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13 December, 2014

मुक्ति --

मैं
जिंदगी में मौत
ढुढंता हूँ
और
मौत में जिंदगी .

दोनों गड्ड मड्ड हैं
मेरे लिए .

कमरे की चारोँ दीवारें
जो दरअसल
दीवारें ही हैं
छत सी लगती हैं
इन छतों पर
दिखता है
उछलते
फुदकते
कूदते
फांदते
छिपकलियां

मेरे लिए ये दीवारें
कभी छत नहीं बन सकती 
कोशिश कर
गर सर हाथ को झुकाकर
टाँग से मिला भी दूँ
तो भी
छिपकली नहीं बन सकता .

बहुत दूर का सफर
शरीर तय नहीं कर सकता
रूह जा सकती है दूर तक

शरीर को
कमरे की दीवारों में टॉक
रूह बन जाना  चाहता हूँ .

~~~ रामानुज दुबे



02 December, 2014

Telgu Short Film -"Tankbund"


Recently I received the copy of the short film ‘Tankbund’ from the director.  This is my first telgu short film and I am playing the role of Subbu, the protagonist of the film. The film is in regional language, story is local (from Hyderabad) but the appeal is universal. The film was shot in the last week of April (some patch up work in May) and rough-cut was ready in May. Then this project got delayed due to various unforeseen reasons. Now this short film is ready, hope, very soon this will be in public domain. Sharing some unofficial posters of the film ‘Tankbund’ here:- 






23 November, 2014

Notice to Pests



One fine morning, I was planning to go market. Baba (my Grandfather) wanted me to bring some articles for him from the market. He prepared the list, handed me over it and he proceeded to temple (part of my house) to worship. I put the list in my pocket, took a carry bag and went outside. The moment I opened the gate, I saw Puran, a fellow villager standing at the door. Before I could say anything, he asked ' Is baba (My Grandfather) in home?'
‘Yes, he is in temple, worshipping God’- I replied.
Still he was standing at the gate. I added- ‘He just went inside the temple, it will take at least one and half hours’
‘No problem. I shall wait for him’
‘But what work you have with Baba. Tell me, if I can do that work for you’-
‘oh! That works only Baba can do in this village.’
I became very curious. What work he is telling that no one but only my grandfather can do in this village. I told him to sit on Charpoy and asked again about the work.
When I persisted then with a faint smile on face, he told –‘I want Baba to write/ issue a notice to pests. Last night I observed many pests in my field. If notice is not given to pests, they will destroy the crops’.
What! Notice to pests- I could not resist laughing, but he was serious.
‘Spray pesticides in the field, that will help your crops’- I advised.
‘That I also will do, but these pests must be given notice first’ – he replied.
‘Ok- but why baba? you can tell anybody to write the notice’-
‘Only Sarkari karamchari ( Government official ) can write notice for this purpose’
‘but there are many government employees in the village’
‘but notice written by other 
Sarkari karamchari are not  so effective . Moreover, nobody knows ‘kaithy language’ in the village. Notice must be written in kaithy language. Then he kept on telling how such notice helps to keep away pests from the field. What I could fathom from his talk that, my grandfather was an ideal retired Government official for writing the notice. 

I remembered Kaithy was the official language of that area before independence. All land related documents (before independence) used to be written in kaithy only. As my grandfather knew kaithy well, many people used to come to him to understand the documents. He had resolved many land related disputes in the village. Nevertheless, notice to Pests in kaithy – this whole episode was amusing for me. I did not go market immediately, waited for my grandfather too. When his worship was over, he came out of the temple. I informed him about Puran and notice things. He smiled. He told me to bring a writing pad, notebook and pen. He wrote the notice on the paper and handed over to puran.
The content of the notice (written in Kaithy) was -

Shriman Lohtan singh & Party,
It has been observed that since yesterday you and your party have attacked the standing crops in the field belongs to --son of----, village ---, tahsil---. – is an honest farmer and he pays his tax on time. Attacking on field is amount to attacking sarkar bahadur. You and your party, hereby, directed to vacate the field with immediate effect. If you fail to do so, you will be punished severely.
on the behalf of government & farmer
-------------

I laughed when my grandfather read out the content for me. Puran took the notice, stitched that notice to a red cloth and at the end the cloth he made a loop and tied it with a long staff. Then he straightway went to field to put that staff in the field. My grandfather told him ‘this notice is not enough for pests. You should use pesticides or any other alternative for pests’ control’. 

When Puran left, I argued with my grandfather.
‘What do you think this notice will drive away pests from the field’- I asked.
‘I am afraid, they won’t. Not a single pest will be able to read my notice. Illiterate lot’- my grandfather mused. Seeing me serious, he told me –‘see, thousand times I told those who come for such purpose that notice, paper – these are just superstitions. These things do not have power to control pests.  Pests are 
 controlled by Pesticides  , spraying neem, hot ashes or other scientific methods. Here, many farmers of my generation believe in notice system.  They also understand that without doing scientific method pests will not go away, then also they use notice too. I do not want to be rude or impolite; I do it for free and do not forget to give advice that pests can be killed / controlled through scientific method only’. 


This incident took place almost fifteen years back. My grandfather died in October 2008. Since then, very few times I visited the village. Hope, by now this weird system of sending notice to pests must have stopped in the village.

~~~ Ramanuj Dubey

14 November, 2014

बालक - एक प्रतिक्रिया -

गांव की एक पतली पगडण्डी पर
लोटता हुआ बालक
मचलता है
लपकता है
माँ की ओर

देखता है
माँ की
धसी हुई छाती
फटी हुई साड़ी
ढीले पड़े शुष्क स्तन
बांहे फैलाये दो बेजान हाथ

बालक
ठिठकता है
रुक जाता है
माँ के कामों में
बिना व्यवधान डाले
अपने खेल में
मग्न हो जाता है

शायद
अपने तौर से
पुरे समाज की
खिल्ली उडाता है .

रामानुज दुबे









03 November, 2014

Name & Surname

Sometimes amusing discussion brings out interesting truth of our society. Yesterday I had very healthy discussion with one of my friends about ‘Name’ and ‘Surname’. This discussion reminds me two incidents that took place more than ten years back in Bihar.

During our graduation days, we had a good friend Rajesh Yadav. He was very popular among us. We had  given him many informal names .For us he was Raju, Raj, Rajesh, RY, yadav.  When his sister's marriage was fixed, he  invited all of us . We were the group of six and all of them reached to marriage house one day before the marriage ceremony. After reaching to the place, very soon we gelled with the family and took the responsibilities for arrangements of marriage ceremony. Among us, we had a friend Chandan, who used to address Rajesh as Yadav. Chandan was coordinating with labors for decoration. Many times, he needed Rajesh’s instructions for proper decoration of hall for that frequently he would call out ‘Yadav’.  After hearing his shrill voice, Rajesh would respond loudly either from second or third floor of the building. Everyone who was present there noticed this unusal but amusing way of communication. In night, after dinner, Rajesh’s uncle (perhaps he was a senior officer of State commission cadre) called Chandan and reprimanded him for calling Rajesh as ‘Yadav’.
Chandan was aghast. He remonstrated ‘But uncle from the beginning I have been addressing him ‘Yadav’. He never said me anything against it’.
‘ Addressing him Yadav appears very offensive. You may call your friend Rajesh by any names but when you use word ‘Yadav’ for him you should use ‘Yadav ji’ –uncle said this seriously.
‘Ji for friend ?'- chandan made a funny face.
“No – ‘ji’ to give respect his caste, his bloodline, his ancestors, his family. Here Rajesh is not only ‘Yadav’ whole family is .Name can be informal, Surname cannot be. It is better to address friends by his name but if you are using surname, you must give proper respect to Surname.”
Meanwhile Rajesh keeping fingers on his lips gave Chandan signal to keep quite before uncle. Chandan reciprocated accordingly. This discussion was over, but one good outcome of this discussion was that after that Chandan never addressed Rajesh as ‘Yadav’.

Second incident took place after few months of this incident. Bank Manager Mahto uncle had given a party in his house. Mahto uncle’s son Mithilesh is my friend. Mithlesh had invited some of his college friends in the party. His one college friend was constantly addressing him ‘Mahto- mahto’ loudly. One old woman admonished the guy – ‘Will you have to pay money or tax to say Mahto ji or Mahto Babu. You will not become small if you address your friend with respect. What kind of education you are getting in the college?’ his college friend was apologetic. Everybody present in the party agreed with the old woman.

These two incidents made me conscious about surnames. There is no denying the fact that India is a caste based society and a majority of our fellow citizens identify themselves with their own caste. Many people feel offended if their surname that generally denote their caste, not addressed with proper respect. Generally I address my friends by their names only but if I have to address by surname I never forget to add ‘ji or Babu’ suffix.  In my opinion giving respect to the name and the surname of any individual whether s/he is younger one or elder one, educated or illiterate, rich or poor, officer or peon is equivalent to respecting our self and we should respect our self.


10 October, 2014

मशाल



वह  जलाया गया बच्चा
जो कल दिन में मर गया
मुझे रात भर परेशान करता रहा .

 दांत भींचे
अपने दर्द को दबाते हुए
पूछता रहा लगातार
क्या ग्यारह मरने की सही उम्र है ?

मेरे हाथ में ना बन्दूक थी
ना कोई हथियार
ना बलिष्ठ काया
ना ही आतंकी इरादा
जिन्दा जला दिया गया
फिर भी
निर्बल था मैं
क्या निर्बलता की मुझे मिली सजा .

अच्छा किया
नहीं मारा मुझे बन्दुक की गोली से
नहीं कुचला
भारी-भरकम कील ठुंके बूट से
नहीं क़त्ल किया
विष चुभे खंजर से
जलाया मुझे आग में
लपलपाती आग
असहनीय पीड़ा झेलते जल गया मैं


आग की लपटों में
जलता जिन्दा  शरीर
मशाल बन मरता है
पर सोचता हूँ
क्या मैं बन पाउँगा मशाल
निहत्थे का
निरीह का
न्याय  का
शहर समाज के हर निर्बल गरीब का .

~~~ रामानुज दुबे









01 October, 2014

Cineplay



Today Evening I saw CinePlay ‘The Job’ at La-Makaan, Hyderabad. As per the advertisement of the organizer, CinePlay is the novel mode of theatre. The advertisement says, “CinePlay is a new genre of entertainment. It is a cinematic experience of theatrical production. The film making process is used to convey meaningful stories, in collaboration with the theatre director’s vision. A new language of cinema. It’s cinema, it’s theatre, it’s cineplay”.

What is CinePlay ?

CinePlay is a hybrid form of theatre and cinema. A play is recorded aesthetically then some film making elements are used to present video version of play to the audience. It is neither theatre nor cinema. Theatre has immediacy that immediacy you miss in CinePlay, as CinePlay is restricted to set design as per the play so it is hard to get the pleasure of film. CinePlay does not provide big canvass as cinema. It is devoid of complete pleasure of film & theatre.

Then what is the use of this format?

CinePlay does not provide the all elements of theatre and cinema to the audiences; it does not mean that it is a useless format. When a group performs a play, it undergoes a very arduous process from rehearsal to stage performance.  Director works on script, actors, set, light, music, blocking, stylization, costume etc. Actors work on characterization, speech, gesture, posture, diction, chemistry with co-actors etc. Once the play is ready, it reaches to audience.  Generally, any medium size good auditorium in any town/ city has two hundred to three hundred sitting capacity. If a group conducts ten shows, it will have maximum reach to two thousand to three thousand people. For every performance group will have to conduct rehearsal, booking of auditorium, coordination with organizer/ producer.  Sometimes costs of these efforts become quite huge than returns. Regular shows of any play needs dedicated director, disciplined actors, functional group, good public relations with all stake holders, sufficient resources be it – human or finance. CinePlay is the shortcut solution to such problem. Do a play, get it recorded, put some elements of cinema to enhance the quality of the play and conduct the show when audience is ready.  CinePlay does not require theatre or auditorium, it can be shown anywhere, and it requires a projector and laptop. Cineplay can have wider reach to audience than the actual play but it will never be as effective as play. CinePlay can also act as the documentation of play and it can be shown to audience/ public even after a long time.

Is cinePlay a new genre of entertainment?

No. CinePlay not a new concept, not a new genre of entertainment.  In fact, Doordarshan channels (DD-1, DD- regional channels, DD-India, DD-Bharti) have been telecasting recorded plays of good directors from long. Many plays from Patna and Delhi theatre have been telecasted on national channels.  DD regional channels Bihar and Bhopal (MP) regularly presents recorded plays. Doordarshan national channels have been telecasting theatre groups’ play and these plays getting wider audiences. The nomenclature of recorded play ‘CinePlay’ is new but not the format.

Almost all the world classics are available on you tube.  Many theatre group, educational institutions, Drama Schools have uploaded their video in part/ full on you tube. These uploads qualify the definition of CinePlay.

Do I enjoy CinePlay?

Frankly speaking – No & Yes. I find it is very cumbersome to see recorded plays. I enjoy watching play live. That enjoyment CinePlay cannot give at any cost. However, I confess, the plays that I performed, or the plays I watched live and like it – I love watching recorded version too. I saw the plays of famous Surabhi theatre Group (AP) on DD national three years ago. I got exposure of hundred-year-old theatre group through recorded version. Hope, I will get the opportunity to see the group’s performance soon.

I have been moderately involved in Hyderabad theatre and feeling a part of theatre fraternity. Being a part of theatre fraternity, I feel that Hyderabad theatre has very little exposure to theatre of other places. Patna, Bhopal, Mumbai & Delhi have done many experiments in theatre and produced a good number of national and international productions. Hope, Hyderabad theatre will have good exposure of theatre from different part of our country through CinePlay. If it happens, Cineplay will do real service in theatre to this city.

26 September, 2014

HAIKU XXI



I

Lumbering woes
Congealed
Silent sufferings


II

Inhaling coffee
At bedside
Hypnotic Morning


III

Brings everyday
A new hope in the life
Chirping birds


~~~ Ramanuj Dubey 

25 September, 2014

उस पागल का प्रलाप -


उस पागल का प्रलाप


पानी सड़ चुका है
हवा सड़ रही है
जमीन आधा से ज्यादा
सड़ चुका है
हम सब जिन्दा हैं
सड़ते हुए
एक दिन
सड़ते सड़ते
मर जाएंगे .

सुबह -सुबह
बिंध  रहा था मेरी कानों में
उस पागल का अनर्गल प्रलाप

चिल्ला रहा था जोर जोर से

मार्स , वीनस
कहीं पहुँच जाओ
तुम सड़ा दोगे उसे भी

जगह पलायन करने से क्या होगा
दिमाग में तो लिए जा रहे हो सड़ांध ही

चार डग खोज रहे हो रोज
ताकि मौका मिले
सड़ाने गलाने के लिए और

तुम पलायन कर सकते हो
पृथ्वी से मार्स या वीनस
मिल सकता है
सब कुछ ताज़ा
क्षण भर की ताज़गी

हमारा पलायन होता भी है तो
बस एक सड़ी जगह से
दूसरी सड़ी जगह तक

हम तो पलायन करना ही नहीं चाहते
सड़े जगहों में भी
हमने भी तक बचा रक्खी हैं
जीने भर की ताज़गी .

पर तुम्हारे कुकृत्य
हावी है हमारी हर जगह पे
सड़ रहा है धीरे -धीरे
हर एक कोना
हम
मरने के लिए विवश
सड़ते हुए
तुम्हारी सड़ांध के बीच

और वह पागल
बेजार रोने लगा
पुरे पेट से
मेरी आत्मा हिल गयी

मैंने डरते हुए पूछा
कौन हो तुम ?
उसने अट्टहास करते हुए कहा
तुम पूछते हो की मैं कौन हूँ

मैं हर आदमी का
शैशव हूँ
किशोर हूँ
जंगल हूँ
खेत खलियान हूँ
पहाड़ हूँ
पत्थर हूँ
समंदर हूँ
तुम्हारे बीच का ही
आदि मानव हूँ
किसान हूँ
तुम्हारा पूर्वज भी  हूँ
और कोमल सा पाषाण भी

~~~ रामानुज दुबे

24 September, 2014

Rural Rag - I


Tonight I was going through some old files in document section of my computer. I saw one file of my rural internship. I had done internship in February 2010   with Gramin Vikas Trust ( GVT ) at Meghnagar, Jhabua ( MP ). Saw many old photographs of Villages, villagers, project officials, my batch mates. During internship, I was invited by locals to attend their local festivals & marriages. Found their events’ photographs too in the folder. Then I found a word page with incomplete paragraph with raw data with some footnotes. The paragraph was about ‘a profile of a woman’. Among many projects, assignments and write-ups, one assignment from our institution was to write a profile of a woman from internship area. For this assignment, I had interviewed / interacted with three women and regularly I used to observe their routine, life style, food habits, health & hygiene, livelihoods, struggles and all other aspects of their lives.  I had maintained a diary for this. When I was preparing report, then I found that   out of three women, I had only one photograph of the woman. As for assignment point of view, I had to submit only one profile; I submitted the profile of that woman whose photograph was available with me. Rest two profiles I had collected for myself to do comparative studies.  Once I came to Institution from the internship, I became very busy for semester exam and never got leisure time to complete the profiles of other two women and do comparative studies.

Today, when I saw incomplete paragraph about the ‘Profile of the woman’, the whole episode came before my eyes. My interaction with Amma and their children, her poor health and her unsympathetic husband – everything became alive. Today I completed the profile but I am not sure about the correct name of the amma or her husband as there are many names in the word file (perhaps Basanti & Badiya Devle  as far as my memory goes by seeing foot notes ), but they were Devla family, I am dead sure about it. The profile of the Amma as in 2010 is given below, hope, in these four years her condition must have ameliorated.

Profile of the Amma ( 
Basanti devla )
Basanti devla wife of Badiya devla belongs to Futtalab village of meghnagar block in jhabua district. She is aged about 32 yrs. Old. She belongs to scheduled tribes. She lives with her husband and six children, three boys and three girls. She is illiterate and has one-acre dry land.                                                                                                               
Basanti devla got married with Badiya when she was 16 years old. During her sixteen years marriage she conceived ten times but four children could not survive even one year. She lives in small hut that is dark, damp and dingy. Her health condition is not good. She falls ill regularly but nobody cares for her health. Every day she works more than twelve hours in the house. She would like to work outside to earn money and ameliorate the condition but poor health condition and burden of looking after three small children do not allow her to do so. She has a faint idea about NREGS programme. Neither she nor her husband has NREGS job cards.
Her husband Badiya works in a godown as a labor at meghnagar. He gets 100 rupees every day. Generally, he works 24-26 days in a month. He drinks everyday and in inebriated condition, he beats Basanti without reason. He does not ask her anything in the household matter. She feels humiliated but she has no option but continue to live in this condition.
There is no food security in her family. One-acre dry land gives her three months food security. She has white ration card but ration given to her at public distributive system is not sufficient. Rest of the year she completely depends on her husband’s earning. As her husband is irresponsible man, she has really a very hard time. Main food of her family is roti. Dal or vegetable is one kind of luxury for them.
Her two children are enrolled in the village primary school but they do not go to school. The elder boy has got so many sore in his leg and body. His fellow students despise him. Even teachers do not want to see him in the school. The elder girl lives all day in the house and support mothers.
 Basanti is not happy with her life. She feels her life is useless. She would like to do something for her family and children but she does not know how to do it. Will she come out of poverty in this life; this question haunts her all the time.


PS :- As a rural development professional I  have prepared many documents, numerous  monitoring and evaluation reports, Project proposals, Project reports , perspective plans, etc but going back to basics and micro level gives a very child like joy. Feeling very strange kind of happiness to complete this document.  Apart from happiness such micro level knowledge always inspires to do best at macro level and such experience always helps me to become a better person.

 ~~~ Ramanuj Dubey

आँसू -


मेरी आँखों से
निकलते ये आँसू
दरअसल ये मेरे नहीं हैं
ये  आँसू तुम्हारे हैं
जो अक्सर बह जाते हैं
मेरी आँखों से .

ये आँसू
ना अनमोल है
ना बेशकीमती

ये अब बस दो कौड़ी के है
जिसे ना बाजार से नापना चाहता हूँ
ना समझना चाहता हूँ -

~~~ रामानुज दुबे