|     |
|
| |
 Priti Patel's 'Ishanou - The Black Swan' showcases magnificent Manipuri traditions at the NCPA Nakshatra Festival 2025- Sumana Sachidanandae-mail: sumanas29@gmail.com Photos courtesy: NCPA November 26, 2025 The Nakshatra Festival is an annual celebration of dance at the temple of arts - The NCPA, where one can witness the descent of awe-inspiring stars on its famed stage. Arguably, the Mumbai Rasika is discerning, liberal, generous and traditional, all in equal measure. This is probably one of the few cities (if not the only) that laps up the modern and contemporary as much as it does the conventional. It devotes time amidst the hustle and bustle, to savour and respect art. The NCPA has been the pioneering institution for the arts in Mumbai, and has played a major role in shaping the artistic identity of the financial capital. Kudos to Dr. Swapnokalpa Dasgupta for curating refreshing presentations time and again. She seems to have an Akshaya Patra of never-ending ideas that delight artistes and audiences alike. Day 3 of the Nakshatra Festival (1st of November 2025) featured productions by renowned exponents Priti Patel and Piyal Bhattacharya. The evening commenced with 'Ishanou - The Black Swan', a production by eminent dancer and founder of Anjika Centre for Manipuri Dance and Movement Therapy in Kolkata and Imphal - Priti Patel. Presented after more than a decade of its premiere, its revival on stage proved to be an audio-visual treat for the audience. I felt a surge of pride within me as a woman, for this was a tribute to women, by women, and for women. Priti spoke with great emotion about how this was her offering to the trailblazing women of the Indian classical dance fraternity, including her own Guru - the legendary Darshana Jhaveri. The term 'Black Swan' was used by Roman poet Juvenal in his poem Satire VI, in which he said "rara avis in terris, nigroque simillima cygno" translating to "a rare bird in the world, very similar to the black swan". Metaphorically, it is a symbol of something unique, exotic and precious, bringing unforeseen impact. Priti explained how women such as the Jhaveri sisters, Rukmini Arundale, Kumudini Lakhia, Kanak Rele and Sonal Mansingh broke free from the shackles of a conservative society that restricted women from respectable families from becoming dancers of repute. They represent the 'Black Swan' for her, because their existence and success were unprecedented. They transformed the artistic landscape of the country, and created unparalleled impact, paving the way for generations to follow. These great minds epitomize the feminine qualities elucidated in the Bhagavad Gita - fame, prosperity, fine speech, memory, intelligence, courage, and forgiveness. Indeed, inspiring others to join the fold of the incomparable 'Black Swan'. Hence, the production titled 'Ishanou- The Chosen One' - the journey of the Black Swan. In Priti's words - The Black Swan is about making difficult choices, taking a path that may not be travelled very often but doing so with quiet confidence of inner conviction. The production opened with the customary blowing of the double conch (Moibung) by the male Sankirtana artiste, marking the beginning to the auspicious occasion. There is a sense of calm inherent in the Sankirtan artistes, with their white attire to their demeanour, which creates a meditative ambience.  The mood quickly shifted to one of power and aggression, with the entry of the Pung (percussion) artistes representing the Male White Swans. Pung in Meitei language means Time and Manipuri tradition uses several types of Pung (percussion instruments), depending on the occasion and ritual. The Tanyei pung, along with the Langdeng pung was used to create an impression of the vigorous entry of the male energy. The Tanyei pung instrument is a large drum, traditionally used in temples for timekeeping. Harao pung is a smaller drum, traditionally used in Lai Haroba, the festival predating Vaishnavism that is dedicated to the forest deities. The dancers also performed the Cholom acrobatic movements of jumps and twirls while maintaining a steady rhythm. This was a potent segment that set the tone for the narrative of entire production. Enter the white female swans - graceful Manipuri dancers in white costumes, gliding across the stage, along with the protagonist the Black Swan portrayed by Priti Patel herself. The aesthetic of Manipuri lends itself beautifully to the body language of a swan - gentle and dignified. The traditional Manipuri Raas Leela costume is regal, grand, colourful and glittery. In sharp contrast, here, the dancers in plain white simple costumes and minimal headgear looked like angels and charmed their way through the hearts of the viewers. The innate nature of the Meitei people - feminine, polite, sophisticated and disciplined, reflects in the construct of the artform. Positioned in an alluring lotus like formation, they created the visual of a Black Swan unfurling its wings - a majestic display of its dark plumage contrasted by the white tips of its wings. (As someone living in a concrete jungle, I am now eager to visit where I can observe this unusual bird in all its glory!). Mother Nature's creations are intriguing. Here, flute was used along with cymbals creating a lovely melodic effect. What followed was a breathtaking dance of the white swans, where Priti incorporated the Hansa Gati (Gait of the swan) designed by Guru Ojha Chaubal. Who says we can't bring Russian ballet synchronization standards to Indian dance? These girls were in perfect unison almost breathing together, and in perfect laya, as they danced to the beats of the Pung. As the Black Swan entered, the white swans quickly huddled together and shunned her. The Black Swan, deeply hurt by this, found strength in words of self-motivation. She told herself to never give up, no matter how thorny, dark and lonely her path be.  Child artiste Gunchenbi Devi  The vicious hunters, depicted by artistes in Mukna Kangjei (A type of martial art with the cane bamboo sticks) style, then attacked a young, white swan and captured her. Here, the Sapta Taal of 20 beats was effective in bringing alive the raudra and bhayanaka rasas. The artistes created complex geometric patterns with the sticks, while simultaneously leaping and twisting. It was fascinating to watch! One felt genuinely afraid for the little white swan. This character portrayed by the talented Gunchenbi Devi (both her parents were a part of the production), sang a poignant verse from a folk Pena tradition. Here, she pleaded to her mother to rescue her. This little girl Gunchenbi is a prodigy. She stole the show with her expressive treble voice. The Pena (a stringed instrument similar to the Ektara) was used to create a heightened effect that truly moved the listeners.   The Black Swan (Priti) then made an entry in the guise of a white swan. She quoted verses from Gurudev Rabindranath Tagore's Gitanjali, pleading with the Almighty- "Give me the strength to lightly bear me joys and sorrows". Priti had envisioned the production with minimal lyrics, but whenever she employed Meitei lyrics or Tagore's verses, they resonated with remarkable power. The Black Swan decided to sacrifice herself to rescue the little white swan. The Outcast became the saviour. The clever use of ropes that dropped from the ceiling and engulfed her like flames, made for a spellbinding sight. The Black Swan surrendered wholeheartedly, much to the surprise of the white swans. The white swans, who had softened their stance towards the Black Swan and empathized with her, made a dashing entry in the traditional Raas Leela costume of the barrel-shaped skirt (Kumin) and a black blouse (leisen phurit). They fanned the Black Swan lovingly with the Chamara / Chowrie / fly whisk, almost as if in worship. The impressive Birdashak Tala of 24 beats was used here. They now adored her and wanted to join her tribe. Her character marked by strength and love inspired them to join her in becoming agents of change. A positive change, that can transform the world they live in.  The showcase of Thang-Ta, a heroic tradition of Manipur (which is believed to have even driven the Burmese out of Manipur in the 1700s) made for a befitting crescendo to the production. Armed with swords (Thangs) and spear-like rods (Tas), these male White Swans depicted the internal awakening they had experienced thanks to the Black Swan. They now recognized the significance of the Black Swan, a revolutionary figure in society. Spent from a spirited battle, they finally let their arms fall in surrender and acceptance. Now they have all become Black Swans! A rousing finale to a wonderfully conceived production. One that brought Manipuri culture to the maximum city in all its splendour. With live music for nearly all segments! Massive respect for Priti Patel, a non-Manipuri who has dedicated her life to upholding the traditions of this heritage laden state. She is probably the first to feature the various dance and martial art forms of Manipur in a single production, and that too on an abstract, contemporary theme. Gratitude to her for enabling us to relish the essence of Manipuri art in such an innovative format. Credits include script and choreography by Priti Patel, assisted by S. Karuna Devi and Th. Imocha Singh, light design by Dinesh Poddar, music by W. Surajkumar and K. Ratan Singh, narration by Oindrila Dutt. Dancers were Priti Patel, S. Karuna Devi, M. Saitabala Devi, M. Mangangleima Devi, N. Henthoi, P. Nevidita, N. Illina, M. Nongdambi Chanu. The drummers were W. Surajkumar, K. Ratan Singh, S. Borish Singh, S. Backer Singh, A. Ibomcha Singh. Thang-Ta was by Th. Imocha Singh, K. Sushil Singh, S. Robert Meitei, S. Rabinash Singh, S. Nikhil Singh, child artiste W. Gunchenbi on dance and vocals, flute and pena by S. Shantikumar Sharma.  Sumana Sachidananda is a Kathak dancer based in Mumbai. She is an MBA from ISB Hyderabad and has also trained in Carnatic music. She holds a Senior Diploma in Kathak from Bharatiya Vidya Bhavan and is a DD graded artist. |
