Through wit & song, Haryanvi saang takes on social evils

Swaang’ — popularly referred to as ‘saang’ — is Haryana’s very own style of folk play or musical dance-drama that weaves the art of storytelling with soulful renditions of high-pitched ‘ragnis’.

‘Saang’ artistes, called ‘saangis’, promote topical social messages through crisp dialogue and foot-tapping ‘ragnis’ — punctuated always with a dash of humour and satire. These artistes are accompanied by musicians skilled in instruments such as the dholak, harmonium, chimta and the nagada.

As per cultural historians, ‘saang’ can be termed as the jewel in the crown of Haryanavi folk theatre, and comprises ‘ramlila’, ‘raaslila’, ‘ghodi-baaja’, ‘gangaur’, ‘kathputli’, ‘bhaand’, ‘khodia’, ‘loor’, ‘khedde’, ‘baal-naatya’ and monkey-bear dances.

“We used to walk to other villages to watch ‘saang’ performances during our childhood — such was the craze for it. Villagers used to encircle ‘saangis’, who performed on an open stage,” says Puran Chand Sharma, a former Professor of Hindi, who has written several books on the various aspects of Haryanavi culture, traditions, and folk artforms.

He says ‘saangs’ — often based on mythological tales, historic events, prominent personalities, folklore, love stories and everyday life — were a powerful medium to awaken people against social evils, and inspire them by telling stories of their glorious past.

“ ‘Saangs’ comprise sharp and hard-hitting satires on evils such as the dowry system, child marriage, female foeticide, incompatible marriages, corruption, hypocrisy, blind faith, and injustice,” Sharma says.

Popular Haryanavi ‘saangs’ include ‘Raja Harishchander’, ‘Satyawan-Savitri’, ‘Puran Bhagat’, ‘Raja Gopichand’, ‘Heer-Ranjha’, ‘Cheer Haran’, ‘Meerabai’, ‘Leelo Chaman’, ‘Amar Singh Rathor’ and ‘Jyani Chor’.

Kishan Lal Bhatt is said to have founded the contemporary style of Haryanavi folk theatre, laying the foundation of the modern ‘saang’.

Pandit Lakhmi Chand, Deep Chand, Fauji Mehar Singh, Baje Bhagat, Pandit Mange Ram, Jamua Meer, Pandit Ram Kishan Byas and Dhanpat Singhare are today named among the famous ‘saangis’ of Haryana.

Dimming spotlight

Old-timers lament that many folk artforms and traditions are falling to oblivion, thanks to modern forms of entertainment such as content on OTT platforms, video games, and the Internet meme culture.

Owing to a lack of professional viability, very few youngsters are joining folk theatre as full-time artistes these days.

The show must go on

Still, a few passionate artistes like Dharmender Singh, aka Monu Saangi, a noted ‘saang’ artiste from Nidana village in Rohtak district, are working to keep the artform alive.

A song sung by Singh has been featured in ‘Dada Lakhmi’, a movie based on the life of Pandit Lakhmi Chand.

He performs at state-sponsored as well as private events, but has to work as a construction worker and a farm labourer to earn a livelihood.

“I am devoted to ‘saang’ and folk theatre, but I have to feed my children too,” says Dharmender. He believes that more cultural events should be organised so that artistes can get their due — both monetary as well as in regards with social recognition.

Dharmender’s guru and well-known ‘saangi’ Mahaveer Singh of the same village also has to battle tough circumstances due to lack of financial support.

Many other folk artistes of the state are in dire straits, owing to monetary and other constraints.

Nonetheless, relentless efforts are being made by the art enthusiasts of Haryana, and the state government, to preserve the state’s rich cultural heritage — and take it forward.

Among these ‘art warriors’ is Anoop Lather, Chairman of the Culture Council at Delhi University, who earlier served as Director (Youth and Cultural Affairs) at Kurukshetra University.

“My humble contribution has been to popularise ‘saang’ amongst college students,” says Lather, who has prepared a module for the long-term conservation of Haryanvi folk theatre.

As part of the module, Lather dissects different components of ‘saang’ — humour, dialogue, ‘ragni’, and dance — and holding separate presentations on each.

“We introduced ‘saang’ in Ratnawali and youth festivals in order to revive the folk theatre. Efforts should be made to save the dying folk art across the country,” he states.

Similarly, art aficionado and writer Roshan Verma’s pursuit of preserving the artform includes documenting, labelling and compiling precious collections.

Dr Satish ‘Georgy’ Kashyap, a former veterinary surgeon, parted ways with his profession to immerse himself in the realm of ‘saang’. Dr Kashyap has modified the conventional ‘saang’, presenting it on a proscenium stage, instead of an operatic one.

“In our interpretation of artforms, female characters are played by female artistes, not by males. I have altered costumes and music to cater to the taste of the new generation,” says Georgy, who is also trying to popularise Haryanavi theatre across social media.

Perhaps, the very social media that the elderly rue is the cause of the dwindling popularity of ‘saang’ can become a catalyst for its revival — for re-infusing the spirit of social cohesiveness that was once associated with it.