THIS play is conceptualized, designed and directed by Mr.TemjenzungbaKechu and performed at the18thBharat Rang Mahotsav (International Theatre Festival of India, February 1st – 21st 2016) organized by the National School of Drama, New Delhi. The play was written by renowned playwright Asif Ali Haider Khan, visiting faculty at NSD.
As a Naga living in Delhi, although possessing a strong, deep-rooted cultural heritage, when confronted with multiculturalism, I am always faced with the question of how much I can hold on to my identity and how far I can assimilate with the many others I meet. This phenomenon of developing hybrid identities in a diaspora setting is not merely a Naga issue but rather applies to all of us living in an increasingly multicultural world where we are constantly negotiating different identities. Mr. Kechu has successfully brought out this issue and its struggles in his play Land where Life is Good. It was not only a proud moment to witness such an incredible play directed by our own Naga brother but what captivated me and the audience the most was his novel attempt to bring to life the pressing issues of the identity crises of diaspora Nagas and the reality of multiculturalism through the journey of a Naga boy, his faithful dog and his magician friend.
Synopsis of the play:
The play revolves around a Naga Boy called Tako setting on a journey to find himself, along with a magician friend Nokzenba and his dog, who represent Tako’s Naga heritage. With the introduction of Christianity, Tako becomes a Christian and his name is changed to Peter. Along with the new Christian culture seeping into the existing Naga culture, arrives the media and the television where he could watch Indian mythical serials like Ramayana connecting him to the rest of India. This made him ask questions about his identity and he begins his journey from his village toRajpath to find himself. Along the way he witnesses a cultural troupe dancing at the hornbill festival and tries to join the dance. The cultural dance troupe suddenly shifts to a Michael Jackson dance number and then to a death metal number leaving Tako all the more confused. At Rajpath he witnesses the ‘flag hoisting’ on Republic day and the cultural presentations of different States at India Gate. Even as he overwhelmed by this diversity, Tako gets separated from his magician friend Nokzenba and his dog. There is a scene of the Naga dog in conversation about identity with a German shepherd dog that belonged to the Indian army. Tako meets Hanuman whom he has seen in Doordarshan but finds out that he is not the Hanuman rather an artist playing different roles. They try on each other’s costumes. The play ends with Tako giving a Hornbill feather to the Hanuman impersonate who in turn gives the ‘hanuman tail’ to Tako.
What impressed me the most was the metaphorical use of mythical characters. The two fictional characters accompanying Tako, his friend Nokzenba and the dog are a symbol of Tako’sNaga cultural heritage. Nokzenba is the last Ao magician mentioned in the folk tales and MrKechu’s use of this character to show the fading old tradition is commendable. The dog reflects the stereotype attached to the Naga people.
Another highlight of the play is the constant disappearance of Tako’s friend and dog when Tako encounters people from other cultures. Whilst living in a multicultural city, we rub shoulders with different traditions and negotiate with them. It is not the question of who is superior rather an act of survival and harmony between different cultures. Many times we find ourselves being unleashed from the ideas we thought to be central to our identity and embrace the culture and lifestyle of others.
The most insightful scene that left a profound impression on me was the scene with the conversation between the two dogs –Tako’s Naga dog and the Indian army sniffer dog German Shepherd. This scene has multilayered meanings: first the Naga dog represents the stereotyping of Naga people as dog eaters. Secondly, the German shepherd dog represents how even the Indian army is borrowing a foreign dog as its own without apprehending its foreignness which at the same time views the Naga dog as an inferior. Even as the dog scene captures well the struggles of our identity crisis, the humour in the conversations between the dogs leaves the audience roaring with laughter even as it explores the unspoken biases we have in our search for identity in a multicultural society.
The last scene ends with a crystal clear message of acceptance, sharing and the spirit of openness to explore other traditions while having respect for each other’s uniqueness. The best way to sum up this play would be to quote what Shashi Tharoor said on Indian diversity, ‘if America is a melting-pot, then to me India is a thali, a selection of sumptuous dishes in different bowls. Each tastes different, and does not necessarily mix with the next, but they belong together on the same plate, and they complement each other in making the meal a satisfying repast.’
The director Temjen Kechu did a tremendous job of presenting a smooth performance that not only addressed an important issue but also kept the audience entertained throughout with the humourous dialogues. His creativity was well showcased by the use of different techniques and lightings on the stage and the use of metaphorical images rather than direct representation. In my opinion, the show excelled not only due to the high quality of acting it entailed but also due to the powerful imagination and creativity of the director in designing the sets and setting the stage.
Achie Humtsoe, a copywriter working in Delhi had this to say about the play:
Temjenzungba Kechu’s ‘Land where life is good’ brings out the complexities of the Naga identity in the Indian narrative. And he does so brilliantly without the slightest hint of reproach or bias. That, to me, is a feat in itself. Taku, his protagonist, is not a victim of circumstance, but an individual struggling to define his identity in the ever changing, globalized world. The fact that Kechu managed to present a universal theme through a Naga protagonist on Indian soil was a refreshing departure from the palpable bitterness that’s fraught in earlier works on the subject. It’s really encouraging to see artists from Nagaland interpreting our history in the language that everybody understands.
Benrilo Kikon, PhD candidate, OCMS, Oxford added:
To be honest, when the play started with the theme of the Naga freedom fight, I became a little skeptical of the content of the play, wondering if it would be about the general notion of demonizing the other (read Indian here) and of romanticizing the Naga past in all its glories. I was pleasantly relieved to see that the play contained no such depictions.
It revolved around the whole notion of ‘identity’ and if it is even fair to talk about a ‘pure’ identity. Through the play, Temjenzunba Kechu seeks to argue, echoing the postcolonial critique, that there are no pure essential identities. Rather that all our identities are constantly constructed and reconstructed in our everyday engagement, not only with our own people group but also with the many others with whom we interact. This issue has plagued not only the Nagas but also people of all communities, particularly minority communities, who are struggling to find a voice and an identity in our increasingly globalised world. Therefore, everyone in the audience, both Nagas and others, could resonate with the play on these lines. The script was brilliantly executed by talented actors who enacted each scene with such intensity and passion that even I, with very little knowledge of Hindi, could follow through with no trouble. I especially enjoyed the use of humour in conveying issues concerning identity and the intricate layers involved in forming one’s identity.
I highly commend Kechu for broaching such an important subject through the medium of art. The identity crisis that present-generation Nagas face and the attempt of so many young Nagas to integrate into the larger Indian community is indeed a pressing issue. As a Naga, living away from Nagaland, I know that my identity is being shaped and re-shaped time and again in my everyday interaction with different cultures and people. Kechu, in his exposition of the theme of identity, personal and central to all of us, particularly through a Naga protagonist has not only enriched the Naga imagination but has indeed crossed barriers and made a Naga contribution across cultures and people.
Temjenzungba Kechu from Mokokchung, Khensa village, is a recent graduate of the prestigious National School of Drama, New Delhi, with a specialization in Theatre Techniques and Design. Alongside conducting theatre workshops for youths, college students, and popular village folks, he has collaborated in the production of dramas and professional theatre pieces that address issues of democracy, corruption, domestic/child labour and violence. Under the NSD team, Temjen has worked with eminent theatre directors such as AbilashPillai, Ovlyakuli Khodjakuli, Tripurari Sharma, Mohan Maharishi, Sohag Sen, Shantanu Bose, Gunakar Dev Goswami and Hema Singh. He also organizes theatre forum on the other pressing social issues in North East India and give voice to the marginalized and the oppressed. Currently, Temjen is exploring how Naga folk and traditional narratives can be adapted for contemporary creative art and performance. He is committed in the value of dramatic and theatre education as a medium for building a creative bridge and dialogue between fast modern educational system and traditional cultural values. He approaches theatre art as a therapeutic tool for promoting holistic educational growth and awareness toward responding to social issues and challenges. He also develops drama pedagogy as a medium of teaching for creative involvement in the classroom and teaches as a guest faculty in B.ED colleges in Nagaland.
In Nagaland, theater art is not yet a career option for our young people. But I believe, our youths have many talents in the creative fields that are yet to be explored. I strongly recommend that people support these creative vocations and give a platform for artists like Temjen Kechu. Even as their messages through drama impact our society, they are an inspiration for young people to venture into these fields and make a meaningful contribution not only to the Nagas, but also to the nation and the globe as a whole. We are proud and honored to have such talent in our community.
Review by:
T. A. Walling
Director, Shiksha Rath, New Delhi
