Mohd Yaseen
Today, on World Theatre Day, we come together to celebrate one of the most powerful forms of art that has stood the test of time, called ‘Theatre’. Theatre is an art form that not only entertains but also educates, challenges, and shapes the society we live in. Through its performances, theatre brings attention to social evils, offers a critique of prevailing norms, and attempts to create a more harmonious social structure. Over the years, theatre has earned its place as a medium that transcends boundaries, influencing minds and hearts alike. It is the only art form that has found a space in educational institutions, contributing to the intellectual and cultural development of students.
However, it is not just in academic spaces that theatre thrives; even in the most developed countries, the importance of theatre has been recognized. In many such nations, theatre is seen as a vital tool for community participation and intellectual growth. The role of theatre in shaping the cultural and intellectual landscape cannot be understated. The origins of World Theatre Day date back to 1961, when the International Theatre Institute (ITI) and UNESCO, Paris, established it as an annual celebration of theatre and its power to bring people together. Celebrated on March 27th every year, World Theatre Day serves as a reminder of the universal significance of theatre, with various national and international theatre events organized in its honor.
Yet, as we celebrate the global significance of theatre, there are some regions and languages where the importance of theatre seems to be waning. One such example is Dogri theatre, which, despite its rich history, is struggling to retain its prominence in modern times. As we reflect on this decline, we must ask: How can we revive the traditional arts of our region through theatre and ensure that they continue to thrive?
Jammu, like the rest of India, has a deep-rooted history of theatre. In the past, theatre in Jammu played a central role in the cultural life of the region. About thirty years ago, theatre in Jammu was at a significant level, offering both entertainment and enlightenment to the public. Back then, theatre was viewed with reverence, but also with a certain degree of detachment by some. Yet, the roots of Dogri theatre go back much further in time, and it was the patronage of the Dogra kings that gave this art form a solid foundation. Theatre troupes from outside the state would travel to Jammu to perform, showcasing their skills and providing much-needed entertainment to the people. The staging of the Ram Leela, a prominent theatrical tradition, also found its way into the cultural fabric of Jammu.
However, over time, the prominence of Dogri theatre began to decline. As Hindi and other languages grew in popularity, Dogri theatre found itself relegated to the margins. The vibrancy that once characterized the Dogri theatrical scene started to fade, and the focus shifted towards more mainstream languages. Despite this, some theatre institutions continued to champion Dogri theatre. Their efforts have ensured that Dogri theatre remains relevant, even if it is no longer the dominant form of theatre in the region.
While celebrating World Theatre Day is an important gesture to honor the legacy of theatre, it is crucial to ask: Does this celebration alone guarantee the welfare and promotion of theatre? Is the decline of traditional arts like Dogri theatre being adequately addressed? The simple answer is no. While the establishment of World Theatre Day helps raise awareness about the importance of theatre globally, it does little to stem the tide of cultural erosion that is affecting regional theatre forms.
In recent years, with Jammu and Kashmir becoming a Union Territory, there was hope that traditional folk arts would be revitalized. However, the reality has been different. There has been little focus on promoting traditional arts, especially Dogri theatre, despite the promise of support. One significant issue is that very few Dogri plays are being performed in the traditional folk style. While many theatre institutions are working on Dogri theatre, there is little emphasis on reviving and promoting traditional folk theatre forms. Folk theatre, such as Dogri Hern and Geetru, plays a critical role in preserving the cultural identity of the region. These forms of theatre reflect the region’s rich cultural heritage, and yet, they are being overshadowed by more contemporary theatre styles.
A popular saying suggests that in order to gain something, one must be willing to lose something. However, when it comes to preserving our cultural heritage, we should not be losing everything in the pursuit of modernization. The loss of traditional forms of theatre cannot be justified in the name of progress. In fact, it is crucial that we recognize the value of preserving our cultural roots, especially in the face of globalization and cultural homogenization.
Furthermore, the government has a crucial role to play in supporting the growth and development of Dogri theatre. It is essential that new opportunities are created for artists working in this field. These artists, though perhaps unaware of the significance of their work, are preserving the essence of Dogri culture through their craft. It is the duty of the government to provide them with the resources and recognition they deserve, so they can continue to thrive and contribute to the cultural fabric of the region.
Another important aspect of reviving Dogri theatre is the need to emphasize the traditional folk styles that are the heart and soul of Dogri performance. The Dogri language, with its rich literary and cultural traditions, is best expressed through these folk theatre forms. For instance, Hern, Geetru, and Karak are the traditional Dogri theatrical and singing forms that have been a part of the region’s cultural expression for centuries. These forms are unique to the Dogri-speaking community and have played a central role in conveying social and cultural messages to the people.
Hern, for example, is a traditional form of theatre in which the actors perform in a stylized manner, often incorporating dance and music. It is a form that has historically been used to tell stories from mythology, history, and folklore, and it continues to resonate with audiences because of its dynamic and engaging style. Similarly, Geetru is another traditional form that blends folk songs, dance, and drama, creating a lively and colorful theatrical experience. It often focuses on social issues and is used to convey moral and ethical lessons to the audience. Karak, too, is a highly ritualistic form of performance that blends singing, often depicting stories of valor, heroism, and sacrifice.
These traditional theatre forms not only serve as a medium of entertainment but also as a vehicle for preserving and transmitting the region’s cultural values. They offer a rich tapestry of stories, emotions, and artistic expression that connects the past with the present. Yet, these forms are in danger of being forgotten, as contemporary theatre takes precedence over the traditional styles. If we do not make a concerted effort to revive and promote these forms, we risk losing a significant part of our cultural heritage.
While the government’s support is crucial, the youth also have an important role to play in reviving Dogri theatre. Today’s young generation is passionate about preserving and promoting their cultural heritage, and many are already working tirelessly to uplift Dogri theatre. They are keen to explore and experiment with new forms of theatre while also ensuring that traditional styles are not forgotten.
The youth must take it upon themselves to explore and incorporate the traditional folk theatre styles into their work. They should not shy away from performing plays in Dogri, even if the audience may not always be large or enthusiastic. It is only through consistent effort that Dogri theatre can be revitalized and given the recognition it deserves.
Moreover, the government must also support the efforts of young theatre artists by providing them with platforms to showcase their work. They should be given the tools and resources to develop their craft and bring the rich traditions of Dogri theatre to the forefront.
As we celebrate World Theatre Day, it is important to remember that theatre is not just a form of entertainment but also a powerful tool for preserving and promoting culture. The decline of Dogri theatre is a reflection of broader cultural changes, and it is up to all of us – artists, institutions, and the government to ensure that this important art form is not lost. By reviving traditional Dogri theatre, particularly its folk styles like Hern, Geetru, and Karak, we can ensure that future generations will continue to connect with their cultural heritage. The youth, with their passion and creativity, can lead the charge in this revival, but they need the support and encouragement of the wider community. Together, we can ensure that Dogri theatre continues to thrive for generations to come.
(The writer is a National Scholarship and Fellowship holder from the Ministry of Culture, Government of India)
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