Struggles of tribal workers in tea plantations in Assam take centre stage at ITFoK  

A scene from the play Chai Garam staged at the International Theatre Festival of Kerala in Thrissur on Friday.
| Photo Credit: K.K. NAJEEB

The journey, struggles, and survival of tribal workers in tea plantations in Assam took centre stage at the International Theatre Festival of Kerala (ITFoK) on Friday through Chai Garam, a gripping play by Orchid Theatre.

The production shed light on the exploitation and oppression faced by these communities under British colonial rule and their continuing struggle for survival.

Directed by Sahidul Haque, Chai Garam portrays the harrowing experiences of the tribespeople lured by false promises into migrating to the remote tea plantations of Assam. The play vividly captures the helplessness of workers in Jharkhand, forcing many to flee the endless hardship and poverty.

The compelling performances of the artistes, depicting a marginalised community striving for recognition and dignity in an unfamiliar land, moved the audience.

Sahidul Haque said Chai Garam aimed at highlighting the harsh realities behind the simple act of drinking tea, exposing the unseen suffering embedded in the tea industry. The production’s strength lay in its authentic depiction of tea estate labourers, powerful storytelling, and strong socio-economic commentary.

A meet-the-artist session was held on the Ramanilayam campus stage, featuring discussions on two plays Bhoothangal, directed by Shajahan O.T., and Item, a women-centric play by Arpita Dhagat. The session saw active participation from the actors and crew of both productions.

Bhoothangal explores the traditions of family relationships and the psychological echoes they create. Inspired by the Malayalam film Appan, the play faced challenges in adapting cinematic language into theatrical expression, says director Shajahan O.T.

He emphasises that the play primarily attempts to depict how the central character, Ittichan, influences the next generations of his family.

Meanwhile, Arpita Dhagat’s Item, from Gujarat, critically examines the struggles women face in their daily lives. The play is performed by a women’s collective that was formed seven years ago. “Even today, many women do not have the courage to openly share their experiences,” says Arpita. Through this play, she presents a new interpretation of women’s empowerment.

While Bhoothangal delves into the complexities of family relationships, Item gives a voice to the challenges faced by women. Both plays question various aspects of human life and the limitations imposed by social structures.

The discussion also highlighted Arpita’s perspective that “theatre is never universal; its boundaries are shaped by local contexts.”

A folk dance performance “Songi Mukhawate”, presented by Chhabildas Vishnu and his team, added vibrancy to the ITFoK night. This traditional dance is celebrated by tribal communities residing along the Gujarat-Maharashtra border. It is performed as part of auspicious ceremonies, believed to drive away evil forces and bring blessings.

“Songi Mukhawate” is predominantly performed during the months of Chaitra, Hili, and Purnima. The dance features the sambal as the primary musical instrument, accompanied by dhol and pavari. The performers adorn themselves with drum garlands around their neck and don masks representing Narasimha, Vetala, and Kalabhairava, adding a mystical aura to the performance.

The dance unfolds with the chanting of devotional songs in praise of deities, incorporating Maharashtra’s traditional rituals such as ‘Mannath’ and ‘Kasam’. These songs narrate mythological tales of gods and goddesses, enhancing the spiritual essence of the performance.