BENGALURU: Whenever it comes to resisting oppression in any society, theatre, song and poetry become the loudest embodiment of the oppressed. Whether it be Faiz Ahmed Faiz’s Hum Dekhenge or Amir Aziz’s Sab Yaad Rakha Jayega – songs have had the power to create bridges and break barriers simultaneously.
Using this powerful tool, the Bengaluru-based Jangama Collective is bringing Panchama Pada, a theatrical production melding songs of resistance, and heartfelt narratives recorded in the Panchama magazine, which aligned with the Dalit movement in Karnataka. “There aren’t many plays on Dalit experiences and resistance in Kannada.
What was inspiring about Panchama was that all the issues that were there were from real incidents. The atrocities on Dalits and the people who were writing in the magazine were first generation Dalit writers documenting their experiences which really inspired me,” says director Chandra Sekhara K.
The production draws heavily from the visceral writings published in Panchama magazine. “In the ’80s, many of the mainstream newspapers were not addressing Dalit issues so this magazine was started to bridge that gap. When we started reading the archives, we felt like many things are still the same.
That made us want to create a performance where we can talk about these issues with people,” says Lakshmana KP, the designer of the show. Sekhara explains that he did not just want to make a conventional street or stage play. “I wanted to create a play that looks like a protest,” shares the director, adding, “I didn’t want the performance to look like people were acting. It had to look real and represent the reality with sincerity.”
Featuring an all-Dalit cast, the structure of the play is mainly from songs of resistance. “The songs are the major ingredients, constructing the play’s narrative. We found songs which could be connected with different narratives in Panchama. One of the major resources for us has been Kotiganahalli Ramaiah’s Horatada Hadugalu (songs of struggle),” adds Sekhara.
Lakshmana further adds that while it is disheartening to see that many instances recorded in the magazine are similar to what the community still faces, the play is to create a collective expression of the Dalit movement. “We are engaging with everybody – from the cast and the audience – to bring in their perspectives. It’s not just about remembering what happened then in the ’80s but also connect it to the actors’ experiences.” The 90-minute production also has an interactive segment, where audience members are invited to share their own experiences or stories of resistance.
Adding another layer to the narrative, Lakshmana highlights the importance of musical and instrumental fidelity to the Dalit identity. “We are conscious of not using any other instruments than the ones played by the untouchable community like the tamate. We use it prominently in the play and it is like an orchestra of the songs of resistance,” he says.
(Panchama Pada will be staged on April 22, 7pm at the Bangalore International Centre, Domlur.
For more details, visit bangaloreinternationalcentre.org)