KOCHI: An artistic movement is taking place at the Sachivothamapuram Colony in Kurichy. A progressive movement, begun by two youngsters of the colony that connects everyone around them, through the means of theatre. If they work together as a community and inculcate progressive ideologies among themselves first, ideas of social change could be spread eventually, they believe.
This is not the first time, the people here are spearheading such an event. The origin of the colony itself stands as testimony to their will. Home to around 250 families, Sachivothamapuram Colony is said to have been formed in the wake of accommodating the freed slaves from the Changanassery market in 1938. History has it that Ayyankali’s son-in-law was the area’s first warden.
The newly formed theatre group named 10 O’clock Multilingual Cultural Centre, has handpicked people from all walks of life, including fishmongers, daily wage labourers and artists, and cast them as actors. “This initiative is not just restricted to our colony. However, if we want to make a change it should start from our own house. So we begin here,” says 18-year-old Bhagya Ashok.
Theatre can make a difference, she believes. “And at least through the characters we portray each of us can voice our thoughts freely. ” She is acting in the maiden production of the troupe. Manu John, who left his job as an operations manager to become a full-time artist, is also part of the group. “If not a sudden shift in perspectives, at least some difference will come through the subjects we choose and the gatherings we initiate. It’s a group of people with our own thoughts and preconceived notions. And we are all learning from each other,” he says.
Similarly, construction worker Anoop, Vishwambharan who has suffered six heart blocks, daily wage labourers Siby and Renjth, vegetable seller Rahul, auto-rickshaw driver Raju, Bijukuttan CK, hospital attender, grocery store owner Shaji and 14 others are now a part of the group under the leadership of directors Vibin CV and Saneesh Thampan. “We are viewing theatre as a social tool to create activism and form a community that speaks progressive politics,” says 33-year-old Saneesh, a tourism professional. On the side, the duo hopes to popularise theatre and bring out the talents of people, who are otherwise ignored by mainstream society.
“Our colony and people are beyond what others perceive us to be. We were once known for our talented crowd. So through this initiative, we are also bringing back that reputation,” says Vibin, who is a percussionist and steel contractor. The team took their first step with the play ‘Dwayam’ by Sreejith Poyilkkav. A critically acclaimed work, the story centres around the monkey king Kishkindha Bali from Ramayana. The narrative focuses on how some are looked down upon because of their caste, while so-called elites treat them as untouchables and enjoy the liberty of being the higher caste. The crux of the story is told through the character Chandu, a lower caste person, who plays Bali Theyyam for livelihood. The play also highlights the tale of the brothers Bali and Sugriva, and Rama’s intervention in their conflict.
“There are around 300 versions of Ramayana and the play is inspired by the Tibetan version,” says the director duo. One day, after performing Theyyam, Chandu heads back to the sacred grove to pick up the cloth he left behind — a gift for his wife Maathu. However, he is not allowed to enter. Chandu gets beaten up by Raman Nair, an upper-caste person in the area. That’s when Bali, the deity of the grove appears before him and talks about the ultimate betrayal caused by humans in his life. Chandu for his caste and Bali because Rama wanted to form an army to fight against Ravana. Bali gives his costume to Chandu to perform his part.
“Here, the story centres around Bali. No character is portrayed as a villain or a hero. Rama gets closer to fulfilling the purpose of his avatar by killing Bali and helping Sugriva. It highlights how history is written in favour of the victor and how others are often overlooked. It is not possible to say that only Valmiki Ramayana is the absolute truth,” explains Saneesh.
A different perspective
Though the story has been played in several stages by many, 10 O’clock presents it in a different style. Here the characters take centre stage and the experience becomes different with them engaging with the audience. As thottam pattu plays in the background, Bali Theyyam and the torch-bearers enter the stage through the audience. “Along with a main stage, there are two more extensions. When a scene is progressing in one, another bit is performed parallelly on the extended stages,” explains Vibin. “Also, instead of treating the audience as just mere spectators, they are also made characters in the play.” For a surreal experience, light and music play a key role. Sri Lankan music, Bali thottam songs, oriental and indigenous music are all part of the drama. “More than the play, it’s about bringing people from all walks of life together through art and inspiring them to be outspoken. It is quite a challenge to do so,” says the duo.