Visual archive of a fading art

Shoma A. Chatterji

The word “naach” for the “laundas” is more than a word than means “dance.”  It is a philosophy the performers live by — a way of life for those who do not know any other and who feel happy to be performing artistes trying to hold on to the last vestiges of a folk performing art called launda naach. Launda, which means a fellow, is used as a derogatory slang to address or refer to men and boys belonging to a low caste. Directors Shilpi Gulati and Jainendra Dost have made this 72-minute documentary Naach Bhikhari Naach in Bhojpuri, the dialect spoken by the  performing artistes. The film has been produced by the Public Service Broadcasting Trust. The artistes come from different parts of Chhapra in Bihar. In their heyday, they travelled to perform to ticketed audiences across Dehrion Sone, Sasaan, Asansol, Bardhamaan, Andal, Palamau, Daltongung and so on. 

“The most legendary name in this tradition is that of Bhikhari Thakur — an actor, playwright, and a social reformer, popularly known as the ‘Shakespeare of Bhojpuri.’ The film follows the last four naach performers, who had worked with him. The film creates a visual archive of this performance tradition. As they share their plays, songs and a lifetime of memories, they immerse us into the world of folk theatre where we have a glimpse of budhau — the old man, himself,” says Shilpi. 

Naach Bhikhari Naach is a centenary tribute to Bhikhari Thakur. The film has multiple layers. The first explores the men who dress up as women before they go on the stage for a performance. This covers singing, dancing and theatrics with live accompaniments of tabla, harmonium and sarangi. The second explores the psychological and social dynamics of these men who hide their female personas from their families — wives, children and grandchildren. 

The third shows that all performers and pioneers of this fading art are very old, and their ages ranging between 50 and 92. Ram Chander Majhi, a star in his own right, is 92. The fourth is about the ostracism they suffer from upper castes, in general, and Brahmins, in particular. These people opine that their performances are vulgar and obscene, and yet, turn up to watch their shows. Last is the grinding poverty these old men must confront and fall back on farming when there are no call shows. Ram Chandar Chhote recalls how he would massage Bhikhari Thakur’s body with 100 gm of oil as the guru taught him to take pride in his low birth and not allow himself to be patronised by the rich and the upper classes. 

These come across convincingly through interactions between and among the directors (offscreen) and the performing artistes intercut with onstage performances of small skits with a joker, an anchor and an actor from time to time. Some young performers look quite convincing in female attire but their voices give their sex away. The life that throbs just beneath the surface that pushes them to desperate poverty is the way they feel proud that they are artistes and there are people who still come to watch them perform.

The main artistes — Ramchandra Majhi Badi, Lakhichand Majhi, Shivlal Bari and Ramchandra Majhi Chhote — represent the Bhikhari Thakur Repertory Training and Research Centre in Chhapra Bihar.