The ever-smiling Manipuri dance exponent Bimbavati Devi strives to share the essence of Manipur and showcase the richness of its cultural heritage through her dance. She recently performed at the dance festival Pravaha at the National Centre for Performing Arts (NCPA), where she presented Jaya Jaya Deva Hare, an ensemble of choreographic works inspired by the verses of the Bhagavata Purana and shlokas from Vaishnavite texts that praise Lord Krishna. We spoke about her craft and her journey as a dancer.
You have started practising Thang-Ta. How is it going? What made you start learning this martial art form?
I would never claim to be an expert in Thang-Ta. However, as a martial art form of Manipur, deeply admire it and am captivated by its bold stances and postures. It possesses a subtle grace and a profound philosophy rooted in the concept of infinity. All the movements in it often trace the path of the number eight.
I have always been impressed by the bold yet subtle nature of Thang Ta. I incorporate its movements into my choreographic works, modifying them to suit dance choreography. I prefer not to use it in its raw, traditional form. When intend to showcase Thang-Ta exactly as it is, invite artistes of it from Manipur to present it authentically.
You were brought up in Kolkata but how close are you to Manipur?
I often say that have two mothers: Bengal, my janmabhoomi (land of birth), and anipur, my matrubhoomi (land of nurture). My goal is to make people aware of the treasures and the cultural goldmine Manipur holds. Compared to other Indian performing art forms, Manipur’s traditions are not as prominently placed on the global cultural map. However, things are changing, and aim to contribute to that.
How popular is the classical dance form outside Manipur?
Manipuri is an umbrella term. When you say Manipuri dance, people often ask, “Which genre of Manipuri dance? Is it Lai Haraoba, Ras Leela, Nata Sankirtana, dances from the indigenous communities, or the Manipuri martial art form?” Through my compositions, I strive to present Manipuri dance in its entirety. Whether it’s Dhanta, Nata Sankirtana, Lai Haraoba, or the songs, I ensure my creations are deeply rooted in the essence of Manipur.
Compared to other dance forms, Manipuri dance is less popular. There are innumerable reasons for this, intricately tied to the land’s cultural fabric. One significant barrier is the language. However, in art, language often is secondary to expression.
What are your thoughts on dance as an instrument in shaping a personality?
I won’t say dance is a part and parcel of my life; it is my oxygen. Without dance, I have no astitva (identity). And people who are extremely close to me, with whom connect very deeply—the bridge between them and is dance. If that is not strong enough, if that gets hampered in any way, then all my relationships will become meaningless. So, that has to be very strong and well maintained for my physical and mental being because, without them, my world will cease to exist. Dance is a way to express your emotions. And on different days, depending on your mood, you want to express your emotions through your dance accordingly.
Do you travel to Manipur often?
Yes, I do. Whatever I do is deeply rooted in Manipur. So, all my music is done there. I did my PhD in Manipuri dance from Manipur University. I got the degree in October 2023. My topic was Manipuri Dance: From Ritual Space to Proscenium, with an emphasis on the role of women practitioners. So, for that, I had to stay there for a very long time. I used to travel to and fro almost every month. I have learnt from a few exponents in Manipur the nuances of Lairava or Thang-Ta.
With the easy accessibility of Bollywood songs and dance, do you think younger people get quickly attracted to those?
Yes, we cannot deny the fact that there are countless reality shows, where classical dance, especially Kathakali and Manipuri, is often presented in a sad and demeaning manner. As artistes, we have raised our voices in many cases, but unfortunately, not much has been done. It is our duty as artistes to create the right environment where classical dance can be presented properly and with respect. While commercialisation is inevitable, we must ensure that the essence and dignity of the art form are preserved. We can introduce modifications, but we must also keep in mind contemporary sensibilities without compromising on the core values.