If we look at drama or theater in the concept of Hindi Dalit literature, then the struggle of castes facing each other in Indian society is visible. There is pain here as well as the demand for rights. Dalit drama and theater was born out of this desire, agitation and animosity and anger. Dalit playwrights and theater workers recognized their identity and culture and registered their presence as Hindi Hindu theatre. When we look at Dalit drama or Dalit theatre, some things are present in front of us. Our caste brothers suffering atrocities, our mothers, sisters, daughters being raped by upper caste men and religion-fearing women victims of the lust of representatives of Hindu deities under the devadasi system, women crying out to save their honor in temples and women victims of superstition. Everything that happens is because of the upper caste system established in India. Drama emerged as a strong genre of Dalit literature as a reaction to the oppression of the upper caste system.
By Dalit Dastak News
First of all, anger against this system was created in the Dalit society and this anger took the form of a movement. Drama was born from the womb of this movement. Dr. Babasaheb Ambedkar himself had said, “The performance of one drama affects people more than my ten speeches.”1 Establishing human values has been the main objective of Dalit drama and theatre. Its creator, being sensitive, works to create consciousness in the society by expressing his agony, atrocities on him, violation of his rights, frustration through drama.
We have said above that the origin of Dalit drama is very strong. But in spite of this, this mode appears strange. We see many reasons for this. Whenever this drama is played or staged somewhere, there has been a lot of protest against it. Its struggle with commercial dramas, the hostility of theatre, the financial generosity of writers, their neglect by the publishers, etc. have been the reasons for its confusion.
Basically, this genre of drama is the gift of Dalits only. From the very beginning, Dalit society has been productive and laborious. When these people come back at night after working whole day, they used to present many arts for entertainment. To get rid of diseases, famine and drought, these people used to dance wearing masks and animal skins. This has been the primary form of drama. Mohandas Naimishrai has written while linking the Dalit theater tradition with the folk theater tradition, “It would not be wrong if I say that every theater artist has the pressure of his memories. The reason for my love for theater and writing has also been there. It was developed by Song, Dhola and Nautanki. Our neighbors used to listen to the story of Alha-Udal. Later I came to know that they were our ancestors. The stories of his bravery enthralled us. The story of ‘Raja Salhes’ in Bihar is almost similar. There is a sense of identity in that story. As well as the tendency to respond to the aggressor, for Dalits engaging in drama is less a matter of individual interest and more of a collective one.”2
All the genres of entertainment seem to have developed from Dalits only. Like- Nut, dance, singing etc. In order to perform tricks in the village, Dalit people used to do mercenary work, become clowns, pranksters, impersonators, sing and sing about someone’s virtues and demerits. These arts later got the form of drama. Be it any folk art, such as jalsa, lavani or drama, most of the people working in it belong to the Dalit community. This shows that the drama is performed by Dalits only.
In fact, we can interpret plays in two forms. At present we see two forms of drama. One is the play which is subject to theatre. The construction of which is done on the basis of theatre. Which today we call the drama of the original flow. Whose purpose is only entertainment and meaning. But Dalit drama is different from this. It is written by Dalits only. It is a different matter that today even non-Dalit writers are writing on Dalits. But this writing is sympathetic. But today Dalits do not need sympathy. Because sympathy cannot solve any problem.
On the one hand there is a drama which has a complete stage and on the other hand there is a drama which does not have any special stage at all. We call it Dalit drama. It has neither a stage nor any props for theatre. The correct thing is that Dalit plays do not need any of these resources. Its theme is so powerful that it leaves its impact on the audience even without any props and props. Due to writing by the person who has experienced this play, he has so much expression power that he does not need any means of music, lighting, clothes etc. That is why it is also called free play.
Basically, the format of Dalit theater in Hindi is Lokrangmanch. The people working on the Lok Manch have always been Dalits. The working class in it has always been Dalit. The folk arts that were there later took the form of drama. In this context, Dashrath Ojha believes that, “The basic source of the tradition of Hindi drama is this mass-drama, which still exists in its ancient form by the name of Swang etc.” Gradually, a branch of these mass dramas developed and took a literary form.
Today, under Dalit literature, drama genre comes before us with prominence. With the inspiration of Dr. Babasaheb Ambedkar, today Dalit drama and Dalit theater is moving forward. Many events and incidents happened in history have inspired Dalit dramatists to write. There are many such characters in history whose human rights have been denied and they have been seen only in biological form. This theater has done the work of advocating such characters. According to senior autobiographer Kaushalya Baisantri, “Dalit theater has definitely done important work in achieving the denied human rights.”4
In the 20th century, Swami Achutanand first took initiative regarding Hindi Dalit drama writing. Four of his plays are visible. His first play ‘Ramrajya Nyay’ depicted the murder of Shambuk, the neglected and oppressed character of Ramayana. His other plays, ‘Mayanand Bairidan’, ‘Parakh-pad’, ‘Bali Chalan’, are written on such characters of Hindu scriptures and literature, whose oppression was abandoned by upper caste writers and society or given the name of sacrifice by upper castes to Dalits. A conspiracy was hatched to glorify the exploitation and deceit of upper caste characters. Achutanand has kept such heart touching dialogues in his plays which inspire the viewer and reader to change their mindset towards Ram and present the supremacy of Ram.
In this tradition of Hindi Dalit drama, Shivprasannadas’s ‘Harijan’, Mata Prasad’s ‘Untouchable’s son’, ‘Dhoka in the name of religion’, ‘Pratishod’, Mohandas Nemishrai’s ‘Adalatnama’, ‘Hello comrade’, Dr. N.Singh’s ‘Kathoti Mein Ganga’, N.R. Sagar’s ‘Marg Ka Kata’, ‘Last Hurdle’, ‘Ek Baar Phir’ written by Sunil Kumar Suman, L.M. ‘Achhoot Ka Pyaar’ by Dharmarat, ‘Maan Samman’ written by Karmsheel Bharti, ‘Phansi’, ‘Vishadhar’ written by Rupnarayan Sonkar, ‘A Dalit Deputy Collector’, ‘Mahanayak’, ‘Vima’ written by Ratnakumar Sambharia, Sushila Takbhaure ‘Nanga Satya’, etc. is the main play of.
From the point of view of Dalit drama and theatre, Karmashil Bharti and Dharamveer had established Dalit Nyay Manch in Delhi. Through which many Dalit plays were staged. Many plays of Karmsheel Bharti have also been successfully staged here. In which – ‘My existence’, ‘Gallows’, ‘Behind the dialogues’, etc. can be seen prominently. He staged the play ‘Mera Wajood’ on October 10, 1989, on the day of Vijayadashami, in Munirka village. He has also staged plays like ‘Maan-Sanman’, ‘Shreshtha-Kaun’, ‘False Ego’, ‘Azadi Kiski’, etc. Along with this, the play ‘Do Chehre’ written by senior Dalit story writer Omprakash Valmiki has also been staged by many theatrical institutions.
In the 60s, famous artist Ramesh Mehta had written a play called ‘Roti Aur Beti’. Through the play, he has exposed the burning problem that has been stirring up and provoking people on the basis of caste. Further in this tradition, in 1977, Manohar Lal Manav produced a play named ‘Chawli’. Its basic theme is to inspire the educated section of Dalit society towards middle class values and to shake the society and inspire them to move forward with the educated society. The play was directed by Anand Kumar. This play was staged in many public meetings and in Dalit settlements. In 1980, with the joint efforts of Manoharlal and Dalchand, L.K. ‘Kabira Khada Bazar Mein’ by Raina, specially staged for Dalit people.
As far as the amateur dramatists of the Dalit society are concerned, in that dramatists from Uttar Pradesh did many presentations. Bhimsen Santosh wrote the play ‘Shoshit Ke Naam Santosh Ka Paigam’ on the life of Eklavya, which was published in 1983 by Shoshit Literature Publication, Delhi. In this play, he has tried to bring out the suffering of the Dalits. In this way, the writing and staging of Dalit plays is visible even today.
At present Dalit playwrights have been affected by the glare of cinema and serials, but they have not gone away from their original purpose. He has not moved away from Ambedkarite thoughts. He appears committed to social justice and social change. Even though there are many problems in front of Dalit drama and Dalit theater today, but with the inspiration of Babasaheb Ambedkar, Dalit dramatist, Dalit drama, Dalit theater and Dalit artists are moving forward today.
Dalit Dastak is a monthly magazine, YouTube channel, website, news app and publication (Das Publication). Since 2012, Dalit Dastak has been continuously raising the voice of marginalized people through various mediums of communication. Its editor and publisher is Ashok Das (Editor & Publisher Ashok Das), who has joined Harvard University of America as a speaker.
Courtesy : Dalit Dastak
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