A few friends had gathered to mourn the sudden death of a dear friend and dastango artist Ankit Chadha. It also tells the story of Madho Lal and Hussain.The seed for Faqeer Nimaana was sowed when Sanjukta heard Radhika Sood PU anti-fatigue mat Manufacturers Nayak’s compostion “Buriyaan” at Liniyakhedi, the village with the Kabir Ashram run by Prahladji Tapaniya near Devas, MP. If you think you are the prince of Takhthazaara we too are daughters of Sial no less.Sanjukta further informs: “The other piece was ‘Asaan’ which speaks of the many aspects of fakiri, but the image that stayed with me was ‘Ishqa faqeeran di toni’. Vocalist Radhika Sood Nayak’s booming voice reverberates the auditorium.

From the entrance of the auditorium enters Sanjukta dressed in a white costume designed by Sonal Kharade, with white head band woven in her plate, holding lamp and singing in Punjabi “Kee keeta ethe aike?” What does one do having come here? “Kee karse othe jaike?” What does one do after going there?She settles down on the stage with Hitesh Dhutia. A singular thread that dares to enter the eye of needle, the path of love — a thread that extends, bends, sways, flies, knots, breaks finds other threads and finally weaves into a chaadar to fray and tear and once again mingle with dust and appears from the pod as the charkha moves endlessly.”Buriyaan unfolds with only voice, guitar and physical theatre movements. I asked Sanjukta to enlighten me and send me the director’s note and a few songs in Punjabi, the background of how this production emerged.

Sanjukta concludes: “We call ourselves a quartet and not a solo dance piece.The piece explores Hussain, the weaver, the irreverent fakir, the malang who swirls unmindful of society, or propriety, mission or permission, who invites disgrace, the begger who begs that the world be granted all it desires. A performer, choreographer, teacher and curator trained under Rajashree Shirke in Kathak and under Pandit Murali Manohar Shukla in Hindustani music, she is the co-founder of and director of an interdisciplinary initiative called Beej in Mumbai. A combination of Kathak and tai chi meditative movement, a slow motion of whirling … the lights fade and there is silence.Radhika’s voice is captivating.From those they chose Buriyaan which Hitesh layered with a deliberately fragmented sound score for the voices of the daughters of Sial to be given centrestage. 

Megosztás a facebookon