People's Democracy(Weekly Organ of the Communist Party of India (Marxist) |
Vol.
XXVII
No. 26 June 29, 2003 |
4th All India People’s Theatre Activists’ Meeting
THE
Fourth All India Meeting of People’s Theatre Activists was held in Guwahati on
June 13-16, 2003. The meeting, the first to be held in the north-eastern part of
the country, coincided with the centenary celebrations of Jyoti Prasad Agarwala
(1903-1951) a colossal figure of modern Assamese literature and culture and the
founder president of the Assam unit of the Indian People’s Theatre Association
(IPTA).
The
meeting was attended by 41 delegates representing 25 organisations from 11
states of India. Other than wide ranging discussions on the challenges facing
theatre activists today, the meeting particularly focused on the questions of
the relationship between aesthetics and politics and questions of organisational
importance.
These
meetings of people’s theatre activists have evolved as a result of the need
felt by theatre activists for exchange of skills, methods, and experience. The
first concrete step towards fulfilling this need was realised in Delhi in 1998,
as a part of the 25 years celebration of Jana Natya Manch. The second meeting
was held once again in Delhi in March-April 2002 at a time when the saffron
brigade had unleashed a communal carnage in Gujarat. Gujarat, therefore, became
the focus of the meeting, which ended with a call for nationwide observance of
Combat Communal Fascism Week. The third meeting held in Hyderabad in November
2002 provided a platform of interaction of organisational experience. The
Hyderabad meeting also saw the formation of regional working groups to
facilitate the growth of the movement in states where it is weak.
In
Guwahati, the meeting was inaugurated on June 13 by Hiren Gogoi, editor of the
weekly Ganashakti. In his inaugural speech he pointed out the
multi-cultural essence of Assamese culture, and the role of culture in
developing an all-India consciousness through mutual exchange and respect.
On
June 14 the delegates deliberated on the ‘Questions of Aesthetics and
Politics’. To facilitate the discussions, papers were presented by Ashis
Chattopadhyaya, IPTA (West Bengal), Subha Prasad Nandi Majumdar, IPTA (Silchar,
Assam), and Sudhanva Deshpande, Jana Natya Manch (Delhi).
A
paper by Indranath Bandopadhyay, the general secretary of West Bengal Writers
Artists’ Association was also circulated. In his paper Ashis Chattopadhyaya
discussed the class position inherent in every creative effort and pointed out
that in a class divided society there cannot be any neutral art. It is the task
of progressive artists to take the side of the toiling masses.
Subha
Prasad Nandi Majumdar emphatically argued in favour of the need of progressive
artists to trace their lineage from the elements of people’s struggles
embedded in tradition. He sounded a word of caution against the dilution of
aesthetics in the name of simplicity. The people’s faculty of appreciation
should not be underestimated.
Sudhanva
Deshpande discussed the debate between Georg Lukacs and Bertolt Brecht on the
relationship between theory and practice of art. While the two were ranged on
opposite sides in the debate, he argued that there was common ground between
Lukacs and Brecht: both argued in favour of partisan art which intervenes in
class struggle, and in their analysis of capitalism, both highlighted the unity
underlying processes of capitalism despite the fragmentation and alienation
which it brings about.
The
presentation of papers was followed by group discussions. The delegates felt
that the relationship between form and content is dynamic, not static.
Progressive art forms can gain aesthetic value only when they are informed by
the audiences’ participation in the debate.
On
June 15 the delegates deliberated on ‘Questions of Organisation’. Papers
were presented by Devi, Praja Natya Mandali (Andhra Pradesh) and Brijesh Mohan,
Jana Natya Manch (Delhi). A paper by Hasan Imam, Prerna (Patna) was also
circulated. There was a broad agreement in the ensuing discussion on several
issues. While democratic decision making and internal democratic structure were
felt essential, in the process of creation, the director holds the final say, of
course after considering the opinion of other members of the group.
Some
groups delegate responsibilities under several heads to different members of the
group, thus developing leadership capabilities among the newer activists. In
almost all groups the scripts of plays take shape after thorough discussion
among the members, as well as seminars and research on the issue under
consideration.
For
organisations with mass membership when the state level leadership gives a call
for political cultural actions the local committees and the grass root level
organisations are free to shape its implementation. It is, however, important to
maintain uniformity on policy matters.
On
the relationship with NGOs, a dialectical view was upheld. While recognising
that many NGOs are engaged in commendable work, caution must be taken not to
dilute politics. A similar view was taken towards funding from government
agencies. It was recognised that the government’s fund ultimately belonged to
the people; therefore, people’s theatre organisations must demand their
rightful share in such facilities and programmes without, however, compromising
on their ideology.
Attracting
new activists is a priority for all organisations. Most organisations organise
cultural programmes to identify fresh talent. Intervention at the school and
college level is another way of augmenting the organisation. The delegates also
exchanged notes on the need and strategies of organisational expansion among
dalits, tribals, women and other disadvantaged sections of the people.
While
most groups expressed the opinion that the most effective method of cultural
training was through productions and production related workshops, there was a
vibrant debate on the method of political-ideological training. While some
organisations maintained that new members were apprised of the political goals
and objectives of the organisation at the very onset, according to others
gradual initiations through the issues encountered in productions were more
effective. Some organisations also periodically hold political classes for their
activists.
Devi
shared with fellow delegates the experience of Praja Natya Mandli (PNM) in
Andhra Pradesh. PNM has over 1,100 teams and 25,000 members. Yet PNM feels that
to combat the vicious influence of imperialist culture the reach of progressive
forces needs to be increased multifold. To do this progressive cultural
organisations need to break the myth that only some people can become artists,
thereby bringing in greater sections of the people within their fold. This will
serve the dual purpose of increasing the democratic intervention of the people
in the field of culture, as well as addressing the democratic aspirations of
larger sections of the people. People’s culture means involving all people,
not merely some superior artists.
A
seminar on ‘The Work and Contribution of Jyoti Prasad Agarwala’ was held on
the evening of June 14. It discussed Jyoti Prasad Agarwala’s pioneering
contribution to Assamese literature, theatre, films and music. The seminar was
presided over by Hiren Gogoi. The Rupkonwar Centenary Celebraion Committee also
organized a performance of dance drama Nimati-Koina (Mute Princess) by
Jyoti Prasad Agarwala. An active participant in the struggle for Independence
and a Gandhian, Jyoti Prasad was disillusioned with the power hungry character
of the post-Independence Congress government and leadership and was attracted to
the IPTA. He was unanimously elected president of the Assam (undivided) unit of
the IPTA in its first state conference at Silchar in 1947. He took deep interest
in the growth and activities of the organisation and encouraged the use of the
folk forms practiced by the people of Assam. His untimely death proved to be a
great loss to Assamese art and culture. A song composed by Jyoti Prasad
continues to be the organisational anthem of the Assam IPTA.
On
June 15 the delegates watched a street play Lajja performed by the
Samahar Natya Goshthi. The play was followed by a public lecture by the eminent
filmmaker Gautam Ghose, who expressed his grave concern on the assault of the
culture of imperialism which in turn gives rise to the culture of religious
intolerance. He spoke of the people as the ultimate source of resistance –
‘We are many they are few’ – and that cultural activists should learn from
the people.
The
closing session was addressed by Indranath Bandopadhyay, general secretary of
West Bengal Writers Artists’ Association. While recounting the benefits which
the people’s cultural movement in West Bengal has reaped from the active
assistance provided by the Left Front government, he insisted on the need for
greater patience and lack of sectarianism among cultural workers, which alone
can lead to a greater unity of forward looking artists and intellectuals against
consumerism and fundamentalism.
The
meeting ended with a call to all cultural activists and the people to observe
Premchand Week from July 24-31, 2003 through song, dance, theatre, seminar,
symposia, etc., to protest against the CBSE’s attempt to remove Premchand’s Nirmala
from the syllabus.
The
resolution adopted by the meeting set the task before the people’s cultural
movement to confront the twin evils of globalisation and communalism by
highlighting the elements of pluralism, multiplicity and diversity. It also
called for endeavour for the empowerment of dalits, tribals and women. The
people’s theatre movement can play an important role in establishing a
cultural bond between different ethnic groups and bring them to the national
mainstream. According to the resolution the north-eastern region of our country
demands special attention of the people’s democratic movement. The problem of
insurgency and militancy is basically a socio-economic problem related with the
policy of development and devolution of power to lower levels. The sangh parivar
is making efforts to make inroads and to get foot hold in the region by raising
the bogey of Bangladeshis and divide the Adivasis in the name of Hindus and
Christians.
The
fifth meeting of the All India People’s Theatre Activists’ will be held in
February 2004, and will be hosted by Prerna, Patna.