Mirel Mashinga, a play enacted in mime, venerates the spirit of human rights crusader Irom Chanu Sharmila who has completed nine years of fasting to demand the repeal of the Armed Forces (Special Powers) Act, 1958, in Manipur. The play was staged by Kanglei Mime Repertory Theatre at Manipur Dramatic Union hall in Imphal on October 23. It was choreographed and directed by Y. Sadananda. Dedicated to Sharmila, the play aims at taking the non-violent nature of her campaign to the masses. The director depicts her cause through three documentary-like scenes. The first scene is a flashback to the rape of a housewife, Ahanjaobi, by security personnel in the presence of her husband during a counter-insurgency operation in Imphal West district. The second shows an insurgent attack on security personnel, after which paratroopers massacre men, women, a doctor and sportspersons in a firing-squad fashion on the campus of the Regional Institute of Medical Sciences. This scene also shows security forces mowing down innocent civilians near Imphal airport, also known as the “Malom massacre, 2000”. Sharmila begins her fast that year to demand the repeal of the army act. She accuses the government of giving excessive power to soldiers who misuse it. The third documentary is about the killing of Thangjam Chanu Manorama in 2004. It shows security forces taking away Manorama from her house at night on the charge that she has nexus with insurgents. They rape and kill her in a fake encounter. When people of Manipur come to know about this, they launch a mass movement against the “draconian” law. As a result, the AFSPA is removed from Imphal municipal area in August 2004. Prime Minister Manmohan Singh hands over Kangla fort, which had been occupied by the Assam Rifles since 1947, to the people. But Sharmila demands complete withdrawal of the AFSPA from the state and launches her fast-unto-death. The Manipur government puts her in jail, accusing her of attempting suicide. All this is narrated by Sharmila’s “spirit,” Mirel Mashinga, to a security official, who comes to arrest her on the charge that her campaign indirectly supports insurgency. A debate ensues between the official and Sharmila about the causes of her campaign. Mirel guides the official and shows him how the security personnel commit inhuman crimes under the shield of the AFSPA. The official understands the reality behind Sharmila’s fast and leaves. The play depicts violence with body movement, music, set and props. There is also an agitated tone against non-State actors who commit terrorist acts. Y. Shanta, in the role of Mirel, and S. Herojit, in the role of the security official, delivered a fine performance. A. Debabarta as the army chief, T. Keinahanbi as Sharmila, T. Raghumani as Chaoba, Chitrabhanu as Ahanjaobi and M. Anjali Devi as Manorama enacted their roles credibly. Despite being a political play with no dialogue, Mirel Mashinga is a thought-provoking enactment. | ||
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Silent tryst with repression and peace
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