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Hindustan Times
5 days ago
- Entertainment
- Hindustan Times
The world was his stage, and he played many parts
Ratan Thiyam, the legendary Indian playwright and theatre director who passed away earlier this week, was more than just a master craftsman of the stage; he was a profound philosopher who consistently challenged the prevailing notions of modernity in theatre and, by extension, in human existence. Born in Imphal, Manipur, in 1948, Thiyam emerged from a region steeped in rich martial, ritualistic, and storytelling traditions. His journey, from studying at the National School of Drama in Delhi to returning to his roots to establish the Chorus Repertory Theatre in 1976, was a deliberate act of questioning the western-centric theatrical paradigms that often dominated the discourse of 'modern' theatre. This stance places him among a global cohort of visionary theatre makers, including Japan's Yukio Ninagawa, Nigeria's Wole Soyinka, and his own great Indian contemporaries, Neelam Mansingh Chaudhuri and Heisnam Kanhailal, who similarly interrogated modernity by drawing deeply from their indigenous cultural wellsprings. I had the great opportunity to see many of his productions over the years, and much like many other theatre makers of my generation, his work was always the gold standard for how far the limits of one's art could be pushed and how interrogatively beautiful one's questions to oneself and one's society could be. Thiyam's critique of modernity was not a rejection of progress outright, but rather a nuanced interrogation of its often-unseen costs: The erosion of cultural identity, the spiritual vacuum created by material pursuits, and the disconnect from nature and ancestral wisdom. He believed that true modernity lay not in blind imitation of western forms, but in a deep engagement with one's cultural heritage, allowing it to inform and enrich contemporary expression. This philosophy became the cornerstone of the Theatre of Roots movement, of which he was a leading figure, echoing the cultural rootedness globally seen in Soyinka's commitment to Yoruba traditions or Ninagawa's embrace of Kabuki and Noh. It is not a coincidence that at a time when India had been a free country for three decades and the world wars had been three decades past, committed artists such as Thiyam, around the world, were the frontrunners in questioning both the form and content that shaped the lives of humanity. In that sense, Thiyam was a global luminary not merely because of how widely his theatre was seen but more importantly for how significantly he was part of a worldwide movement of interrogating the question of modernity, led by the brightest minds in the theatre and arts. For our own contemporary practice, there is often a misunderstanding that the contemporary is synonymous with the modern; Thiyam is a guiding light who illuminates radical and modern ideas through classics, often revealing the orthodoxies of many modern telling. His theatrical language was a direct manifestation of this tension between modernity and tradition, deeply intertwined with a distinctive visual culture. In an era where theatre often leaned towards naturalism and dialogue-heavy narratives, Thiyam embraced silence, ritual, and a powerful visual vocabulary. His productions were characterised by the evocative use of light, shadow, and music, minimal yet symbolic props, and the incorporation of indigenous Manipuri martial arts like Thang-Ta. One of Thiyam's most celebrated works, Chakravyuh (1984), based on an episode from the Mahabharata, is a searing indictment of war and the cyclical nature of violence, themes that are acutely relevant in the modern world. Similarly, Andha Yug (The Blind Age), adapted from Dharamvir Bharati's Hindi verse play, explored the moral collapse and spiritual reckoning in the aftermath of the Mahabharata war. Staged famously in an open-air performance in Tonga, Japan, on the eve of the Hiroshima atomic holocaust anniversary, the play became a poignant commentary on humanity's capacity for self-destruction in the modern age. Thiyam's direction amplified the existential angst and the profound sense of loss, using stark imagery and a powerful chorus to convey the spiritual barrenness that often accompanies unchecked 'progress'. His Manipur trilogy, particularly Wahoudok (Prologue), directly addressed the impact of modernisation on traditional values and ecological balance. In this play, Thiyam explored ancient Meitei creation myths, juxtaposing them with the perceived threats posed by contemporary civilisation. He lamented the gradual cultural and ecological degradation of his native land, advocating for a return to the traditional reverence for nature and spiritual ecology. Thiyam's adaptations of western classics, such as Sophocles's Antigone (retitled Lengshonnei) and Shakespeare's Macbeth, further exemplify his unique approach. Instead of merely transplanting these plays onto an Indian stage, he 'cooked foreign ideas in a Manipuri kitchen', as he famously put it. He reinterpreted these universal narratives through the lens of Meitei culture, infusing them with local philosophical and performative traditions. This act of localisation was a powerful statement against the cultural homogenisation often associated with globalisation and a testament to the enduring relevance of indigenous forms. By rooting these stories deeply in his own cultural context, he demonstrated that universality is achieved not through imitation, but through profound authenticity. Beyond his artistic endeavours, Thiyam was a figure of significant political importance, using his art as a potent form of social commentary and protest. He was unafraid to speak up against policies and politics that threatened the cultural or human fabric of his region, particularly during times of ethnic unrest in Manipur. His theatre became a vehicle for expressing the pain and struggles of his people, often wrapping his protest in metaphors of epic proportions. A testament to his conviction, Thiyam famously returned his Padma Shri award in 2001 in protest against the central government's extension of the territorial limits of the ceasefire with the National Socialist Council of Nagaland (Isak-Muivah) and the violent impacts of this action on Manipur; an act that underscored his unwavering artistic integrity and moral courage. For Thiyam, theatre was not confined to proscenium boundaries; it was a living discourse that interrogated power, injustice, and the erosion of values. The image of Ratan Thiyam that will always be etched in my mind is of him bowing on his knees in front of the audience, along with his company at the end of every performance, and the entire audience standing up not just for a standing ovation, but to acknowledge the theatrical irony, that a god had bowed in front of his subjects. That we now knew, that we would never leave the theatre the way we entered it. That before and after watching a Chorus Repertory performance, one can never think about being modern and embracing tradition, in the same way, ever again. Abhishek Majumdar is a playwright and theatre director. He is the artistic director of Nalanda Arts Studio, Bengaluru, and programme head of the Theater Programme at New York University in Abu Dhabi. The views expressed are personal.
The Independent
7 days ago
- The Independent
South Korean woman who bit off attacker's tongue during 1964 rape attempt may finally be cleared
A South Korean court is reconsidering the 61-year-old conviction of a woman for injuring a man while defending herself during a violent sexual assault. Prosecutors at the Busan District Court issued a formal apology to 78-year-old Choi Mal Ja on Wednesday, saying that they had failed her legally and morally. They urged the court to overturn her 1964 conviction for inflicting serious injury by biting off a part of her attacker's tongue as he allegedly tried to rape her. 'This was a justified defensive act. It was not excessive, nor was it unlawful,' Korea Times reported the prosecutors as saying. 'We sincerely apologise to Choi Mal Ja, a victim of a sex crime who should have been protected as one.' Choi, then a teenager, was assaulted by a 21-year-old man surnamed Noh who forced his tongue into her mouth after pinning her down in the southern town of Gimhae. In an effort to escape, she bit off about half an inch of his tongue. Rather than being recognised as a survivor, Choi was charged with aggravated bodily harm and sentenced to 10 months in prison, suspended for two years. Her claim of self-defence was dismissed. Her assailant was sentenced to just six months in prison, also suspended, for trespassing and threatening her with a weapon. He was never convicted of attempted rape. The original prosecution had argued that Choi's response to the attacker 'exceeded the reasonable bounds of legally permissible self-defence'. She was accused of causing permanent injury, though records showed that the attacker did not suffer a lasting disability. Prosecutors reportedly even tried to persuade her to marry him. Choi later revealed that the litigation caused significant financial strain on her family and that the assailant continued harassing them during the proceedings. She lived for decades with the stigma of a criminal record while he avoided public scrutiny. 'For 61 years, the state made me live as a criminal,' Choi said outside the court on Wednesday. 'If I have any hope or dream left, it is that future generations will live in a world free of sexual violence.' After South Korea's MeToo movement gained ground, Choi was inspired to demand a retrial in 2020. Her initial petition in 2020 was rejected, with the Busan court citing lack of "clear evidence" and arguing that social and cultural shifts alone did not justify overturning the ruling. She appealed to the Supreme Court, which, in December 2023, ordered the case to be reopened. In February this year, the Busan High Court upheld Choi's appeal, paving the way for a retrial. In court, Busan's chief prosecutor Jeong Myeong Won said: 'We have caused Choi Mal Ja, a victim of a sex crime who should have been protected as one, indescribable pain and agony.' Choi's lawyer argued the 1964 order was a miscarriage of justice even by the standards of that time. 'This is not about evolving social values. This was a wrongful judgment from the start,' the counsel said. The final ruling is scheduled for 10 September. Legal observers expect the court to acquit Choi. She embraced campaigners and supporters from civic groups who had rallied behind her.
Korea Herald
23-07-2025
- Politics
- Korea Herald
Probe targets alleged link between Mongolia operation, martial law
South Korea's special counsel is investigating a covert operation conducted by the military in Mongolia in November, in which two intelligence officers allegedly attempted to contact North Korean officials shortly before former President Yoon Suk Yeol declared martial law. The special counsel suspects that the operation was designed to provoke North Korea or to open a line of communication that could serve as justification for Yoon to declare martial law. According to local daily Hankyoreh on Wednesday, two Korea Defense Intelligence Command officers — a lieutenant colonel and a major — were deployed to Ulaanbaatar, Mongolia, where they attempted to approach the North Korean Embassy through Mongolian officials. They had been tasked with gathering intelligence on North Korea, and their mission report reportedly listed the North Korean Embassy as a target. The officers were detained by Mongolian intelligence authorities during the operation and were released after then-KDIC commander Gen. Moon Sang-ho traveled to Mongolia to request their release. Moon was suspended in December over his alleged involvement in the martial law plan. The KDIC has long been linked to the broader martial law scheme. However, no concrete evidence has been found to prove its direct involvement, apart from its ties to Noh Sang-won, who was arrested in December on charges of orchestrating the plan. Noh reportedly received a list of 46 intelligence officers from Gen. Moon in October 2024. A notebook seized from Noh contained phrases such as 'induce the North's attack at NLL' and 'waste balloon,' which investigators believe suggest attempts to fabricate a security crisis in the lead-up to the Dec. 3 declaration. If such intent from the KDIC is discovered through the special counsel investigation, officials responsible for the actions could be subject to charges of treason. Under Article 93 of the Criminal Act, treason refers to acts of colluding with foreign powers to initiate war or armed rebellion against the country. As of press time, the Ministry of National Defense has not commented on the investigation. When reports about the Mongolia operation first surfaced in late 2024, the ministry denied any connection between the trip and preparations for martial law. The investigation into the Mongolia operation is unfolding alongside suspicions of a similar effort to provoke the North: a drone mission carried out by the military in early October 2024. Testimony obtained by the special counsel indicates that former Defense Minister Kim Yong-hyun ordered the Drone Operations Command to fly an unmanned aircraft toward North Korea in October 2024. According to transcripts, Joint Chiefs of Staff Operations Director Lt. Gen. Lee Seung-oh testified that Kim personally directed the missions, rerouting drones to areas such as Nampo and regions north of the East Sea's Northern Limit Line. Military personnel testified that the drone flights took place on Oct. 3, 9 and 10. On Oct. 11, North Korea's Foreign Ministry issued a statement claiming that South Korean drones had flown over Pyongyang and dropped anti-regime leaflets. The special counsel later sought an arrest warrant for former Drone Operations Commander Kim Yong-dae on charges of forging military documents to conceal the mission. However, the court rejected the request on Monday, citing insufficient grounds for detention. The investigation team is reviewing the court's decision and considering whether to refile the request.
Korea Herald
23-07-2025
- Politics
- Korea Herald
Special counsel looks into ties between covert operation in Mongolia, 2024 martial law
South Korea's special counsel is investigating a covert operation conducted by the military in Mongolia in November, in which two intelligence officers allegedly attempted to contact North Korean officials shortly before former President Yoon Suk Yeol declared martial law. The special counsel suspects that the operation was designed to provoke North Korea or to open a line of communication that could serve as justification for Yoon to declare martial law. According to local daily Hankyoreh on Wednesday, two Korea Defense Intelligence Command officers — a lieutenant colonel and a major — were deployed to Ulaanbaatar, Mongolia, where they attempted to approach the North Korean Embassy through Mongolian officials. They had been tasked with gathering intelligence on North Korea, and their mission report reportedly listed the North Korean Embassy as a target. The officers were detained by Mongolian intelligence authorities during the operation and were released after then-KDIC commander Gen. Moon Sang-ho traveled to Mongolia to request their release. Moon was suspended in December over his alleged involvement in the martial law plan. The KDIC has long been linked to the broader martial law scheme. However, no concrete evidence has been found to prove its direct involvement, apart from its ties to Noh Sang-won, who was arrested in December on charges of orchestrating the plan. Noh reportedly received a list of 46 intelligence officers from Gen. Moon in October 2024. A notebook seized from Noh contained phrases such as 'induce the North's attack at NLL' and 'waste balloon,' which investigators believe suggest attempts to fabricate a security crisis in the lead-up to the Dec. 3 declaration. If such intent from the KDIC is discovered through the special counsel investigation, officials responsible for the actions could be subject to charges of treason. Under Article 93 of the Criminal Act, treason refers to acts of colluding with foreign powers to initiate war or armed rebellion against the country. As of press time, the Ministry of National Defense has not commented on the investigation. When reports about the Mongolia operation first surfaced in late 2024, the ministry denied any connection between the trip and preparations for martial law. The investigation into the Mongolia operation is unfolding alongside suspicions of a similar effort to provoke the North: a drone mission carried out by the military in early October 2024. Testimony obtained by the special counsel indicates that former Defense Minister Kim Yong-hyun ordered the Drone Operations Command to fly an unmanned aircraft toward North Korea in October 2024. According to transcripts, Joint Chiefs of Staff Operations Director Lt. Gen. Lee Seung-oh testified that Kim personally directed the missions, rerouting drones to areas such as Nampo and regions north of the East Sea's Northern Limit Line. Military personnel testified that the drone flights took place on Oct. 3, 9 and 10. On Oct. 11, North Korea's Foreign Ministry issued a statement claiming that South Korean drones had flown over Pyongyang and dropped anti-regime leaflets. The special counsel later sought an arrest warrant for former Drone Operations Commander Kim Yong-dae on charges of forging military documents to conceal the mission. However, the court rejected the request on Monday, citing insufficient grounds for detention. The investigation team is reviewing the court's decision and considering whether to refile the request.
Indian Express
21-07-2025
- Entertainment
- Indian Express
This Japanese philosophy teaches us that the slow and steady really does win the race
Have you ever noticed how some things just seem to unfold in a natural rhythm—whether it's a great story, a powerful speech, or even a simple conversation? In Japanese culture, this idea is captured by the principle of Jo-Ha-Kyu (序破急), a concept that describes how events should gradually build up momentum and end with impact. This timeless approach is used in traditional, martial arts, business, and modern entertainment. But more than that, it's a pattern we can apply to our lives. At its core, Jo-Ha-Kyu is about progression—starting slow, building up energy, and finishing strong. The phrase itself can be broken down into three stages: Jo (序): The introduction—things begin slowly, setting the stage and creating a foundation. Ha (破): The break—momentum picks up, changes occur, and tension builds. Kyu (急): The climax—everything comes together in a fast-paced, intense resolution. This pattern isn't just a theory—you can observe it in nature, music, storytelling, and even human interaction. It reflects the way things naturally evolve over time. 1. Traditional Japanese arts In classical Noh theater, performances follow this structure: a slow, atmospheric beginning (Jo), a rising conflict (Ha), and a dramatic finish (Kyu). Similarly, the tea ceremony follows a peaceful opening, a moment of engagement, and a satisfying conclusion. 2. Martial arts and movement If you watch a Kendo or Aikido match, you'll notice a similar pattern: fighters begin cautiously, waiting and observing (Jo). Then, the pace quickens as attacks and defenses flow (Ha), before reaching an explosive, decisive strike (Kyu). Even sumo wrestling follows this rhythm, with its elaborate pre-match rituals leading to a sudden burst of action. 3. Business and productivity Even in the corporate world, this principle applies. In Japanese business culture, projects are carefully planned (Jo), tested and adjusted (Ha), and finally launched or executed at full speed (Kyu). Companies like Toyota use this philosophy in their production processes, ensuring efficiency and smooth execution. 4. Storytelling, film, and entertainment Great movies, books, and even anime follow the Jo-Ha-Kyu structure. Think of a film like Seven Samurai by Akira Kurosawa—there's a slow buildup as the heroes gather (Jo), the tension rises as conflicts emerge (Ha), and everything culminates in a high-energy battle (Kyu). Even video games use this idea, with early levels being simple, the middle growing more challenging, and the final stage delivering an intense climax. Understanding Jo-Ha-Kyu isn't just valuable for art or business—it's something you can apply to your daily routine: Whether you're writing a book, preparing a presentation, or simply planning your day, embracing this flow can make your efforts more effective and engaging. Once you start noticing it, you'll see this pattern everywhere—from nature to entertainment, work to personal growth. If you apply it yourself, you might find that things start falling into place more naturally than ever before.
