Adapted from author Anju Makhija and poet Hari Dilgir’s English translations of Latif’s Sindhi poems,  the show is an hour-long performance. “We have been at work over the last three months. The performance originates in Makhija’s translation of the poetry that speaks of the folk tales of the region; stories of heroines like Sasui, Moomal, Sohini and Urmi,” Bhatkar shares.

Cut-outs of miniature figurines used in the film

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Makhija, whose translated work, Shah Abdul Latif: Seeking The Beloved was honoured with the Sahitya Akademi English Translation Prize in 2011, shares, “He wrote in Sindhi, not in Persian or Arabic, which were court languages. He used folk tales to explain the philosophy of love and Sufism. Latif’s unique treatment of common folktales as spiritual allegories sets him apart.” Describing him as the Shakespeare of Sindh, Makhija adds that the work was a rediscovery of her own heritage. “I am a Sindhi, but I was alienated from my culture. Naturally, when Hari Dilgir asked me to collaborate with him, I was apprehensive. The poems were written in 16th century Sindhi, but it was an experience.”

Anju Makhija

These complex allegories find form in Bhatkar’s solo-act which also features whirling — a traditional Sufi meditation. The performance is also the first time that the director has toyed with the idea of stop-motion animation. His performance on stage will be accompanied by audio-visual elements; poems recited in the background to visuals of the film. “We cut out 1,500 figures from Persian and Islamic miniature paintings — similar to Mughal miniatures in style, but from regions ranging from Kashmir to Persia.” The 70-minute long film took over a month and half to work on, says Bhatkar. Makhija concludes, “It is difficult to explain a poetic performance in words. Shah Abdul Latif’s works are experiential. They need to be felt to understand its context.” The poet would approve.

On: Today; 4.30 pm
At: Godrej Dance Theatre, NCPA, Nariman Point.
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Entry: First come-first serve