তেজ ফুল
A piece of Performance Poetry, one of the three texts under the Disposable Womaen, a Disposable Theatre venture by Kankhowa, Performed at MC Ghia Hall, Kala Ghoda, Mumbai, February 2015
"যাতনাৰ পৃথিৱীৰ শেষ গৰাকী নাৰী হবলৈ বিচাৰিছিলোঁ..!!
কিন্তু তেজীমলাই পুনৰ জনম লয়..!" (মনালিছা শইকীয়া)
মাজৰাতি কেতিয়াবা খকমকাই সাৰ পাই উঠোঁ
কোনোবাই যেন দুৱাৰত টুকুৰিয়াই গ'ল
সাৰে আছানে
সাৰে আছানে?
এই যেন প্রথম শুনিলোঁ সেই মাত
ইমান নিজান
মৃত্যু মোৰ বাবে সহজ। এটা প্ৰাত্যহিক ঘটনা।
সহজ মোৰ বাবে জী উঠা।
তই মাটিৰ বুকুত শিপা মেলা সেউজীয়া
তেজীমলা।
মোৰ স্বদেশ ক'লা, এডিঙি শুৱনি কৰি
মানুহৰ চোঁতালত
মাধুৰী ফুটিলে
মানুহে নিচিনি
হায় ,
সাৰি, তুলি, ছিঙি
মোহাৰি পেলালে
বাৰে বাৰে তাই মৰে। বাৰে বাৰে তাই জীয়ে।
বাৰে বাৰে আমি শুনোঁ সেই একেটি সাধু।
বাৰে বাৰে আমি ভালপাওঁ শুনি। বাৰে বাৰে আমি উচুপি উঠোঁ।
বাৰে বাৰে আমি মৰোঁ। বাৰে বাৰে আমি জী উঠোঁ।
বাৰে বাৰে আমি কওঁ।
বাৰে বাৰে আমি শুনোঁ।
বাৰে বাৰে
বাৰে বাৰে বাৰে বাৰে বাৰে বাৰে
বাৰে বাৰে
আকৌ এবাৰ। নতুনকৈ। দুনাই। পুণৰাই।
বাৰে বাৰে
তেজীমলা...
শেষ হৈয়ো শেষ নোহোৱা
সাধু
কলিতে মৰহা এটা জীৱন
উশাহৰ শাহত এলাই বাদু
আৰম্ভ হোৱাৰ আগতেই শেষ হোৱা এটা গান
তোমালোকে যে কোৱা
প্ৰগতিৰ গতি ইতিহাসৰ
বৃথা প্ৰয়াস সেয়া ৰৈখিক গতিদানৰ
ইতিহাসৰো শেষ আছে। যিদৰে আছে সভ্যতাৰ।
তোমালৈ বুলি যিপাহি ফুল আনো তুলি
তুমি বাজত নাই, সেই ফুলপাহতেই তুমি।
যি গান তুমি ভাল পোৱা
শুনি
সি গানৰ তুমিয়ে ৰচক
কাৰণ
সি গানৰ মাথোঁ তুমি হে ৰোচক
কীটাণুৰ দৰে, শেলাই ভেঁকুৰৰ দৰে, উঁইপোকৰ দৰে
বাঢ়ে ভালপোৱা
মোৰ বাৰে বাৰে
ভালপোৱা মানে আন একো নহয়
মাথোঁ এটি হাবিয়াস
জীৱনৰ দৰে
উপশমৰ ভ্ৰান্ত সন্তুষ্টিয়ে মাৰিব খুজিও মাৰিব নোৱাৰা
যন্ত্ৰণাটোৰ দৰে
বন্দুকেৰে হেঁচা মাৰি ধৰিব খোজা কণ্ঠটোৰ দৰে
চাদৰৰ ফটা আঁচলত বান্ধি ৰখা সংষ্কৃতিৰ
সংজ্ঞাটোৰ দৰে
এই যে বাৰে বাৰে ন-কৈ বুজি উঠোঁ ভালপোৱাক
সেইবাবেই হয়তো, হয়তো সেইবাবেই
ঘৃণাও কাম্য
ঋতুমতী তেজীমলা পানীত নামিলে ৰঙা হয় ব্ৰহ্মপুত্ৰ
পছিমত ডিছপোজেবল্ সূৰ্য
প্ৰতিজোপা গছে জানে, প্ৰতিপাহ ফুলে জানে
পল্লবে পল্লবে আছে সেই খবৰ
তেজীমলাৰ সাধু
তেজে তেজে ফুলে যি ফুল...
A merchant had a beautiful and beloved daughter named Tejimola. Once the merchant had to go abroad for business and during his absence the step-mother started torturing Tejimola. A cruel fight started around a pair of silk-cloth. The step mother smashed Tejimola's right hand in the rice pondering spot. Then she smashed her left hand, right leg, left leg and then her head. Tejimola died. At place where Tejimola's dead body was buried, a tree grew up with beautiful fruits. When some boys tried to take off the fruits the tree started singing, "don't spread your arms, don't unplug me brothers, I'm non but Tejimola". The stepmother cuts the tree and throws it somewhere else, but there also grows a tree. Similarly the tree sings a song, "Don't spread hands... I'm non but Tejimola". The same happens again and again. Finally the tree was cut and thrown to the river. There again, Tejimola blooms as a beautiful lotus. By the time the father merchant came back sailing the river and he saw the beautiful lotus. He thought of taking the flower to his daughter and he spread hand to take off the flower. As soon as the flower started singing, "Don't spread hand, don't take off the flower, I am non but Tejimola...". The Father sensed something wrong and at the end he gave a life to Tejimola and punished her stepmother...
Perhaps Tejimola is the popular most story, much retold among the Assamese folktales. Hundreds of poems have been written on the character and the sensibility of the tale and a number of stories and novels are also appearing in Assamese contemporary literary practice. Thus happens in music, theatre and other cultural practices. Why the story remains so popular? The recurring life after life has something in itself and insisted the creative minds to re look into the story. Sometimes it is a desire that springs up again and again. Sometimes it is a symbol of the suppressed voice. As it is also a tortured woman's body, at the same time it is also revival of aspirations. It is art and life, life and nature integrity story that keeps us involved with all its sensibilities.
“Disposable Womaen” is a Disposable Theatre venture by
Kankhowa based on three woman characters from Assamese cultural inhabitation:
Mythology, History and Folklore. Chitralekha, a mythological character of a
woman painter who plays a role in the Usha-Aniruddha love story anticipating
the Vaishnava incursion over a Shaivite region here comes up as an individual with
subjective position. Joymoti is a historical character, a martyr woman who
devoted her life to save her husband and the glory of the state during the
reign of the Ahom Dynasty. Tejimola is a popular name in Assamese folktales who
dies out of the hatred of her step mother but gets afterlife or incarnations in
several non-anthromorphic forms again and again. Bringing the three characters
together the multilingual performance attempts to generate dialogues around
representation of woman’s body in cultural production system along with the
mapping of history and desire.
Sources/ We are thankful to all of them:
Read: A review by Johny M L
Tribute to: Aaideu Handiqui on
her birth centenary year.
Tribute to: Lakhsminath Bezbaruah
(Burhi Aair Xadhu and Sati Joymoti).
Tribute to: Ananta Kandali (Kumar Haran), Chandra Kumar Agarwala
(Tejimola), Jyoti Prasad Agarwala (Sonit
Kunwari, Chitralekha, Joymoti), Bishnu Prasad Rabha, Bhupen
Hazarika
Sources/ We are thankful to all of them:
Uddipana Goswami (Tejimola
Forever), Monalisha Saikia (Several Writings), Mridul Sharma (তেজীমলাৰ মাকৰ সাধু),
Bidyut Sagar (জাতীয়তাবাদ আৰু ইতিহাস: কিছু প্ৰসংগ),
Himjyoti Talukdar (যাৰ বাবে 'জয়মতী' আছিল এক অভিশাপ),
Deva Bhushan (সতী জয়মতী),
Nayan Jyoti Nath (জয়মতী বোলছবিত নাৰী চৰিত্রৰ ধনাত্মক প্রকাশ),
Manoj Barpujari (Filming A
Classic), Anjal Borah (অসমীয়া সাহিত্যত মালিতা বা কাহিনী প্ৰধান গীত), Bibi Bero (How a Bird Saved the
Villagers and Other Stories), Diganta Saikia (for making many Assamese articles
available in Unicode), Mousumi Bhuyan Chaudhury (reading of the tale
Tejimola)...
Debakanta Gogoi, Sarma Raktim, Tsao
Mayur Chetia, Debabrot Gogoi, Chao RoongCheng Gogoi, Babul Baishya, Sarma
Raktim, Bhupen Boruah, Mintu Borgohain (their discussions in অসমীয়াত কথা বতৰা)...
poems on Tejimola from:
Nilamani Phukan, Rafikul Hossain,
Nilim Kumar, Kabiranjan Saikia, Subhas Saha, Bipuljyoti Saikia, Archana Pujari,
Ram Gogoi, Anandeshwar Sharma, Bijanlal Chaudhury, Mohankrishna Mitra, Gautam
Prasad Baruah,
Koushik Borah, Raju Kalita,
Mili Sharma, Tridip Tiken Gogoi, Kandarpajit Kallol, Himanshu Gogoi, Nishanka Milan,
Rup Goswami, Parag Pinku, Jayjit Deka, Nibedita Phukan, Ranjit Patgiri...
Songs on Tejimola:
from Anima Chaudhury, Joy Barua (Lyrics
- Ibson Lal Baruah)
Title
of the project: Disposable Womaen (Spelling violation intended)
Date
of the performance: 9TH FEB 2015
Time
of the performance: 7 PM
Venue
of the performance: - MC GHIA HALL
(BEHIND RHYTHM HOUSE , ABOVE COPPER CHIMNEY RESTAURANT)
Genre:
Disposable Theatre, Interactive, Installation Based,
Musical, Space and Time specific, Experimental Theatre
Production
and Support: Kahini Foundation
Production Coordination: Chandan Kumar Deka
Working
Team: Kankhowa
Language: Multilingual (Assamese, English, Hindi, Marathi and
Gibberish)
Concept,
Text and Design: Samudra Kajal
Saikia
Duration: One Hour (and may be lifetime)
Special
Attraction: Joy Barua Live as
a part and extension of the project
Casts:
Mridupankhi Rajkumari, Pallavi Dutta, Papori Medhi,
Srishti Shreyam
Spatial
Design and Interaction: Shilpa
Joglekar, Mahan Jyoti Dutta, Jitendra
Soundscape: Ankita Baruah, Shakti Bhatt
Documentation: Monali Bharadwaj
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