|
It is the sound of
labor. There is no labor without it. It is like a tonic for work. It is not
possible to work without it. It makes them forget the toil. It makes them forget
hunger, their burdens and fills them with inspiration. It is an expression of
everything in their life. It is an outlet from hard work for toiling masses.
And that is their
song; their dance. Song and dance continue to have an important place in the
life of the masses, the exploited, the voiceless, the changing and the forces of
revolution.
Adivasis are known
for their rich cultural heritage. Song and dance are the expressions of adivasi
life. They are part of their life right from the inception of history, only next
to architecture. In the process of socialisation a lot of changes occurred in
the cultural life of adivasis. There have been a lot of outside influences.
However it continues to maintain its native character.
In the recent times,
the ruling class is promoting adivasi culture to attract private investment. In
the name of presenting their culture and heritage it is using the adivasis as
show pieces in the various ‘utsavs’ held all over the country. But the adivasis
have not only realised the partisan attitude of the government but also their
marginalisation and exploitation in terms of the economy. Though Gond and
Santhali folk-lore is much propagated by the bourgeoisie in their numerous
‘utsavs’ in India and abroad, the bulk of Bastar and Jharkhand Adivasis have
interwoven their rich culture with the new revolutionary awakening taking place
there.
The Adivasis of
Bastar are very much a part of the revolutionary movement in the area. The
revolutionary move-ment is obviously bringing in a lot of changes in their
economic, social and cultural life. As a part of the ongoing revolutionary
movement under the leadership of the CPI(Maoist) Party they are increasingly
revolutionising their culture.
The festivals are no
more purely customary. They include the performances of the local revolutionary
cultural teams that speak about adivasi life, their problems, the root cause and
the alternative. It is the Jana Natya Mandali in Andhra Pradesh. It is
the Chethana Natya Manch in Dandakaranya. It is the Jharkhand Abhen
in Jharkhand. It is Pithuri Endana Dalam in Orissa....and many more.
These organisations
are the cultural expression of revolutionary propaganda. The art forms of the
organisations are absolutely native and in essence New Democratic. The
organisations are cultivating New Democratic Culture as a part of the New
Democratic Revolution.
Propaganda is an
important aspect of any political system either existing or in the making.
Cultural forms of propaganda is their most powerful instrument. The history of
Revolutionary parties all over the world reveals the importance given to this
instrument. The experience presents a catalytic effect.
So is the experience
of the above-mentioned organisations. Jana Natya Mandali is undisputedly the
most popular revolutionary cultural organisation in the state of Andhra Pradesh.
Its influence spread to other states also thus giving it a place in the history
of the cultural and social movement of this era.
These newly formed
organisations owe their heritage to Jana Natya Mandali. They have gone a few
steps ahead of it. While JNM initially started off in the cities and gradually
spread to the villages and the adivasi areas in the later period, the latter
organisations were started in the adivasi areas itself.
It is clear that they
have a more native fragrance. Let us see how they started, how they continue to
enthuse the masses and help in raising their revolutionary consciousness.
The then People’s War
party established the CNM in Dandakaranya in 1998. It started with organising
cultural meets of a few villages. The local Sangh held competitions in song and
dance. Youth participated enthusiastically. Collection of folk forms started
from this point.
The Party brought
together few activists and started the CNM. They started with songs. The songs
were written collectively. A local tune was selected. The essence of the song
was discussed and then set. They received tremendous response. Villagers started
demanding their performances in their villages. It is because the songs
photographed their life.
Thus the stage was
set for the revolutionary cultural teams in DK. In the later period CNM held
workshops and discussed the concept, tune and other related issues of song.
There were churning discussions on the selection of the tune and presentation of
the song. In the course of time it wrote songs on the aims and objectives of the
organisation. It went ahead with depicting the well known armed actions of the
People’s Army in Bastar district. There are also songs heckling the police
forces visiting the villages. There are songs that tell about the collective
work of the people, the necessity of the armed struggle, the importance of
revolution and highlighting the People’s Army (PLGA) of the Party established in
the year 2000.
These songs
reverberate all through Dandakaranya. People were not simply amused. They are
over-whelmed with these heart touching enthus-iastic, committed songs. They sing
in chorus. They return home dancing to the tune and singing the songs they heard
just then.
The organisation
marched ahead with composing plays on the existing unscientific and exploitative
issues in adivasi life. They perform a play on gambling in the ‘hen race’. The
man in the family puts the little savings on the race and drinks. He returns
home drunk without buying the needed food. There is a rupture between the wife
and the husband. He beats her. The issue is presented before the local Women’s
Organisation. They hold a ‘panchayat’ and make the husband realise his mistake.
Another play is on the unscien-tific thinking regarding treatment of illness.
Now the organisation
is about to pres-ent a new form of ‘peto’, the singing story.
Coming to the
organisations in Orissa, it is part of the organisation of the CPI(Maoist) Party
in the Andhra Orissa Border Special Zone. It started one year back and is making
headways with its songs, dance and playlets. The way of functioning is the same
as that of the organisation in DK.
The performers in
both the organisations have local attire. Collective functioning is given utmost
importance.
The interesting
aspect of the organisations is that more than ninety nine percent of the teams
are the local adivasis themselves. Those basically interested in cultural
activity are picked up for the purpose. Once they join the team and later the
party they are not mere traditional adivasi singers. They transform themselves
into revolutionary singers and revolutionise their consciousness and vice versa.
The activity of the team is like any other armed squad. They have a regular
timetable for physical fitness, literacy, political education and other such
things. They move along with the Local Guerilla Squads, or on their own and take
part in all of its activities. They prepare cultural forms as per the programs
of the concerned Area Committee. Thus their activities are interlinked with the
overall organisation.
One more point needs
mention. The performance of the organisations is not like the traditional one
where some perform and some view. Viewers join the performers on the stage,
which is normally nothing else but a relatively plain piece of land under a
shadowy tree. Enthusiastic villagers and members of other squads join the
performers there and then. The artists are not disturbed with the ‘intruders’
because the later are clear of their role.
So, is it not modern
theatre?
And, it is something
more than modern theatre. The Revolutionary Cultural Organisations of the
CPI(Maoist) Party are bringing forth lot of genuine modern views regarding the
economic, political and cultural life of the adivasis.
|
