Pakistan's Ajoka Theatre derives its life-breath from its theatre of defiance. A platform for venting unheard, muffled voices, the group started by Madeeha Gauhar, has managed to keep its identity despite hurdles. At the ongoing 13th Bharat Rang Mahotsav in New Delhi, the group will stage “Dara,” a play based on the Moghul prince. Penned and directed by Shahid Nadeem, the Executive Director of the group and author of over 30 plays, the play intends to give a different perspective of history. In an e-mail interview, Nadeem talks about Dara Shikoh and keeping up the spirit of protest.
What drew you to Dara Shikoh, a figure on the sidelines of Moghul history? Was the reason for choosing Dara also his secular outlook and his relevance today?
Who would not be drawn to such a fascinating character? A Moghul crown prince, a devoted son, a loving husband, a Sufi, a scholar, a poet, a calligraphist and a patron of fine arts and above all, a martyr to the cause of religious tolerance and harmony. Dara has been a closely guarded secret in Pakistan while his assassin brother Aurangzeb is presented as the model Muslim ruler. Sick of the fundamentalist and extremist version of Islam, I felt the story of Dara has to be told.
Your writings have constantly dealt with bold themes. How much have the social realities you live in seeped into what your writingsandis it to balance the idea of socially-relevant theatre and literary quality?
I have always been an activist playwright and firmly believe that there is no conflict between literary and artistic quality and social relevance. For me, entertaining my audience is as sacred as educating them. I think social reality is an inexhaustible source for great literature and drama. Balancing social content with artistic quality is always a challenge and I have enjoyed walking this tightrope.
Ajoka has always had anenduring relationship with Indiaeven on occasions when there were no contacts between Pakistan and India. Over the years, how has the idea of cultural exchange between the two countries evolved?
India has always been an integral part of our consciousness either as an enemy or as a blood brother. People have always found ways to circumvent the barriers created by the two governments. Bollywood and Indian songs have remained popular even in the times of worst border tensions and wars. We found our comrades across the border equally enthusiastic towards building people-to-people relations and confronting forces of hatred and prejudice. We have performed all over India. From Kashmir to Kanyakumari, sometimes at places where the audience was totally unfamiliar with the language and everywhere we have received standing ovations. The most memorable was the 3,000 strong audience in Thrissur, Kerala, a few weeks after the Mumbai terror attack.
Similarly the maddening applause which Indian plays received at our Panjpaani Festival, was rarely received by Pakistani groups.
In its almost 30 years of existence, Ajoka has stood for theatre of defiance, performing socially relevant plays and youhave undergone imprisonment during different regimes. In terms of artistic freedom, where does Pakistan stand today?
We have been fighting on the theatre front for nearly 27 years. We have defied the military rulers, authoritarian regimes, fundamentalist groups; we have defied the civil and military visible and invisible establishment and helped establish a theatre of resistance in Pakistan. Today, the State is less meddlesome and the governments less oppressive but there are other forces which are posing a serious challenge to the freedom of cultural and political expression. Previously, we looked apprehensively towards the hall doors for a raid by police; we now look fearfully towards the audience for any terrorist who might have sneaked in.
As the executive director of Ajoka, what do you think are the challenges for the company today?
Ajoka is still there after 26 years but we are lonelier than ever. There are fewer like-minded theatre groups than there were in the 1980s. The corporate sector is less supporting than before and the audience less committed than in the Zia (Zia-ul-Haq) times. We have to fight an indifferent establishment, an insensitive corporate sector and a hostile religious lobby. But we have to go on; we will be crushed if we stop. Most disturbing was the murder of Punjab Governor Salman Taseer, a great patron of art and a friend. He had shown support for a helpless Christian woman sentenced to death for false blasphemy charges. Mullahs refused to attend Salman's funeral prayers. Bloodthirsty protestors threatened to kill those who condemned the murder. Last Monday, we performed a play about blasphemy law and dedicated it to Salman. Outside on the Mall Road were thousands of frenzied protestors demanding death to the supporters of Salman. So the challenges are huge but our morale is high.
(The play will be staged on Friday at 7 p.m., Kamani Auditorium)
