top of page

By:

Shoma A. Chatterji

21 August 2024 at 10:49:40 am

The Pallbearer’s Tragedy

Three decades after its premiere, Rangakarmee’s Mayyat remains a searing theatrical indictment of caste. Rangakarmee is perhaps the only theatre group that has been producing and performing plays in Hindi in Kolkata for 50 years this year. Founded and headed by the late Usha Ganguly, it is still as active and dynamic in presenting Hindi plays mainly new and sometimes recreating for the new audience, old plays that are timeless in their content and their appeal. The amazing feature of Mayyat...

The Pallbearer’s Tragedy

Three decades after its premiere, Rangakarmee’s Mayyat remains a searing theatrical indictment of caste. Rangakarmee is perhaps the only theatre group that has been producing and performing plays in Hindi in Kolkata for 50 years this year. Founded and headed by the late Usha Ganguly, it is still as active and dynamic in presenting Hindi plays mainly new and sometimes recreating for the new audience, old plays that are timeless in their content and their appeal. The amazing feature of Mayyat is that it was first performed by Usha Ganguly and her troupe way back in 1997 and has already performed around 500 shows spanning 30 years and signifies the cross-generational reach and popularity of the play. We saw a group of absolutely new actors dedicated to Rangakarmee. Their performance defined the strict discipline, the constant workouts and rehearsals to keep mobile and flexible because the very big cast needed to be perfect in body, mind and spirit during each 45-minute performance. What does the word Maiyyat mean? It is said to have its roots in Arabic and literally, it translates as ‘dead body’ or ‘corpse.’ The play is rooted in the deep internalization among the low castes of their exploitation and torture by the Brahmins of their village. The Brahmins are proud in their gait, their body language and even in their pure form of dress with the holy thread of Brahminism proudly on display. The custom of the proud, arrogant and rude Brahmins is to choose at least one among the four untouchables to become the pall-bearer when someone of the upper-caste dies. Instead of feeling sad or insulted, the chosen untouchable feels blessed and proud for being allowed by this strange custom of becoming a fake “Brahmin” if even for one day. Lakku is one such untouchable who lives somewhere near Aurangabad and leads a miserable life of poverty with the burden of a mentally deranged, motherless son he takes care of. The pall is decorated heavily with flowers and instead of looking like a bourse, it is decorated with lots of flowers like a palanquin. Someone obviously among the Brahmins is dead and the other Brahmins draw lots to find out which untouchable will be chosen to offer his shoulder to the bourse. `When Lakku’s name comes up in the shuffling of the paper chips, he is thrilled that at least for one day, he will enjoy the ‘blessing’ of becoming a “Brahmin.” But forced to run through the village on an empty stomach and with a weak body, Lakku collapses and dies before the bourse can reach the crematorium. Now, the question is – who will carry his body and carry it to the cremation ground? The entire performance, with 23 theatre actors, originally scripted, designed and directed by Usha Ganguly, is now performed by a new young cast under the guidance, training and supervision of Amal Saha, Deepesh Rajak, and Anirudh Sarkar. It has been conceived and designed like a musical opera with every Brahmin member of the cast, including the young women, dressed traditionally in pristine white with lots of marigold garlands and a sandalwood tikka adorning their foreheads. Though there are dialogues in the performance, these are either among the leading and decisive members among the Brahmins or scoldings and threats from the Brahmins to the four members from the untouchable tribe, each one representing a different low caste. These four men, alongwith Lakku and his mentally retarded son, keep waiting eagerly in one corner of the proscenium for the results of the lots to be drawn. They hug each other for joy when their names are announced and Lakku specially is thrilled with the responsibility of being pallbearer and becoming a Brahmin for just one night. Whose corpse is being carried in the bourse is not important. What is important is who are the pall bearers? At least, the Brahmins are not. What one carries home after watching a performance-play like Mayyat is the marvellous synchronization of the entire female cast wandering right around the proscenium space singing songs in complete harmony with not a note of error and the Brahmin men discussing, arguing and quarrelling over not how the corpse will be cremated but which low-caste man will become the pallbearer for one night. The bottom-line is caste is a continuous, historical evil. But should it remain so? (The writer is a noted film scholar. Views personal.)

Gatecrash Politics

Rahul Gandhi’s decision to stage a protest outside the Prime Minister’s official residence was a spectacle that exposed a troubling decline in political responsibility. A Leader of the Opposition has every right to question the government, mobilise public opinion and demand accountability. But democratic protest does not mean abandoning every norm of institutional dignity.


Gandhi comes from a family that has occupied the highest office in the country for generations. His father, grandmother and great-grandfather served as Prime Ministers of India. He understands, perhaps better than most, the constitutional importance and security sensitivities attached to the Prime Minister’s residence. To deliberately sit at its gates, without permission and in disregard of established protocols, was not a demonstration of democratic maturity but a calculated act of provocation.


The issue at hand - the NEET paper leak and the concerns of affected students - certainly deserves serious attention. Millions of young Indians depend on fair systems to secure their future, and any failure demands stern investigation and concrete reform. But legitimate grievances are weakened when they are converted into political theatre.


The Congress appears to have chosen this path. The government has accused Gandhi and his party of repeatedly shifting demands and moving the goalposts even after opportunities for discussion were offered. Instead of using Parliament, the most appropriate forum for debate between the government and Opposition, Gandhi opted for a street confrontation outside the Prime Minister’s residence.


That choice raises a larger question of what exactly is the purpose of such protests? The protest, spearheaded by the Cockroach Janata Party (CJP), has descended into violence and hooliganism in the capital, causing around 120 policemen to be injured. It has also exposed the credibility of many of the ‘elite’ protestors. The students whose futures are at stake have already disappeared behind the cameras and slogans.


Opposition politics is essential to democracy. A strong Opposition strengthens governments by forcing scrutiny and exposing failures. But responsible Opposition requires a mature understanding that democratic institutions cannot function if every disagreement is turned into a spectacle.


Ironically, the politics surrounding the protest also exposed divisions within the Opposition with Aam Aadmi Party leaders accused the Congress of being in cahoots with the BJP.  The irony is hard to miss. A movement claiming to represent students has ended up becoming a contest over political posturing among Opposition parties.


Indian democracy needs leaders who understand that the dignity of institutions matters, even when challenging those who occupy them. Rahul Gandhi’s protest at the Prime Minister’s residence was not a triumph of dissent. It was a textbook reminder that political theatre can overshadow the very cause it claims to champion.

Comments

bottom of page