Sangeet Natak Akademi presents Special Documentation and presentation of ‘MAND’ folk songs of Rajasthan by Shri Kachra Khan Mangniar on 28th June 2017, 4:00pm onward at Meghdoot -III, Rabindra Bhawan, Copernicus Marg, New Delhi – 110001.
Entry Free

by

Manohar Khushalani

Having been associated with Street Theatre from late seventies my memories of Jan Natya Manch are equally old. It was way back in 1977 that I first met Safdar Hashmi. Our group, Workshop Theatre, which was formed after a workshop with Badal Sircar was rehearsing for William Hinton’s, Fanshen, a play about communist revolution in a village in China. Safdar had come to meet the late Sudhanshu Mishra. He sat through our rehearsal and gave many suggestions. Our group contained people, most of whom later migrated to Television – Sudhir Mishra, Sushmita Mukherjee, Bina Pal, Anil Mehta. Only Anamika Haksar and I stuck on to theatre. But the two years that we did street theatre were full of intensity. Our most memorable production was Badal Sircar’s Bhooma, for which Badal Da himself came specially to Delhi to do a workshop with us. Often people wept in our shows, and so did we, shamelessly, while performing. Although I was also performing in the Proscenium Arch, this liberty one could only take in a street play. When we came in touch with M.K. Raina, most of Workshop Theatre members opted to work in his Street Production of Juloos and later in Spartacus & Mother.

Our first test of our beliefs came when Raina took our performance of Mother to the Brecht International Festival held in Calcutta in 1978. There we were greeted by the biggest floods in the last 100 years of the city. While our street plays dealt with the underdog and deprived sections of society we were confronted with a dilemma. The floods created a pool of neck deep water around the Dharamshala that we stayed in. The water remained for three days and we were holed up on the first floor at the same time that the pavement dwellers were living all around the Dharamshala with their aluminum utensils floating before their eyes . We were helpless – unable to offer them refuge in our own rooms. What kind of street theatre were we doing? We often debated on whether doing plays was enough and whether it should not be supplemented with social work. The answers came much later when Maya Rao, Anuradha Kapoor and myself met by chance at SRC and decided to form Theater Union. Later we co-opted fellow Prayog members like Vinod Dua , Ein Lal and Ragini Prakash, along with women activists like Urvashi Butalia and Sudesh Sehgal.

Our first play was prepared in association with several women’s groups. It was called Balatkar Kanoon . The Rape Bill was before a Select Committee, whose recommendation would be considered before it became an Act. We examined the bill, discovered the lacunae as well as the strengths. We created a play which would warn the select committee about the loop holes while educating the common women about their rights as per the Bill. During this play we had an opportunity to interact with social workers who worked in the very communities that we performed in. Needless to say this gave us more satisfaction. Much later TU prepared a play on Multinational Drug Companies who were dumping in the Third World, all those drugs which were banned in the Developed World. This play we prepared in association with Voluntary Health Association of India and got lot of information from Mira Shiva. This information we used to create an educative play in a comic vein. This play too was a useful supplement for medical workers. We also did our bit by distributing printed literature at the end of the show. However, by now the debate on whether a street theatre group should also do social work had resolved itself. It had now dawned on us that we were performers and we should stick to that. If we created a consciousness in just a few people it would spread to others by conduction.

Some times people had created doubts amongst us about the reach of street theatre. Television was cited as a medium with a greater reach. One still remembers a talk that Safdar Hashmi gave at the Jawahar Lal Nehru University City Auditorium which was so prophetic. At that time few people owned TVs. There was only one Doordarshan channel and no private channels. Hashmi warned that TV will create antisocial vibes. While performing arts are a community affairs and bring many people under one roof the television will devided people by restricting them to their homes. He cited the example of people who visit homes of Television owners. Often the host spoke to his guest by using his ear as his mouth. Since his mouth was turned away as he himself had his eyes glued to Television. Ofcourse he saw a deliberate conspiracy in this and felt that television had been created to divide people, to break up communities and to destroy the collective spirit. So inspired was I by what he said that I went up to the stage to congratulate him.

But the real truth about TV having a greater reach has been resolved in my mind by history. The answer lies in credibility. A human being looking into your eyes and delivering a messages has greater credibility than an electronic media supported by vested interests and money power. When we did the play against Bride burning, just 200 shows were enough to create Media & Government attention on the issue. Soon the issue was seen everywhere in newspapers on television in and in films. Mera Devan’s award winning film on Bride Burning, used our play’s sound track interspersed with her own visuals. Theatre Union performed shoulder to shoulder with Jan Natya Manch at many venues. There we got to see each others plays – appreciate and criticise each others work. While Safdar appreciated the choreography and aesthetics of TU productions, he felt that the message was not direct. We felt that Janam plays were hard hitting but some times (not always) there was a poster effect. Though I must say Janam productions have been changing over the years and the last play that I saw looked like a Theatre Union play to me. Since TU had performers who also acted on the proscenium stage our productions were bound to be different. However this I am talking about the eighties. Now Janam has also performed on stage – it is alive and kicking while Theatre Union has gone into hibernation.

I still remember how it was considered a taboo for a street theatre worker to perform on stage. The first time I remember Safdar showing an interest about problems of Proscenium theatre was when the Bombay police act was introduced in Delhi and theatre workers were up in arms against it. Said Hashmi in a seminar specially organised against it; “this was the first step towards government censorship of theatre”. I was particularly agitated about it since I felt that police was ill equipped to understand the nuances of theatre. Little did I realise at that time, that in effect, given the usually inefficiency of the official machinery, getting a police license, irritating though it may be, was just another formality to be completed. Also, street theatre, which had the maximum potential of a political irritant was outside the purview of a performance license since these performance were not in an auditorium. Yet Hashmi spoke most ardently followed by M.K. Raina who had a foot in both the boats.

Street theatre does not mean just taking up any issue , assembling a bunch of enthusiasts, and converging the first street corner one comes across. It may take months to write a nukkad natak script. Workshop Theatre took three months to translate Badal Sircar’s Bhooma and six months to further evolve the play! An issue may arise from a slum. It may be wife beating, or a drunkard husband, or a middle class dowry problem. It is chosen, by a general consensus, workshop sessions are organised and a script is evolved keeping in mind the target audience. Few people know that Badal Sircar’s Juloos has been performed in Pakistan as well. Street theatre has attracted a few people because of the romanticism involved in the whole exercise. Since they are often exposed, the police which never, likes references to its own brutalities, often tries to stop the performances. Sometimes even the audience gets pulled up because of the personal, one to one relation ship that this medium tries to establish. When the police tried to stop a performance of Juloos by Prayog at Connaught Place’s central park, more than a decade ago, the audience intervened on behalf of the performers and battled with the police. Similarly, during the Emergency, when the police stopped a street performance at Curzon Park, Calcutta, the common people responded by turning up in thousands to watch the same performance the next day. The romanticism, however, wears off after some time. Only a few who are genuinely committed stick to the movement. “If ever you do street theatre, forget that you will be happy, forget that you will be famous, forget that you will be rich,” warns Badal Sircar. However, Safdar Hashmi’s unfortunate martyrdom has changed all that. “people have become more conscious of a performer’s right to perform. But Street Theatre which appeared to be on the decline is bound to rise up again and fight the menaces of social evils. Be it with plays like Janam’s unforgettable Aurat or Theatre Union’s similarly memorable Toba Tek Singh.

(This Article was first published by Jan Natya Manch and is being republished to commemorate the IFA event at Studio Safdar titled An Evening on Street Theatre in Delhi on Friday, June 23, 2017)

by
Vanisha Uppal

In the year 2010 I had an intense inner desire to read Bhagavad Gita. After reading it a couple of times, I realised that somehow, somewhere I was missing the point, so I read it again and again. Each time I discovered a new insight which, it seemed, had never been told before. I felt Krishna was telling something, which was hidden behind the literal words. It was difficult to understand what needed to be done. Only thing I understood was, that I should follow my heart, else not following my heart would eat me up.

My destiny had a plan for me and I was ready to receive it. My grandmother’s death became the turning point in my life, for the cremation of ashes, whole family went to Haridwar. After completing the rituals, we all decided to go to Rishikesh, to a known ashram near Triveni Ghat. After spending two days in peace, on the third and last day of our trip, my Papa, my sister and I, went to Triveni Ghat early morning. The view of the river Ganga and the Ghat caught my eye. I did not want to leave the sight of it, however, my sister, dragged me away from it.
We were back in Delhi. I started getting some beautiful dreams connected to river and water. Something was pulling me from inside. One day, I packed up my little bag, for no reason at all and took a night bus to Haridwar. I got down in early dark morning somewhere in Haridwar. I took an auto and went to Triveni Ghat with a plan to be there for three days. The view of Ganga gave me immense happiness. The whole first day I was sitting at bank of river, doing nothing, watching the water flowing, taking an occasional bath and eating very little.
Next day, by afternoon, I suddenly became very sad. While walking on the bank of the river, I asked God “why am I here and how do I attain you?” Immediate I got the answer from inside, “reach no duality”. I asked again, “Tell me the way to reach to no duality”. I kept waiting but no replay came. In the evening out of nothing, I had a desire to buy my birth stone. From where to get it? I remembered my visit to Rishikesh in childhood; there were many gem shops near Laxman Jhula.

Next morning I took an auto and went to Laxman Jhula, got down in front of Kriya Yoga Ashram Gate. I overlooked that, silly of me, and went straight to closest gem shop and bought my birth stone. Soon after that I got a phone call from a friend, in the middle of the conversation, very causally he mentioned about Kriya Yoga teaching in Rishikesh. Don’t know why the word Kriya Yoga was all over my mind. “If I am here then why not look for Kriya Yoga”. I intensively started looking all around, without any clue about Kriya Yoga. I walked down the whole mountain and around the Ganga, and became very tired. I finally reached across to the other end up to Ram Jhula. I stopped by at Shivananda Ashram and asked, “Is there any Kriya Yoga learning centre near by”. They told me you just passed it in the back.

Mystically, my starting point was my destination, I guess I had to make whole journey to realise this. It did not take me long to decide that I would like to come back next month for the Kriya Retreat which would be conducted by Master Per. I neither saw any website nor read anything about Master, yet I was extremely happy to enrol myself for the course.

It was the 6th of September 2014, first time, I saw Master at the initiation, and I still remember his deep blue eyes, humble nature, yet having confidence like a lion. His silence needed no introduction. He was very different from the conventional and tradition Sadhus. He was not wearing any outer symbolic signs, like orange dress, beard and an attitude of having attained so much.

Everyone feels so comfortable with him like being with a true friend. He treats everyone equally. He neither brags about himself, nor does he give any theoretical knowledge. He inspires others to practice and to have their own experiences during the retreat. His teaching is to the essence.

His guided words, during the practice, always help me to go deeper in my own being. I was eagerly waiting to hear his voice in middle of the practice. His whole being is filled with so much of silence. His mere presence and voice is a complete meditation. At first I thought how he can teach the most difficult thing ‘to meet the true self’, in the most simple way, whereas others have written big books and talked great on spirituality. But now I know, that the one who knows the subject so very well, can only teach and make it simple for others. Before every session I close my eyes with Master’s vision, sitting on chair with white shawl on his legs, that is the magical view for me.
My first two residential retreats, I willingly maintained maximum outer quietness. I watched master coming out of his room and going for long walks. His presence changes the whole atmosphere of the place. He carries an aura of light with himself. People around him are touched by the joy of freedom and love. Instantly a poem surfaced from the bottom of my heart after the first retreat with him.

During those days, I was sitting on the first floor, the glass door was closed, no one from outside could see inside. I saw master came out from his room; he wore his shoes and gave one glance to the glass door, as if something was pulling him towards upstairs. He hesitantly took one step up and after a little wait he took one more step. I was watching this and thought; “Would he climb up to me or will he just turn around and go for his walk, I have come a long way in search of him, he should also find me too”. Slowly he hesitated but climbed to the last platform and immediately I opened the door. He was very happy to see to me and I too was. He sat with me and asked some questions. It was a ten minute talk. His presence intoxicated me.

I went back home after the retreat, two things I was sure, first Kriya Yoga is meant for me and second I would join Master every time he comes to India for a retreat. I took the practice very sincerely. In meditation I got connected with him, I could feel his presence, it was very strong. I eagerly waited for next retreat, literally counting the days.

Master Per has lived his whole life while handling the duality in the most beautiful way. He does it effortlessly, we however makes tremendous efforts to reach to the silence, which we are unable to sustain for long. Managing to hold on to the inner silence for a longer time is itself a great task. We easily fall back to restlessness and duality. Whereas, he swiftly travels from ‘duality’ to ‘no-duality’ and sustains it. He says “More silence inside improves everything in life”. He supports his disciples when one is in the practice. Master has ability speed up one’s progress and give the experience of beyond if one is in regular practice.
He taught me how to breathe, as if I have never taken breath in the same way before.

Poem below ———-

MASTER

An Aspiring face of moon after dark night
Like a fragrance spread through and might
Just looking at him, all my doubts are gone
All questions are answered in his silence drawn
He knows everything, how can one hide,
An Aspiring face of moon after dark night

His silent presence is greater than million words,
He knows how and when to guide
He spends his lonely long hours in bringing down the light,
Just to give our soul a greater height
An Aspiring face of moon after dark night

His looks pour nectar on our rough and dry restless souls,
The words he utter as instruction are so very pure,
Just we have to be receptive to get it right,
His love is infinite and selfless, he doesn’t hold anyone so tight
What if he is physical apart, that does not make him too far,
He is in my heart, I can feel him and sees him beside.
An Aspiring face of moon after dark night