Tunes of rebellion

In an environment that would like women not to be seen or heard, it brings hope when they take up most of the performance stage. From the beginning, ‘Why I Do What I Do’ established a connect. This was part of the ‘In Residence’ series at the recently held roots music festival - Jodhpur RIFF. Beginning with a dhera — a ritual of homecoming, the session showcased the art and artistic journeys of Maewa Sapera, Mamta Sapera, Prem Dangi, Hanifa Manganiyar and Kamla Bhatt. Originally an immersive theatre performance directed by filmmaker Suruchi Sharma and arts documenter Supriya, the programme juxtaposed performances with personal stories, told by artistes in their own voice. The session was moderated by the festival director, Divya Bhatia.

Hailing from Rajasthani folk communities that practice prescribed art forms, each of these musicians has chosen their art on their terms, taking on challenges and criticism. No one in Mamta’s Kalbeliya community plays the khartal (usually played only by men from the Manganiyar and Langa communities) — but there she was, not just playing it, but also the morching and cajon. Her parents clearly support her, considering that her father is making her a ‘been’ (usually played only by Kalbeliya men).

Kamla Bhatt is from the puppeteer community but her joy in singing film songs drew her to folk music. She can barely speak without bursting into song. Prem Dangi chooses to sing Mand though she is a postgraduate in classical music and a national-level kabaddi player. Maewa Sapera is a seasoned performer who has taken the Kalbeliyas’ songs all over the world. The quietness with which Hanifa Manganiyar spoke contrasted with the power of her singing voice. Having been initiated into music by her mother-in-law, Rukma Devi (famous for playing the Manganiyar dhol while singing), Hanifa is the sole breadwinner of a large family. When Mamta Sapera told her parents she wanted to do “something different,” her father gifted her three instruments (khartal, morching and bhapang) on her birthday. She turned to YouTube for lessons. “In 15 days, I learnt to play something and had to perform in public. I was very hesitant but my father insisted. I was worried that my gifts would be taken back, so I played the morching” she says, describing how she barely noticed her lips bleeding during the performance. “When my parents tell me, at least wear our traditional attire and play your instruments, I flatly refuse,” says Mamta, laughing. Her community judges her and her family because she “plays music with boys.”

Prem Dangi never expected to sing Mand professionally, but when she chose to, her parents were supportive. “They have suffered a lot in life and gave me the strength to walk alone,” she says. “My community objects to my musical career and wrongly predicted that no one would marry me. I used to wear shorts and a T-shirt while playing kabaddi. I never cared when people said stuff,” adds Prem, laughing.

Kamla Bhatt is often called “radio” by her group because she has a song for every situation. When asked what she’d say to people who ban women from singing, she says, “Singing comes from within. We have to sing to feel fully alive.” Hanifa Manganiyar was urged to step out of domesticity by her mother-in-law Rukma Devi. “Who will feed you when I die? Come and learn our songs. Take forward our musical legacy,” her mother-in-law had said.

‘Why I Do What I Do’ enabled conversations on issues like making a living through art, ownership of folk forms, women as song-keepers and inclusion.

Speaking about how this work came about, Suruchi Sharma says, “Women are not performing in the public domain because permissions and personal responsibilities stand in the way. Supriya and I wanted to create a safe space for women to share their experiences of making art. When we got support from Alliance Francaise and the Jaipur Virasat Foundation, we could offer workshops that led to the immersive theatre performance.”

Commenting on how the approach of women folk artistes is innately different, Supriya says, “It’s very healing how they sing together. Their songs are mostly about women and what they feel.” ‘Why I Do What I Do’ ended with a melange of song and dance as Kamla Bhatt distributed snacks to the audience. Surely only a woman would have thought of that.