Dilip Guha ★ New Delhi : Ichchhe Bitan, a leading upcoming amateur Bengali theatre group in the capital, brought Palli Kabi Jasimuddin’s “Nakshi Kanthar Maath” to the stage during the recently concluded Bangla Natya Utsav. The festival was organized by the Information and Cultural Department, West Bengal Government, in association with the West Bengal Information and Cultural Centre, New Delhi, Govt of West Bengal, at the prestigious Muktadhara Auditorium of Banga Sanskriti Bhavan in the capital, where sixteen theatre groups participated spanning four days 1st to 4th May 25.”
The play suits the criteria very well concerning the theme of this year’s Bengal Theatre Festival: glorifying Bengal’s Heritage and cultural Legacy. The poetry drama “Nakshi Kanthar Maath’ a Kabya Natya,” based on the poem of Palli Kabi Jasimuddin, was Ichchhe Bitan’s fifth production.
Two talented and culturally inclined couples from Delhi, Nabanita Chatterjee and Siddhartha Bhadury, beautifully directed the poignant tale of Rupai and Saju—a poetic drama that was brought to life on stage before an appreciative audience of culture enthusiasts in the capital.
Palli Kabi Jasim Uddin was a Bengali poet, songwriter, and folklore collector, born in Tambulkhana village on the outskirts of Faridpur town of Bangladesh. His poetry showcased the simple and timeless charm of rural Bengal and folklife. This timeless work of poet Jasimuddin, more or less, all of us had the opportunity to read in our school textbooks and recollect and refresh our memories once again.
This poem is also an evolved literary form of the old Kavyagatha (poetic literature). It follows the ancient saga in structure, despite the refinement of the language, as well as the modern contemporary tendency towards narrative elaboration, characterisation. In the language style of the poem, the Poet has expanded the narrative section of the poem by replacing it with the social background, creating a dramatic structure in the narration of the story, the tendency to give full form to the characters and try to move the heart of Nar Nari (Men & Women) and very successfully. Above all, the language of poetry is fast, simple, uncomplicated, and full of folk ornaments.
The storyline of this poem, decorated with dramatic visual tradition, is the background of Palli Kishor (village boy) Rupa and Palli Kishori (village girl) Saju’s love, the development, and it’s tragic consequences, sheltering the daily routine, the very real picture of daily household chores, the skillful description of village festivals, village strife, land related riots, lawsuit, etc. Each scene is self-contained, realistic, and poetic, making the audience feel the love in Rupai and Saju’s hearts.
Poet Jasimuddin’s timeless creation, “Nakshi Kanthar Maath”, a free flow of nature and human liberation, is an unparalleled narrative poem of Bengali literature. Rupai and Sajur, two simple young dwellers living in village life, meet for the first time in a marriage house, fall in love, and then marry and build a happy family.
A well-built black face, handsome Rupai with long hair, could play the flute exquisitely and had a golden complexion; her lips painted in a full face, Saju, with her extraordinary skill, weaving the happy moments of their married life in Nakshi Kantha.
Nakshi Kantha is a century-old Bengali art tradition, and most of the colorful artistic designs are a depiction of the emotions of the household ladies. Likewise, Shaju in the ballad also poured all his love for Rupai in her sewed quilt.
The lives of both of them were moving smoothly, but their fate did not bring happiness for long.
One day, unfortunately, Rupai suddenly got involved in a land dispute, and after a quarrel and fight with some peasants of another village, Rupai left home and fled far away. Not seeing her husband return home, Saju became very worried because of her husband’s absence, and the young wife became alone. She waits every day with the expectation that her husband will return to her, but nothing happens. She becomes tired, and all her hopes fail. Many days pass, and Saju begins to prepare a Nakshi Kantha, an embroidered quilt. In that Nakshi Kantha, now she types (writes) all the (sad) incidents and tragedies of her life. Still more days pass by, but Rupai does not return. Finally, Saju dies. Before her death, she requests that her mother put the Nakshi Kantha on her grave. Her mother has done so accordingly since then, the name of the field has become Nakshi Kanthar Maath. It is said that, many years later, the villagers, late at night, heard the flute from the graveyard, and the next morning found a mysterious man lying dead next to Saju’s grave, fully wrapped in that “Nakshi Kantha”.
Although Bengali movies, dramas, ballads, and dance dramas have been staged on this timeless poem, the poem was translated into English as “The field of embroidered quilt” and received worldwide acclaim.
In terms of the performances, Seshadri Mitra, who played the character role of Rupai, has established himself as a dynamic force in theatre, performing in over 20 productions across English and Bengali, since moving from Kolkata to Delhi in 2016. His deep passion for storytelling and the stage continues to shape his artistic evolution. Reflecting on a particularly transformative performance, he shared:
“This play was a turning point. When the director duo offered me the role, I knew I was stepping into something profound. The raw emotions—grief, rage, love—I experience on stage are deeply real and shared with the audience. The musical-theatrical blend was both bold and fulfilling. I’m grateful to our directors, co-actors, singers, and musicians—this journey will always remain close to my heart.”
Mitra’s dedication to the craft and his ability to immerse himself in the emotional depths of theatre make each performance a testament to his artistry.
The character role of Saju, played by Amrita Hazra, is currently pursuing a BA in Political Science (Honours). Her artistic journey began at the age of four when she started learning Rabindra-natyam with the Delhi Ballet Group and later under Nancy Sukanya Sahu. This unique combination of classical movement and dance drama has significantly influenced her artistic expression, along with her deep passion for Bengali theatre, both of which are essential to her creative identity. Amrita strives to balance her academic pursuits with her love for the arts. Her dedication to theatre was exemplified in her recent performance, where she stated, “I strive to balance academics with my creative passions. Playing the lead role of Saju in ‘Nakshi Kathar Math’ by Icche Bitan Production is an honour. I’m grateful to our visionary directors for their guidance, belief, and inspiration.” She was dressed up at the play, draped in a white cotton saree adorned with a striking red border; she wasn’t just wearing an outfit—she was embodying power, poise, and timeless elegance. Every fold of the saree spoke of grace, and every thread whispered sophistication. As she stood adorned in this exquisite garment, she reflected, “I feel elegance woven into every thread. This piece resonates deeply with me—a gift that carries timeless grace. The audience’s gesture has made it even more meaningful.”
The ensemble cast played a vital role in breathing life into the narrative, each contributing their unique presence and performance to shape the emotional depth of the play. Supporting actors on stage were Beau Dutta, Soma Banerjee, Asish Ranjan Das, Barnali Chowdhury, Sanjana Manna, Ritu Sahu, Suchismita Chowdhury and Satarupa Acharya with her dance group”Nrityangana Dance Academy”, who moved the story of the play, infusing the stage with expressive acting, adding layers to the unfolding drama. Many other personalities, namely Niladree Deb Chowdhury and Chandrani Choudhury, came forward to support the entire project.
Nakshi Kanthar Maath is a timeless Bengali folk ballad that tells the tragic love story of Rupai and Shaju. The narrative intertwines themes of romance, rural conflict, and daily village life, ultimately leading to a heartbreaking conclusion. The poet’s lyrical mastery beautifully captures the essence of traditional rural existence, making this classic an enduring tale of love, loss, and longing. The story was brought to life by narrators Shomik Ray, Prodip Ganguly, Srija Chanda, Amit Tagore, Ruma Ghosh, Nabanita Chatterjee, and Siddhartha Bhadury. The singers featured Somdutta Chowdhury, Soma Mondal, Jayita Sarkar, Sumantra Basu, and Subhashish Ghosh. They were accompanied by Saurasanta Biswas on keyboard, Avijit Chakraborty on flute, Adhir Das on tabla, and Subhashish Ghosh on percussion.
Alongside, the play not only tells the love story of the main characters, but the author also vividly portrays the beautiful countryside of rural Bengal and the lives of its people. To enhance this atmosphere on stage, a projector displays a background that changes in harmony with the performers’ actions. The audience is taken on a journey through the mesmerising natural beauty of Bengal, evoking deep emotions connected to the lives of its rural inhabitants. The elegant atmosphere on stage is further enhanced by the lighting designed by Gaurav Ganguly, sound by Mithuu Chatterjee, and projections by Ushnish Chattopadhyay. Simple Props management done by Suchismita Chowdhury, and Makeup by Ratna Basu.
The well-written script, noteworthy actors, and flawless performances of the artists made Nakshi Kanthar Maath a very gripping and touching production. The timeless classic was brought alive on stage by the group Ichchhe Bitan, in the form of a Theatrical Opera by depicting the unbelievably rich beauty of a long-forgotten time.
The director duo has painstakingly tried, in their own way, to reweave the Nakshi Kantha and were successful in bringing a story from the rural life of Bengal, the way it touched the hearts of all the viewers.
Director Nabanita expressed their deep passion for preserving this traditional cultural folk masterpiece, emphasising its timeless significance. She said, ‘It is our heartfelt commitment to ensure that this poetic drama continues to resonate with audiences across generations. Through our efforts, we hope to inspire future artists and culture enthusiasts, keeping the essence of this rich tradition alive for years to come.”
Featured photo : Seshadri Mitra and Amrita Hazra
