Resources for all concerned with culture of authoritarianism in society, banalisation of communalism, (also chauvinism, parochialism and identity politics) rise of the far right in India (and with occasional information on other countries of South Asia and beyond)
Nearly 30 years ago, in 1989, Pradip Dalvi’s Marathi play Me Nathuram Godse Boltoy
opened to a maelstrom of controversy in Maharashtra. The two-act play
told the story of Mohandas Gandhi’s assassination from the perspective
of his killer, Nathuram Godse, resulting in an outcry and a ban on its
performance for the next four years. That piece of theatre is making a
comeback, after the appearance of a new play that has also been accused
of glorifying Godse.
The new play, titled Hey Ram...Nathuram, was first staged on October 2, on Gandhi’s birth anniversary. It has much in common with Me Nathuram Godse Boltoy, beginning with actor Sharad Ponkshe, who has played the titular character of Godse in both plays. Ponkshe wrote and directed Hey Ram...Nathuram, following disagreements with the producers of Me Nathuram Godse Boltoy.
Since the first staging of his new play, Ponkshe has been at the receiving end of attacks from two sides.
On
the one hand, Uday Dhurat, the producer of the older Godse play, has
accused Ponkshe of copying the premise of the original – Dhurat now
intends to revive Me Nathuram Godse Boltoy with new actors. On the other hand, in the week running up to Gandhi’s death anniversary on January 30, Ponkshe’s Hey Ram...Nathuram faced angry protests
outside theatres in Sangli, Aurangabad, Thane, Nagpur and Pune, by
local representatives of the Congress, Nationalist Congress Party and
the Sambhaji Brigade, a Maratha vigilante group affiliated with NCP. On
January 24, in Nagpur, some protesters were detained by the police, as a show of Hey Ram...Nathuram was cancelled.
According
to the protesters, the play glorifies Gandhi’s assassin and ought to be
banned. While critics don’t endorse a ban, they do believe that
Ponkshe’s play is an obvious and worrying reiteration of the Hindutva
ideology that led to Gandhi’s death in 1948. Sharad Ponkshe. Credit: YouTube
‘Non-violence not the only way’
Ponkshe has refuted the allegation that his play – which Sambhaji Brigade calls “seditious” – glorifies Godse. Scroll.in was unable to reach Ponkshe, but in an interview with Marathi news channel TV9 in October, the actor-director claimed that his purpose of revisiting and revising the original Me Nathuram Godse Boltoy was to showcase the “truth” of Godse’s character without any glorification.
In
the same interview, however, Ponkshe – the vice president of the Shiv
Sena’s cinema wing – expressed an attraction towards some of Godse’s
thinking. “He [Godse] was trying to say that non-violence is not the
only successful way forward,” Ponkshe had said. “In these 70 years of
being a non-violent country, even a nation like Pakistan has been able
to attack us so many times. But recently when we responded with just one
violent attack, the situation changed almost immediately.”
‘Assassination as vadh’
For
many liberal critics, this line of thinking is not surprising, just as
it wasn’t surprising when Ponkshe essayed the role of Godse in Pradip
Dalvi’s older play for 14 years. “These plays bring out the fact that
the Hindutva of old is no different from Hindutva today, which still
persists in our midst and is in power,” said Anand Patwardhan, a
documentary filmmaker whose 2002 film War and Peace closely looked at the impact of plays like Me Nathuram Godse Boltoy.
Right-wing
Hindutva history, according to theatre critic Shanta Gokhale, has
always seen Godse as a hero and Gandhi as someone who deserved to be
assassinated. “They refer to the assassination as vadh,” said Gokhale. “In our myths, when heroes kill villains, the deed is called vadh.”
Playwright
Ramu Ramanathan believes this glorification of Godse has grown more
intense in the past two decades. “The BJP top leadership pays lip
service to Gandhi and [Bhimrao] Ambedkar,” said Ramanathan. “But if you
pay heed to the ideologues and their founders in the RSS [Rashtriya
Swayamsevak Sangh], the message is clear.”
Godse, a Brahmin from
Maharashtra, was a member of the right-wing Hindu Mahasabha that also
spawned the Rashtriya Swayamsevak Sangh. As Gokhale points out, Ponkshe
was a member of the RSS until some years ago, when he quit and joined
the Shiv Sena. While the Shiv Sena and the BJP lead a coalition
government in Maharashtra, the Sena has announced a split with the BJP
in the run-up to the Mumbai’s civic corporation polls. This, according
to Gokhale, explains the Shiv Sena’s rousing support for Ponkshe’s play
across Maharashtra.
“Although reconstructing/distorting history is
not one of the Sena’s known objectives, it would be perfectly happy to
go along with Ponkshe’s version of it, since he is now one of them,”
said Gokhale. “Even more significantly, in today’s politics in
Maharashtra, Ponkshe is against the organisation [RSS] that supports the
BJP, which is Sena’s rival.”
A new Godse will rise?
Ponkshe’s
new Godse play is currently touring parts of Maharashtra and is
expected to be staged in Mumbai in the first week of February.
Meanwhile, Uday Dhurat, the producer of the original Me Nathuram Godse Boltoy, is preparing to revive the old play, which hasn’t been staged since 2011.
“After
playing a character for 14 years, it is sad that Ponkshe has chosen to
trample on the work of the original playwright and do another play on
the same subject,” said Dhurat. “But we are auditioning new actors and
directors to bring our play back. A new Nathuram will rise again. We all
love and respect Gandhi, but people need to know the other side of the
story.”
While Patwardhan is convinced that the renewed presence of
the Godse character on stage will be damaging to the social fabric, he
believes the world of secular artistes has not responded adequately to
counter this right-wing narrative of history. “But it is good if all of
these attitudes come out in the open,” he said. “People should know that
right-wing parties even today are in favour of those who killed Gandhi.
Hopefully it will lead to some cultural resistance.”
Under pressure from Hindu right wing groups and with tacit support from Christian MLAs who were censured during live onstage performances in the past, the Bharatiya Janata Party-led government in Goa is contemplating setting up a censor board for a popular more-than-a-century old theatre form called tiatr.
Over tiatr 400 personalities and the Opposition, the Congress and the Aam Aadmi Party (AAP), have slammed the government's veiled attempts earlier this week, calling it "high-handed" and "dictatorial", even as outraged editorials in local newspapers have demanded that the Goa government apologise for the purported censorship move.
"Tiatr is a time-tested, popular form of Goan art that has survived decades without such political or governmental. There is no doubt that this is an attempt to muzzle the right to free expression, especially when exposing the misdeeds and scandals of politicians and governments," said Oscar Rebello, a spokesperson for the AAP told Firstpost.
For hundreds of thousands of Goans, especially the sizeable Christian community living here, going for a tiatr is more than just watching a play or a theatre outing. The tiatr as an art form is far more popular than the natak, which Marathi theatre performances are referred to as. With its socio-political, relevant and organic themes, watching a tiatr show on weekends, religious feast days and holidays is like watching their own lives play out under bright lights, mixed with a bit of banter and slapstick fun and a touch of tragedy.
Which is why the government’s move to put in place the “Goa Licensing and Controlling Places Of Public Amusement (Other Than Cinema) and Performances for Public Amusement, Rules 2015” has set alarm bells ringing. [. . .]
Sahitya Kala Parishad’s Mohan Rakesh festival marked the giving away of awards for the script writing competition organised each year, but the first prize was not awarded.
The second prize was given to Kath Ke Ghode written by Dr Gyan Singh Mann. It was directed by Sohaila Kapur. The play is about the younger generation and their escape into dream worlds where everything is perfect.
A young middle class boy and girl work in an office together. They have the usual middle class tensions of family and financial problems. The girl imagines that she is engaged too a very rich man whilst the boy has a rich girl who will make his dreams come true. Neeraj Yadav and Jyotsana Sharma play both the characters of Praveen, the rich fiancée Pradeep, Meenakshi and Shalini.
The comical boss is played by the veteran actor Ashok Dhawan. The play is very sprightly and moves at a brisk pace. The title implies the impossibility of movement in a wooden horse. Here it is the economically straightened middle-class which cannot move out of it’s groove and fulfil its dreams. The writer takes a rather pessimistic view of life but has written a lively play.
The third prize was shared by two plays Santosh Kumar Nirmal’s Ram Kabhi Marta Nahin directed by Lokenndra Trivedi, which tackles the problems of communalism and brotherhood. The play gives the message that people who are spreading hate in the name of religion and caste and creed are enemies of society and the nation.
Historically India has a long tradition of the participation of both communities in celebrating Hindu and Muslim festivals. Muslims acting in local Raamleelas is also part of tradition. In Bilaspur where the play is set, communal forces are at work to prevent a harmonious Dussehra. It is in this context that the writer raises the question: Can Ram be caught in any Hindu-Muslim slot?
The other third prize winner Sapnon Ki Dehri Ke Us Paar written by Aditi Jain and directed by Krishnakant had an interesting style of speech which was true teenage jingo and sounded fresh as delivered by the protagonist, the young daughter of a middle class couple. The young girl is a happy go lucky teenager who finally falls in love with a boy who does not belong to the community.
The father is violently against the liaison. The daughter is aghast at her father’s reaction. She goes and tells they boy, who in distress to commit suicide the girl follows him and is somehow saved. Then begins a period of reconciliation when the daughter argues with her father and proves him wrong, she also tells him that he should allow his wife to continue her dancing.
In the last scene, we see the wife practising Kathak. The father serves them all coffee. The play asks us how is it right to not allow a person who is considered an adult by society to make her/ his decisions on how they want to live? Naina, the girl, was played by Madhumita Baarik with confidence and éclat .The other characters were supportive to the protagonist. The play was neatly directed by Krishnakant, the set design by Atul Jassi was effective.
Intellectuals decry Govt move against play Staff reporter GUWAHATI, April 4 – Literary and intellectual circles of the State have expressed indignation and resentment at the ultimatum issued by Vishwa Hindu Parishad (VHP) and Sattra Mahasabha against the staging of the play, Mahabharatar Bhul at the Rabindra Bhawan.
Following vehement opposition by the VHP and after a meeting between the VHP, Rang Mahal and the Rabindra Bhawan authorities, the name of the play by Tarun Saikia was changed to Bholanathar Sapon for allowing it to be staged.
“Regrettably, even this decision was undermined by the Sattra Mahasabha which in a most undemocratic manner pressurised the Government to cancel the staging of the play under the pretext of maintaining law and order. This is nothing but kneeling down before forces of communalism,” a statement issued by a number of distinguished citizens and leading socio-cultural organisations said.
Terming the conduct of the Government as setting a bad precedent which would only bolster the communal forces, the statement said that the Mahabharata had been a time-tested epic whose appeal and acceptability across the globe was only increasing following newer and different interpretations all over the world.
“Through the ages, the Mahabharata has elicited diverse critical interpretation and all this has only enhanced the epic’s universality and added to its glory. If a playwright names a play as Mahabharatar Bhul (The Blunder of the Mahabharata), it in no way diminishes the magnificence or lowers the dignity of the epic,” it said.
The statement further said that the move by the Government against the staging of the play by toeing the lines of organisations such as VHP or Sattra Mahasabha was an attack on the fundamental right of the people to express their opinion freely.
“The developments are also vitiating the creative and cultural atmosphere of the State. Rather than banning the play, the Government ought to have ensured its staging by deploying adequate security, if necessary. We demand that the play is staged at the Rabindra Bhawan,” it added.
The signatories included Nalinidhar Bhattacharya, Dr Hiren Gohain, Arun Sharma, Anima Guha, Nirupoma Bargohain, Sudakshina Sarma, Kulada Kumar Bhattacharya, Hiren Bhattacharya, Udayaditya Bharali, Apurba Sharma, Dr Sitanath Lahkar, Nipon Goswami, Moloya Goswami, Kapil Bora, Zerifa Wahid, Champak Borbora, Bhagirathi, Pakiza Begum, Gunakar Deva Goswami, Gangapada Choudhury, Bibhuranjan Choudhury, Pranjal Saikia, Bani Das, Maini Mahanta, Nitya Bora, Sukracharya Rabha, among others, besides organisations like Bharatiya Gana Natya Sangha, Seagull, Surya, Baan, Anubhav, Samahar Natya Gosthi, Theartres Guild Guwahati, and Ajai Rai Memorial Society.
VHP opposition shelves play on Kurukshetra War TNN | Mar 30, 2012, 10.38PM IST
GUWAHATI: The much-awaited play "Mahabharator Bhool' (Mistakes of Mahabharata), a modern-day stage adaptation of the The Mahabharata, which was slated to be staged on March 31 at Ravindra Bhawan, will not be enacted on Saturday.
Nagaon-based theatre production house Rangmahal and Nagaon Anatyam Natya Sangathan, who were all set to give theatre-lovers a different angle to the epic, have decided to drop the play after the Vishwa Hindu Parish (VHP)'s Northeast Chapter lodged a complaint.
"We were informed that the VHP had lodged complaint against the title and some parts of the script. Then, the cultural directorate asked us to give a copy of the script. Later, the office asked us not to stage the play citing possible law and order problems. So, we have also decided not to stage it," said Pabitra Pran Sarmah, the director of the play.
Sarmah added that banning of the play here is disheartening as the play has already been enacted several times in Nagaon. "People loved and appreciated it," he added. Earlier, addressing the media on Friday, VHP's NE general secretary said they would bar staging of such plays and had already lodged a complaint with the authorities concerned.
"We have got a copy of the play's script. We have seen that the epic characters of The Mahabharata have been distorted in the play. They have used languages in the script which are not befitting to a great epic. It is against religious sentiments and can create disturbance," said Abhijeet Deka, general secretary of VHP, NE.
An official said the matter of enacting the play was discussed with Dispur, too, which asked the department to cancel the show. "First, we were asked to change the title and we did it too. It was renamed as 'Bholanathor Sopun'. Later, the department asked to cancel it," said the director in disappointment.
"Mahabharataor Bhool" was written by Tarun Saikia in the Eighties to show that the Kurikshetra War was a result of conflict of personal interests. Besides questioning the one-sided perception of The Mahabharata, the drama is also a satire on modern-day life.
Mumbai: Objecting to the Hindi play Sara, based on the life of a Pakistani poet, the Shiv Sena on Saturday said it received complaints that the drama had obscene dialogues and asked the producer to remove them.
The Sena also submitted a letter at a local police station regarding the same.
However, the play's director, Mahesh Dattani, said the allegations were baseless. “Their complaint letter does not mention any specific dialogue. Initially, they objected to the play, saying it was written by a Pakistani, which is not true. None of the Sena activists have seen the play.”
The play is written by Shahid Anwar on the life and times of Sara Shagufta, one of Pakistan's most controversial poets. Her life was troubled with personal conflicts, expressed through her writings. It is mostly based on her letters to well known Punjabi poet and novelist Amrita Pritam. — PTI
MTG editorialIdeal Drama and Entertainment Academy (IDEA) & Mumbai Theatre Guide strongly condemns the brutal terrorist attacks during the performances of Marathi play 'AAMHI PACHPUTE' on 4th June at Gadkari Rangayatan (Thane) and 31st May at Vishnudas Bhave Auditorium (Vashi) and appeals to the Govt of Maharashtra to take strict action against the aatankwadis.
This is not the first time theatre has been attacked by anti social elements. Safdar Hashmi a legendory theatre personality was attackede and killed during the performance of his play 'Halla Bol' in January1989.
Vetran theatre personality Mr. Habib Tanveer faced the heat of goondas in the year of 2003, and finally this incident shook the theatre world. It is time to unite the theatre world and request goverments to take immediate action.
A meeting to condemn this cowardly act will be held on 7th June at 6.00pm. at Keeratan Kendra, opp. Utpal Sanghvi School, Juhu. All theatre lovers are invited to come and raise their voice and send memorandum to Chief Minister and Home minister following a skit 'THEATRE PER BHI AATANKWAD' for more details call on 9821044429.
Mumbai, June 16:: The Anti-terrorism Squad of Mumbai police on Monday arrested two members of Hindu Jan-Jagruti Samiti, a local right wing outfit, in connection with the blast at a theatre auditorium in neighbouring Thane.
A local court remanded Mangesh Nikam and Ramesh Gadkari, the two arrested persons, to police custody till June 24.
Seven people were injured in the minor explosion at the Gadkari Rangayatan auditorium parking lot when a low intensity explosive went off on June 4 before the staging of the play ‘Amhi Pachpute’, political satire. The Samiti had earlier taken exception to the play, alleging that it parodies certain mythological characters and hurts Hindu sentiments.
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#3 See also June 6, 2008 Video Report from IBN Live:
A new thought provoking play 'HUM' of Samvedan Cultural Programme is ready for stage. We are opening it on 26th and 27th January 2008 [Behaviourial Science Center, Saint Xavier's College Campus, Navrangpura, Ahmedabad]. You are invited with your family and friends to see, debate and give your comments for the play.
Yes, it will open the Pandora's Box of so many questions and comments. It is a play about the civil society of communal fascist laboratory. It is based on true stories of Gujarat 2002 genocide's two women victims and civil society's approach towards them in last 6 years. What is their fate? Where are they today? With all the good intentions, what civil society has done to them? Are we ready to learn from our mistakes as a civil society?
We believe that asking the disturbing questions about the responsibilities of the civil society is the duty of theatre. Theatre is not only a means of entertainment to the society, but in dark times theatre should disturb the society so that it can wake up and try to find the ways in darkness. Theatre should shake and mobilise the civil society to take corrective measures; if possible.
So you are coming to see, debate and give your comments for the play. Details are attached.
It was a tragedy of epic proportions, which will now be chronicled for the world on the proscenium. Twenty-five years after Nellie - independent India's worst communal pogrom, which saw thousands being massacred in the sleepy hamlet of Assam on a single day - theatre director and activist Parnab Mukherjee is ready with an adaptation of that event for the stage.
Memories of the Bodies, based on the story of an orphan who lost his entire family during the carnage, is the fruit of three years of research by one of India‚s most well-known stage personalities. The play will debut in February next year, exactly 25 years after the gruesome incident shook the country. Mukherjee disclosed that the play is "a theatrical poem based on the true story of survival and struggles of an orphan, now a man 25 years old".
Aware that the subject he is handling is rather controversial, Mukherjee clarified that his work has nothing to do with politics. "It is the touching story of a man who lost his entire family when he was just a month old. I am an artist. I have nothing to do with politics. I tell stories related to the lives, struggles and survival of ordinary human beings," Mukherjee said over telephone from Calcutta.
The play is currently in its pre-production stage, disclosed the theatre activist, who has extensively portrayed issues centred around the region for nearly a decade now. Describing his forthcoming play as "a series of images", he added that "the play will be a large collage describing the events that lead to the massacre as well as its fallout". Apart from the usual flow of narrative, the play will also deploy a lot of photographs, installations and graphic works to make its images visually more stark and realistic. Visual designer Gautam Bagoria will handle the graphics for the play and sculptor Sanchayan Ghosh will design its installation works.
"I have collected a large number of photographs from different people during my 11 visits to Nellie," said Mukherjee. The main reason why Mukherjee has decided to highlight the struggles of the villagers who survived the massacre is because he wishes to draw the attention of the world community to the issue. "Nobody is bothered about the sufferings. Survivors are yet to be compensated. While victims and survivors of the 1984 Sikh riots have been compensated, nobody is talking about compensating the Nellie riot victims," said the activist. [. . .].
