ISSN No.

0974-035X
An Indexed Refereed Journal of Higher Education
Towards Excellence
UGC-ACADEMIC STAFF COLLEGE,
GUJARAT UNIVERSITY, AHMEDABAD, INDIA

NATURE OF ‘POLITICAL’: MAHASWETA DEVI’S MOTHER OF 1084

Dr. Haresh Kakde

Abstract

This paper discusses different definitions of political theatre and it evaluates as well as re-defines
the nature of ‘Political’ that is used in Mahasweta Devi’s Mother of 1084. Basically, the play
deals with Naxalite movement that began in a small village of West Bengal during 1970s and the
effects of the movement influence socio-economic and political conditions of middle class as
well as capitalist society. Basically the Naxalites look after middle class society as government
authorities unable to bring transformation in their conditions. So there are conflicts between
Naxalite movement that wants to bring transformation and Power structure-Institutions of the
nation that wants to suppress the voice of the Naxalites at various levels. Therefore, operation of
working larger power structure of institutions towards middle class society becomes pivotal issue
that leads to label Mahasweta Devi’s Mother of 1084 ‘Political’.

Key Words: Political theatre, Naxalite movement, Power Structure

INTRODUCTION

To understand the nature of ‘Political’ in the play, Mother of 1084 by Mahasweta Devi, need to
look at the operation of Naxalite movement. The Naxalite movement began in a small village in
the West Bengal during 1970s and extended its influence to nearby States and raised questions
on the Constitution of India. The echo of such event can be heard in Mahasweta Devi’s play

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Mother of 1084. “Set in the urban Bengal, the play realistically portrays the climatic phase of the
annihilation of the Naxalites of the 1970s” (Sarkar, 255). Further,

The 1970s remains an unforgotten decade in Bengal’s memory because there was total
break that happened in the communication between the people and a popularly elected
government of a democratic nation, a situation that bred mutual suspicion and distrust. It
took a decade, many lives and a change in political dispensation before a semblance of
order could return to the state (Sarkar, 255).

Further, Mahasweta Devi states the nature of Naxalite movement during 70s,

In the seventies, in the Naxalite movement, I saw exemplary integrity, selflessness, and
the guts to die for a cause. I thought I saw history in the making and decided that as a
writer it would be my mission to document it (qtd. in Lahiri 6).

G. P. Deshpande notes the contribution of Mahasweta Devi in the following words,

Mahasweta Devi, very eminent writer of fiction, has been active with tribals of the West
Bengal and Bihar. In this play she looks at the urban Bhadrolok Bengal in the context of
the rising people’s movement and offers us a view of politics which is both moving and
disturbing (579).

Thus, the period 1970s shows leftist and democratic ideologies that are in conflict and the effects
of the conflict fall on socio-economic and political conditions of different strata of society.
Therefore, the thematic analysis of the play, Mother of 1084 attempts to highlights the nature of
‘political’ by transaction of middle class society to the capitalist as well as larger power structure
of institutions. We need to look at different definitions of political theatre and the application of
these definitions to thematic analysis of the play leads to label the play political.

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DEFINITIONS OF POLITICAL THEATRE/PLAY

According to Postlewait, in the context of theatre and drama,

The idea of ‘the political’ (or ‘politics’) can be defined broadly, perhaps, in two ways.
We can investigate the political topics, themes, issues, viewpoints, and agendas that get
expressed in plays, productions, theatre groups, and artistic movements. On the other side
we can describe the political conditions within the historical matrix that shape dramatic
literature, the theatrical arts, performance events, and cultural practices (Postlewait 197).

With the definition of political theatre that is given by Postlewait, the definition of political
theatre that is given below by Goorney (2009) seems to support and further add vision and motif
to political theatre.

Though all theatre is, in a broad sense ‘political’, the term ‘political theatre’ has been
accepted as defining a left wing theatre that is critical of the capitalist system and
expressing in its work the need for radical change.

The first part of the definition mainly focus on the plays written with the intention to show
authority (power) and it is a medium of propaganda while the second part leads to think the
artistic activity to portray through situations or contexts to reflect, condemn or support for the
purpose of propaganda and reformation. The view which is expressed by Goorney adds to the
second part to Postlewait’s definition and he opines that political theatre can be seen to be a part
of particular theatre group that acts against the present authority, and attempts to bring
reformation in those areas where authority didn’t pay attention for their own purpose or for the
sake of power politics.

In the context of Goorney, we can also apply the views of Sundar, who uses the term ‘protest
theatre’ that can be identified with political theatre (123). Sundar also supports the definition
provided by Postlewait and adds that Political theatre deals with political ideas and concepts in

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an attempt to attack or support a particular political position (123). Moreover, “the political
theatre seeks to connect the various pretty frauds, lies, deceptions and violence to the ruling class
to the historical process, to its terror of extinction, its dread of masses, to its inevitable
dissolutions” (Dutt 16).

Therefore, political theatre as an instrument which is constructed under the historical matrix and
it is against authority to change/abolish the dominant-capitalist, ruling party ideology and also
against the mass- gender, marginalized class, and caste. The themes like power structure of
institutions, contrast between middle class and upper class society, and disintegrating
relationships highlight the nature of political at various levels.

POWER STRUCTURE OF INSTITUTIONS

Mahasweta Devi’s Mother of 1084 deals with a theme of ‘power structure of institutions’
concerning government authorities and political parties focusing on the operations of power in
dealing with marginalized section of society and capitalist landlord.

While Brati, Sujata’s son, receives a call from one of his friends Nandini, he receives news of his
friend, Somu and his group that have returned to their locality. Therefore he gets ready to move
to meet them. Observing such unusual behaviour of his son, Sujata, his mother asks him what
has happened. He simply says he has to go for some important work. He says he will be late
therefore he may stay at Somu’s home. In fact, the reference by Brati to danger underlines the
unseen power that operates within the play. Under the context of danger, his mother shares the
prevailing alarming situation in Calcutta.

BRATI (on guard): What do you mean by danger?

SUJATA: How would you know? You never had time to read the papers. All that’s going
on in Calcutta! Young men from one locality aren’t allowed these days to visit a
different locality. They get killed if they do so. Somu’s is a safe neighbourhood
(Devi 694).

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Here, it seems upper middle class society thinks that what is happening in the form of violence is
happening elsewhere. It cannot affect to their routine lives. But such violence enters into upper-
middle class society. They are not aware of that it can equally affect to them like middle class
society. So violence is not only haunted middle class but upper middle class society too and it
keeps them conscious towards unseen power structure.

Another instance of power structure occurs in the play when a mob consisting of neighbourhood
people who are goaded by the political parties and government authorities or college students for
the sake of financial assistance become an instrument to provide information of Naxalites to
police in disguise. While Sujata comes to visit Somu’s mother to know the activities in which her
son, Brati was involved, Somu’s mother shares details of the conspiracy to kill youngsters
including her son. Even the police did not come to save the youngsters. They sent their vans to
collect the dead bodies. After the mass murder, the same mob that killed youngsters threatens the
family members:

SOMU’S MOTHER (diffident): They threaten my daughter because you come here.
SUJATA: Somu’s elder sister? Who threatens her?
SOMU’S MOTHER: Those who killed Somu and his friends. Who else?
SUJATA: The same crowd?
SOMU’S MOTHER: They tell her, why does she come to your house? Forbid her. It’ll be
dangerous otherwise (697).

Here, we can find how power structure is working against a middle class society as well as those
who look after the marginalized section of society. The mob consists of those people who are
instigated by political parties as well as police to fulfill their need like financial assistance, and
unemployment. Therefore the mob follows blindly the instructions that are given to them.
Therefore middle class society cannot complain against such mob who gives threats. Therefore
the burning question is who is going to look after the middle class and marginalized section of
society? And how can they fulfill the routine requirement for their family? So these questions
raise our attention at the faulty system after political independence of the nation.

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CONTRAST BETWEEN MIDDLE CLASS AND UPPER CLASS SOCIETY

The contrast between middle class and upper middle class society highlights the reasons of
youngsters to question the Constitution of India. While Sujata searches for her son, Brati’s
activities and reasons of his untimely death, she comes at one of his friends, Somu’s home and
she meets his mother. His mother shares the youngsters of the locality are homeless and families
have disintegrated. Further she shares after the attack on their sons’, the middle class society is
further degraded.

SUJATA: Aren’t things all quite now?

SOMU’S MOTHER: Quiet, sister? How can there be quite with the mother’s heart
burning like bodies on fire? My daughter too burns. It’s not easy to give tuition
and earn enough to feed two souls, mother and daughter. What can I tell her?
With all the attention we paid to Somu, we never had time to look to her
schooling. And Somu had to leave us behind, all at sea! To think of that … (690).

As the corruption, poverty, and unemployment put the life of middle class society into lower
grade, it is almost impossible for them to have a better life. As an aftermath of the state
repression of Naxalites, the condition of middle class society further degrades. Even they are
unable to get basic requirements for livelihood. Somu’s family expects their son to bring
transformation in their present pitiable conditions but their expectations remain unfulfilled. So
they have not only loss of a family member but the expectation also to bring transformation in
their condition. Therefore the middle class society questions the larger system working for them.

Likewise, we also come to know the condition of Sujata’s family which is disclosed by Somu’s
mother herself through conversation with Sujata. While Somu’s mother informs Sujata about
Brati’s frequent visit to Somu’s home and how youngsters belonging to different localities were
involved in the Naxalite activities, she wonders about Brati’s involvement in Naxalite activities:

SOMU’S MOTHER (draws a breath): You’re a working woman, you’ve a rich home, I
wonder why Brati chose such a course! Didn’t you ever realize what your son was
up to?

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SUJATA: No. (A disturbing memory.) I didn’t know. He was home the whole of that day.
I realized later that he had been waiting the whole day for a call… (691)

Here we can find contrast in socio-economic and political conditions of middle class and upper
middle class society. As we have discussed middle class society has to face much struggle in
every sphere. Even after the murder of their son, Somu’s family finds it difficult for them to
fulfill the basic requirements. So basically the condition of middle class society forces
youngsters to question the larger democratic system working for the middle class society. But the
upper middle class society lives in luxury. They are a part of the corrupt system as political
parties and government authorities are in the favor of capitalist. So the question in the play is
why did young people of this elite class go against and question larger power structures of a
democratic set up that was in league with them?

DISINTEGRATING RELATIONSHIPS

Mahasweta Devi’s Mother of 1084 shows multiple ways in which relationships disintegrate.
While Sujata receives a call early morning, the unknown person inquires about the head of the
family member. She cannot understand the context in which the person has called. Even she is
unable to understand what is Kantapukur?

SUJATA: I don’t understand.

DIBYANATH: What don’t you understand?
SUJATA: Who was it on the phone? He only said –Come to Kantapukur.
DIBYANATH: What?
JYOTI: What did you say?
SUJATA: He said, Come to Kantapukur. He said …you have to identify? Brati?
Dibyanath and Jyoti look at each other, with a clear understanding of what has
happened (683).
…
DIBYANATH: (oblivious of Sujata’s presence). Jyoti, there may still be time. Isn’t there
a relation of your mother-in-law’s in the police?

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JYOTI: A maternal cousin.

DIBYANATH: Ring him up. Chaudhuri must help hush it up. He had warned us (684).

The conversation leads to the understanding that Sujata is entirely unaware of what is happening
nearby. Here Dibyanath and Jyoti both understand the answer that is provided to Sujata. They
were aware of the murder of youngsters and it gets repeated. As, they were aware of an attack on
the youngsters and they know about the warning that is given to them, they didn’t share
information of the horrible incident that occurred. It seems Dibyanath and Jyoti deliberately did
not share information that leads to disintegration in the family relationship. They did not even
include Sujata-mother of Brati regarding their deliberations on the incidents.

Further, Sujata is worried about Brati after getting the news from Kantapukur but she does not
know who and when Chatterjee family members are going to meet him. Instead family members
are eager to meet Chaudhari to ‘hush-up’ the event and this generates several questions in the
mind of Sujata.

SUJATA: (as she comprehends) So that’s why your father has to rush to Chaudhari? But
Brati? Who’ll go to Brati?
JYOTI: We’ll go there, mother, a little later.
SUJATA: Later? (684)

Here, the answer is provided by Jyoti that shows there is no attachment between family
members. In fact, the public face of this upper middle class family seems to be more important
than the loss of the family member that the phone call indicates. The personal loss is overtaken
by the public image of the family, something that Mahasweta Devi critiques heavily. In fact, the
play problematizes the relationship between the personal and the political repeatedly.

CONCLUSION

Basically the play highlights unseen power structure. The theme ‘power structure of institutions’
focuses on power that operates middle class as well as capitalist society equally. Though middle

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class families are tempted by their need and provide information to institutions, they are not
aware of such power structure that is working against them in disguise. The theme ‘the contrast
between middle class and upper middle class society’ focuses on faulty system. The ideology of
reformation or transformation in both classes of society is in conflict to the working larger power
structure of our nation. Though there is contrast in economic condition, both classes of society
have to suffer under larger power structure. Finally, the theme ‘disintegrating relationships’
focuses on the power of the upper class society that can be utilized to manipulate ideology for
the weaker or marginalized gender. Even ideology of upper class society is to give importance to
the public image rather than the loss of family member. So relationship is no more integrated.
Therefore, as discussed in the second section definitions of political theatre, the play, Mother of
1084 can be labeled political at the operation of power that was unseen throughout the play, as
well the operation of dominant ideology of capitalist towards middle class society and even
marginalized status of family members and gender in capitalist society.

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REFERENCES:

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Akademi, 2010. Print.
Devi, Mahasweta. Mother of 1084. Trans. Samik Bandopadhyay. Modern Indian Drama. Ed. G.
P. Deshpande. New Delhi: Sahitya Akademi, 2010. Print.
Dutt, Utpal. “What is to be done?” On Theatre. By Utpal Dutt. Calcutta: Seagull Books, 2009.
Print.
Goorney, Howard. Epilogue. Agit-prop to Theatre Workshop: Political Playscripts, 1930-50. Ed.
Howard Goorney and Ewan MacColl. UK: Manchester UP, 1986. Print.
Lahiri, Sharmila Maitra. “Bridging Angst: Interpreting Mahasweta Devi’s Mother of 1084.”
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Postlewait, Thomas. “The Idea of the “political” in Our Histories of Theatre: Casual Contexts for
Events.” The Cambridge Introduction to Theatre Historiography. New York: Cambridge
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Sarkar, Jaydip. “The Personal is Political: Re-reading Mahasweta Devi’s Mother of 1084”.Indian
Drama in English. Ed. Kaustav Chakraborty. PHI Learning Private Ltd.: New Delhi,
2011. Print.
Sundar, Pushpa. “Protest Through Theatre – The Indian Experience”. India International Centre
Quarterly 16. 2. (Summer 1989): JSTOR. 2014. Web.

Dr. Haresh Kakde

VBT Institute of Arts and Humanities
C U Shah University, Gujarat

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