Posts Tagged street

My piece for TFT (May 15 issue)

Raza Rumi reviews 25 years of the Ajoka theatre group and describes how it has evolved into a powerful voice against terrorism and injustice

Madeeha Gauhar, the founder of the Ajoka theatre group, is a woman of conviction and passion. So is her husband and partner, the muse of Ajoka, Shahid Nadeem. Seldom have talent and commitment been so well enmeshed and intertwined with contemporary realities and political struggles. Theirs has been an extraordinary union – a meeting of minds and convergence of political and cultural expression. Small wonder, that the Ajoka couple have successfully refined and expanded the frontiers of street theatre in Pakistan.

Theatre -of folk and nautanki varieties – is embedded in the myriad cultures of South Asia since ancient times. Early carvings and engravings indicate the performative mores of the inhabitants of this region. Over centuries the art forms evolved and absorbed the influences of invaders, new cultures and languages. In the subcontinent, the streams of progressive theatre found a new expression in the twentieth century with the legendary Bombay and Calcutta based groups such as the Indian People’s Theatre Association inspired by the ideologies of the Left. The existence of theatre with meaning continued side by side with the colonial influences that introduced Victorian sensibilities, led to adaptations of Shakespeare, and the localisation of other trends that were shaping in modern Britain and Europe. (more…)

My piece published in The Friday Times (October 24 issue)

Who is entitled to keep the child – one who is a better, nurturing mother, or the one who may be the natural mother but could not care for the child? The larger question then haunts the audience: who is entitled to ownership – the one who has the deed or the one who tills the land?

Ajoka Theatre has revived a production that was first staged twenty three years ago. A deft adaptation of Bertolt Brecht’s The Caucasian Chalk Circle, its vernacular version, Chaak Chakkar, is a timeless comment on the viciousness of Pakistan’s exploitative culture of power politics. Perhaps the duo, Shahid Nadeem the playwright, and Madeeha Gauhar the director, would have tried to capture bits of social reality in the mid 1980s when General Zia was still the Lord Master of Pakistan. Why did Ajoka choose to stage this after a gap of two decades?

As Madeeha Gauhar explained: “In 2008 one marvels at how Brecht had foreseen the chaos, the anarchy, the shameless switching of loyalties of recent years, especially since the return of the popular leadership exile.” The seat of total power, “symbolized as Lal Mahal, is uncannily similar to Lal Masjid and Lal Haveli of our times,” she added. (more…)