Themes for pandals there were many, but when it came to cultural programmes on the Durga puja stage, there was a single stream of thought overshadowing all else this year — the RG Kar incident.
The rape and murder of the lady doctor at RG Kar Medical College and Hospital in August has had such an impact on the general psyche that even during the Pujas, many blocks chose not to stage cultural programmes. Among those that did, many decided to lodge their protest through one or more programmes.
Most blocks did not restrict the shows to simply that incident, choosing instead to broadbase it to include oppression and empowerment of women. Here are some events that The Telegraph Salt Lake witnessed —AA Block
If Chandramukhi from Devdas were alive today, she would have refused to give the handful of blessed soil needed from a prostitute’s doorstep to sculpt the Durga idol. “We refuse to give soil to make your goddess if you cannot respect the living goddesses among you,” she would have said.
This thought-provoking sentiment was presented on AA Block’s stage on Panchami, during a show that borrowed characters from Bengali literature to comment on the current state of women in Bengal.
The script was written and directed by Urmy Palchauduri, who portrayed both Chandramukhi and Dopdi from Mahasweta Devi’s Draupadi, a character who urges women to rise, even in the face of death.
Saswati Nundy played Bimala from Tagore’s Ghare Baire, Kamal from Shesh Proshno, and Satyabati from Ashapurna Devi’s Prothom Protisruti. “Women of earlier generations tolerated much, but ekhon ar lokkhi meye hoye thaka jabe na (we can no longer remain obedient, good girls). All my characters speak of taking agency,” said Nundy, a Bengali teacher well-versed in all the texts featured in the piece.
She also felt women needed to do more than just perform on stage; they must challenge societal norms that discriminate against them. “Why don’t we have more women priests?” she questioned. “I perform Jagannath puja in my house because no one knows my lord like I do. So why call an outsider to worship him?”
Kajari Chakraborty, who portrayed Mrinal from Streer Patra and Parvati from Devdas, echoed her views. “My Parvati declares that she is done getting insulted by Devdas. She walks into the sunset to find her own path. Women need to move on,” said Chakraborty, who works in the transport department. She also spoke about breaking misogynistic taboos.
“The first time I missed anjali during Puja was in Class VIII when I got my period. I knew it was unfair but didn’t have the voice to challenge those who said I was ‘unclean’. It took me a Master’s degree in physiology to gain the conviction that menstruation is nothing unclean. Now I can’t be shunned to a corner,” she asserted.
The show also featured a
male voice – that of Arup Chatterjee, who played Mahim from Sarat Chandra’s
Grihadaha and Ratan from Atmaprakash. “My characters say that for a healthy
society, women need to be safe and respected. This isn’t just a women’s fight.
I know many men who have been deeply affected by the RG Kar incident. I,
myself, couldn’t sleep peacefully for nights,” said Chatterjee, a lawyer,
actor, and an empanelled elocutionist at Rabindra Sadan.
The
monologues were interspersed with songs by Gouri Chatterjee and Swagata Sen, who
performed pieces such as Ei akashe amar mukti and Amar haath bandhibi. A child, Ishani Saha, danced as
Chitrangada while Palchauduri sang Puja kori
morey from Tagore’s eponymous dance drama.
Nundy
recited a self-composed poem whose punchline left much food for thought: Bishwojoneen mayer shantir jole, manush aar shudhumatro
sukho-shanti chai na, chai bichar (In the peaceful waters of
the universal mother, people seek not just peace and happiness, but justice).
The performance concluded with Aguner proshmoni,
during which the audience joined in by switching on their phone torches and
swaying them overhead.
“We
didn’t mention any specific incident, but the audience can easily grasp the
context of a show like this. One needn’t declare war to take a stand, and we
wanted to use literature as it is easily relatable for Bengalis,” said
Palchauduri. “I used characters well-known in print and cinema to create mass
awareness.”
BL Block
BL
Block presented a dance drama called Aar Kobe during the pujas but the
performers weren’t seasoned actors. They were aged six to 11.
The
show was conceived by Munmun Chakraborty, co-owner of the BL Block-based dance
school Nrityanurag. Inspired by the widespread protests that swept across the
city, she had decided to use art as a tool for social change.
The
show was named after the Arijit Singh song dedicated to the RG Kar incident and
depicted the life of the slain lady doctor in a few scenes. She is shown as a
child who then strives hard to become a doctor. Then one day while at work, she
is shown receiving her mother’s phone call asking if she has eaten, after which
she retires to rest.
The
screen then goes dark and her scream fills the air. When the lights return, the
doctor is no more and her mother, played by Tania Das, comes to grieve.
No
male volunteers could be found to play the negative roles and a single boy made
a brief appearance to disperse a crowd of protesters in a later scene.
While
many of the participants too young to be understand the details, their involvement
was significant. “I’ve seen the news and heard stories from my elders and it’s
scary to think that I might grow up in a world where I don’t feel safe,” said
Driptaa Chakraborty, a fifth-grader who played the doctor in some scenes. “I
want to be free to explore, dream, and be myself. Every woman deserves this
freedom. Even though I’m young, I know that I can make a difference.”
Susmita
Biswas, the mother of sixth grader Swarnasri Biswas, who played a younger
version of the doctor, said she had taken steps to educate the girl about the
importance of recognising and reporting inappropriate behaviour.
Pinki
Sahoo, another parent of a participant, recalled how her daughter had asked her
the purpose of dancing to the song Aar kobe. “I explained the importance of
using art to raise awareness and demand justice for victims of violence,” said
Sahoo, an assistant professor who has been actively involved in protests
advocating for women’s safety. Sahoo has to travel to North Bengal every week
and shared the security risks that women like her face across the country.
The
audience appreciated the children’s effort.”The drama highlighted the struggles
of a mother and the shattered dreams of a young girl, serving as a stark
reminder of the trauma endured by victims of such incidents. The performance
emphasised the importance of respecting women and creating a safer society for
all,” said Debargha Sarkar form the audience.
BA Block, New Town
On
the evening of October 10, young members of Gutipokar Dol, the drama group of
BA Block cultural and social association in New Town, took the stage to present
the play, Amader Kotha.
Aged
between five and 14, the actors impressed the audience with their character
portrayals in a play that was a pastiche of five situations, each highlighting
the pervasive nature of corruption and societal injustices.
The
first act portrayed a mother’s struggle as she faced the burden of financial
constraints and corrupt practices that hindered her child’s admission to an
English medium school. The narrative shed light on the systemic barriers many
families face.
The second act delved into the harsh reality of female infanticide. A young
bride, burdened by the expectation of dowry, found herself cast out by her
in-laws for giving birth to a girl child. This served as a reminder of the
societal norms that still devalue women, challenging the audience to confront
these deep-rooted prejudices.
In light of the recent NEET examination scam, next under focus was corruption
in competitive examinations, where money muscle often overshadows merit. The plight
of a desperate parent whose daughter had gone missing, compounded by police
inaction, was the theme of the next act.
Land-related corruption was highlighted in the final segment of the play,
illustrating how greed and maleficence undermine the basic rights of
individuals.
Directed
and written by Biswajit Chowdhury, “golpo-dadu” to the cast, each segment was
carefully crafted to include a call to action among the viewers.
“The idea for Amader Kotha,” Chowdhury said, “came from what we see around us
every day”. “We all read the news and hear stories of families struggling,
children facing injustices, and women being marginalised. I wanted the children
to express these realities through this play. During rehearsals, I encouraged
them to connect with the characters personally. This wasn’t just a performance;
it was a reflection of society. I often reminded them: ‘You are the voice of
your society, and your stories matter.’ It was incredibly moving to witness
their dedication and passion. Each rehearsal was a step toward not just
performing a play, but drawing attention to important issues that affect us
all. I am proud of what we achieved together, and I hope it inspires change,”
he added.
Reflecting
on her experience of playing a girl who fails the NEET examination, Urmisha
Khara, a resident of BA Block and a student of Class VIII at Delhi Public
School Newtown, said: “When I first learnt about my role, I felt a mix of
excitement and nervousness. During rehearsals, I tried to connect with my
character’s feelings of disappointment and frustration, imagining how it would
feel to face such a setback. While going on stage, there were butterflies in my
stomach, but I reminded myself of the importance of the story we were telling.
It wasn’t just about acting; it was about shedding light on an issue that
affects so many students. Once I stepped onto the stage, the nervousness
transformed into a determination to portray my character’s struggles
authentically.”
In
between these narratives, young Adhyansh Ghosh, dressed as a baul, performed
protest songs like Jodi tor dak shune keu and Karar oi louhokopat, acting as a
conduit between scenes.
As
the play ended, Srestha Hazra presented a powerful dance rendition of Shiv
tandav. In the end, the entire cast of the play bowed before Ma Durga with a
plea for justice.
The audience broke into rapturous applause, recognising the talent of the young
children and the urgency of the themes they presented.
BH Block
In
BH Block, teenagers registered their protest without uttering a single word.
They presented a ramp walk of sorts, dressed as women in different professions
— teacher, chef, corporate officer, lawyer and, of course, doctor.
Boys
then appear and torment the women in various ways — they make sexual advances, humiliate
and discriminate against them etc. “An actress then appears dressed as Durga,
as if implying that the devi within awakens and empowers women to protect
themselves,” said Tannistha Mukherjee, who along with Madhurima Banerjee
directed the show. The girls then tear up placards showing the words violence,
humiliation, abuse, discrimination and oppression.
In
the final act, the women walk again but give it back to the tormentors. The
last scene has men trying to attack the doctor but all the girls gang up to
turn on them, thereby signifying victory over evil.
“Down
the ages women have displayed great strength be it at home, society or
battlefield but the laywoman may not be aware of her potential. We wanted to
show them how strong they can be,” said Mukherjee.
CK-CL Block
Residents
of CK-CL Block presented a collage of different items to protest the current
situation in a show titled Achena agomoni. Priyanka Sharma Paul recited a
self-composed Hindi poem called Nirbhaya ho ya Abhaya, Mousumi Dutta danced to
Bhupen Hazarika’s Bistirna dupare, Sonali Das recited Tagore’s Proshno and then
a chorus of 14 women sang Aar kobe, the Arijit Singh song that has become an
anthem of sorts for the RG Kar protest.
“We
named this show Achena agomoni as never before have we welcomed the goddess
with such mixed emotions. We are celebrating a festival but are all depressed
about the state of women in our society,” said Sonali, who co-ordinated the
twin blocks’ cultural programmes. “Most of our shows in our block were on
protests and prayers this time.”
CJ Block
The
stage next to the CJ Block puja pandal rocked to the chorus of “We want
justice” on Ashtami when the FD Block-based group Moromia staged its production
Ekti Alik Bhorer Khoje.
It
was a stark play that held up a mirror to the current situation — an ambience
of threat accentuated by the rant of a tyrant, embodied in the figure of Hirak
Raja surrounded by sycophants, in a nod to Satyajit Ray’s allegorical film.
Ekti
Alik Bhorer Khoje started with an act of violence against a woman. The play
proceeded to show how the physical act of rape gets perpetuated by those in
authority (a leering nogor kotal asking intrusive questions at the police
station), in her family (the father blaming her for the clothes she wears) and
society, both people in her neighbourhood, who come to watch her like an
exhibit in a circus, and at large, passing comments on her character for being
out late at night.
The
play however ends in hope, with the narrator predicting a new dawn when the
perpetrators would not be sentenced to institutional punishment but be treated
as social outcasts, making them die a slow death.
In
the final scene at CJ Block, when women bring their violators to their feet
almost in a Durga-defeating-demon tableau, holding up their demands on
placards, several members of the audience spontaneously broke into chants for
justice.
The
members got off the stage, mingling with the crowd, distributing pamphlets with
the 10-point demands of the agitating junior doctors. Founder-director Sagnik
Chatterjee then addressed the audience. “Our office is in FD Block. Come and
arrest us for raising our voice against injustice if you have the guts,” he
said, throwing a challenge to the powers-that-be, in the aftermath of some
youngsters getting arrested for raising the justice slogan in a few south
Calcutta pandals.
The
play was the first production of Moromia when it was founded in 2013. Sagnik
said he had written the play in the context of successive incidents of violence
against women in Kamduni, Katwa, Park Street and Delhi. “We have staged the
play in three formats — proscenium theatre, street theatre and intimate
theatre, in small room. It is a 90-minute play but we adjust the length
according to the context.”
The
production has been revived in the context of the RG Kar incident. “We have
cancelled all proscenium theatre shows of other plays and are taking this
production everywhere. Mancha theke amra pothe nemechhi. In Salt Lake, we have
staged this earlier in BD Block, at Karunamoyee in front of the Central Park
gate and at the reunion of Bidhannagar Government High School. This is our 14th
show in this phase,” said the FD Block director-playwright, who plays the drums
live during the performance.
Audience
members like Radhika Sarkar and Sibani Chakrabarty came up to meet the cast
after the show. “We were spellbound by everyone’s acting. Hats off for your
courage,” said Dipa Mitra, a teacher.
They
had special words for Hirak Raja. Chinar Park resident Tarit Byabarta. “Women
and elderly men react the most and we feel their emotion when they meet us.
They seem to find strength when they hear what they want to say articulated by
us in another form,” said Tarit, whose role is played on some nights by EE
Block resident Swagata Mallik.
Sagnik
pointed out that they were staging the play free of cost as their contribution
to the RG Kar agitation. “Contact us on our Facebook page and we will reach
anywhere in the city at any time. We have put this up even at the break of dawn
on Mahalaya at the Jadavpur 8B bus stand. Just give us some space and a
receptive audience,” he said.
BF Block
Women
aged six to 60 put up a show at BF Block that punched together poetry like Amar
Durga and Ami shei meye and songs like Nibhanta ei chullite and Chitkar koro
meye.
“Durga
has two sides to her — matri and shakti. The time has come now for women to
deploy the shakti roop and fight anything that stands in their way,” said
Shanoli Majumder, who conceptualised, directed and performed in the act. “It is
us, the aware population, that must take charge and not let anyone silence our
voice.”
Majumder’s
daughter Sanchayita Mondal, flew down from Gurgaon a week before the show to
help choreograph and rehearse for the dance.
“We
did not mention any incident as we didn’t want to politicise a neighbourhood
platform but this theme was the most relevant this year,” said Majumdar, who
directs such shows every year on the most topical social issue.
Off-stage protests
Some
blocks chose to take a silent stand on the RG Kar issue off-stage.
Right
outside the AE (Part 2) pandal was a stall dedicated to the victim of the
incident. The kiosk featured posters and two electric lamps that remained lit
non-stop from Saptami to Ekadashi.
“We
had initially installed a diya, but the wind posed a challenge, and it was also
a fire hazard since we wanted it to burn round the clock, even when none of us
would be present,” said Tapas Sengupta, secretary of the AE Block Samaj Kalyan
Sangha, that organised the puja. So they replaced the diya with an electric
mashal (torch), but it wasn’t bright enough, so added another electric diya on
the table in the stall.
“Many
visitors appreciated the gesture, remarking that this was the only puja where
they had seen something like this,” said Sengupta. “Some residents had wanted
to drastically scale down the celebrations, but that would have affected
labourers, cooks, and artisans who depend on the festival. We have held two
protest marches in the block before, and now celebrated puja, without
forgetting Tilottoma.”
CG
Block had also planned to keep a diya burning throughout the festival. “We even
built a stand for it next to the idol, but some residents complained that it
would be a mark of ashouch (inauspicious) to do so at a puja, so we had to
abandon the idea,” said vice-president of the block and puja Sankar Prosad Deb.
The block, however, declined the Rs 85,000 puja grant from the government.
Jal
Vayu Vihar was another puja that refused the grant. And on Spatami before
cultural programmes, they turned off the lights and observed a moment of
silence, with residents switching on their phone torches in solidarity with the
movement.
While
some blocks used light to make a statement, others used darkness. On Ashtami,
CJ Block switched off all decorative lights and paused stage performances for
15 minutes after the sandhya arati. “This decision was taken jointly by the
puja and block committees, and residents were informed beforehand. Our lanes
weren’t lit with festive lights this year, but the park was illuminated, so we
turned off those lights. Since the pandal housed the idols, we kept those
lights on,” said an association member requesting anonymity.
BH
Block residents not only staged performances on women’s empowerment but also
united for a related poster-making session on Mahalaya morning. “In the
evening, we formed a human chain in the block, holding up the banners we had
created,” said Tannistha Mukherjee, who organised the events.
“We
did this because not everyone can attend the performances during the Pujas, but
everyone could come out of their homes to join the human chain. Silence is the
hardest argument to refute, and we needed no weapons to make our stand.”