Wednesday, September 25, 2013

The Black Woman Who Fought Discrimination -Sudeshna Sarkar



Eery few people know Krishna Kunwar of Baitadi. But to 50 Dalit families in Kanchanpur, she is the gutsy saviour who has been fighting to help them find a roof over their heads.
The families have leprosy and the government made some provision for them to live in a community forest in Kanchanpur. However, the forest officials sought to evict them, saying they were felling trees. It was Kunwar who took up their cause, running tirelessly from one government department to another to rehabilitate the families.
During one such journey, Kunwar was intrigued to see a group of people watching something intently and occasionally, cheering lustily. There were women among them and some of them wept. A curious Kunwar alighted from her bus to see what was going on. That was how she became acquainted with the tale of Kali, the ‘Dalit Aimai’ who has been spearheading a new struggle for women’s rights in the far west.
"Kali Aimai", the brainchild of the Office of the UN High Commissioner for Human Rights in Nepal, is a street play that has been performed in nearly a dozen far western towns to spread the message that the times have changed. The government has abolished untouchability and the haliya system of bonded labour. Also, it is a punishable offence to accuse any woman of being a witch and ill-treating her.

"‘While working in the far west, we found rampant economic, social and cultural discrimination," says Chitralekha Massey, coordinator of the OHCHR anti-discrimination theatre campaign that is sponsoring the street play. "‘There is a link between poverty and discrimination. For the poor, there was a complete sense of resignation: people accepted their fates as their karma, kismet. The complete culture of impunity in the legal framework contributed to it."
OHCHR started its campaign with a comic strip to teach victims and their families how to make a police complaint. It was followed up with one-minute video clip against the custom in the Terai and elsewhere of attacking women on the belief they were bokshis – witches. The clip was beamed by NTV in collaboration with the Prime Minister’s Office and other ministries.
However, the campaign could not reach rural Nepal, where there is scant electricity and literacy. "We needed to take the campaign to the community level," says Massey. "That’s when we thought of the anti-discrimination theatre campaign."
Actors’ Studio, the theatre company that has carved out an original identity by staging plays on issues of social relevance – the oppression of minorities, pollution, crime and terrorism and HIV/AIDS – was given the task of taking the play to five far western districts. The story of Kali and Harka, a Dalit couple who refuse to work as haliyas for the village strongman and are victimised by him has been written by Khagendra Lamichhane. While Anup Baral plays Harka, Kali is played by rising actress Dia Maskey, who created a stir with her debut in the supernatural thriller Kagbeni by Bhushan Dahal.
The play uses the simplest props while the actors play several characters. Performed at market places, bus stations and village meeting points, Kali Aimai is a play within a play, beginning with the plight of a director who is forced to coach the villagers to perform his play after his actors fail to arrive due to a bandh.
When the landlord tries to punish Harka and Kali for refusing to slave for him and accuses Kali of being a witch who tried to kill his wife, her humiliation at the hands of his goons however triggers angry protests from the villagers who demand that the director change the script to punish the landlord and his henchmen.
While performing the play in different villages, the actors used local dialects to make the story seem like the audience’s own. They would also listen to suggestions by the villagers and incorporate them in the next performance. They were urged by women to include tales of the ordeals suffered by women during menstruation, when, traditionally, they are not allowed to enter the household. The team was told that even some government schools in the far west did not allow menstruating teachers to take classes.
Massey says that in order to make the campaign really effective, there was a need to make it go beyond the one-time performances. So the play was followed by a workshop where local artistes were coached to stage the play and also given a financial contribution for a show.
There was a tremendous response to the workshops, says Tanuja Basnet, a researcher with OHCHR. While the play was being staged in Baitadi, Dalit artistes walked for two days to make it to the venue. In Dhangadi, local actors cycled for four hours through a bandh.
Baral says he was moved by the response. "I don’t know how much we can influence audiences in Kathmandu who come munching popcorn to watch our shows. But I was moved when someone in a village gave us RS 101 as prize. We ought to perform more in villages where we can touch people’s hearts and inspire a change in society."
The play about discrimination against Dalits has Dalit members in the cast. Hira Bijuli Nepali, a 20-year-old from Mugu district says he is in the play as an ‘investment’ for his Dalit brothers. "I want to take to remote places the message that the times have changed,"’ he says. "People also need to change."
Massey says after the response in the far west, OHCHR would like to replicate the project in the other districts for a year. "We would like to partner with the National Human Rights Commission, National Dalit Commission and the Women’s Commission," she says. "Finally, we would like to fire one big bang in Kathmandu with local artistes from all corners of Nepal performing on one platform." 

source: gorkhapatra

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