Whether the function of art should be to ‘delight’ or to ‘instruct’ is an issue that has provoked critics to indulge into intellectual battles since days of antiquity. But there are certain works which leave no scope for such debates. Vemular Ramayana, a play by Angshuman Kar is one such example where popular pleasure mingles with critical concern. The play already has a number of shows in many parts of Eastern India which may be deemed successful in the conventional sense. At the same time it is also being able to attract sufficient critical attention for its relevant and thought provoking content.
On February 3rd., 2024 Ashoknagar Natyamukh staged this play at Minerva Theatre under the direction of Abhi Chakraborty. An intellectual discussion between the playwright, the director, and journalist-actor Anirban Bhattacharya provided a prologue to the performance. The discussion hosted by Sayan Bhattacharya shed light on the purpose and contemporary relevance of the play in question.
It would not be a bit of an exaggeration to say that the plot is the hero of this play. The play, in fact, juxtaposes two parallel plots, both equally important given the entire context. The first plot centers around Shambuk, the lesser-known Rakshasa rebel from the Ramayana, whom the non-dark Aryans killed for allegedly transcending the caste barrier and engaging in ‘tapasya’ or meditation sanctioned only for the Aryan upper caste. The second plot concerns Rohith Vemula, the young Dalit research scholar who committed suicide inside the campus of Hyderabad Central University on 17th January 2016. Vemula’s suicide note still remains a strong reminder that despite merit, a Dalit still has to face prejudice and worse, even in an educational institution where liberal and humanist ideas are supposed to prevail.
The playwright has dexterously connected these two plots by focusing on the commonality of the situations of the two protagonists otherwise separated by the boundaries of myth and reality, or- if we may opt to go by the current popular narrative- of mythical reality and reality. Several parallels have been drawn between Shambuka and Vemula to emphasize the tradition of Dalit abuse, often validated and justified by dominant casteist ideology. While dominant narratives would condemn Shambuka and Vemula as illegal transgressors defying age-old practices, this play celebrates their spirit of defiance, particularly regarding their frantic efforts towards the pursuit of knowledge which is conventionally forbidden for the people from their castes. Similarly, contrary to popular ideas that criticize the characters as impulsive and irrational, both Shambuka and Vemula are projected as sensitive people perturbed by issues like violation of human rights and freedom, love, and lack of love. Both of them die fighting in their ways against the injustice inflicted on them and their communities.
Comparisons are discernible at other levels in the play as well. The character of Mitra, Shambuk’s beloved, finds her parallel in the characters of Riyaz, Vemula’s friend and the interrogating journalist. They understand the pain and crisis that their dear friends went through and sympathize with the latter but are helpless in helping effectively. Similarly, the character of Satarka is akin to the faceless mates of Vemula shown in the play. They represent the classic compradors who had comfortably accomodated themselves in the existing system in spite of being aware (and sometimes being victims) of its flawed nature.
Thus, the dominant issue dealt with in this play is disturbing and complex. And the message that this play conveys is extremely relevant and strong. While the plot does half the work in delivering this powerful message, the other half of the task is adequately done by the cast and crew of the performance. Abhi Chakraborty’s direction is brilliant. At many points he was able to create meaningful dramatic moments that would linger in the spectator’s memories for long. For example, in one scene Riyaz, played by Uddalak Bhattacharya, turns his back towards the audience and moves towards a sky full of stars while expressing Vemula’s unfinished dreams. The journalist played by Debadrita Bhattacharya meanwhile looks at his movement with a confused face. The scene is not only a visual treat but a very thought provoking one too, as it instigates us to ponder whether an apparent backward movement is actually a forward movement, a movement towards the stars and galaxies about which Vemula had written in his suicide note. Similarly, faceless students writing with pens with lights on top is suggestive of the immense possibilities these students have in them and yet how their identities are lost in the system, reducing them to “a vote, a number, a thing.” Moreover, using silhouettes is a credible stance towards aesthetic display of state violence.
The production is also marked by a brilliant use of light by Smritilata Mondal and Priybrata Chattopadhyay. Special mention may be made of the point where they recreate Vemula’s ‘star dust’ and dream of ‘journey through the stars by their innovative use of downlight from gallery.
Equally interesting is the use of background score. Vemula’s suicide note plays at the background making him an absent-presence where his absence becomes more potent than his presence. Similarly, though not a background score, the Bengali song sung frequently in the tune of “We shall overcome” reverses the usual optimism of the song to depict how Dalit aspirations are curbed by caste-politics. The original song is, however, sung in the end, suggesting that there is a silver lining behind this dark cloud as well.
The production, however, could have been more creative in its use of background score in the shower scene of Mitra. Similarly the use of party foam to create a waterfall effect does not match with the usual display of creativity in the play. Again, since the play is about breaking stereotypes, the production could have broken away from a stereotypical Bollywood like projection of the merry-making Rakshashas, thumping their chests and screaming unintelligible words.
Last but certainly not the least, mention must be made of Raju Bera as Shambuk, whose nimble and agile presence on stage oozed off the vitality required from a rebel figure. Apart from him, mention may also be made of Sangeeta Chakraborty as Baruni, Asim Das as Satarka, Arpita Pal as Mitra, Arup Goswami as Trishira and Soumendu Halder as Khar.
Vemular Ramayana is a play that bears testimony to the tradition of caste discrimination and exploitation. It breaks the myth of minimized caste-abuse in post-independence India. Simultaneously it forces its audience to think and think seriously about this social menace while at the same time making us aware of our social responsibilities. Thus this play is recommended for all, especially the students in India who would carry the baton of future India.
