Meet Your Shumang Leela

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Feted writer, Laishram Samarendra, in one of his essays ‘Leelagi Mi’, muses about the actors and their act. The dichotomy of life they represent on the stage and the real life. The writer speaks about having known of an actor who works as a clerk at the AG office. He has seen the actor performing on the stage often. In a play the actor took the role of an abled leader (CM) who proficiently discharges his duty. The spectacle of skill the actor presented on the stage was unmatched to none. But the actor in real life as a clerk of an office has peculiar concerns; his job promotion, the canteen bill he owes, and his fear for his Section Officer when he comes late for office. Samarendra beliefs, if given a chance, the actor could perhaps serve better than the so called leaders in real life. The writer says that it is hard to differentiate between the art that is performed and the role we take in real life. He underlines the unique phenomenon of performance art in Manipur. In fact, art and life is one, he claims. The artist and the common man are the same. A woman, who sells clothes at the Khwairamband Keithel, would take a leading role in a Ras Leela performance after her return from the market. She is the embodiment of so many roles in life. This is true for most of the artist. The unique blend of art and life in Manipur needs no substantiation. Manifested expression of this blend is the myriad forms of performance art that flourishes in the state. Samarendra confesses that he secretly worships many artists who have made a place in his heart.

The current season of Shumang Leela reminds us of this beautiful essay which are among some of the most outstanding works of Laishram Samarendra. Though there is no mention of Shumang Leela in the essay. But one can relate to pervading nature of the art called Shumang Leela, which are being shown in the localities. The art form took shape during the reign of Chandrakirti, from his royal court. It is said that the art form has its roots in the Lai Haraoba which has performance like the Tankhul Nurabi, a kind of dance drama. Shumang Leela has evolved from its germination, which was confined within the walls of the royal palace to a popular art loved by many. No wonder that it has created a niche of its own among other popular mediums like the cinema and the theatre. And now television is the new medium that is rapidly making inroad, giving a new dimension to the visual culture vis-à-vis the performance art. Yet, Shumang Leela is still here to stay with its popularity. Commentators of Shumang Leela have observed that the reach of this medium has been able to address crucial social issues that are there in the state. This could be true to some extent. Whereas we believe that while trying to trash out issues of importance that are employed as undercurrent theme of a Shumang Leela play, it often turns out that the play become too didactic for the spectators to grasp.     The intention of giving “message” through the medium should not override the plot or the narrative. Furthermore there has been a tendency of overabundance as far as the stylisation of the play is concern. This could be perhaps the reason behind Oja Kanhailal’s assertion that Shumang Leela needs revitalization. The State Shumang Leela Council observes April 13 as Shumang Leela Day. And also the Leela Shanglen at the Palace Compound is named after someone whose name has little to do with the art. A befitting name should be given from those who have contributed in the growth of the art. The names could be of a legendary Shumang Leela artist. Significance of April 13, to be observed as Shumang Leela Day also needs to be reassessed. Let us respect the blend of art and life with care.

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