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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.)

Many corners, no centre

Pune’s civic elections reveal how Maharashtra’s alliances have hollowed themselves out

Pune: Pune’s municipal election, once a contest shaped by familiar coalitions, has turned into a political free-for-all. The collapse of both the ruling Mahayuti and the opposition Maha Vikas Aghadi has produced four-way contests across all wards, leaving voters to navigate a crowded ballot and parties to improvise alliances on the fly. The city’s election has become a microcosm of Maharashtra’s larger political disarray: fluid loyalties, exhausted ideologies and an increasingly transactional politics.


On paper, the Bharatiya Janata Party (BJP) remains the single largest force, contesting 157 seats on its own, with an additional nine seats allocated to allies and sponsored candidates, taking its tally to 165. Yet numerical strength masks underlying strain. The BJP has declined to renominate 42 of its sitting corporators, triggering a wave of defections that has scrambled local equations. Many rejected aspirants have sought refuge in the Nationalist Congress Party (NCP) or one of the Shiv Sena factions, less out of conviction than electoral survival.


Strange Contests

Both factions of the NCP (led by Sharad Pawar and his nephew Ajit Pawar) are contesting over 100 seats each, an extraordinary spectacle for a party that once prided itself on discipline and unity. Most candidates loyal to the NCP alliance are contesting under the familiar clock symbol, but the symbolism disguises a deeper confusion about leadership and direction. Ajit Pawar’s camp has drawn in allies such as the Republican Party led by Sachin Kharat, while Sharad Pawar’s faction has struggled to keep its urban cadre intact.


The Shiv Sena, split between Deputy Chief Minister Eknath Shinde’s faction and Uddhav Thackeray’s Shiv Sena (UBT), is similarly divided. Shinde’s group has fielded 111 candidates, while the UBT faction is contesting 70 seats. The Congress, contesting 90 seats, finds itself in an awkward three-party understanding with the Sena (UBT) and the Maharashtra Navnirman Sena (MNS), an alliance born less of ideological convergence than mutual weakness. Even this arrangement is porous: in around 20 wards, Congress and Sena (UBT) candidates are locked in ‘friendly’ contests that are friendly in name only.


Smaller parties add to the clutter. The MNS is contesting 44 seats, hoping to reclaim some relevance in its home turf. The Vanchit Bahujan Aghadi, allied with the Congress in Mumbai, has gone its own way in Pune. The Aam Aadmi Party and the Bahujan Samaj Party are also in the fray, further fragmenting the vote.


Beneath the shifting alliances lies a more striking continuity: dynastic politics thrives even amid chaos. Sons and daughters of established politicians have found tickets across parties, often following their elders’ ideological migrations. Surendra, son of an NCP (Sharad Pawar faction) MLA, has joined the BJP along with his wife, both now candidates. The son of a former Shiv Sena (UBT) heavyweight has also crossed over to the BJP and been rewarded with a nomination. Similar stories abound across parties, suggesting that while alliances collapse, political inheritance remains remarkably stable.


The churn has elevated ward-level battles into personal duels between former corporators, many now facing off against erstwhile colleagues under rival banners. Senior city leaders from nearly every major party - the BJP, Congress, both NCP factions, both Senas, the MNS and the AAP - have entered the fray themselves, signalling how high the stakes have become.


Pune’s election may decide who controls the city council, but its larger significance lies elsewhere. It shows a political system where alliances are brittle, ideology thin and loyalty provisional. In such a landscape, four-way contests are not an exception but the new normal. Regardless of whoever wins, the city’s governance is likely to be as fragmented as the campaign that preceded it.

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