By Deepa Punjani

At a recent play-reading session at Quasar Thakore Padamsee's house in Seven Bungalows, Versova one read Girish Karnad's English translation of his TAALE-DANDA which he wrote in 1989. The short preface to the play proves necessary reading. In it Karnad provides a brief historical background that improves our understanding of one of the chief characters in the play and of the events that take place. Deriving his characters and plot from the 12th century city of Kalyan in South India, Karnad gives us an engrossing text in which we are provided with one of the earliest historical references to caste politics.

Giving a human face to the iconic figures such as Basavanna who spearheaded the 12th century Sharana movement (the Sharanas were devotees of Shiva and Brahmins were as welcome to their society as were people from the lower castes) and which to date has an appeal in modern day Karnataka, Karnad creates powerful characters through which the moot issues of a casteless and a classless society are reinforced. Both issues have been historically relevant as they are today and were also in 89' when Karnad wrote the play as a reproach to the then prevalent Mandal-Mandir politics in the country. Interestingly enough the play while harking back to a great tradition that sought to establish equality among the masses also succeeds in creating a compelling drama of human strengths, weaknesses and of the very practical view of things that statecraft and politics often command.

Set in 12th century Kalyan (the name of the city assumes a symbolic significance as it means a welfare state) during the reign of Bijjala, a ruler of the Kalachurya dynasty the play no sooner than it opens sets the tone for the theme of caste identity and the apparent problems surrounding it. Bijjala himself is from a lower caste but in his position as the ruler of a city he only tacitly approves of Basavanna and his sharana followers. In his role as the regent of the state he is far more practical and smart to realize the economic implications that his city would have to face if the sharanas were to be displeased. Clearly the question of caste is not only restricted to being a societal issue but takes on an economic orientation that can prove to be volatile. Bijjala puts statesmanship first and has little time for Basavanna's idealism however much he respects it.

Basavanna and Bijjala as such are the two central characters of the play and both of them have their antagonists. Bijjala finds himself at the mercy of his vagrant and dictatorial son Sovideva while Basavanna is let down by his close disciple Jaganna who after killing the King, stabs himself. Both Sovideva and Jaganna in a sense are representative of power hungry politics. The sub-plot which focuses on an inter-caste marriage between a lower-caste boy (Sheelavanta) and a Brahmin girl (Kalavati) add fuel to Sovideva's plotting which ultimately leads to the final damnation of the sharana movement. All dissent is crushed out and the regime reverts to orthodoxy.

It is imperative to note that Basavanna despite his noble goal of caste and class eradication is also portrayed as a character who is first and foremost sensitive to everyday practicalities. He does not want to force the marriage between Sheelavanta and Kalavati for he perhaps realizes that the girl's mother has a point to make about the girl's Brahamanical upbringing which is directly in conflict with the day to day life of a cobbler's.

But more importantly as a leader who cares for the welfare of the people he feels that the time is not yet right for such a revolutionary act. He is naturally wary about the bloodbath that may take place at the expense of such a step. He further exhibits his wisdom and respect for the individual by telling his sharanas that marriage after all is a private affair in which the people who are directly involved must arrive at a decision without it being forced upon by the community. Such rationality and insight prevents the romanticization of the task at hand and is exemplary of the spirit of debate and objectivity. Taale-Danda succeeds on these counts and in the hands of a competent director can make a provocative theatrical experience.


*The writer is Editor of this site, a theatre critic and an academic keenly interested in Theatre and Performance studies. The play-reading session mentioned at the beginning of the feature is a monthly activity undertaken by QTP productions. For more information on the same contact qtp@vsnl.com