Review/Report - 'Bala': An inspiring musical ballad

'Bala': An inspiring musical ballad
- Manjari Sinha
e-mail: manjari@sinha.com
Photos: Arup Jyoti Kalita

March 15, 2025

The Darpan Dance Academy, Guwahati, presented 'Bala', a thought-provoking musical ballad on the occasion of International Women's Day, at the Madhavadeb International Auditorium, Shrimanto Shankaradeva Kalakshetra, Punjabari, Guwahati. The musical ballad was about the Late Birubala Rabha, the great social reformer of Assam and the recipient of the Padma Shri Award and an honorary Doctorate from Guwahati University, who campaigned and fought against social evils like the prevailing superstitions of 'Dainy', resulting in witchcraft due to false belief amongst the illiterate tribal communities of Assam.

Birubala Rabha, a tribal woman herself, was born into a simple family in the village Thakurvilla of Golpara District of Assam. She could not study beyond class five due to poor family conditions but had courageously taken anyone who tried to violate the dignity of women. Her mission against the witch superstition saved the lives of multitudes of tortured women in the interior tribal belts of Assam from being branded as witches. She created awareness against all sorts of social evils and superstitions and provided rehabilitation to the victims of the witch-hunting menace. She played a key role in enacting the country's most stringent law against witch-hunting.

Birubala Rabha's name was nominated for the Nobel Prize in the year 2005. The same year she was felicitated by the Reliance Industries Ltd in Mumbai under 'Real Heroes: Ordinary People, Extraordinary Service'. Her name was nominated in Switzerland's 1000 Women Peace Project, which had honoured 1000 peace workers from 150 countries across the world. The anti witch hunter crusader Dr Birubala Rabha from Assam, battled with cancer and passed away at the State Cancer Institute, GMCH, Guwahati in May '24. This was a tribute to Dr Birubala Rabha, the great social reformer of Assam, on the appropriate occasion of International Women's Day.

'Bala', the musical ballad was conceived and choreographed by Dr. Anjana Moyee Saikia, the renowned Odissi and Sattriya dancer, choreographer and founder of Darpan Dance Academy, Guwahati. Initially trained under the tutelage of Gorima Hazarika, Anjana was further groomed by Guru Kelucharan Mohapatra in Bhubaneswar and Protima Gauri at Nrityagram, Bangalore. She is also trained in Sattriya under Guru Ghanakanta Borah. Equally adept at theatre, she has been working on folk and experimental dances and theatre also at Darpan, inculcating awareness of interdisciplinary approach and understanding of all art forms. Darpan has participated in national and international theatre festivals as well, including the Bharat Rang Mahotsav and Theatre Olympics and won accolades.

Ustad the Sutradhar and the male and female puppets

The script, design and direction for Bala were provided by Manik Roy. The indomitable spirit of Bala was brought alive through the engaging storytelling, very thoughtfully using puppetry. The Sutradhar here was Ustad, literally a Sutra-Dhara (the thread holder) of human puppets, the Nat (male puppet) Janki and Nati (female puppet) Panoi, dressed in colourful attires and carrying forward the story of Bala. The story was depicted scene by scene, while the Ustad and his male and female puppets, Janki and Panoi, would connect the storyline with inputs of humour and wit.

Map of Assam held by the Sutradhar and dancers

Starting with the puppet show, where the Sutradhar Ustad asks the Nat Janki and Nati Panoi which story they wanted for this evening and with their affirmation of Birubala's story, the Rasikas were transported to the artistic depiction of Assam, the place of her birth and her dedicated missionary work, that spread over the length and breadth of Assam. This was shown first through the geographical map held by the dancers and then shown through the vibrant folk dances of those various regions. Every folk dance comprising Karbi, Boro, Mishing, Tiwa and Rabha, had their own regional costumes and jewellery, music and folk instruments to provide authentic flavour.

The joyful childhood story of Bala took a traumatic turn with the depiction of Dainy with open stresses of her long hair covering her face, dancing to the baton of the Ojha (exorcist) with his men armed with hatchets, axes and sticks torturing her, at times even killing women termed as Dainy (witch). It was moving but equally effective was the indomitable Bala fighting against them. This left a lasting impression through the dramatic freeze used very effectively, enhanced with appropriate musical background and light design.

Bala rescuing the girl tortured as Dainy, the witch

Birubala being attacked by the hostile mob when she rescues the victimised girls

Manik Roy, the director, used the old storytelling tradition of Assam known as the 'Shruti-Naad Parampara', the oral tradition or Vachik Parampara, where the story is told and then depicted in music/dance/drama forms side by side. The musical ballad successfully strived to bring alive Bala's uncompromising attitude to change the society, not just to popularise her name but also to give respect to her campaign and fulfil her dreams.

The dance choreography by Anjana had special movements for the puppets, different ones for folk dances and the dramatic situations, whereas Manik used dramatic elements and poetry to enhance his script, design and direction to leave the spectators enlightened, not just entertained. The imaginatively composed music by Mandeep Mahanta was assisted by Rupjyoti Konvar and Jaynath Deka. Vocals were rendered by Panchua Rabha, Bhiyolina Boro, and Mandeep Mahanta himself. Poems were written by Debjyoti Sarmah and lyrical songs were written by Luit Konwar Rudra Barua and Manik Roy. Light designing by Tapan Baruah. The live instrumental music used in the background on authentic Assamese percussion enhanced the dramatic effects. Runumi Devi anchored the show with sensitivity and precision.

Bala with Sutradhar, Nat-Nati and the rescued girl

Dr. Anjana Moyee Saikia not only conceived and choreographed the show but also brought alive the indomitable spirit of Birubala, enacting the challenging role of the protagonist. Other artists on stage comprised Abhijit Chutia, Harshita Ray Choudhury, Kaushik Kishor Hazarika, Karnika Phukon, Darbian Konnvar, Biolina Boro, Dinesh Gowala, Jirijona Subhra Borah, Hirakjyoti Hajong, Juli Pave, Violina Hazarika, Flora Chitia and Tamasha Saharia.

Mamoni Sakia, a close associate of Dr Birubala Rabha, had tears in her eyes when she was invited on stage and was felicitated at the end of the show. Same was the state of Komoli Bala, the daughter of the Birubala Rabha, who was also honoured by Darpan. It was heartening to see that Darpan chose to celebrate the International Women's Day by celebrating the life and mission of their own Birubala Rabha! The only suggestion for Darpan remains to give the summary in English or Hindi also, if they want to take this inspiring production to other parts of our country where people don't understand Assamese.

Manjari Sinha is a musicologist and an acclaimed classical music and dance critic. She has an MA in Sanskrit from Allahabad University, MA in Music from Vikram University, Ujjain; Sangeet Prabhakar in Hindustani Vocal, Tabla, Sitar and Kathak dance from Prayag Sangeet Samiti, Allahabad; and further training in Sitar under Guru Pt. Arvind Parikh in the lineage of Ustad Vilayat Khan. She has authored a book on Ustad Bade Ghulam Ali Khan, commissioned & published by Roli Books. She has contributed the chapter on Kathak for 'Indian Dance: the Ultimate Metaphor'. Her articles in English and Hindi on Music, Dance, Art & Culture are regularly showcased in a variety of leading journals and periodicals.