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By:

Shoma A. Chatterji

21 August 2024 at 10:49:40 am

The Pallbearer’s Tragedy

Three decades after its premiere, Rangakarmee’s Mayyat remains a searing theatrical indictment of caste. Rangakarmee is perhaps the only theatre group that has been producing and performing plays in Hindi in Kolkata for 50 years this year. Founded and headed by the late Usha Ganguly, it is still as active and dynamic in presenting Hindi plays mainly new and sometimes recreating for the new audience, old plays that are timeless in their content and their appeal. The amazing feature of Mayyat...

The Pallbearer’s Tragedy

Three decades after its premiere, Rangakarmee’s Mayyat remains a searing theatrical indictment of caste. Rangakarmee is perhaps the only theatre group that has been producing and performing plays in Hindi in Kolkata for 50 years this year. Founded and headed by the late Usha Ganguly, it is still as active and dynamic in presenting Hindi plays mainly new and sometimes recreating for the new audience, old plays that are timeless in their content and their appeal. The amazing feature of Mayyat is that it was first performed by Usha Ganguly and her troupe way back in 1997 and has already performed around 500 shows spanning 30 years and signifies the cross-generational reach and popularity of the play. We saw a group of absolutely new actors dedicated to Rangakarmee. Their performance defined the strict discipline, the constant workouts and rehearsals to keep mobile and flexible because the very big cast needed to be perfect in body, mind and spirit during each 45-minute performance. What does the word Maiyyat mean? It is said to have its roots in Arabic and literally, it translates as ‘dead body’ or ‘corpse.’ The play is rooted in the deep internalization among the low castes of their exploitation and torture by the Brahmins of their village. The Brahmins are proud in their gait, their body language and even in their pure form of dress with the holy thread of Brahminism proudly on display. The custom of the proud, arrogant and rude Brahmins is to choose at least one among the four untouchables to become the pall-bearer when someone of the upper-caste dies. Instead of feeling sad or insulted, the chosen untouchable feels blessed and proud for being allowed by this strange custom of becoming a fake “Brahmin” if even for one day. Lakku is one such untouchable who lives somewhere near Aurangabad and leads a miserable life of poverty with the burden of a mentally deranged, motherless son he takes care of. The pall is decorated heavily with flowers and instead of looking like a bourse, it is decorated with lots of flowers like a palanquin. Someone obviously among the Brahmins is dead and the other Brahmins draw lots to find out which untouchable will be chosen to offer his shoulder to the bourse. `When Lakku’s name comes up in the shuffling of the paper chips, he is thrilled that at least for one day, he will enjoy the ‘blessing’ of becoming a “Brahmin.” But forced to run through the village on an empty stomach and with a weak body, Lakku collapses and dies before the bourse can reach the crematorium. Now, the question is – who will carry his body and carry it to the cremation ground? The entire performance, with 23 theatre actors, originally scripted, designed and directed by Usha Ganguly, is now performed by a new young cast under the guidance, training and supervision of Amal Saha, Deepesh Rajak, and Anirudh Sarkar. It has been conceived and designed like a musical opera with every Brahmin member of the cast, including the young women, dressed traditionally in pristine white with lots of marigold garlands and a sandalwood tikka adorning their foreheads. Though there are dialogues in the performance, these are either among the leading and decisive members among the Brahmins or scoldings and threats from the Brahmins to the four members from the untouchable tribe, each one representing a different low caste. These four men, alongwith Lakku and his mentally retarded son, keep waiting eagerly in one corner of the proscenium for the results of the lots to be drawn. They hug each other for joy when their names are announced and Lakku specially is thrilled with the responsibility of being pallbearer and becoming a Brahmin for just one night. Whose corpse is being carried in the bourse is not important. What is important is who are the pall bearers? At least, the Brahmins are not. What one carries home after watching a performance-play like Mayyat is the marvellous synchronization of the entire female cast wandering right around the proscenium space singing songs in complete harmony with not a note of error and the Brahmin men discussing, arguing and quarrelling over not how the corpse will be cremated but which low-caste man will become the pallbearer for one night. The bottom-line is caste is a continuous, historical evil. But should it remain so? (The writer is a noted film scholar. Views personal.)

Bad Roads, Ugly Politics


The pathetic state of roads in Mumbai city as well as its suburbs has made daily commute a dangerous affair. The residents are miffed with the BMC over its lackadaisical attitude. Mumbaikars tweet photos, post videos to grab attention, but everything is in vain. Who cares for the common people. Backbreaking journeys have become part and parcel of life. Political leaders are busy mud-slinging.


This year the monsoon took a break after almost four and half months. During this time some of the roads virtually became non commutable. It may be recalled that the Chief Minister Eknath Shinde first announced to make Mumbai roads pothole free.


Its almost two years now the BMC has concretised only 9 percent of roads it planned to concretise. This decision was taken when it came to light that due to the properties of bitumen in asphalt roads, potholes are a regular occurrence due to contact with water during monsoons.


Hence, to solve the problem of potholes, the corporation has adopted a policy of cement concreting of 6-meter-wide roads in phases. The decision was taken but the dilly-dallying affair made things more difficult.


Mumbai’s traffic does put a lot of strain on roads which is not the case in the other developed countries. Second most important aspect is concretisation of roads is done partly and in phases.


The worst problem which is faced is repeated digging for cables and drainage, which weakens the roads. Above all corruption in BMC makes matters worse as a result everything comes to grinding halt.


According to experts, repairing potholes is a reaction with symptomatic treatment. By and large we are dispensing superficial treatment without addressing the root cause. The long-term solution will be to have roads with no potholes but what we need is the means and technology to achieve this. But for this political will is necessary which we lack on every step.


Mumbaikar’s are convience that corruption in the municipal corporation is the main reason. Contractors have had a monopoly over the last 20 years and this is the reason why reputed companies never come ahead for these projects.


As a result, in the name of attendance and repair, the BMC does shoddy work. Crores are spent but the end result is nothing. The BMC is not paying attention to the crust. If the crust is weak, potholes will see an increase. Without any thought or technical know-how, potholes are filled with cold mix.


This is the reason why the city and suburbs continue to have craters on the roads.


Craters, a serious threat to the safety and security of people. Mumbaikars fade up from their repeated visits to orthopedic surgeons.


They are in a mood to teach a proper lesson to those who were at the helm of the affairs.

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