On Sunday, 17 November, Rabindra Sadan witnessed the 100th and final staging of Balmiki Pratibha, Rabindranath Tagore’s timeless tale of redemption. Directed by the celebrated danseuse and social reformer Alokananda Roy, this unique rendition stood apart—not just for its heartfelt narrative of a dacoit’s transformation into a sage, but because the cast comprised convicted inmates.

Roy chose this masterpiece for its universal message of hope and transformation, proving that even those deemed sinners can rise to the stature of saints. It was International Women’s Day in 2007 when the former ADG Prisons, B D Sharma, extended an invitation to Roy. “As I stepped into the confines of Presidency Jail, I was greeted not by the bleakness I anticipated, but by a scene of unexpected tranquillity. Gone were the clichéd images of dimly lit cells; instead, I was surrounded by open spaces, towering trees and the gentle melody of birdsong. It was a revelation, a glimpse of humanity amidst the shadows of confinement,” recalled Roy.

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After witnessing a stirring programme put together by the inmates, the danseuse was approached by Mr Sharma and the women prisoners with a simple yet earnest request – ‘could she teach them to dance?’

“As I left the premises, my heart heavy with newfound understanding, I couldn’t ignore the sight of young boys lingering in the shadows. What twists of fate had led them down this path? Each one of them could have been my own flesh and blood. Any one of them could have been my son. I insisted on working with the boys as well. Fear had no place in my heart; only a fierce maternal instinct driving me forward,” remarked Roy.

Reaching out to male inmates, particularly at the beginning, was no easy feat. Convincing them to embrace dance—a form many perceived as a “feminine activity”—proved even more challenging. Recognising the need for a different strategy, Alokananda Roy introduced them to Kalaripayattu, an ancient martial art indigenous Kerala. Its rigorous yet rhythmic movements immediately captured their interest, breaking down barriers and opening them up to her guidance. From there, she gradually transitioned them into the world of dance, eventually preparing them to perform intricate dance-dramas.

Her first production with the inmates was Balmiki Pratibha, an amalgamation of Chhau-inspired movements, experimental music and rustic vocals, setting the stage for a transformative artistic journey.

Thus began a journey of redemption, where the walls of a prison became the canvas for transformation. With every passing day, those once nameless faces became her sons and daughters, their voices echoing with the endearing refrain of ‘Maa’. By the final performance, only one member from the original 2008 men’s troupe remained, while the entire women’s troupe had undergone a complete transformation. The inmates poured immense effort into the production—not only acting but also crafting their own costumes and props. The performances by both the male and female inmates were nothing short of extraordinary, leaving audiences spellbound with their passion and precision. Their mastery of the steps was matched by their vocal talent, as they performed the background songs themselves. This dual display of skill not only added authenticity to the production but also highlighted the depth of their dedication and training. Every movement, every note, was imbued with a raw, emotional intensity, showcasing their journey from confinement to creative expression.

Rehabilitation programmes within the criminal justice system are gaining recognition as essential tools for reducing recidivism rates and nurturing successful reintegration into society. These programmes offer inmates education, vocational training, mental health and substance abuse treatment, along with life skills training. Not only do they enhance inmates’ chances of successful reintegration, but they also benefit society by curbing crime rates and associated costs. Research reveals that inmates who actively engage in restoration programmes are less likely to reoffend and return to prison compared to those who do not participate.

“Over the years, I’ve travelled with my ‘sons’, taking them out of jail to perform at venues across the country. It was unprecedented – no jail had done this before. The remarkable part? The trust that held us together. We journeyed by train, did some shopping, and not one of them attempted to escape. They all performed, and safely returned to their cells. Several of them have been released till date. It’s delightful that none of them have taken actions leading them back into incarceration. They’ve embraced their freedom and are leading fulfilling lives now,” commented Roy.