The Bold Voice of J&K

On Dogri Day, applauding Theatre’s role in cultural preservation

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Mohd. Yaseen

Language and culture are the lifelines of any community, reflecting its identity, values, and history. The Dogri language, an integral part of Jammu’s rich heritage, has stood as a witness to the region’s vibrant traditions and cultural evolution. As we celebrate Dogri Day , also known as Dogri Manyata Diwas on 22nd December, 2024, it becomes imperative to shed light on the role of theatre in preserving and promoting this beautiful language. Theatre, being an expressive and impactful medium, holds the potential to revitalize Dogri culture and bring it closer to the modern generation.
Theatre has always been a powerful tool for social commentary, capable of capturing the subtleties of societal change, both positive and negative. It serves as a mirror reflecting the virtues and vices of society. Through their craft, theatre artists have the unique ability to address societal issues and inspire constructive change. However, it is not just about storytelling; theatre is also about preserving the cultural ethos of a community, which is especially significant in the case of Dogri.
Dogri theatre, like its counterparts across the world, has the power to connect with audiences deeply and evoke emotions that resonate long after the curtains fall. This makes it an ideal medium for promoting Dogri language and culture.
Dogri theatre traces its origins to the patronage of the Dogra rulers, who encouraged various performing arts. Traditional folk styles such as Geetru, Karak and Haran were integral to the region’s theatrical expressions. Over time, these forms were refined, and Dogri theatre gained prominence, becoming a cherished aspect of Jammu’s cultural identity.
Prominent institutions like Natrang Jammu have been instrumental in preserving Dogri theatre. Their iconic plays like Bawa Jitto and Ghumayee have not only created ripples in the local community but also achieved national and international acclaim. Bawa Jitto has been staged over 200 times across India, leaving an indelible mark on audiences. Meanwhile, Ghumayee, directed by Balwant Thakur, has been presented at prestigious platforms like the Frankfurt International Theatre Festival, 8th Theatre Olympics and the Commonwealth Games.
Another hallmark of Dogri theatre is Balwant Thakur’s Suno Eh Kahani, which has been performed over 300 times, setting a benchmark in Indian theatre. These productions not only entertain but also educate audiences about Dogri traditions, values, and ethos.
Despite its rich heritage, Dogri theatre faces several challenges, including dwindling institutional support and audience interest. Limited funding, a lack of platforms, and societal perceptions of regional arts as less significant than mainstream ones have hindered its growth. Additionally, modern audiences, especially the youth, often gravitate towards global or mainstream influences, overlooking the treasure trove of local culture.
The younger generation holds the key to revitalizing Dogri theatre. Aspiring artists need to embrace the language and its folk styles as the foundation for their creativity. The community must also come together to support local artists, attend performances, and promote awareness about Dogri culture.
Theatre is more than just entertainment; it is a cultural bridge that connects people to their roots. Dogri theatre, with its rich heritage and storytelling traditions, has the potential to strengthen the identity of the Dogra community. It can serve as a medium to educate, inspire, and unite people, ensuring that the language and culture continue to thrive for generations to come.
On this Dogri Day, let us pledge to support and celebrate Dogri theatre. By doing so, we not only honor our past but also lay the foundation for a vibrant cultural future. As the saying goes, “A language dies when its last speaker is gone, but a culture dies when its stories are forgotten.” Let us ensure that Dogri stories live on, echoing through the halls of theatres and the hearts of people.
(The writer is a National Scholarship and Fellowship holder from the Ministry of Culture, Government of India)

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