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By:

Shoma A. Chatterji

21 August 2024 at 4:19:40 pm

The Battle Behind Ram

Did Ram or the epic Ramayana really exist? Or is it a fictional creation reportedly authored by Rishi Valmiki? In fact, there is no scientific or historical truth in the existence of Rishi Valmiki himself. Evolution has taken such long steps in our lives, that any question raised about the authenticity of the very existence of Ramayana has become redundant as we have accepted the Ramayana to be the ideal, indisputable truth unfolded through the eternal battle between fact and fiction, between...

The Battle Behind Ram

Did Ram or the epic Ramayana really exist? Or is it a fictional creation reportedly authored by Rishi Valmiki? In fact, there is no scientific or historical truth in the existence of Rishi Valmiki himself. Evolution has taken such long steps in our lives, that any question raised about the authenticity of the very existence of Ramayana has become redundant as we have accepted the Ramayana to be the ideal, indisputable truth unfolded through the eternal battle between fact and fiction, between the real and the imaginary and between the good and the evil. Aniruddha Sarkar has directed, given the music and done the complete play named Ram Ki Ladai under the Rangabhoomi banner. He is the recipient of the Sangeet Natak Akademi’s Ustad Bismillah Khan Yuva Puraskar 2024. His directorial production Chandaa Bedni received national recognition at the Mahindra Excellence in Theatre Awards (META), winning four awards. The play opens with preparations afoot on a play-within-the-play named Ram Ki Ladai to be staged somewhere in the Hindi belt. Ramgoolam, an ordinary young man, is chosen to play the role of Ram which angers most of the other members of the cast because Ramgoolam belongs to a low caste so these others feel how a low caste, ordinary guy can or should play Ram. The play is authored by Lakshmi Narayan Lal and was first staged way back in 1978. It is a musical spilling over with dehati songs, beautiful dances and acting all of which are so staggeringly satiric that it invests this musical with a soul and spirit of its own. Aniruddha Sarkar has trained the twenty actors present on the proscenium for two hours for around 60 to 65 days. The languages and dialects used in the dialogue are in Hindi, Awadhi and Braj some of which are a bit tough for the city-bred audience to follow but this is more than compensated by the action, the songs and the story the play narrates. The plot of the play-within-the-play remains confined to the performance of Ram’s Dhanurbhanga which marks the momentous event where Lord Rama wins the hand of Goddess Sita in marriage during her Swayamvara (a ceremony to choose a husband) organized by her father, King Janaka of Mithila. The gigantic bow and arrow define a major character in the play-within-the-play though Ramgoolam is quite nervous of facing the wrath of the upper-caste members of the cast. But Sita’s father soothes his fears by repeating that he will give his daughter’s hand only to the one who can lift the very heavy bow and hit the target. The very heavy bow-and-arrow is also an irony pointing a sarcastic finger at the caste and “Aryan blood” question. The play is a metaphorical entity in which Ram is a metaphor for goodness, honesty and positive values. This is actually given as lines to a character who says, “Anyone can be Ram”, a telling comment on the wrong and artificial ‘marriage’ of religion and politics in the current Indian environment we are living in. Ram, in other words, is brought out of his mythological reality to step into the real world and demonstrate his honesty, his courage and his determination not necessarily with a caste-tag or a royal birth attached. This is the underlying and overlying statement of the play. Through soul-stirring music, humour, sharp satire, moving emotion, and striking symbolism, the play exposes the contradictions, inequalities, and moral dilemmas that surround us every day. It asks a compelling question - Can the ideals of Ram survive in the world we live in today? The dialogues are filled with biting satire and pungent lines. Sita is somewhat marginalized in the play as her role in limited to choosing to marry only that man who is able to strike the arrow to the given target and is strongly backed by her father in this choice. But we see her decked up like a bride, coy and shy and already in love with Ram. The play closes with Ram achieving the impossible and winning Sita’s hand. The many songs and the beautiful dances sometimes, within the rehearsal itself, make Ram Ki Ladai an experience to take home with you and remain haunted by it long after the play is over. The dance numbers, choreographed by Rudra Prasad Roy are an ideal blend of rhythm, symmetry, orchestration and performance. (The writer is a noted film scholar and theater critic.)

Why is Mamata Seeing Ghost of Bangladesh?

Aug 27, 2024
4 min read

Updated: Oct 21, 2024

Why is Mamata Seeing Ghost of Bangladesh?

Mamata is seeing a ghost of Bangladesh behind the massive outrage and waves of protest over rape and murder of the trainee doctor. And the reasons are many.

It’s been over a fortnight. Yet with each passing day the voice of protest is getting louder and stronger. From the streets of Kolkata it’s pouring into roads of hinterland. The cry for justice for a rape victim has consolidated into a wail of demands to set a lot of wrongdoings right. Here in lies the fear and trepidation. Wasn’t the issue that brought the youth of Bangladesh out on the thoroughfares a simple, innocent one of quota reform?

The chief minister of Bengal, known for understanding the pulse of people better than many, was quick to read the signages floating in the political horizon.

The most obvious reason for her to be tensed is that both the regime change in Bangladesh and the mass protest in Bengal, were student-driven to begin with. The two incidents---end of 15 year old Sheikh Hasina government and turbulence in West Bengal, over the heinous crime, falling back to back, the first on August 5th and the latter from August 9th onwards, give natural scope for comparisons. More so, because in both the cases the movement strayed beyond an affected constituency to include aggrieved people at large, cutting across socio-economic demography. If the quota reform protest started by students in Bangladesh became a mass uprising against an autocratic regime, the campaign demanding justice for the rape victim and overall safety and security of women in Mamata Banerjee’s Bengal soon snowballed into a movement of no-confidence against the government. Slogans--”Mamata must resign” also got floated in social media much in line with the call for ouster of Sheikh Hasina. In fact “Resignation of Hasina” became the single point agenda into which all other fringe demands coalesced.

Incidentally, even before people started drawing parallels, that there could be a thread of commonality in the way the upheaval in Bangladesh and Bengal played out, Mamata was quick to point out that the Opposition were trying to pull off a Bangladesh by politicizing the tragic incident: “A coordinated approach has been executed by the BJP and the CPIM with support from the Centre to defame Bengal and exploit the situation....They want to make a Bangladesh here. They are taking cues from student unrest in Bangladesh and are attempting to capture similarly. I have no longing for the chair. I came here to serve people.”

Not only Mamata, her political lieutenants are consistently equating the turmoil in Bengal with the mayhem in Bangladesh. Cabinet minister for North Bengal development Udayan Guha threatened to take stern action against those, who would be trying to exploit the situation by emulating a Bangladesh like movement. “ Even after the hospital was vandalised, the police did not open fire on anyone. The police will not allow a Bangladesh type situation. We will not allow Bengal to turn into Bangladesh, Guha thundered.

Is the government’s fear unfounded?

Apart from the similarities on ground zero, as to how and where the future course of events are heading to, there are ample reasons for Bengal to mull on-- as to what led to a Bangladesh like boiling point. To begin with, it’ll be appropriate to talk of Bangladesh and the prevailing situation, that made the students’ protest become big in magnitude. The students were out on the streets because of a high reservation in public jobs. Unemployment and stagnant job market in private sector coupled with a high rate of inflation drove the educated youth to rebel against the government.

But soon the students found enormous number of sympathisers, who were equally at the receiving end. According to Bangladesh citizens, the last two terms of the Sheikh Hasina government were a mockery of democracy. Even elections would be compromised. As Hasina grew from strength to strength, she politicized institutions. The rank and file of police owed allegiance to the ruling dispensation. Extortion, harrassment and raids by police and people in power became rampant. An atmosphere of fear and repression reigned and people got restless to overthrow the government.

Politicization of institutions has been happening in Mamata government too. Allegations are quite strong that police in Bengal functions at the beck and call of political bosses. The lapses and alleged loopholes on the part of police in handling the rape and murder of the young doctor have yet again revealed a sense of confused or misplaced loyalty.

But above everything else both Hasina and Mamata governments allegedly seem to have twined in accepting corruption as a way of life. In Bangladesh jobs of primary and secondary teachers got sold at premium, Rs 10-12 lakh in the Hasina regime. Even police had to pay up for prized postings and transfers. In Bengal busting of the teacher’s recruitment scam has revealed how unsuccessful and ineligible candidates got government jobs in schools in exchange of bribes.

Similarities are multiple and inescapable. Mamata has good reasons to be apprehensive. It’s not only she, who can see and connect the dots. People, out on the streets, clamoring for justice, can see a providential pattern somewhere in the unfolding of future events in these two places-- Bangladesh and Bengal. True, they share more than 2,217 odd km of border. They share the same umbilical cord, other than language, culture, ethos, icons. Even emotions are the same. So she cannot take any risk.

(The writer is a senior jounalist based in Kolkata. Views personal)

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