Volume 6, No. 5, May 2005

 

From this issue we begin a new regular column entitled "Sprouts of The New Revolutionary Power". Through these columns we wish to portray all aspects of the life of the people undergoing transformation in the guerrilla zones being led by the Maoists. This will cover all spheres: as the new political system, the new economic system, the new justice system, the new culture and social life of the people; and also the new values of selflessness, the new anti-feudal approach against patriarchy, upper-caste and communal biases and untouchability, and also against superstition and archaic health methods (like witchcraft. mantras) etc. We will also outline the development process, health and welfare clinics, the irrigation projects, the educational system, etc developing in these zones that have changed the living standards of the people. The ruling classes seek only to distort the movement of the Maoists, ignoring the historic changes taking place in the lives of the people. We will also bring out articles on the people's role in this transformation and in defending this new power emerging in these areas. In these columns we will strive to present the truth. For this we request that all comrades send such reports to the magazine. — Editor


Revolutionary Cultural Movement

(This Article ws written before the merger of the two parties so it only deals with the coultural forms in the areas of the former PW party. In the coming issue we will print an account of the Jharkhand Abhen which has grown to have a powerful influence in the entire state — Editor)

 

It is the sound of labor. There is no labor without it. It is like a tonic for work. It is not possible to work without it. It makes them forget the toil. It makes them forget hunger, their burdens and fills them with inspiration. It is an expression of everything in their life. It is an outlet from hard work for toiling masses.

And that is their song; their dance. Song and dance continue to have an important place in the life of the masses, the exploited, the voiceless, the changing and the forces of revolution.

Adivasis are known for their rich cultural heritage. Song and dance are the expressions of adivasi life. They are part of their life right from the inception of history, only next to architecture. In the process of socialisation a lot of changes occurred in the cultural life of adivasis. There have been a lot of outside influences. However it continues to maintain its native character.

In the recent times, the ruling class is promoting adivasi culture to attract private investment. In the name of presenting their culture and heritage it is using the adivasis as show pieces in the various ‘utsavs’ held all over the country. But the adivasis have not only realised the partisan attitude of the government but also their marginalisation and exploitation in terms of the economy. Though Gond and Santhali folk-lore is much propagated by the bourgeoisie in their numerous ‘utsavs’ in India and abroad, the bulk of Bastar and Jharkhand Adivasis have interwoven their rich culture with the new revolutionary awakening taking place there.

The Adivasis of Bastar are very much a part of the revolutionary movement in the area. The revolutionary move-ment is obviously bringing in a lot of changes in their economic, social and cultural life. As a part of the ongoing revolutionary movement under the leadership of the CPI(Maoist) Party they are increasingly revolutionising their culture.

The festivals are no more purely customary. They include the performances of the local revolutionary cultural teams that speak about adivasi life, their problems, the root cause and the alternative. It is the Jana Natya Mandali in Andhra Pradesh. It is the Chethana Natya Manch in Dandakaranya. It is the Jharkhand Abhen in Jharkhand. It is Pithuri Endana Dalam in Orissa....and many more.

These organisations are the cultural expression of revolutionary propaganda. The art forms of the organisations are absolutely native and in essence New Democratic. The organisations are cultivating New Democratic Culture as a part of the New Democratic Revolution.

Propaganda is an important aspect of any political system either existing or in the making. Cultural forms of propaganda is their most powerful instrument. The history of Revolutionary parties all over the world reveals the importance given to this instrument. The experience presents a catalytic effect.

So is the experience of the above-mentioned organisations. Jana Natya Mandali is undisputedly the most popular revolutionary cultural organisation in the state of Andhra Pradesh. Its influence spread to other states also thus giving it a place in the history of the cultural and social movement of this era.

These newly formed organisations owe their heritage to Jana Natya Mandali. They have gone a few steps ahead of it. While JNM initially started off in the cities and gradually spread to the villages and the adivasi areas in the later period, the latter organisations were started in the adivasi areas itself.

It is clear that they have a more native fragrance. Let us see how they started, how they continue to enthuse the masses and help in raising their revolutionary consciousness.

The then People’s War party established the CNM in Dandakaranya in 1998. It started with organising cultural meets of a few villages. The local Sangh held competitions in song and dance. Youth participated enthusiastically. Collection of folk forms started from this point.

The Party brought together few activists and started the CNM. They started with songs. The songs were written collectively. A local tune was selected. The essence of the song was discussed and then set. They received tremendous response. Villagers started demanding their performances in their villages. It is because the songs photographed their life.

Thus the stage was set for the revolutionary cultural teams in DK. In the later period CNM held workshops and discussed the concept, tune and other related issues of song. There were churning discussions on the selection of the tune and presentation of the song. In the course of time it wrote songs on the aims and objectives of the organisation. It went ahead with depicting the well known armed actions of the People’s Army in Bastar district. There are also songs heckling the police forces visiting the villages. There are songs that tell about the collective work of the people, the necessity of the armed struggle, the importance of revolution and highlighting the People’s Army (PLGA) of the Party established in the year 2000.

These songs reverberate all through Dandakaranya. People were not simply amused. They are over-whelmed with these heart touching enthus-iastic, committed songs. They sing in chorus. They return home dancing to the tune and singing the songs they heard just then.

The organisation marched ahead with composing plays on the existing unscientific and exploitative issues in adivasi life. They perform a play on gambling in the ‘hen race’. The man in the family puts the little savings on the race and drinks. He returns home drunk without buying the needed food. There is a rupture between the wife and the husband. He beats her. The issue is presented before the local Women’s Organisation. They hold a ‘panchayat’ and make the husband realise his mistake. Another play is on the unscien-tific thinking regarding treatment of illness.

Now the organisation is about to pres-ent a new form of ‘peto’, the singing story.

Coming to the organisations in Orissa, it is part of the organisation of the CPI(Maoist) Party in the Andhra Orissa Border Special Zone. It started one year back and is making headways with its songs, dance and playlets. The way of functioning is the same as that of the organisation in DK.

The performers in both the organisations have local attire. Collective functioning is given utmost importance.

The interesting aspect of the organisations is that more than ninety nine percent of the teams are the local adivasis themselves. Those basically interested in cultural activity are picked up for the purpose. Once they join the team and later the party they are not mere traditional adivasi singers. They transform themselves into revolutionary singers and revolutionise their consciousness and vice versa. The activity of the team is like any other armed squad. They have a regular timetable for physical fitness, literacy, political education and other such things. They move along with the Local Guerilla Squads, or on their own and take part in all of its activities. They prepare cultural forms as per the programs of the concerned Area Committee. Thus their activities are interlinked with the overall organisation.

One more point needs mention. The performance of the organisations is not like the traditional one where some perform and some view. Viewers join the performers on the stage, which is normally nothing else but a relatively plain piece of land under a shadowy tree. Enthusiastic villagers and members of other squads join the performers there and then. The artists are not disturbed with the ‘intruders’ because the later are clear of their role.

So, is it not modern theatre?

And, it is something more than modern theatre. The Revolutionary Cultural Organisations of the CPI(Maoist) Party are bringing forth lot of genuine modern views regarding the economic, political and cultural life of the adivasis.

 

 

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