Jacquierbaba seeks an end to exploitation of tamasha artistes

KmoJaJmdMo \$mXa Om{H$`a~m~m (Am¡a§Jm~mX {OëømVrb {¼ñVr {_eZ H$m`© - B g.1892 nmgyZ)

H$m{_b nmaIo

gwJmdm àH$meZ

17) V_mg{Jam§Mo b¢{JH$, gm_m{OH$ emofU Am{U Om{H$`a~m~m

EHo$H$mir _amR>r {MÌnQ>g¥ï>rV V_memàYmZ {MÌnQ>m§Mr bmQ> Ambr hmoVr. ìhr. em§Vmam_ `m§Zr {X½X{e©V Ho$boë`m 'qnOam' `m {MÌnQ>mMm Zm`H$ Agbobm AmXe© {ejH$ JmdmV Ambobm V_memMm Ioi ~§X nmS>Ê`mMm à`ËZ H$aVmo. S>m°. lram_ bmJy `m§Zr gmH$mabobm hm emim_mñVa V_memem¡{H$Zm§À`m {damoYmMr {\${H$a Z H$aVm Amnë`m Z¡{VH$ ~imda EH$Q>çmZo V_memMm a§JmV Ambobm Ioi ~§X nmS>Ê`mMm à`ËZ H$aVmo. _wimV V_mem hm EH$ AZ¡{VH$ àH$ma Amho Am{U Amnë`m JmdÀ`m bmoH$m§Zm Ë`mnmgyZ Xya R>odUo ho Amnbo Z¡{VH$ H$V©ì` Amho, `m g_OmnmoQ>r ho _mñVa V_mem ~§X nmS>Ê`mMr YS>nS> H$aV AgVmV. V_memVrb ZV©H$sÀ`m ào_mV nSy>Z `m _mñVam§Mo Z§Va Z¡{VH$ AY:nVZ hmoVo hr Jmoï> {Zamir. _mÌ V_mem{df`r g_mOmV H$m` à{V_m hmoVr ho 'qnOam'Vrb AmXe© _mñVam§À`m ^y{_Ho$VyZ ñnîQ> hmoVo.

Am¡a§Jm~mX {OëømVrb KmoJaJmdmV Am{U AmgnmgÀ`m n[agamVrb Añn¥í` bmoH$m§Zr V_memV H$m_ H$ê$ Z`o, V_memÀ`m \$S>mbm hOoar bmdy Z`o Agm \$mXa Om{H$`a `m§Mm AmJ«h hmoVm. Ë`m§À`m {damoYmg Z Ow_mZVm AmgnmgÀ`m EImÚm JmdmV V_memMm \$S> ^abm Va EoZ a§JmV Ambobm à`moJ Vo ~§X nmS>V AgV. V_mem `m bmoH$H$boMo OVZ H$aÊ`mgmR>r AmO {d{dY g§ñWm§V\}$ Am{U emgZmV\}$ à`ËZ Ho$bo OmV AmhoV. Joë`m eVH$mV `m {¼ñVr Y_©Jwê$Zo `m bmoH$H$bo{déÕ ^y{_H$m H$m KoVbr ho OmUyZ KoÊ`mgmR>r V_mem `m bmoH$H$boMo ñdê$n _m{hVr H$ê$Z KoVbo nm{hOo.

_mÂ`m bhmZnUr lram_nwamV AmR>dS>çmÀ`m ~mOmamÀ`m {Xder åhUOo ewH«$dmar ~mOmaVimnmerM V_memMo \$S> ^aV AgV. Am_À`m KamnmgyZ nmMeo _rQ>a A§Vamdarb _¡XmZmV V_memMo V§~y C^mabo OmV AgV. Á`oð> V_memH$bmd§V {dR>m~mB© ^mD$ _m§J Zmam`UJmdH$a, H$m§Vm~mB© gmVmaH$a Am{U Jwbm~~mB© g§J_ZoaH$a dJ¡a|À`m V_memÀ`m \$S>m§Mr {Xdg^a Mmbbobr Om{hamV Amåhr _wbo nmhmV Agy. _mÌ KamVrb dm eoOmanmOmamVrb Hw$Ur àm¡T>_§S>ir `m V_memÀ`m Ioimbm OmV ZgV. AmR>dS>çmÀ`m ~mOmambm `oUmao AmgnmgÀ`m IoS>çmnmS>çmVrb bmoH$M àm_w»`mZo `m bmoH$H$boMo Aml`XmVo AgV. Amåhm _wbm§Zm {gZo_mbm OmÊ`mg nadmZJr Ago. _mÌ EH$Xm Var V_mem hm H$m` àH$ma Agmdm `mMm AZw^d ¿`mdm Agm {dMmahr H$Yr _ZmV Ambm Zmhr, `mMo H$maU V_mem åhUOo EH$ Aíbrb H$m`©H«$_ Am{U Am§~Q>em¡H$sZ a{gH$m§Mo H$a_UwH$sMo gmYZ Agm gdmªMmM g_O hmoVm.

''V_mem H$boV Mmoanmdbm§Zr `oUmar AZ¡{VH$Vm hm Va qMVoMm {df` Amho. _hma, _m§J, Am{U H$moëhmQ>çmMr ~mB© ZmMdU§ Am{U n¡gm \o$Hy$Z {Vbm ZmJdU§ hr CÀMdUu` ga§Om_r _mZ{gH$Vm ~Xbbr Zmhr Va na§nam åhUyZ V_mem H$m {Q>H$dm`Mm, hmhr àíZ Amho,'' Ago V_mem H$boMo EH$ Aä`mgH$ S>m°. {_qbX H$g~o `m§Zr Amnë`m 'V_mem: H$bm Am{U H$bmd§V' `m nwñVH$mV {b{hbo Amho.¹

darb nwñVH$mÀ`m àñVmdZoVM V_mem joÌmMr AJXr OdiyZ AmoiI Agbobo A{^ZoVo {Ziy \w$bo `m§Zr åhQ>bo Amho H$s ''_mJmg, Añn¥í` g_Oë`m OmUmè`m _hma, _m§J ,H$moëhmQ>r, Jmonmi AmXr OmVrMo H$bmH$ma V_memV OmñV AmhoV. Ë`m§ZrM hr H$bm {Q>H$dbr Amho. V_mem joÌmV H$O© hm EH$ _moR>m àíZ Amho. \$S>_mbH$ gmdH$mamH$Sy>Z H$O© KoVmV. V_memVbm H$bmH$ma \$S>_mbH$mH$Sy>Z H$O© KoVmV. AemàH$mao \$S>_mbH$ H$O©~mOmar, H$bmH$ma-H$m_Jma H$O©~mOmar, H$Om©da MmbUmam hm ì`dgm` Amho. H$Om©_wio H$moUrhr gwIr Zmhr. V_membm n¡go nwa{dUmao ~hþVoH$ gdU© AgVmV. V_memVrb ñÌr H$bmH$ma H$O©~mOmar Agob Am{U H$O© {\$Q>bo Zmhr Va {Vbm ^m§S>dbXmamÀ`m ñdmYrZ ìhmdo bmJVo. gVV Xm[aÐ`mV amhÿZhr ho H$bmH$ma V_membm H$m {MH$Qy>Z am{hbo Agm àíZ Zoho_r _mÂ`m _ZmV `oV Ago.'' H$Xm{MV V_mem H$bodarb ào_mnmoQ>rM hm dgm Ë`m§Zr ñdrH$mabm Agmdm, Ago Ë`m§Zr nwT>o åhQ>bo Amho.

ñdmV§Í`mZ§Va V_memda AíbrbVoMm Amamon Pmbm. Ë`m_wio _w§~B© amÁ`mMo _w»`_§Ìr ~mimgmho~ Ioa `m§Zr 1948 gmbr V_memda ~§Xr KmVbr Jobr. hr ~§Xr CR>mdr åhUyZ V_mem H$bmd§Vm§Zr à`ËZ Ho$bo. Ë`mdoir Ioa `§mZr _hm_hmonmÜ`m` XÎmmo dm_Z nmoVXma `m§À`m AÜ`jVoImbr V_mem gwYma g{_Vr Zo_br hmoVr. `m g{_VrZo V_memMo g§{H$Vm boIZ Am{U gmXarH$aUm~m~VrV H$mhr AQ>r KmVë`mZ§Va V_memdarb hr ~§Xr CR>dÊ`mV Ambr. V_memV Aíbrb g§dmX ZgmdoV, Xm¡bVOmXm H$aVmZm V_mgJra ZQ>rbm hmV bmdy Z`o dJ¡ao AQ>r bmdÊ`mV Amë`m.

nwUo {dÚmnrR>mÀ`m ndim nÇ>oamd~mnyamd gm{hË`, g§JrV, bmoH$H$bm AH°$S>o_r Am{U nmW\$mB§S>a B§Q>aZ°eZb `m g§ñWm§À`m dVrZo nwÊ`mV 2007 À`m Am°ŠQ>mo~amV V_mem _hmoËgd d H$m`©emim Am`mo{OV H$aÊ`mV Ambr hmoVr.Ë`m{Z{_Îm àH$m{eV H$aÊ`mV Amboë`m H$m`©H«$_n{ÌHo$V V_mem~Ôb _m{hVr {Xbr Amho. Ë`mZwgma V_mem eãX hm \$maerVyZ CXy©V Am{U CXy©VyZ _amR>rV Ambm Amho Ago {XgVo. V_mem hm àH$ma Á`m em{ham§Zr ê$T> Ho$bm Vmo emhra (emB©a hm _yi eãX) Aa~r ^mfoVyZ _amR>rV Ambm Amho. Ë`m_wio V_mem hm H$bmàH$ma _wgb_mZm§À`m à^mdmVyZ CX`mg Ambm Agmdm Ago H$mhr g§emoYH$m§Mo _V Amho. _hmamï´>mVrb OmJaU, Jm|Yi, ^méS>, b{iVo Am{U XemdVma `m bmoH$H$bm§Mmhr AWm©VM V_memda à^md Amho. gmYmaUV: V_mem hr bmoH$H$bm _hmamï´>mV _hma, _m§J, Jm|Yir, H$moëhmQ>r, S>m|~mar `m§À`mM hmVr am{hbr Ago `m n{ÌHo$Vhr ñnï> åhQ>bo Amho. C„oI Ho$boë`m `m gd© OmVr Añn¥í`, JmdHw$gm~mhoaÀ`m OmVrO_mVr. AWm©V `m bmoH$H$boMm AmñdmX KoUmao d n`m©`mZo `m H$bmH$mam§Mo {d{dY àH$mao b¢{JH$ emofU H$aUmao a{gH$OZ AWm©VM CƒdUu` hmoVo. V_memVrb órH$bmH$mam§Mo b¡{JH$ emofU H$aVmZm _mÌ `m H$bmdVm§Mr Añn¥í`Vm VodT>çmnwaVr ZOaoAmS> Ho$br OmV Ago ho {deof.

Amnë`m Xoem§V gd©M nma§n[aH$ ì`dgm` OmVtda AmYm[aV AmhoV Am{U gd© bmoH$H$bm§À`m ~m~VrVhr AerM n[apñWVr Amho. V_mem hr bmoH$H$bm àm_w»`mZo _hma Am{U _mV§J OmVrVrb bmoH$m§Zr {dH${gV Ho$br. `m Añn¥í` OmVrVrb _{hbm V_memV ZmMV Am{U JmV AgV Va nwéf_§S>ir T>mobH$r, VwUVwUo, _§{Oam, S>\$, hbJr, H$S> Am{U noQ>r hr g§JrVdmÚo dmO{dV AgV. Ë`mdê$Z `m bmoH$H$bobm Am{U {VÀ`mer g§~§{YV Agboë`m H$bmH$mam§Zm CÀMdUu`m§V H$m` à{Vð>m Ago `mMr H$ënZm H$aVm `oVo. V_memMm h§Jm_ nmdgmim Am{U eoVrMo H$m_o g§në`mZ§Va Xgam Vo Aj`V¥Vr`m `m H$mimV AgVmo. b½ZgamB©V dmO§Ìr H$m_, `mÌoÀ`m h§Jm_mV V_meo BË`mXrVhr _hma àm_w»`mZo AmT>iVmV.<sup>3</sup> _r bhmZ AgVmZm KmoJaJmdmV _mPo _m_o^mD$ b½ZgamB©V {nnmUr, T>mobH$s dJ¡ao dmÚo dmOdV AgV ho _bm AmR>dVo. `m_mJMr H$maU_r_m§gm darb g§X^© dmMë`mZ§VaM _bm g_Obr. `mMm AW© dmÚoo dmO{dÊ`mMr H$bm Vo KamVrb Hw$UmH$Sy>Z qH$dm ZmVodmB©H$m§H$Sy>Z {eH$bo AgUma. Hw$Ur gm§Jmdo, H$Xm{MV _mÂ`m AmOmoimVrb _mPo H$mhr ZmVodmB©H$hr Ë`m§À`m VéUnUmV åhUOo \$mXa Om{H$`a `m§À`m H$mimV V_memVhr PrbH$ar dm BVa H$m_o H$aV AgVrb.

Á`oð> H$dr Zmam`U gwd} `m§Zr AÊUm^mD$ gmR>o `m§À`mdarb 1969 gmbr {b{hboë`m EH$m boImV V_mem{df`r Ho$bobr {Q>nÊUrhr `m g§X^m©V nmhVm `oB©b. gwdo© åhUVmV : ''n§Mdrg dfm©§nydu V_mem hm eãX EImÚm Añn¥í`mgmaIm dmnabm OmB©. V_mem åhUOo gä` bmoH$m§Zr, {eï> bmoH$m§Zr, AJa nmoir~mitZr Z nmhmdm, Agm ZmQ>H$mMm EH$ àH$ma. Ë`mV ZmÀ`mnmoè`m AgVmo, Vmo KmUoaS>o d Aíbrb hmd^md H$aVmo. e¥§Jm[aH$ d MmdQ> JmUr åhUVmo, Ë`mZo gwg§ñH¥$V _mUgm§Mr A{^éMr {~KS>Vo. V_mem H$aUmao Añn¥í` AgVmV d Vmo nmhmUo nmn Amho hr àMbrV ^mdZm Ë`m H$mimV hmoVr.''

V_mem `m bmoH$H$boMo bmoH$ZmQ>çmV ê$nm§Va hmoÊ`mAmYr nma§n[aH$ V_memVrb H$bmH$mam§Mr OmVr{df`H$ nmíd©^y_r, pñÌH$bmH$mam§Mo b¢{JH$ emofU Am{U `m bmoH$H$boVrb à`moJm§Vrb g§dmX Am{U ZmMJmÊ`m§Vrb AíbrbVm dJ¡ao g§X^© Ü`mZmV KoVbo åhUOo Om{H$`a~m~m§Zr V_membm H$m {damoY Ho$bm ho g_OVo. '[n§Oam' {MÌnQ>mVrb AmXe© _mñVahr Z¡{VH$ Ñï>rH$moZmVyZM V_memÀ`m Ioimg {damoY H$aV AgVmV. _hmamï´>mMo {dÚ_mZ Cn_w»`_§Ìr Ama. Ama. nmQ>rb `m§Zr nwT>mH$ma KoD$Z _hmamï´> amÁ`mV {~`a~ma_Ü`o _{hbm§À`m ZmMJmÊ`m§da ~§Xr KmVbr Amho. Ë`m_mJohr pñÌ`m§À`m b¢{JH$ emofUmg Am{U AíbrbVog {damoY AerM Ë`m§Mr ^y{_H$m Amho.

\$mXa Om{H$`a `m§À`m g§X^m©V à{gÕ Pmboë`m Hw$R>ë`mhr {bImUmV Ë`m§Zr V_membm Ho$boë`m {damoYmMm C„oI _mÂ`m dmMÊ`mV H$Yr Ambm Zmhr. _mÂ`m AmB©-d{S>bm§Zr Am{U KmoJaJmdmVrb _mÂ`m _m_m§À`m g§^mfUmV _mÌ `m~m~VMr MMm© _r AZoH$Xm EoH$br Amho. em§ËdZ Am{U dm_Z {eZJmao `m _mÂ`m XmoZ _m_m§Zr Om{H$`a~m~m§À`m N>H$S>çmda JmS>rdmZ åhUyZ H$m_ Ho$bo hmoVo, Ë`m_wio Ë`m§Zr gm§{JVbobr _m{hVr `m~m~V {dídmgmh© _mZVm `oB©b.

\$mXa Om{H$`a~m~m§{df`r KmoJaJmd n[agamV Añn¥í` {¼ñVr g_mOmV VgoM CÀMdUu` dJ¡ao _§S>irV _moR>m AmXa hmoVm. gaH$maXa~mar H$boŠQ>a Am{U VhgrbXma `m gma»`m A{YH$mè`m§er Am{U eoOmanmOmaÀ`m Jmdm§À`m nmQ>rb dJ¡ao _§S>iter Ë`m§Mo Iyn Mm§Jbo g§~§Y hmoVo. Am¡a§Jm~mX {OëømVrb d¡Omnya Am{U J§Jmnya VmbwŠ`m§Vrb AZoH$ Jmdm§Vrb Ë`m§À`m H$m_m§_wio, Ë`m§À`m {eñV{à` ñd^mdm_wio Ë`m§À`m {df`rMm EH$ àH$maMm Xamamhr Ago. CÀM{e{jV Am{U `wamo{n`Z Agë`mZo {~«{Q>e O_mÝ`mV gaH$maXa~margwÕm Ë`m§Mm dMH$ Ago. Ë`m_wio Om{H$`a~m~m§Zr Añn¥í`VmnmbZmgma»`m EImÚm A{Zï> dm AZ¡{VH$ gm_m{OH$ éT>rg {damoY Ho$bm Va Aemàg§Jr Ë`m§À`m {damoYmg OmÊ`mMr Hw$UmMr qh_V Zgm`Mr. Om{H$`a~m~m§Zr V_memÀ`m àWog {damoY Ho$bm Voìhmhr AgoM Pmbo AgUma.

KmoJaJmd Am{U AmgnmgÀ`m n[agamVrb _hma g_mOmVrb AZoH$ {¼ñVr ñÌr-nwéfhr Ë`mH$mimV V_memV H$bmH$ma åhUyZ H$m_ H$aV AgVrb `m{df`r e§H$mM Zmhr. V_memV ZmÀ`m qH$dm _mderMr ^y{_H$m H$aUmè`m nwéf ZQ>mbm bm§~ Ho$g amImdo bmJV Ago. `m J«m_rU ^mJmV AZoH$ df} amhÿZ `m bmoH$H$boMo EHy$U ñdê$n g_Oë`mZ§Va Hw$R>ë`mhr {¼ñVr Y_©Jwê$Zo Amnë`m Y_©J«m_mVrb {¼ñVr _{hbm§g V_memV ZmMÊ`mJmÊ`mnmgyZ namd¥Îm Ho$bo AgVo. {¼ñVr nwéf _§S>itZr V_memV Aíbrb ñdê$nmMr ZmMJmUr åhUy Z`o, ZmÀ`mMo H$m_ H$é Z`o `mgmR>r Ë`m§À`mdahr X~md AmUbm AgVm.Om{H$`a~m~m§Zr Va KmoJaJmd n[agamV Amnë`m Am`wî`mMr Mma XeHo$ Kmb{dbr. `m \o«§$M Y_©Jwê$Zo KmoJaJmdmV Amë`mZ§Va B§J«Or Am{U _amR>r ^mfm§da Mm§Jbo à^wËd {_idbo hmoVo. KmoJaJmdmVrb {¼ñVamOm _§{XamV Ë`m§Zr AZoH$ df} Zd{¼ñVr bmoH$m§Zm Vo _amR>r ^OZo, Jm`Zo {eH$dV AgV. V_membm Ë`m§Zr {damoY H$aÊ`mAmYr Ë`m§Zr `m bmoH$H$boÀ`m {d{dY A§Jm§Mm Aä`mg ZŠH$sM Ho$bm AgUma. KmoJaJmdÀ`m n§MH«$moerVrb JmdmVrb ~hþVoH$ Hw$Qw>§~mVrb gd© ì`º$s¨Zm Vo Mm§Jbo AmoiIV hmoVo. Ë`m§À`mn¡H$s AZoH$m§Zm Ë`m§Zr H$Yr Zm H$Yr _XV Ho$br hmoVr. Ë`m_wio EH$ ehmUr, OwUrOmUVr ì`º$s åhUyZ Amnë`m Y_©J«m_mVrb bmoH$m§Zm ehmUnUmMo H$mhr IS>o ~mob gwZmdÊ`mMm Ë`m§Mm h¸$ gdmªZmM _mÝ` hmoVm.

\$mXa Om{H$`a `m§Mm V_membm Agbobm H$S>dm {damoY nmhVm Vo KmoJaJmdmV AgVmZm `m bmoH$H$boMo à`moJ `m JmdmV Pmbo AgVrb `m{df`r XmQ> e§H$mM Amho. _mÌ AmgnmgÀ`m IoS>çm§V V_memMo Ioi hmoVM AgV. `mÌoÀ`m dm BVa Hw$R>ë`mhr {Z{_ÎmmZo V_memMo à`moJ Agbo åhUOo Ë`m JmdmVrb Am{U AmOy~mOyÀ`m n[agamVrb nwéf_§S>ir VoWo AmdOy©Z hOa amhmV AgV. V_memMo ho à`moJ amÌrM a§JV AgV. T>mobH$sÀ`m Am{U BVa nma§n[aH$ dmÚm§À`m Vmbmda V_mgJra _{hbm Am{U nwéf JmV Am{U ZmMV AgV. Aemdoir \$mXa Om{H$`a Amnbr KmoS>mJmS>r ~mhoa H$mTy>Z Ë`m AmdmOmÀ`m {XeoZo {ZKV. amÌrÀ`m doir ZXr qH$dm AmoT>o Amobm§Sy>Z V_memÀ`m OmJr Vo nmohmoMV AgV. Ë`m Añn¥í` ñÌr-nwéf H$bmH$mam§Zr V_memÀ`m _mÜ`_mVyZ hmoUmao Ë`m§Mo ñdV:Mo b¢{JH$ emofU amoImdo åhUyZ Ë`m§Zm CnXoe H$aV AgV. AZoH$Xm CnXoemEodOr Ë`m bmoH$m§Mr H$mZCKmS>UrM Ho$br OmV AgUma. V_memnWH$ _moJbmB© n[agamVrb Agbo Va Ë`mVrb ~hþVoH$ V_mgJra Om{H$`a~m~m§À`m Y_©J«m_mVrb {¼ñVr bmoH$M AgV.

V_memMm EoZ a§JmV Ambobm à`moJ AemàH$mao ~§X nmS>ë`mZ§Vahr ho V_mgJra XwgarH$S>o Hw$R>oVar V_memMo Ioi MmbyM R>odVrb åhUyZ \$mXa Om{H$`a Ë`m§Mr T>mobH$s, VwUVwUr, S>\$ dJ¡ao dmÚo Amnë`m Vmã`mV KoV AgV. H$bmd§{VUrÀ`m nm`mVrb Mma-nmM {H$bmo dOZmMo Kw§Jê$hr H$mTy>Z KoV. Ë`m{edm` nwéf H$bmH$mam§Zr ZmÀ`mMr qH$dm _mderMr ^y{_H$m H$é Z`o åhUyZ Ë`m§Zr bm§~ dmTdboë`m Ho$gm§Zmhr H$mÌr bmdV AgV.

Om{H$`a~m~m§À`m AmR>dUtZm _mPo AmB©dS>rb, _m_m Am{U BVa OwZr _§S>ir COmim XoV Voìhm ho \$mXa V_mem H$go ~§X nmS>V AgV ho `m{df`r h_Img ~mobbo OmB©. Om{H$`a~m~m§Zr V_mg{Ja§mH$Sy>Z Vmã`mV KoVboë`m Am{U Amnë`m KmoS>mJmS>rVyZ KmoJaJmdmV AmUboë`m T>mobH$r, V_mgJra H$bmd§{VUtMo K§wJê$, VwUVwUo, S>\$ dJ¡ao g§JrVdmÚm§Zr {_eZH§$nmD§$S>_Yë`m XmoZ Imoë`m ^aë`m hmoË`m ho _mPr AmB© AmOhr AmdOy©Z gm§JV AgVo. _mJo KmoJaJmdbm _r ^oQ> {Xbr Voìhm VoWrb _w»` Y_©Jwê$ \$mXa ñQ>r\$Z Aë_oS>m `m§Zrhr `mg XwOmoam {Xbm. V_mg{Jam§Mr Vr g§JrVdmÚo Xhm-n§Yam dfmªnydun`ªV {_eZ H§$nmD§$S>_Yrb H$mhr Imoë`m§V gm§^miyZ R>odÊ`mV Ambr hmoVr Ago Ë`m§Zr EoH$bo Amho Ago Ë`m§Zr _bm gm§{JVbo.

_hma-_m§J `m Añn¥í` OmVrVrb bmoH$m§gmR>r V_mem hr bmoH$H$bm Va CXa{Zdm©hmMo _w»` gmYZ hmoVo. g_mOmVrb `m gdm©{YH$ Cno{jV KQ>H$m§Mm Vm|S>Mm Kmg {hamdyZ KoÊ`mMm \$mXa Om{H$`a `m§Mm _wirM CÔoe ZìhVm. V_mem~m~V Om{H$`a~m~m§Mr ^y{_H$m g_mOgwYmaH$mMr hmoVr. Amnë`m Y_©J«m_mVrb Añn¥í` bmoH$m§À`m Am{W©H$ Am{U CÞVrgmR>r \$mXa Om{H$`a `m§Zr Am{U _moJbmB©Vrb qH$dm Ah_XZJa {OëømVrb BVa {_eZatZr AZoH$ àH$ën am~dbo hmoVo. bmoH$m§À`m AS>rAS>MUrÀ`m àg§Jr Vo YmdyZ OmV AgV. Amnë`m Y_©J«m_mVrb IoS>çm§Vrb _wbm§Zr gmja ìhmdo åhUyZ Om{H$`a~m~m§Zr AZoH$ Jmdm§V emim gwê$ Ho$ë`m hmoË`m. `m emim§V gd© OmVr-Y_mªÀ`m _wbm§Zm \w$H$Q> {ejU {Xbo OmV Ago. `m emim§À`m _mñVam§À`m {ZdmgñWmZm§Mm Am{U nJmamMm IM©hr \$mXa ñdV: CMbV AgV. V_memVrb H$m_ gmoS>bo Va `m bmoH$m§gmR>r CXa{Zdm©hmMr Xwgao n`m©`hr Ë`m§Zr CnbãY H$ê$Z {Xbo hmoVo. KmoJaJmdmV gÜ`m Cä`m Agboë`m C§M {eIadOm {¼ñVamOm _§{XamMo H$m_ EH$mo{Ugmì`m eVH$mÀ`m gwê$dmVrÀ`m H$mimV drg df} Mmby hmoVo. `m ~m§YH$m_m_wio AmgnmgÀ`m AZoH$ gwVma, Jd§S>r Aem Hw$eb H$mam{Jam§Zm VgoM BVa AZoH$ AHw$eb H$m_Jmam§Zm AZoH$ df} amoOJma CnbãY Pmbm hmoVm. Om{H$`a~m~m§Mm V_membm Agbobm {damoY Am{U `m bmoH$H$boMo à`moJ ~§X nmS>Ê`mgmR>r Ë`m§Zr Ho$bobm AmQ>m{nQ>m `mbm AWm©VM e§^a dfm©nyduÀ`m H$mimMm g§X^© Amho. Ë`mH$mimV pñÌ`m§Zr ZmQ>H$m§V dm {MÌnQ>m§V H$m_ H$aUogwÕm AZ¡{VH$ g_Obo OmB© Am{U Ë`m_wio AJXr ~mbJ§YdmªÀ`m H$mimn`ªV nwéfM pñÌ`m§À`m ^y{_H$m H$aV AgV. AmO emgZ Am{U {d{dY g§ñWm-g§KQ>Zm V_memgma»`m bmoH$H$bm§Mo OVZ H$aÊ`mgmR>r à`ËZ H$aV AmhoV. V_mem `m bmoH$H$boZo gmVmg_wÐmnma, nmpíM_mË` Xoemn`ªV _Ob _mabr Amho. _mÌ AOyZhr `m bmoH$H$boMm OmVr` g§X^© Zmhrgm Pmbobm Zmhr. ñdmV§Í`mZ§Va gmR> dfmªZ§Va, Añn¥í`Vm H$m`ÚmZo ~§X Pmë`mZ§Va AmOhr gaH$mar, {Z_gaH$mar Am{U ImgJr H$m`m©b`m§V g\$mB© H$m_Jma, ^§Jr, {enmB© dJ¡ao H$m_o nydm©l_rÀ`m Añn¥í` g_mOmVrbM bmoH$ H$aVmV. VgoM IoS>çmnmS>çm§V hmoUmè`m V_memVrb ~hþg§»` ñÌr-nwéf H$bmH$ma AmOhr _hma, _m§J, H$moëhmQ>r `m g_mOmVrbM AmhoV. 'AmOhr V_memV Jm`H$ åhUyZ _hma H$bmd§VmMr g§»`m OmñV à_mUmV Amho' Ago S>m°. H$g~o `m§Zr åhQ>bo Amho.⁴ '`m bmoH$H$boer {ZJ{S>V Agbobo X{bV OmVt{df`H$ g§X^© AOyZhr nwgbo Jobobo ZmhrV. '~«m÷UmKar {bìhZ§, _hmamKar JmU Am{U _m§JmKar dmOdU§' Am{U '_hmamM§ JmU§ Am{U _m§JmM§ S>\$S>§' Aem åhUr àM{bV AmhoV. X{bV OmVt{df`H$ `m g§X^mª_wio Am{U BVahr H$mhr H$maUm§_wio {MÌnQ>g¥ï>rVrb Am{U a§J^y_rdarb ñÌr-nwéf H$bmH$mam§Zm h„r {_iUmar à{Vð>m, YZàmár Am{U ½b°_aMo db` V_mg{Jam§À`m Z{e~r AOyZVar Zmhr.

V_mgJra H$bmd§Vm§Mo hmoUmao b¡§{JH$, Am{W©H$ Am{U gm_m{OH$ emofU AmOhr nyU©V: ~§X Pmbobo Zmhr. ho emofU ~§X H$aÊ`mgmR>r V_memMo à`moJ ~§X H$aÊ`mMr _wirM Oéar Zmhr. _mÌ Vm|S>mbm a§J \$mgyZ a§J_§MmdéZ, N>moQ>çm dm _moR>çm nS>Úm§dê$Z àojH$m§Mo _Zmoa§OZ H$aUmè`m H$bmH$mam§À`m dmQ>çmbm `oUmao Am{W©H$ Am{U BVa bm^ X{bV g_mOmVrb `m bmoH$H$bmH$mam§Zmhr {_imdoV Aer _m\$H$ Anojm ~miJm`bm haH$V Zmhr.Amnë`m _wbm§Zr Amnbm ì`dgm` nwT>o Mmby R>odmdm Ago à{VW`e S>m°ŠQ>am§Zm, amOH$s` nwT>mè`m§Zm Am{U BVa H$mhr joÌm§Vrb bmoH$m§Zm dmQ>V AgVo. V_mem hr bmoH$H$bm åhUyZ {Q>Hy$Z amhm`bm hdr, Ago åhUUmè`m Am{U Ë`mÑï>rZo à`ËZ H$aUmè`m bmoH$m§Zmhr Amnë`m _wbm~mim§Zr `m joÌmV n¡gm Am{U Zmd H$_dmdo Ago _ZmnmgyZ dmQ>bo VaM `m bmoH$H$bobm IaoM g_mO_mÝ`Vm Am{U à{Vð>m àmßV Pmbr Ago åhUVm `oB©b. Z{OH$À`m H$mimV V_mg{Jam§À`m Z{e~r hr à{Vð>m Am{U gwI {_iÊ`mMr eŠ`Vm Zgob Va ho H$bmH$ma V_membm H$m {MH$Qy>Z am{hbo Agm A{^ZoVo {Ziy \w$bo `m§Zm nS>bobm àíZ BVa Hw$Umbmhr nSy> eHo$b. Aem n[apñWVrV _J eVH$mnyduMo Om{H$`a~m~m§Mo Vo dV©Z IaoM g_W©Zr` hmoVo H$s H$m` Aerhr e§H$m EImÚmÀ`m S>moŠ`mV S>moH$mdy eHo$b.

g§X^© :

1) S>m°. {_qbX H$g~o, 'V_mem : H$bm Am{U H$bmd§V', gwJmdm àH$meZ, nwUo (2007 ) (nmZ 9)

2) darbà_mUo nmZ 29

3) {d. _. Xm§S>oH$a Am{U _. ^m OJVmn, '_hmamï´>mMr J«m_rU g_mOaMZm', àH$meH$: Y. am. JmS>Jri, JmoIbo AW©emó g§emoYZ g§ñWm, nwUo - 411 004 (1957), nmZ 20

4) Zmam`U gwd}, '_mUyg, H$bmd§V Am{U g_mO', nm°ß`wba àH$meZ, 35 gr, n§._mbdr` _mJ©, VmS>Xod, _w§~B© 400 034, (1992) (nmZ 68)

5) S>m°. {_qbX H$g~o, V_mem : H$bm Am{U H$bmd§V, (nmZ 51)

(nyd©à{gÜXr: 'gwJmdm' _m{gH$, nwUo, OmZodmar 2008 Am{U '{Zamoß`m' _m{gH$ Owb¡ 2008)

Exploitation of tamasha artistes and Fr Jacquier

Fr Gurien Jacquier of Ghogargaon

(Catholic mission in Aurangabad diocese - 1892 onwards)



By Camil Parkhe
camilparkhe@gmail.com

Published by: SFS Publications,
PB No 5639
Rajajinagar, 1st Block,
Bangalore,  560 010

ISBN 81-85376-78-6
First edition 2009

Copyright : SFS Publications


Price: Rs 95, US $ 6.75
Published in 2009

22) Exploitation of tamasha artistes and Jacquierbaba

In the 1960s, there was a wave of tamasha-based films in Marathi film industry. ‘Pinjara’ (The Cage), directed by veteran film director V Shantaram, was one of these films. The hero of the film, a school teacher, attempts to prevent staging of a tamasha show in his village. The teacher whose role is played by Dr Shriram Lagoo single-handed disrupts tamasha shows notwithstanding the presence of hundreds villagers gathered there to enjoy this sensuous folk art presented by beautiful women. The school teacher (master) believes tamasha is an unethical art and it is his moral duty to keep people away from it. Even those villagers who enjoy the show do not offer any resistance when it is abruptly brought to an end.
The belief and action of this ideal teacher reflects the attitude of the society towards this old traditional folk art. What this master did in the film produced in 1970s was precisely done in reality in Aurangabad district by Fr Jacquier half a century earlier. A majority of the artistes in this folk art were the members of the untouchable community among whom this priest was working. The French missionary believed tamasha encouraged adultery, involved sexual and social exploitation of the women and other artiste members of the troupe.
In my childhood, tamasha shows used to be held on every Friday - the day of the weekly bazaar - in my home town, Shrirampur. The bazaar site was hardly 500 meters away from home. A tent, smaller than the circus tent, used to be erected on the ground adjacent to the weekly bazaar. From morning to evening on that day, we children used to hear the publicity of the show made on loudspeakers fitted on vehicles having pictures of dancing women with heavy make up and turban-wearing men playing dholkis (drums) and other musical instruments.
The tamasha shows were attended by a large number of men folks, majority of them residents of neighbouring villages. I do not remember any member of my or my friends’ families ever attending the tamasha shows. We children were allowed to see films in local theatres but never ever we entertained the thought of attending the tamasha show. The tamasha shows which consisted of obscene songs and dialogues, seductive dances with reciprocated response from the excited members of the audience was naturally not meant for people with good character, we were told.
Research scholar Dr Milind Kasbe in his book in Marathi Tamasha: Kala Ani Kalawant (Tamasha: Art and artistes’) says, “ the immorality which quietly creeps into this folk art is a matter of grave concern. The feudal mentally of the high caste people forces women belonging to the lower castes like Mahar, Mang and Kolhati to dance on the stage and throw cash towards her to make her strip. The question is why one should preserve this folk art if this mentality is not changed.1
Veteran Marathi stage and film actor Nilu Phule who has acted in many tamasha-related films in his preface to the above mentioned book has said: “Most of the tamasha artistes are people belonging to the so-called backward and untouchable castes like Mahar, Mang, Kolhati, and Gopal. Indebtedness is a major crisis plaguing the tamasha industry. The tamasha troupe owners take loans from moneylenders and the tamasha artistes take loans from the troupe owners. Thus, all constituents of this trade – the troupe owners, the artistes and the labourers – are deep neck into the debt trap. A majority of those offering loans belong to higher castes. The women tamasha artistes have to surrender themselves to the moneylenders if they are unable to repay their loans. I have always wondered why these artistes, despite always living in penury have clung on to this folk art.”
The opposition to the obscenity in tamasha became more vocal after India gained independence. The chief minister of the Mumbai province B G Kher had imposed a ban on this folk art in 1948. A tamasha reform committee, led by Mahamahopadhyay Datto Waman Potdar, was subsequently constituted to recommend changes in the content and performance of the folk art. The committee suggested imposition of conditions like performance as per the written script, avoiding obscene dialogues, ban on the members of the audience physically touching the women artistes. The ban was lifted when the tamasha troupes agreed to abide by these rules. 2
The University of Pune’s Pawala Paththe Bapurao Sahitya, Sangeet, Lok Kala Academy and Pathfinder International had organised a tamasha festival and workshop in Pune in October 2007. A brochure released on the occasion speaks on the origin of this folk art. Accordingly, the word tamasha has apparently has its origin is Persian language and was adopted in Marathi language through Urdu. Some scholars believe the folk art owes its origin to the Muslim influence in the medieval period. The brochure underlines that the folk art remained confined to the Mahar, Mang, Gondhali, Kolhati and Dombari, the untouchable and other depressed communities in Maharashtra. Of course, the patrons of the folk art who socially, economically and sexually exploited the tamasha artistes were the upper caste people.
For centuries, the traditional professions in India have been caste-based and so was the case with several folk arts. Tamasha art was mainly developed and preserved by Mahar and Mang communities. The women of these castes used to sing and dance while the men used to also sing and play various traditional musical instruments like the dholki, tuntune, manjira, duff, Halgi, kad and harmonium. The caste of these tamasha artistes speaks volumes for the social status or reputation enjoyed by this folk art in the society as a whole.
The season for the stage shows of tamasha normally started after the Dasara festival, that is after the monsoon season and ended after the Askhay Trutiya festival which marked commencement of the marriage festival. During the marriage season and also during the annual village temple festival (yatra), the Mahar folks offered music accompaniment.3 I remember during my childhood, sons of my uncles used to play pipani, dholki and other musical instruments during the village marriages. Only after reading this reference recently did I realise the social factors connected to this seasonal job. It meant the seasonal job was also caste-based and that my maternal cousins may have picked up the musical skill from some elder members in the family. Some members of either my father’s family in Wahegaon or mother’s family in Ghogargaon might have been associated with the tamasha trade in some way or the other as was the case with most members of the Mahar community at that time.
Veteran Marathi poet Narayan Surve in his article on Shahir Annabhau Sathe also underlines the social stigma associated to tamasha. In his article written in 1969, Surve writes: “Twenty five years ago, the word ‘tamasha’ was akin to an untouchable. Tamasha meant a form of theatre which was not meant for the gentlemen or girls and womenfolk. It included a nachya, (a dancer boy or man with long hair) who made indecent and obscene gestures, sang sensual songs. It was believed tamasha spoilt the cultural taste of the gentle folks. The tamasha artistes are untouchable persons and to see this folk art was considered a sin.” 4
This was the social scenario which prompted Jacquierbaba to persuade the members of untouchable community not to allow their sexual, social and economic exploitation by the higher social classes. He indeed resorted to the coercion route when persuasion failed and the local Christians continued their association with this folk art. The school teacher (master) in the film Pinjara (Hindi version of this film was also made) forcibly halts staging of a tamasha show with the same conviction that the folk art involved unethical, sinful activities. The present Deputy Chief Minister of Maharashtra, R R Patil, has imposed a ban on dance bars in his state, on the ground that the singing and dancing by girls and women in hotels and bars is unethical and sexual, economical exploitation of the women concerned.
In the published writings related to the life and works of Fr Jacquier, I have never come across the campaign launched by this missionary against this folk art. Nonetheless, I have repeatedly heard from my parents and my maternal uncles about this priest’s solitary drive to bring down the curtain down to this stage art for once and for. My two maternal uncles, Shantwan and Waman Shingare, had for some years served as drivers of Fr Jacquier’s horse cart. There is not ground to doubt the credibility of the testimony of the old residents of Ghogargaon who had lived during the times of Fr Jacquier. My Mother, Marthabai, now nearing to be an octogenarian is also among those who had seen Fr Jacquier during his last years.
Fr Jacquier who was based in Ghogargaon since 1896 had earned the respect of the untouchable Mahar community - majority of whom had converted to Christianity - as well as the the upper castes Maratha and Brahmin communities. He also commanded respect among the government officials of the Hyderabad’s ruler Nizam. As an European and highly educated man, he was also feared by the otherwise powerful people in Gangapur and Vaijapur talukas of Aurangabad district. Under such circumstances, when Fr Jacquier single handedly opposed tamasha stage shows, there was hardly anyone who could challenge his moral or legal authority to do so.
Fr Jacquier had understood the social nature of this folk art. After arriving from France, Fr Jacquier had taken lessons in English and Marathi and acquired mastery over both these languages. Later, for several years, this French missionary used to teach the local populace to sing Marathi hymns and bhajans. He must have studied tamasha thoroughly before he decided to oppose on the grounds of its social and ethical implications.
It is said that whenever a tamasha show was staged in the villages around Ghogargaon, Fr Jacquier used to reach there. He would climb the stage and force the artistes to stop the show midway. Tamasha shows are always held at nights and continue till the break of the dawn. Jacquierbaba did not mind losing his sleep to travel a long distance at night if it meant preventing members of his flock from straying away from the moral path. He used to force the women artistes to unstrap the heavy ankle bells (ghoongaroos), each weighing five to seven kilos, and confiscate them. Sometimes, he also cut the long hair of the nachya to prevent him to play the same role at least for the next few weeks. Often, the priest used to return home carrying in his horse cart the dholkis (drums), cymbals and other musical instruments to prevent the tamasha troupe to stage another show.
Considering Jacquierbaba’s the strong opposition of Fr Jacquier to tamasha, it is doubtful whether any shows of this folk art were ever staged in Ghogargaon as long as this six ft-tall missionary was physically able to travel on horse back or in horse carts to stop the shows.
I have often heard my parents saying that two rooms in Ghogargaon’s church complex were filled with musical instruments confiscated by Jacquierbaba during his drive against tamasha. When I visited Ghogargaon in 2005, the local parish priest Fr Stephen Almeida endorsed this view. He told me that even he had heard from his parishioners that the musical instruments were stored in some rooms till a decade back.
Jacquierbaba’s drive against tamasha, of course, had social reference of the century-old period. Now, the times have changed and there are attempts by the government administration as well some cultural organisations to preserve this traditional folk art. However, despite the abolition of untouchability in India after the country gained independence, the caste-related references to this folk art have not changed. The tamasha artistes continue to belong to the lower castes like Mahar, Mang and Kolhati. Despite the state patronage to this folk art, tamasha artistes have failed to achieve economic prosperity or social respect. Artistes playing roles in Marathi theatre shows or in films now enjoy both prosperity and glamour. This fortune has eluded the tamasha artistes.
The exploitation of tamasha artistes has continued to this date as it was during the days of Jacquierbaba. No tamasha artiste would like her or his children to take up this profession. There seems to be some truth in the question posed by actor Nilu Phule as to why these artistes have clung on to this art if it has failed to offer them happiness and prestige. In the light of these circumstances, one may wonder whether the steps taken by Jacquierbaba to end this folk art were indeed in the interests of the tamasha artistes.

References:
1) Dr Milind Kasbe: Tamasha: Kala Ani Kalawant (Tamasha: Art and artistes) Marathi book published by Sugawa Prakashan, Pune (2007) (page 9)
2) As above, page 29
3) V M Dandekar and M B Jagtap, ‘Maharashtrachi Grameen Samajrachana’ (Rural social structure in Maharashtra), Publisher: D R Gadgil, Gokhale Institute of Economics, Pune 411 004 (1957) (Page 20)
4) Narayan Surve, “Manoos, Kalawant Aani Samaj” (Marathi), (Human, an artiste and the society), Published by Popular Prakashan, 36 C, Malaviya Marg, Mumbai, 400 034 (1992), (Page 68)
5) Dr Milind Kasbe: Tamasha: Kala Ani Kalawant (Page 51)
* *