Monthly Archives: September 2012

Release of KKM Music CD Release- ‘ “Hi Amchi Gani – Amcha Gunha Kay?”

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PRESS CONFERENCERelease of KABIR KALA MANCH Music CD
4th October (Thursday). 3pm to 5pm. Mumbai Marathi Patrakar Sangh

Girish Karnad will release the CD of the songs.

Theatre persons and artistes will be present.

KABIR KALA MANCH is a group of students and professionals. It has been creating awareness about social issues through their Shahiri, protest songs and street plays in Pune. For KABIR KALA MANCH, art is much more than entertainment. It’s an anthem to denounce injustice, mobilise the oppressed, prepare them for struggle, create consciousness and ensure change.

It is for this crime that the State has declared them Naxalite since 2011. Today while Deepak Dengle and Siddharth Bhonsle are in prison, many other members including singer-poets Sheetal Sathe, Sagar Gorkhe and Sachin Mali have gone underground after threats from the police.

The CD album titled “Hi Amchi Gani – Amcha Gunha Kay?” of spirited music, decked in folk-form is a compilation of 11 songs from their earlier two albums.

The idea behind this initiative is three-fold:

– Make the KABIR KALA MANCH songs available to the people.

– Bring to light the cases against two members Deepak Dengle and Siddharth Bhonsle who were arrested on 12 May 2011 under the Unlawful Activities (Prevention) Act (UAPA).

– Provide legal counsel and support to the members of Kabir Kala Manch.

Please do attend.

Regards

On behalf of the Kabir Kala Manch Defence Committee

Anand Patwardhan, Bhai Vaidya, J V Pawar, Kamayani Mahabal, P A Sebastian, Prakash Reddy, Ramu Ramanathan, Ratna Pathak Shah, Sambhaji Bhagat, Simantini Dhuru, Sudhakar Suradkar, Sumedh Jadhav, Suneeta Rao, Teesta Setalvad, Vivek Sundara and many more.

For further information:

Contact: Kamayani Bali Mahabal: 9820749204 and Comrade Prakash Reddy: 986900684

Email: kkmdefence@gmail.com

Website: https://kabirkalamanch.wordpress.com/

The KABIR KALA MANCH Defence Committee

According to official government figures, on an average, two Dalits are killed and three raped every day across India. All the more shocking is the fact that even in Maharashtra which gave birth to major social reformists and progressive thinkers like Jyotiba Phule and Dr. Babasaheb Ambedkar, the incidence of atrocities remains unacceptably high.

In this landscape it cannot be surprising that Dalit and Adivasi youth have begun to voice their protest more openly than before. After the police killings at Ramabai colony and later, the Khairlanji massacre many protests took place. Instead of bringing the guilty to book the State responded by branding the protesters as Naxalites. Later Dalit cultural activists like Sudhir Dhawle were jailed for “sedition”.

It is in this context that the story of KABIR KALA MANCH must be understood.

KABIR KALA MANCH is a Pune based cultural troupe mainly consisting of Dalit youth from the region. First coming together against the communal carnage in Gujarat, they have taken part in innumerable public interest causes like slum-dwellers rights, workers rights and sustainable development, but their special affinity has been fighting for the annihilation of caste to which end they led from the front by promoting and publicising inter-caste marriages within the group. As a cultural troupe and as songwriters they performed for and with movements led by Medha Patkar, Bhai Vaidya, as well as with groups from the working class movement.

In 2011, the state began to brand them as Naxalites. Today while Deepak Dengle and Siddharth Bhonsle are in prison, many other members including singer-poets Sheetal Sathe, Sagar Gorkhe and Sachin Mali have gone underground after threats from the police. All are charged with being Naxalites and the ATS is using an uncritical media to plant regular allegations against the KKM. Even these allegations do not accuse the KKM of any violence, but are dependent mainly on guilt by association.

It is not so long ago that Dr Binayak Sen was similarly charged and jailed for close to three years before the Supreme Court intervened to grant him bail. Binayak Sen had by then become an international cause célèbre. It was hoped that his release on bail would put a brake on the targeting of innocent civilians for the mere “crime” of taking up the cause of the poor.

The targeting of KKM shows that this is not the case.

The KABIR KALA MANCH Defense Committee urges the government of Maharashtra to withdraw all false charges against members of the KABIR KALA MANCH, free cultural activists who are currently in prison and allow the KKM to perform in public again.

KABIR KALA MANCH Defense Committee is a group of citizens concerned with the erosion of the cultural space and the right to protest in India. It includes:

Anand Patwardhan, Bhai Vaidya, J V Pawar, Kamayani Mahabal, P A Sebastian, Prakash Reddy, Ramu Ramanathan, Ratna Pathak Shah, Sambhaji Bhagat, Simantini Dhuru, Sudhakar Suradkar, Sumedh Jadhav, Suneeta Rao, Teesta Setalvad, Vivek Sundara and many more.

 

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The Best Songs and Poems of Kabir Kala Manch #mustread

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 THE BEST SONGS OF KABIR KALA MANCH 

Kamayani Bali Mahabal 

http://www.mumbaitheatreguide.com/dramas/features/

Advocate Kamayani Bali Mahabal, a lawyer and activist selects the five best of Kabir Kala Manch’s songs and poems:

1. Sheetal Sathe sings about her mother in MAJHI MAYE. Before she starts to sing, she says: ‘Everyone wants women to join protests against discrimination, but they dont want their own wives to’.

Watch the song on: http://www.youtube.com/watch?v=r7JRWE64CEw

2. Deepak Dengle writes his his poem KISS KISS KO KAID KAROGEY. This heart-wrenching poem was penned in the jail.

जेल से कविता: किस किस को कैद करोगे?

किस किस को कैद करोगे?
लाखों हैं मुक्ति के पंछी, कैद करोगे किसको
लेकर पिंजरा उड़ जाएंगे खबर न होगी तुझको
इस पिंजरे की सलाखों का लोहा हमने ही निकाला है
ये लोहा पिघलाने हमने अपना खून उबाला है
लोहा लोहे को पहचानेगा, फिर क्या होगा समझो
लेकर पिंजरा उड़ जाएंगे खबर न होगी तुझको
इस पिंजरे की दीवारों में हमने पसीना बहाया है
ईंट बनाने, सीमेंट बनाने मिट्टी को भी भिगोया है
मिट्टी कभी गद्दार न होगी, क्या बतलायें तुझको
लेकर पिंजरा उड़ जाएंगे खबर न होगी तुझको
इस पिंजरे के पुर्जे पुर्जे हमें बताते अपने किस्से
कितने मज़दूर दफन हुए हैं इस पिंजरे के नींव के नीचे
वो मज़दूर हैं साथ हमारे, कौन रोकेगा हमको
लेकर पिंजरा उड़ जाएंगे खबर न होगी तुझको
कैद में डालो, फांसी लगा दो, हंटर से चमड़ी भी निकालो
न्याय के रस्ते चल पड़े हैं, बाँध लगा लो, कांटे बिछा लो
कितना ज़ुल्म करेगा ज़ालिम, थक जाना है तुझको
लेकर पिंजरा उड़ जाएंगे खबर न होगी तुझको

3. Sheetal Sathe sings a song penned by her-EK MAITRA RAANGADYA. Another Sheetal Sathe song which gives me goose bumps has been translated by Ashutosh, a member of the Kabir Kala Manch.

 

Ek Maitra Raangadya
The nausea is served in the plate , the untouchable nausea
The disgust is  growing in the belly, the untouchable disgust
its there even in  buds of flowers, its there even in  sweet songs
that man should drink man’s blood ,
which is the land where this happens
which is the land of this hellish nausea
So it goes , my  dear friend, so it goes in the villages
so it goes my friend  from the harsh lands,  so it goes in remote places
Listen to this my friend , listen to the story of humans
Hear out the torment my friend, the torment of our lands
there is but one blood in humans
there is but one
The bones are made the same
the bones are but one
Juts like the water
ust like the flowers
ust like the wind
this body , natural,  is the same
Then how come is this difference?
how come this division by caste
then how come this division ?
how come human are valued differently
by this yardstick of caste
So it goes , my dear friend, so it goes in the villages
so it goes my friend from the harsh lands, so it goes in remote places
Listen to this my friend , listen to the story of humans
Hear out the torment my friend, the torment of our lands
and if we  are  the same humans
then why are we ouside the village?
The outsider cleans up the waste
then why do we have to  bow and beg
“curtsy oh my lord, I am passing through
Cursty oh my  master , I bow to you
curtsy oh my lord, I am passing through

Cursty oh my master , I bow to you”
Our  shadow is untouchable , our touch nauseating
this  disgust in you faces, this shit  in your thoughts
this nausea of your beliefs
is hanging from our necks , from our  settlements necks
So it goes , my dear friend, so it goes in the with Peshawai
so it goes my friend , so it goes with feudal lords
Listen to this my friend , listen to the story of brahminical Peshwai
Hear out the torment my friend, the torment of the untouchables
You burned the mothers on  the pyres
you  burnt her anger to ashes
you sacrificed her on the altar of the caste restrictions
told her ” go and become a Sati”
A living body, with the dead one, was made to die
what kind of religion you protected
by killing and cutting down living people ?
So it goes , my dear friend, so goes the story of Sati’s
so it goes my friend , so it goes with lives of my mothers
Listen to this my friend , listen to the story of Sati
Hear out the torment my friend, the torment of the Mother
You killed  our Shambuk, ourTuka you send heavenwards
on  our heart you struck ,  wounds  after wounds
and soe one was killed for water
someone for the temple
and someone was killed for the voice
and someone for the touch
So it goes , my dear friend, so goes the story Khairlainji
so it goes even now my friend , so goes the story Khairlainji
Listen to this my friend , listen to this ongoing story
Hear out the torment my friend, the torment of the Ramabai
But now you mass murderers
its time for you to stop
we are coming out ,
with our  dignity as our flag and standard
we are ready to fight , to figght back  at each step
those who sell their dignity , would no longer stand with us
So it goes , my dear friend, so it goes with the fight
so it goes even now my friend , so goes with teh true fight
Listen to this my friend , listen to this story of true struggle
come with me my friend from harsh lands, lets strat the decisive struggle of life and death

Listen to the song: http://soundcloud.com/kractivist/ek-maitra-rangdya-singer-and

4. Another KKM song which I find stirring; in true Ambedkar form is:

We are sweeping aside the temples,
we are sweeping them aside
my Bhima has reaffirmed the Buddha
the legion of 330 millon gods
cant find a single one, we find it a bit odd
in short thats what Bhima has found
We are sweeping aside the temples,
we are sweeping them aside
my Bhima has reaffirmed the Buddha
This so called incarnate holy man, that so called incarnate holy woman
incarnations, miracles , their claims of divination
its gullible’s congregation
We are sweeping aside the temples,
we are sweeping them aside
my Bhima has reaffirmed the Buddha
Sun signs moon signs, astrological chart
Mars and Saturn are acting smart
and these priests are versed in the cheating art
So We are sweeping aside the temples here

we are sweeping them aside
my Bhima has reaffirmed the Buddha
Pandhari, Shirdi-Tirupati, all are snares
The trustees of temples are now billionaires
its a buisness , its one all right
all Matha are making black money white
So We are sweeping aside the temples here

we are sweeping them aside
my Bhima has reaffirmed the Buddha
they made the religion , the opium of masses
poltics of religion, the gangs of asses
these gangs arecommitting genocide
behind the religions , they all hide
So We are sweeping aside the temples here

we are sweeping them aside
my Bhima has reaffirmed the Buddha
Let s kick this stupidity away
lets kick them away from us
lets take the scientific thoughts
and keep our heads about us
So We are sweeping aside the temples here

we are sweeping them aside
my Bhima has reaffirmed the Buddha

5. Finally there is VAAT PAHWAA says Deepak Dengle. It is a song of hope and struggle. Below is the Marathi poem by him from jail, which echos the same sentiments. The English translation is by Umesh Soman

Wait and watch, I come!
I shall come because there’s justice…
Sans justice can this world exist?
I am coming, my time has to come …

The song of the downtrodden has to be sung!
My coming has a meaning…
Its the selfishness of sharing a morsel with those who starve…
I shall come… But not alone…
My intention is not small…
Wait and watch!

Wait and watch
It is small paths that turn into roads…
Thousands of trickling streams,
Turn into a powerful river!
My coming will neither be simple nor tame…
A stormy wind or thunder it shall be!
Like the waves of a tumultous sea with my arms spread;
That love of yours like a mighty mountain;
I want to embrace…
You just wait and watch!

Here are two journalistic articles about Kabir Kala Manch; and why two members are in prison.

http://www.tehelka.com/story_main53.asp?filename=hub010912LOST.asp

http://www.theatreforum.in/m/e-rang/

Petition for Kabir Kala Manch:http://petitions.halabol.com/2013/04/05/ensure-safety-sheetal-sathe-and-sachin-mali-kkm

Click here to read about the press conference and the release of Kabir Kala Manch’s music CD.

Kamyani Bali Mahabal is a lawyer-activist and a member of the Kabir Kala Manch Defence Committee.

The accidental Arrest of an Artist #mustread

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Issue No: 52    September 1, 2012  
THE ACCIDENTAL ARREST OF AN ARTIST- RAMU RAMANATHAN
Two Kabir Kala Manch artistes were arrested on 12 May 2011 by the state under the Unlawful Activities (Prevention) Act (UAPA), and branded Naxalites. Ramu Ramanathan, a Mumbai-based playwright and a member of the Kabir Kala Manch Defence Committee, reports.
Knowing this, we meet the Maha Maharajaof the State in his home-cum-office at Varsha. Our agenda: to request the state government to withdraw false charges against Shahirs (singer-poets) from the Kabir Kala Manch and ensure them a right to perform.The security is polite. The Maha Maharaja is a statesman. Pleasantries are exchanged. Tea and poha are served. Anand Patwardhan boots up his Apple Mac and showcases excerpts from his documentary Jai Bhim Comrade on a white-washed wall. On screen, Sheetal Sathe and co-members of Kabir Kala Manch mobilise audiences in the name of Ambedkar and Phule. There are some sharp witticisms about the abject poverty and slum discontentment. The 15 minute screening is concluded.

For one nano-second, there is darkness.

The Maha Maharaja returns to his seat; the meeting with the leading lights of the defence committee is re-convened.

The point is made: the state should promptly withdraw charges against Deepak Dengle and Sidharth Bhosale of the Kabir Kala Manch. Also Sheetal Sathe, Sagar Gorkhe and Sachin Mali who are underground due to the fear of beatings and a longish jail term, be provided an opportunity to come ‘overground”. Above all, artistes be allowed to perform.

The Maha Maharaja agrees that human rights are meant to be defended. Then we chit-chat about the proliferation of Naxalism into urban centres in the state; and how it should be curbed in a humanitarian way. This goes on for 35 minutes.

Promises are made. We exit.
Time passes.
A bit slower for Dengle and Bhosale in jail.
Meanwhile the official record of the above meeting with the Maha Maharaja goes missing.

The game is afoot.

There are other mini-skits in the other power-corridors. We hear stories of another Maha Maharaja in the cabinet who is casteist; and yet another who abuses all and sundry.

There’s a story about one who is surrounded with a raft of telephones; none of which are connected. On these phones this particular Maha Maharaja conducts Jean Cocteau type monologue to no one in particular. But we the people in front of him applaud for his prompt support.

Sadly, prompt state support which we need is absent. For the two Kabir Kala Manch members, Deepak Dengle and Siddharth Bhonsle who are behind bars at Arthur Road central prison. For every court date, they are brought to Sewri court for the hearings with heavy police escort. They were arrested on 12 May 2011 by the State under the Unlawful Activities (Prevention) Act (UAPA), and branded Naxalites.

The court hearings are proceeding inside a bleak-looking Sewri Court. The security is humongous and they keep a strict vigil. One day, the judge does not turn up. On others, the legalese and the administrative wrangles seem insurmountable. Plus there is the lack of funds to mount a serious challenge.

Meanwhile as the saying goes, time passes faster, backwards …

Kamayani Bali Mahabal, a founder member of the Kabir Kala Manch defence committee says: “The main trouble, it seems, is re-kindling the kind of public opinion that was present during Dr Binayak Sen.”

Film-maker Anand Patwardhan adds: “KKM members are Dalits from poor families who do not carry weapons. Their crime is they sing songs. Had a mainstream musician sung the same songs or uttered the sentiments through songs, I doubt the State would have branded them Naxalites and forced them to go underground.”

The long arm of the State is now reaching out to KKM family members like Sheetal Sathe’s mother, who has lost her job at the Ruby Hall Clinic in Pune, where she worked as an assistant “due to the 24/7 scrutiny of the state”.

It’s become a matter of desperate survival; and the prize money of Rs. 51,000 that Patwardhan was awarded for Jai Bhim Comrade is rapidly depleting.

A portrait of Kabir Kala Manch

Kabir Kala Manch appeared on Pune’s theatre scene in 2002. This is the once intellectually proud city that now practices an indifference to politics. The group members sang songs and staged agit-prop plays. They repudiated aesthetics for politics of the stage.

In February 2005, Kabir Kala Manch members got a crash-course in radicalism in the form of the heavy weights of the “vidrohi movement” like Bharat Patankar, Kishore Dhamale, Kishore Jadhav, Dhanaji Gurav and Sudhir Dhawale.

The vidrohi chalwal in its heyday was a disingenuous counter-code to the mainstream. The mainstream Sahitya Sammelan was held at Mumbai’s Shivaji Park. It doffed its hat to Bal Thackeray, Manohar Joshi (chief minister of Maharashtra) and the Shiv Sena, while the Vidrohi Sammelan hosted in Dharavi was the literature of the Dalits, Muslims, workers and women. While the main meet was funded by the Shiv Sena-BJP government, the parallel meet was self-funded. The main sammelan was a meet of people with “shendi” (hair knot) and “janva” (religious thread), the parallel sammelan was that of people with “lathi” (stick) and “ghongdi” (a rough cloth). While the main sammelan served upma and sheera (publicised on the front page of most Marathi newspapers), the Vidrohi Sammelan served beef and pork. The Vidrohi fine-tuned their tradition to mock. They protested in front of the World Social Forum in 2004, and pooh-poohed it as the “social world’s forum”.

Kabir Kala Manch’s “mission” became an acquired taste. The arresting language which its urban shahirs belt out, tackle themes like anti superstition, gender equality and education, and have the usual appeal of that which is deemed street theatre.

Illegal art

Shahir Sambhaji Bhagat (a radical poet and political activist) who mentored the group in “the art of composing songs and a few performance tricks” says: “Kabir Kala Manch is a talented group made up of young Dalit boys and girls. They sing political songs. But they also combat social evils and promote inter-caste marriage.” He points out how Sheetal Sathe and Sachin Mali had an inter-caste marriage for which there was a lot of opposition.

Bhagat continues: “Ambedkarites are today’s bad boys in Maharashtra. All that we say or do is under surveillance.” Bhagat also known as the “Maharashtra’s Gaddar” knows what he is talking about. His play Shivaji Underground in Bhimnagar Mohalla, has run into a spot of bother with the State. The play which has had 37 stagings in the past two months in Mumbai and Pune has been denied a show in Parbhani Zilla Parishad and likewise in Sangli because of its “provocative content.”

Bhagat says, “We refused to show the script to anyone and went ahead with the show. The response was stupendous. Today, this is the problem with theatre in Maharashtra. Gratuitous art is the norm. Anything other than that means indictment either from the State or from angry demonstrators.”

The play has a simple intent; i.e. to re-claim Chattrapati Shivaji from a militant right-wing mascot to being “a Raja of the Shudras” and highlight his administrative abilities. The musical play directed by Nandu Madhav (who plays Harishchandra in Harishchandrachi Factory) transpires in the here and now. Shivaji is no more and while Yama is escorting his atma back to Swargalok, he goes missing. The musical piece performed by 17 farm workers from Jalna frequently lacks narrative coherence which it makes up with a pastiche of the absurd, and focuses on who owns Shivaji and why. This is a dense biography of Maharashtra’s tallest warrior king and, in spite of the occasional Powada thrown as dramatic device, no historical liaison is left unexplored to its furthest implication.

Bhagat says he had a lot of misgivings about staging the play since it would be denied a genuine run of shows due to its “Jai Bhim” tag.

Unsurprisingly the play has become “a critically acclaimed hit”; and that has muddled the plot.

As Sunil Shanbag, a veteran director who has grappled with all types of theatre censorship says: “Maharashtra is well endowed with methodologies and means to prevent plays that irk the State’s peace of mind.” So on the one hand the Culture Department and its cronies will say the show must go on, come what may. On the other hand there are the permissions and NOCs and clearances from the state office cultural secretary; NOC from BMC after paying venue charges and deposits; BMC show department’s NOC; fire brigade NOC; PWD electrical and stage compliance report; collector Mumbai for entertainment tax clearance after pre-payment of entertainment tax; police station NOC; RTO – NOC; RTO bandobast charges; DCP Zone; Rangbhoomi Permission for script and lyrics; censor board clearance; police station permission in the ward; and 33 other licenses.

The point is, no other state in India is so empowered. This means, the State can declare every single live performance “illegal” on a technicality.

This is the main reason, Maharashtra has witnessed a longish saga of “banned” plays: Keechak Vadh by K. P. Khadilkar, Sakharam Binder and Gidhade by Vijay Tendulkar, Mee Nathuram Boltoyby Pradeep Dalvi, Bedtime Story by Kiran Nagarkar, Yada Kadachit by Santosh Pawar, Avadhya by C. T. Khanolkar, Golpeetha by Suresh Chikhale… The list is endless.

Presently, the play Ek Cahavat Sandhyakaal faces a ban in Brihanmumbai Municipal Corporation (BMC) auditoriums because of its vulgar content which is deemed suitable only for men, and not permitted for women. This means exclusive shows for men only audience. Next in line is a ban on plays that depict scenes of tobacco products and gutka consumption. This move has the backing of local parties and the mayor of the city.

For some opaque reason, there’s a cry from certain quarters to include Shivaji Underground… to this list.

None of the rules make sense anymore.

Bad brutality v/s good violence

The shows become chaotic. The performances seem to make no head or tail to ‘we, the people’.

With Kabir Kala Manch’s frequent allusions to democracy’s failures, oppression, and domination of one caste over the other, it was on the State’s radar. When Sheetal Sathe sang about how Ambedkar said if the Constitution did not give people justice — political, social and economic — his people should overthrow it, the State started to act. It’s bad brutality v/s good violence justice — that’s the explanation from the civil rights camp.

The State counter-argues, based on a confessional statement under section 164 of the criminal procedure code of how members of the Kabir Kala Manch had an affair with the Naxalite ideology of the CPI (Maoist) who indoctrinated them. The charge: training camps in Pune’s Khed taluka, lecturing in support of imprisoned Angela Sontakke and others, rubbing shoulders with revolutionaries and visiting campuses and bastis with “a message in the service of a cause”.

When Deepak Dengle meets us at Sewri Court, his literary inspiration is still not exhausted.

He hands me a poem, Inquilab Chaiye. In the poem he seeks in art a fulfillment that had eluded him in life. The poem is in Hindi and has a rudimentary rhythm. He sings the first mukdha.

Ek moothi baandho reh baandho
Ek moothi baandho re doston
Bas ek mukka chaiye
Aur ek dhakka chaiye
Inquilab chaiye doston
Inquilab

The police battalion gather around Dengle to eavesdrop. They are bemused.

Meanwhile suspected women Maoists sympathisers lodged in Mumbai District Women’s Prison in Byculla are brought to the Sessions Court at Sewri by a posse of policemen and policewoman. These are “the dangerous Maoist sympathisers”: Angela Sontakke, Sushma Ramteke, Anuradha Sonule, Mayuri Bhagat, and Jyoti Chorghe.

They had been arrested in Pune by the anti-terrorism squad (ATS) in April last year under the Unlawful Activities (Prevention) Act, 1967.

Two of the young girls (one of them is indisposed) talk about their work in Nagpur where they staged plays in colleges and universities including a play on Einstein, the anti-superstition drive, singing songs.

The last play they staged was about Bhagat Singh for their fellow inmates in Byculla Jail. They describe the show and the stage-craft and the response from the jail authorities. This is the same jail where they say they were assaulted in April, and punished with solitary confinement because they chose to highlight the problems in the jail. Their books which included a biography on Mahatma Gandhi and a pamphlet on prison rights were confiscated.

Susan Abraham, legal counselor says: “This is in complete violation of their basic rights as under-trials, and indeed artists.”

But no one is listening.

And in this way the show goes on.

Click here to read a piece about Kabir Kala Manch that appeared in TEHELKA

Click here to sign the petition

This piece is a sincere request for funds to support the legal trials of KKM members plus the families of KKM members. For further information on how to do so, please send an eMail tokkmdefence@gmail.com