, Spic-Macay, Punjab) Principal Manveen Sandhu was totally involved at that time in outlining the forthcoming cultural bonanza. She has recently (August 25) written to me - “There was no lack of enthusiasm amongst the youth for such cultural exposure. They strengthened our resolve to hold Virasat — 2000 despite all odds ... Inaugurating this festival in the heritage building of Khalsa College, Amritsar, on August 28, we shall conclude it in Kapurthala after presenting throughout Punjab 150 programmes of classical music, dance, folk, toga camps, theatre and film workshops. Sainik School, Kapurthala (the erstwhile Royal Palace) will be illuminated for the grand finale on September 30.” In Ludhiana not less than 28 classical and folk items will be presented during this month in various educational institutions. Meeting Habeeb Tanvir on September 2, a day after his 77th birthday, in BCM School, where he presented his much-acclaimed play Charandas Chor, was an occasion for me to revel in old memories. We had met 22 years ago in Punjabi University, Patiala, where he presented his twin magnum opus, Agra Bazar and Charandas Chor. At that time I reminded him that in 1954 I had translated in Urdu, A Hungarian short story Seven Pennies (‘Laughing away the blues of poverty’), which was published in the Urdu monthly ‘Shahrah’, Delhi. This journal had started its publication in 1948 and Sahir Ludhianvi was its founder editor. My story had appeared under the title ‘Saat Paise’ in the annual issue of the journal. Incidentally Habeeb Tanvir liked that story to such an extent that he converted it into a play, the text of which appeared in the next issue of ‘Shahrah’. In Patiala when I reminded him of all this, he embraced me like an old friend. Now in Ludhiana, after more than two decades, I was again meeting him in the wings of the auditorium, before the start of Charandas Chor, with earnestness. This time I wanted to know if he had staged that one-act play ever -”Of course, many a time. You better ask my wife who has actually directed this play”, Habeeb Tanvir looked at his wife, Monika Misra Tanvir, with admiration. “In fact, Prof Tasneem”, she told me, “the story that you brought to our notice in Urdu version was so full of dramatic possibilities that we inaugurated our ‘Naya Theatre’ in 1959 by staging the play Saat Paise at YWCA, Delhi. Two other one-act plays Phaansi and Jaalidar Parde were also staged at that time.” “I wish I were present there at that time. Most of the dialogues of Saat Paise are still on the tip of my tongue,” I said wistfully. “Moreover”, Mrs Tanvir continued, “We spent exactly Rs 13 on the production of this play, a meagre sum for such a good play.” “The total collection of the show”, Habeeb intervened, “came to Rs 700 which we donated to Kashmir Flood Relief Fund at that time. It was like handing over all that we had.” “I am glad to know all this,” I was overwhelmed by the news of success of the play, “Indeed some literary works withstand the onslaughts of time.” “True”, Habeeb Tanvir got up to step on the stage. “Just one more question,” I too got up from my seat, “How many times Charandas Chor has been staged so far?” “I have lost the count,” he smiled, “Perhaps 600 to 700 times.” “In Patiala,” I followed him, “When you staged this play in 1978, it was very well received.” “Thanks for the compliments,” he shook hands with me, “That was my 150th production of this play.” In Ludhiana, too, the play Charandas Chor got a resounding applause. It tells the story of a thief who has got a heart of gold. Nothing can sway him from his resolve of being truthful under all circumstances. He receives stiff reprimand from the powers that be, although the society is involved in more serious corrupt practices than thievery. This play and the inaugural function (Sitar Vadan and the Classical Dance) coupled with the performance of Pt Rajan and Sajan Misra (Vocal) on September 5 in the Government College for Women have set the ball rolling and the Ludhianvis are now looking forward to a series of cultural functions up to September 29.
|
