Nari Mukti Shines at Durga Puja Cultural Programme
Nari Mukti, a powerful dance drama choreographed by Subhadra Bhattacharjee, captivated audiences at the Desha Bandhu Road Durga Puja Cultural Programme. Organised by Janani Sangatha, the performance explored themes of women’s liberation, societal impunity, and the RG Kar incident, drawing inspiration from Bratati Bandyopadhyay’s recitation Ami Shei Meye and Lopamudra Mitra’s song.
On the evening of 9th October, amidst the festivities of the Desha Bandhu Road, Silchar Durga Puja Committee’s Cultural Programme, the air was charged with more than just the scent of incense and the echoes of dhaak. The much-anticipated dance drama, Nari Mukti, took centre stage, bringing a thought-provoking blend of art and activism to the audience, reminding us that there’s more to Durga Puja than just the goddess’s triumph over evil—there’s the ongoing battle for women’s liberation too.
Organised by Janani Sangatha, a local women’s NGO, this poignant production was conceptualised and choreographed by the multi-talented Subhadra Bhattacharjee, who also led the performance alongside her team. The dance drama was inspired by Bratati Bandyopadhyay’s stirring recitation of Ami Shei Meye and Lopamudra Mitra’s soulful rendition of a song that added depth to the narrative.
The drama drew its pulse from the harrowing RG Kar incident, a painful episode etched in the collective memory of the community. The focus of Nari Mukti was Abhaya’s tragic journey, capturing not only the personal anguish but also a larger, disturbing societal narrative—the tendency to turn a blind eye to the injustices women face. Through graceful yet powerful movements, Subhadra and her ensemble took the audience through the emotional and physical toll that such impunity extracts from women.
True to the title, Nari Mukti wasn’t just a sombre reflection of the past; it was a clarion call for change. Each dance step seemed to ask the uncomfortable questions we so often avoid: Why does society continue to offer its tacit approval to such horrific acts? When will we collectively rise to dismantle the structures that enable them?
Despite the seriousness of the subject, there was an undeniable energy in the air, as the performers managed to weave the gravity of the narrative with moments of sheer artistic brilliance. Their synchronised movements, at times flowing like a river, at others sharp like a dagger, mirrored the tumultuous journey of Abhaya and women like her.
It wasn’t all doom and gloom, though. Trust Subhadra to slip in a few clever dance sequences that gently poked fun at society’s tendency to sweep things under the rug. And in true Bengali fashion, there were moments that felt like a delicate sip of tea during a raging storm—brief pauses that allowed the audience to catch their breath and reflect before the next wave of emotion swept in.
The evening’s programme didn’t just end with applause—it ended with a lingering sense of unease, as if the goddess Durga herself had whispered in our ears, “The fight is far from over.”
As the gathering shuffled out of the venue, there was a collective understanding: Nari Mukti wasn’t just a dance drama—it was a mirror held up to society, forcing us to confront the ugliness we often choose to ignore. The performances were captivating, yes, but the message was crystal clear: Women’s liberation is not a theme for a single night of drama—it’s a call to action that must resonate beyond the stage.
Now, who’s up for some actual change? We can all applaud the artistry, but it’s high time we also did something about the problem, wouldn’t you say?
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