“We have been performing in India for over 26 years now. We have always received warmth, affectionate applause and appreciation from the audience, from the media and theatre critics,” says Shahid Nadeem, the leading Pakistani playwright and theatre director who is in Delhi in connection with the four-day theatre festival at the Kamani auditorium.
There is a long queue in front of the main gate of the auditorium one hour before the show begins. Such massive response to a theatrical event in Delhi is a rare phenomenon, he continues, “Even in theses tense times when the governments of India and Pakistan were on the verge of war, we carried on with the crusade for peace. Our work has special focus on peace and social justice.”
The four plays enacted at Kamani mesmerised a jam-packed hall.
“Kaun Hai Yeh Gustakh” brings alive the life and times of one of the greatest story writers of the subcontinent, Sadat Hasan Manto, with telling effect. The communal frenzy, the savagery of men-turned-hardened murderers and the torn-soul of the writer forced him to leave his beloved Bombay in the wake of the Partition. The fourth play, “Lo Phir Basant Ayee” is a celebration of life affirming forces.
All the plays are written by Shahid and he has also directed one. The rest are directed by Madeeha Gauhar.
On what endears Shahid, Madeeha Gauhar and their Lahore based group Ajoka Theatre to Indian theatre workers, he says, “Our artistic credo is to make theatre a vehicle to establish a secular, democratic and egalitarian society and these are the themes which are also common in Indian theatre. In pursuit of these ideals we have collaborated with Indian theatre groups to promote themes of common interests. We have also invited Indian teams to Pakistan and held several Indo-Pakistan festivals.”
Formed in 1983 during General Zia-ul-Haq’s repressive regime, Ajoka has not only survived but thrived in the turbulent socio-political history of Pakistan. Today the group is respected by the world theatre community for its innovative use of traditional theatre of Pakistan, affirming to human values.
On the difference he finds working under military dictatorship and in present democratic system in Pakistan, Shahid says, “Doing socially meaningful theatre in Pakistan has always been a challenge. The authoritative regimes tried to suppress theatre or ban it but even civilian governments look at it with suspicion. There is no support for such theatre from the government or corporate sector. But we have managed to carry on for over three decades, mainly because of the commitment of the team and support from loyal audience. Now the major threat to our work comes from non-state actors such as Taliban and ultra-right religious groups but the struggle against extremism and violence is a common cause for all secular and democratic forces in Pakistan. We are part of it.”
Talking about government grants, he comments, “The government sometimes becomes hostile and at the best of times it is indifferent. We are happy with its indifference as long as it lets us perform. Very recently some departments of the government have shown interest in hosting our performances but dealing with politicians and bureaucrats is quite time consuming and frustrating.”
On the role of Pakistan civil society in combating terrorists’ threats to arts and culture, Shahid says, “The rise of religious extremism has had its roots in the genesis of Pakistan which was created in the name of Islam. The violent extremists were pampered and groomed by the establishment, especially during the CIA-led anti-Soviet war in Afghanistan. But when the monster of the so-called Jihads started devouring its own creators, Pakistani establishment was forced to take action, stopping supply of funds and ammunitions to these elements. In fact, the jihadi forces are on the run right now and the civil society is fully behind army’s operation: Zarb-e-Azab. Groups like Ajoka have waged war against jihadis through art and culture and have received full support of the masses.”
Elaborating on the place of art and cultural in a society threatened by terrorists, Shahid says, “You see Pakistani society is not monolithic one which is dominated by mullahs and military. It is a vibrant society and its people want progress, prosperity and access to technology. Pakistani youth in particular are technically-savvy, quite in tune with the youth in other parts of the world. They are a big force for modernisation and liberalism. Pakistani artists are fairly secular and liberal in their outlook. The contours of these vital changes are emerging in the socio-political landscape of Pakistan, and gradually acquiring powerful voices. These changes indicate a better future for the growth of art and culture.”
