Every August, the advent of Independence Day means a security overdrive in the northeastern states, with calls for a boycott of celebrations by several militant groups. Yet these states have nurtured talented individuals who have bridged the Northeast with the world.
One such personality was Ratan Thiyam of Manipur, who passed away on July 23. Thiyam founded the Chorus Repertory Theatre in 1976 and effectively combined mythological and local strands with the fabric of war, identity or corruption to create mesmerising productions for international audiences.
When I met Thiyam at his Imphal residence, he led me to his backyard which had a stage. Flush from the success of his play, Chakravyuha, young actors were rehearsing for Uttar Priyadarshi. I watched spellbound. Thiyam — he incorporated classical Manipuri dance and thang-ta, a local form of martial arts, to delineate striking movements that resulted in stunning stagecraft — had spent a few formative years in Bengal and was a warm host.
His Chakravyuha (The Labyrinth, based on the Mahabharata) became a landmark production, mixing epic drama with a sharp commentary on violence and war, while Uttar Priyadarshi, based on King Ashoka’s transformation, was widely acclaimed for its spiritual and political depth. Both these plays, as well as his other productions, exemplified stunning stagecraft and visual appeal that transcended linguistic barriers, making them universal.
Thiyam thus put the Northeast on the cultural map of India at a time when its narratives were not prevalent in the mainstream. As much for being a cultural ambassador as for his immense talent, he was conferred the Padma Shri, the Padma Bhushan and the Sangeet Natak Akademi awards and was chairman of the National School of Drama.
Speaking of awards, the region also witnessed Shillong-based writer-translator, Bijoya Sawian, and Nagaland’s style icon and ‘social thinker’, Bambi Kevichusa, being felicitated recently by the Aalekh Foundation for their transformative work and impact. While the foundation recognised Sawian’s “outstanding contribution to Indian literature and indigenous cultural preservation, particularly through her evocative storytelling and deep engagement with the heritage of the Khasi people,” she said: “I write with a sense of commitment and responsibility. I want to open up the Northeast to the rest of the country through my work.”
Kevichusa explained: “Although I don’t think the Naga traditional attire would be practical clothing for everyday wear, I believe our fusion clothing is definitely marketable. Our fabric development takes time, as they are mostly handmade and come under niched and slow fashion categories”. Asked what can be adapted from the Northeast, she said: “Especially in the areas of traditional yarn cultivation and our use of cotton and nettle fibre, spinning and loin loom weaving techniques. Our traditional use of natural dyes such as indigo and processes of dyeing, use of natural materials as embellishments and other surface ornamentation techniques on fabrics can be inculcated.”
They, and other cultural icons from the region, certainly override the contention of the prime minister, Narendra Modi, at an Assam investment summit this year that he has become the “cultural brand ambassador of the Northeast”. It takes much beyond being the first prime minister to stay at Kaziranga to earn the ‘ambassador’ tag. Does it even merit comparison? Artistes like Thiyam internationalised local paradigms by using the language of Manipur, the aesthetics of its traditions, and the themes of humanity to bring the Northeast into the global cultural conversation.