In which Ajab Gajab bachchas take to the stage ~ Priiya Prethora
It’s difficult to feel the impact of performance till we perform, till we feel the stage is a space we step on to, claim as ours and be watched while we express what it is that we feel. This feeling is an amalgamation of what we have learned before, what being on stage at that particular time does to us and what it’s going to feel like once the performance is over.
Early on in January we decided to put together a short performance with the Ajab gajab gang of Jamun Wala Park. We chose to work with the opening song of our play Duniya Sabki – Kahab Toh Lag Jaaye Dhak Se, because of the group’s enthusiasm about it following the shows during the Khirki Festival. They already knew the lyrics to the song, although in a sequence that their own imagination created, often strung together on the basis of the closest rhyming word in the previous line. There we were, humming and buzzing our way to the sopranos and falsettos, dance movements of our own making. Much like their cartwheels, they would suddenly flip the flow of the workshops with wide eyed, disbelieving questions – “are we actually going to be on a stage?”, “Will there be a real audience?”, “Will we dance?”
Sweccha bestowed upon us a colourful room with a giant mirror that is the fourth wall, which became our rehearsing space for this performance. The mirror in the room was our constant audience and we were inseparable, like spirits who have found the long lost bodies which they once inhabited in the living world. We watched ourselves watching ourselves, keeping a check on how we looked while we sang, danced or did nothing but just kissed our reflections, sometimes for more than three minutes. The things did turn around when we designated the space where the audience will be, which was on the opposite side of the mirror. The song has a casual rhythm like that of bullock cart riding on a mud road with drop and lifts caused by puddles so we started manoeuvring our bodies for the lyrics to become thoughts in actions.
The number of children kept varying, especially when we would rehearse in the park, some of them were shy of being watched while rehearsing. The dance choreography consisted of stunts and flips by some of the children and the usual spur of the moment additions by almost everybody. The entire piece took about eight/nine sessions to be completely choreographed.
This particular group of children, with their exuberant energies, often struggled to engage with each other without violence. They also embraced the single narrative that the world around ascribed onto them – they steal, nothing will come off working with them, they are abusive and violent, wild, dirty. This workshop created a tiny crack in the ways in which they see themselves – of the other stories that they can possible be. For children who were written of as uncaring and what not, each one of them had scrubbed themselves clean and worn their best clothes for the show without any instructions from us – they had dressed for a special day. With the workshop’s focus on silence and stillness and the first show that had an audience of 30 strangers – the children discovered the thrill of working together to create an experience. Their post show joy was very tangible palpable in the room after the show.
The theatre bug administered – they are creating their first devised performance for the end of June led by Jasmine Sachdev and Devika Bedi along with our core group members. I cannot wait to see what emerges.