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Navratri is a time for villagers to inculcate patriotism through drama

By Uday Mahurkar

The success of our armed forces in pushing back the intruders from Kargil last summer was a demonstration of their indomitable spirit. Fighting determined opponents in a harsh landscape despite being hamstrung by inadequate supplies and outdated equipment, their spirit was perhaps the deciding factor. Where, one could ask, does this spirit come from? The rigorous training the Indian Army imparts to its men does help, but perhaps the answer can be found in the numerous villages across India from where the recruits come. Villages like Panshina, a nondescript dot on the map, with about 2,000 inhabitants in Gujarat's Surendranagar district. A visit to the village during Navratri, the festival dedicated to Goddess Durga, can help one understand where the spirit of the Kargil heroes could have come from.

A tradition that seeks to instil a sense of bravery among the locals has existed for close to a century now in Panshina, with the villagers using the traditional drama form to inspire the village children. "Plays based on veer ras (bravery) rather than shringar ras (romance) are very popular here," says Ravishankarbhai Raval, a stage artiste. The effect is tangible. Says Bharat Koli,19, a farmer: "The element of veer ras in these plays pours iron into our veins."

So every Navratri -- the nine sacred days of fasting and worshipping -- the exploits of brave historical and mythological characters like Arjun, Prithviraj Chauhan, Chhatrapati Shivaji and the heroes of Chittor come to life. "The brave characters in these plays keep ringing in the minds of children for months," says Harishankar Bhatt, 70, a retired schoolteacher who has directed a number of plays. Bhatt is the son of Bhaishankarbhai, a famous stage artiste and one of the pioneers of this tradition.

On three nights during the religious festival every year, the villagers usually choose one from Prithviraj Chauhan, Chhatrapati Shivaji, Jai Chittor and Draupadi Vastraharan to put up on stage. Each of these is a full-fledged stage show lasting more than two hours. Nearly 4,000 people from the surrounding villages flock to Panshina on each of these three nights.

The culture of bravery taught by these dramas is evident in the strong views held by the men and children on the need for India to respond forcefully to any military challenges, especially from Pakistan. Says Laxman Koli, 30, an illiterate diamond polisher: "Our response to Pakistan's provocation is meek. Our country doesn't lack patriotism or bravery but our politicians lack the will to tap them. Unless we talk to Pakistan in its language, it will not be deterred."

It's no wonder then that when Chhatrapati Shivaji tears open Afzal Khan with his tiger claws on stage in the re-enactment of the famous duel that laid the foundation of national resurgence, the eager crowd goes into raptures.

The dialogues of Prithviraj Chauhan are similarly dramatic and patriotic. When Shahabuddin Ghori captures Prithviraj and asks him as to what his last wish is, the king of Kannauj replies proudly, "I don't make demands. I only make wishes. And I wish my body be draped in the earth of my motherland before my funeral." Also figuring in Prithviraj are Prithviraj's brave captains, Baluk Rai, Chamund and Hahuli Rai. Chamund dies fighting with a wooden sword in hand in keeping with his vow never to hold an iron sword. Then in the version of the Mahabharat there is the famous mace duel in which Bhim breaks Duryodhana's thighs and keeps the vow he took when the Kauravas dishonoured Draupadi.

It's no surprise then that for the people weaned on such fare, the daily reports from Kargil last year were very popular. The villagers would sit glued to the handful of TV sets in the homes there. Two of them recently made it to the barracks from Panshina, and others are now queuing up to join the army. It looks like the heroes of Kargil are truly moulded in places like Panshina.

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