DASTAN E KABIR Play Review

Deepa Karmalkar	Host-A-Performance \| Schedule

Writer : Udit Yadav Direction : Mahmood Farooqui Cast : Poonam Girdhani and Udit Yadav

DASTAN E KABIR Review

This chapter of Dastangoi Collective is a tribute to India's beloved saint poet Kabir, whose compositions have a timeless appeal that continues to draw young and old, commercial and art film creators, all and sundry. Not surprising then if the show was packed to brim with young beavers as well as grey haired veterans at the Prithvi Festival.

The show fires up on a grand note with Kabir's famous doha – 'dhai akshar prem ke... .'. Young dastango Udit Yadav together with seasoned Poonam Girdhani brings to life the philosopher-poet's mysterious life. How he was found abandoned as a baby, at the Ganga ghat in Benaras by a Muslim weaver couple and they adopted him. Then under the tutelage of Swami Ramanand shaped his spiritual personality and then how he rose to stellar heights as a thinker, social reformer and poet. Blending the wisdom of both the faiths – Hindu and Muslim, he is the true representation of the secular spirit of India

Narrating in perfect tandem the dastangos display an easy camaraderie onstage, balancing out each other's act with an endearing alacrity. The story then veers to Kabir's face off with the reigning Sultan Sikandar Lodhi. The story also leans on miracles performed by Kabir, like mad elephant bowing down before him and eventually the ruler becoming his follower. This part of the plot is unconvincing. Albeit the deep research conducted by the writer, these factual lacunae decelerate the momentum. Also the writer chooses lesser known bijaks and dohas to recite over Kabir's popular verses— this omission prevents to establish emotional connect with the audience.

The narrative also sidesteps the living legacy of Kabir, never touching upon Kabir panthis who follow his rich philosophy still. Furthermore the fleeting reference to the raging debate between his Hindu and Muslim followers after his death - whether to bury or burn his mortal remains loses out on contemporary relevance. Yadav ought to have spoken about the samadhi and tomb that continues to attract his followers to Maghar, a remote village in Uttar Pradesh.

The performers are adept but the script lacks the nuances required to illuminate the iconic, humble rebel who wove poetry still resonates win our hearts and minds. Thus DASTAN-E-KABIR becomes a shallow retelling of a life that has all the makings of a grand dastan.

Deepa Karmalkar A senior journalist, features writer and reviewer who is now an ardent yoga saadhak.

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