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"Mitigating their sufferings is our aim"
DESTINY, it appears decides not
only who should be a hero but also who must record his
deed that is to say, if Johnson comes, Boswell
cant be far behind. But what happens when, inspired
by the hero, the worshipper turns a doer, as happened in
the case of Saroj Vasishth? While witnessing Kiran Bedi
transform Tihar Jail into Tihar Ashram, Saroj herself
became a part of the process and continued the good work
in her own area. Wonder, a short film made earlier
this year on this recipient of the Red and White Bravery
Award concluded with Kiran Bedi herself saying,
"There are people (pointing to herself) who
win an award and then sit silent. But look at this one.
She has won awards and still continues to work
relentlessly is going on and on." Though
Sarojs work is formally supposed to be a project of
Delhi Kala Karam (of which she is the general secretary),
in actual practice, she is a one-woman institution. No
wonder, with the exit of Kiran from Tihar, Saroj shifted
her Karam-bhoomi to Kaithu jail, Shimla. What she is
doing may not be visible but it has had a tremendous
impact: She visits jails to interact with the young
convicts and the undertrials so as to ensure that,
instead of growing cynical of the anti-social, they
retain or regain their humanity. In this battle, her
weapons are art and literature in general and theatre in
particular. Formerly an announcer with Akashvani, she is
a prolific translator who is running a translation
bureau, LOGOS. Her publications include a collection of
short stories, a novel, a book on her experiences at
Tihar Jail (Jaise Kuchh Hua Hi Nahin), and another
based on Kiran Bedis views (Morcha Dar Morcha).
CHAMAN
AHUJA met
Vasishth recently in Shimla Excerpts.
What is this Bravery
Award and for what act of bravery have you been honoured?
Bravery is usually
regarded as an act of extreme courage against a big odd
or a big criminal; The Red and White people have
broadened this notion to include a relentless fight
against the social evils. In choosing me for this honour,
they meant to affirm that my interaction with the inmates
of the Tihar and Kaithu prisons and my effort to create a
radical impact on their psyche signified a courage of
high magnitude. Of course, this is not the only award to
come my way; similar appreciation came by way of Vijay
Gujral Foundation Award, Bhagwan Mahavir Award, Indira
Gandhi Priyadarshni Award, and Sanjay Anita Smriti Prize.
The money that came with awards lies with Kala Karam in
the form of FDs, the interest on which sustains all my
activities which are, of course, purely honorary.
This passion at 70 is
admirable. But how did this mission start, when and why?
Just by chance. When I
had just retired from Akashvani, an impulse prompted me
to give Kiran Bedi a ring, to propose the reading of a
short story. She agreed and we met. That casual visit
turned out to be a life-long pre-occupation. It is
possible that my interest is part of some sanskar of
mine: My father who owned 42 companies and was known for
his philanthropy, once built in Yol Camp near Dharamsala
a hall screening films for the benefit of 17,000 Italian
prisoners of war after World War II.
What exactly has been
your aim in your work in the jails?
When I started my work
at Tihar, Kiran told me to look after our most precious
treasure of young inmates, aged between 16 and 18, in
Ward No 3. Most of them were being tried for murders,
some planned, some inadvertent, some attributed. The law
treated them alike and the chances were that, in the
company of hardened criminals, even the innocent ones
might go inhuman. We were keen that they retained their
humanity as well as their faith in mankind so that if and
when they left the jail, they might lead their lives as
good, law-abiding citizens. To begin with, I went with
books, but as I talked with those young souls, my
compassion grew and gradually turned into the love of a
mother. And then suddenly a miracle happened and we
discovered the cathartic role of creativity
reading yielded place to the writing of poetry.
That is interesting.
How did that happen?
One day when I reached
Tihar, Kiran told me that she had decided to punish my
sons for refusing to have their hair cut.
They were to have only one meal, and no TV until they
apologised. And apologise, they wont. On probing,
it came out that their refusal was a way of protest.
Although the hair-cut was free, the barber expected money
and, on the heads of those who refused to pay, he would
create ungainly triangles, rectangles, etc. After the
exposure led to action against the barber, one of the
inmates, Kanhaiya, submitted a 4-page, hand-written
apology, a poem Kaash. Being illiterate, Kanhaiya
had spoken out his feelings and another inmate had taken
it down. This was a great discovery this potential
for poetry, and we encouraged the young folk to
say what they wanted to say and put their writings in a
box. The net result was a book of poems written by those
sensitive young men.
Did this imply poetic
exercises on given themes?
No, it was by no means a
class in creative writing. We just encouraged them to
open out, to pour out their pent-up emotions. Steaming
out the obsessions helps. That has been our strategy all
along even otherwise. Having won their confidence, we let
them speak out the truth. I have with me the stories of
every one, the real stories, not the ones told in the
court. They speak to me the way would confide unto their
mothers, knowing full well that no mother betrays her
children. They have the assurance of my full support to
them "Hum hain na tumhare saath". That
kind of assurance. That lessens their burden of guilt or
the anger against the society. During my sessions with
them, they forget for a while their anger or their
anguish. The mitigation of the pangs within that
is our real aim. Our theatre activities are also expected
to play the same roles, affording scope for
self-expression, for escape into entertainment, as also
for acquiring insight into the truths of life.
What is your own
background in theatre?
For that we must go back
to 1942 when my school teachers in Lahore, Sheila Bhatia
and Sneh Sanyal, cast me in play about the famine in
Bengal. Because of my lizard-like constitution I was
stripped naked and made to lead a group of starving
beggars. Thus initiated,I started seeing plays in Lahore
and later, when we moved to Delhi, my father would take
me to see the plays byPrithvi Raj,Shakespearena, etc.
After my fathers death, for three years, I worked
as Joint Secretary of Bhartiya Natya Sangh where my job
was to look after Natya Forum, which meant organising
weekly interface with theatre celebrities. Kamala
Chottopadhyaya trained me in her own way by making me
read a lot of books on theatre. That helped me a lot
when, for many years, I did theatre reviewing for Deccan
Herald, Thought New Wave, etc. No I was never a
director of plays. Nor did I do much of acting. In 1964,
I did act in Yatriks Seven Year Itch but
soon I got lost in my job with Akashvani. That possibly
explains why my role in the jail theatre is not of a
creative kind. I am not a director but only a
facilitator. I select or invite plays, initiate the
inmates into the theatre arts, given them books to read,
and make them discuss those books.
What kind of theatre
activity do you have in jails?
Now and then we invite
plays from outside say, plays picked from the
Sahitya Kala Parishads annual festival of Ten Best
Plays. The criterion in selecting is not so much the
theatrical or experimental aspect as the contents
somethings that would sensitise or humanise the inmates
through a meaningful experience. There are also plays
done by the inmates under the direction of some competent
director or an NSD graduate, or even by some inmate with
some experience in the field.For example, once we had in
our midst Vijay, the Vidur in the serial Shri Krishna,
who had landed in the jail after quarrelling with his
father. The plays presented invariably have something to
do with the law, with the process of justice or the
aberrations therein; these can also be pure comedies or
satires on the political system. The big idea is to raise
some thought-provoking questions. For example, will the
system ever change, and how?
Could you tell me
something more specific about these plays?
In Tihar, an NSD
graduate, Mithlesh Rai, had directed Kadwa Sach
which underlined how circumstances might make one a
criminal. An undertrial, Suresh Kumar, himself wrote a
play called Muqqadama. One Captain Sunil Sharma,
charged under Section 420, did Gandhi with an
international cast: the non-Indian characters were played
by the foreign undertrials. Mithleshs friend, Adil
Hussain, prepared Ramlila. Then a workshop involving
about 100 inmates yielded two satirical comedies
Bhartendus Andher Nagri and Sharad
Chauhans Mera Desh Mahan. Once we had Shaheed
Bhagat Singh when we came to acquire the rehearsal
space called Kutir. The other Tihar plays that I
can recall were comedies like Qissa Shadi Ka Annewala
Kal and political plays like Mister Neta and Hirankashyap
Ka Murder. In Tihar, we had a fuller schedule because
inDelhi the advantage lay in having ready-made
productions and trained theatre artists keen to gain
experience through work.
Do you mean to say
that involvement in theatre in Himachal jails is
marginal?
No exactly marginal but
not always as much as one would wish. For some years when
Amala Rai was here, we had a lot of theatre.We had the
shows of her Court Martial and Jis Lahore Nahin
Dekhya. She also directed Azad Hindustan
written by some law students who had landed in our midst
on the charge of political murder. Then we staged Umrao
Jaan, Janpath Kiss and Hamare Daur Mein.
Besides two of Mantos unpublished plays Maujdeen
Ki Rihai and Commission we did Sarveshwar
Dayal Sexenas Havalat, all related to prison
police etc. In doing Ramesh Upadhyayas Laat
Sahib Ki Rasoi, we substituted Rajiv Gandhis
regime by the British Raj, but we retained the overall
attack on the system. Anyway, in Kaithu jail, we have
been having many workshops of different natures. For
example, based on Khushwant Singhs Science Vs
Miracle, we had a workshop in which trained person
exploded myths of how bhabuti may be produced from
nowhere, and how a sword might appear to pierce a tongue.
Then we had a yoga workshop. These days we are having a
workshop on Pranic healing. The idea is to enrich the
personalities of the inmates so that, when they go out,
they may lead a better life. That is why we make
available lots and lots of reading material. There is
hardly any published Indian play which is not available
with us. Then we see to it that every inmate gets the
newspaper of his choice, whatever the language. In this
respect, we have received bagfuls of material from
Khushwant Singh, Maheep Singh, Hind Pocket Books, Vikas,
Asha Deep, Raj Kamal, etc.
How would you compare
the work in the Himachal jails with that in Tihar Jail?
Well, certainly Kiran
Bedi did a lot of good work, but she was not allowed to
pursue her mission to completion. Anyway, her pioneering
work inspired others and one could say that the work
being done in Himachal is, in a way, an attempt to take
up from where she left. Do you know that in a certain
Himachal jail, every day, at about 9 a.m., 32 prisoners
go out into the town to do their respective work as
tailors, cobblers, carpenters, or whatever, and are back
in their cells at 5 p.m.? In another jail, the family of
a prisoner may be permitted to stay within the jail for a
night. That keeps the family united.
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