SANJAY PANDITA
Maharaj Krishen Raina’s life unfolds like a well-choreographed dance, where each step resonates with the echoes of an era and each move is imbued with the wisdom of a lineage steeped in intellectual prowess. Born on a crisp July morning in 1948, in the verdant valleys of Srinagar, his story is a symphony of tradition and modernity, a testament to the harmonious confluence of the old and the new.
Receiving Sangeet Natak Award from president of India Dr Shanker Dayal Sharma – And Gul Mohd Bhagat as clown in BADSHAH Pather an adaptation of King Lear in Bhand Pather form
Srinagar, the crown jewel of the princely state of Jammu and Kashmir, was a city where the Dal Lake mirrored the azure skies and the whispers of the Chinar trees carried tales of valor and heritage. It was here, amidst the confluence of Mughal grandeur and serene landscapes, that M.K.Raina first drew breath. His birth into a Kashmiri Pandit family was a heralding of destinies interwoven with the cultural tapestry of India. A family where intellect was revered, where doctors and engineers marked the lineage, and yet, it was his father’s fervor for political activism that sowed the seeds of a different kind of engagement in young Raina’s heart – one of social activism and cultural renaissance.
Raina’s formative years were a crucible of learning and exploration. The bylanes of Srinagar, with their intricate lattices and bustling bazaars, were his playground. His home was a sanctuary where the echoes of Rabindranath Tagore’s verses met the rhythm of traditional Kashmiri folk songs. Amidst this, Raina’s mind blossomed, nurtured by a family that saw knowledge not just as a means to an end but as a beacon of enlightenment. It was this environment that propelled him to excel in his studies, completing his college in Srinagar before the horizons beckoned him to the National School of Drama (NSD) in Delhi.
Delhi, the heart of India, was a world unto itself. Here, under the tutelage of the finest minds at NSD, Raina’s latent talent unfurled like the petals of a lotus in the morning sun. A state scholarship was his chariot, ferrying him from the serene confines of the Valley to the pulsating vibrancy of the capital. NSD was not just an institution; it was a crucible where his artistic inclinations were tempered with discipline and rigor. It was here that he imbibed the nuances of drama, understanding that theatre was not just performance but a potent medium of societal reflection and change.
In 1970, armed with a diploma from NSD, Raina embarked on a journey that would redefine the contours of Indian theatre and cinema. His debut in the Indian parallel cinema with “27 Down” was akin to a river breaking through a dam, flowing freely and reshaping the landscape. In “27 Down,” where he played the lead role of Sanjay, Raina not only showcased his acting prowess but also laid bare his soul, reflecting the angst and aspirations of an entire generation. The film was more than a narrative; it was a mirror reflecting the socio-economic currents of the time, with Raina’s portrayal being its unflinching core.
M .K.Raina’s repertoire burgeoned, transcending linguistic and cultural boundaries. He produced over 150 plays in 12 languages, each production a brushstroke on the vast canvas of Indian theatre. His directorial ventures, like “Kabira Khada Bazar Mein,” “Karmawali,” “Pari Kukh,” “Kabhi Na Chooden Khet,” and “The Mother,” were not mere performances but a confluence of intellect and emotion, tradition and modernity. They were tales told in the language of humanity, each one echoing with the universal themes of love, loss, and redemption.
As an actor, Raina’s journey was one of perpetual evolution. Each role was a new skin, each character a new life lived. He danced through the stages of Shakespearean drama, delved into the depths of Ibsen’s realism, and explored the intricate human psyche with Chekov. His rendition of Brecht’s plays was a clarion call, challenging societal norms and provoking thought. In “Andha Yug,” his direction transcended geographical confines, being performed in Berlin and at the Festival of India in the USSR, a testament to his universal appeal and the timeless relevance of his art.
The cultural tapestry that M.K. Raina wove was not confined to the traditional stages. His foray into academia was a natural extension of his belief in the transformative power of art. As a visiting director at prestigious institutions like the National School of Drama, Hyderabad Central University, IIT Hyderabad, and Chhattisgarh, he imparted his knowledge, kindling the flames of creativity in young minds. His role as a Scholar in Residence at Jamia Milia Islamia and a Fellow at Stanford University was a continuation of his lifelong quest for knowledge and cultural dialogue.
Raina’s accolades are not mere decorations but affirmations of his contributions to Indian theatre and culture. The Sanskriti Samman in 1980, the Sahitya Kala Parishad Award in 1981, and the Best Director of the Year by the West Bengal Government in 1982 were early recognitions of his burgeoning talent. The Sangeet Natak Akademi award in 1995 and the Swarna Padak from the Government of Jammu and Kashmir in 1996 were milestones in his illustrious career. The B.V. Karanth award for lifetime achievement in 2007 was a tribute to his indelible impact on Indian theatre, and the Hindi Akademi Shikhar Samman in 2018 was a recognition of his ceaseless contribution to cultural discourse.
M.K. Raina’s journey was also one of cinematic brilliance. His performances in films like “Satah Se Uthta Aadmi,” “Ek Ruka Hua Faisla,” “Tamas,” “Titli,” “Genesis,” “Tarang,” “Ankur Maina aur Kabootar,” “Taare Zameen Par,” “Rab Ne Bana Di Jodi,” “Aisha,” “Noor,” “Lakshya,” “Teen Aur Aadha,” and “Exchange Offer” were not just roles but manifestations of his artistic soul. Each character was a new world, each story a new journey. His presence in the acclaimed web series “The Forgotten Army” for Amazon Prime was a testament to his versatility and enduring relevance in the ever-evolving landscape of visual media.
In the realm of cultural activism, Maharaj Krishna Raina was a beacon of hope and resilience. He believed that culture was the antithesis of violence and terrorism, a sanctuary where humanity could rediscover its innate goodness. His activism was not mere rhetoric but a lived reality, manifesting in his art and his engagements. Raina’s productions were not just plays but dialogues with society, challenging prejudices and fostering understanding.
M.K. Raina’s commitment to cultural preservation extended to Kashmir’s indigenous theatre form, Bhand Pather, a kind of ‘total theatre’ that combines dance, drama, mime, puppetry, and music. This form, known for its improvisational ingenuity and rustic humor, uses satire to critique societal hypocrisies. However, the violent turmoil in Kashmir over recent decades has severely endangered this art form, with no performances occurring in the past 18 years. Many senior performers have passed away, and the younger generation is moving to alternative professions due to the lack of opportunities.
To revive this dying tradition, M .K .Raina proposed an intensive 35-day workshop in Akingam, a village about 45 kilometers from Srinagar and home to Bhand Pather artists. This workshop aimed to bring together younger Bhand Pather artists and veteran Ustads, providing 35 to 40 Bhand youth with the chance to train under the best and interact with Kashmiri scholars and contemporary theatre experts. This initiative was a beacon of hope for the preservation and revival of Bhand Pather, a testament to Raina’s dedication to his cultural roots.
As the years rolled on, M. K .Raina’s life became a tapestry of experiences, each thread adding to the richness of the whole. His journey from the serene valleys of Srinagar to the bustling theatres of Delhi, from the intellectual hallowed halls of universities to the global stage, was a testament to the transformative power of art. His legacy is one of relentless pursuit of excellence, a commitment to cultural dialogue, and an unwavering belief in the power of theatre and cinema to reflect and shape society.
In the twilight of his illustrious career, M .K. Raina stands not just as an artist but as a cultural luminary. His life is a symphony where each note resonates with the harmony of tradition and modernity, intellect and emotion, art and activism. It is a testament to a journey well-traveled, a life well-lived, and a legacy that will continue to inspire generations to come.
In his sparkling memoir, M.K. Raina documents the many lives he has lived. From sharing the stage with some of the most celebrated actors in India to his journey as a young man witnessing the violence and horrors rampant through the streets of Kashmir, an entire history of northern India is painted with subtle elegance. Brimming with delightful anecdotes as well as poignant, painful memories of a region that once was, this book is a tour de force.
The writer can be reached at sanjaypanditasp@gmail.com
